The complexity of behaviour necessitates a clear and concise approach in order to comprehend its functioning. An example of such an approach is highlighted by the field of cybernetics. Cybernetic models have been used extensively throughout the various fields of Psychology but perhaps never more so as in the case of short term memory (STM). This particular field abounds with behavioural models and research workers are constantly developing new models or testing the universality of existing models. Universal validity is essential to the strength of the behavioural principles inherent in any model but unfortunately such validity tends to be neglected. The present study attempts to reconcile this position with reference to specific models of STM, with relation to the phenomena of eidetic imagery (EI). Certain studies concerning the incidence of EI in illiterate Africans have produced results which are contradictory to those obtained in the Western culture. Two of the most important contradictions concern the fact that the illiterate Africans experienced the absence of an age parameter on the occurrence of such imagery and the fact that the incidence of imagery was more extensive in the African culture. A reason for these contradictions was sought and it was reasoned that as eidetic images have been closely linked with memory images, it may, therefore, be assumed that these particular cultures may use EI as an aid to memory in the absence of written material. Further, it would not be unreasonable to assume that this visual imagery may tend to dominate the STM process and thereby challenge the universality of those memory models that proposed acoustic domination of this process. No work has been done in investigating the memory process of the Africans. Thus, a study which did so would not only test the universality of specific memory models but would also possibly throw more light on the memory process itself. In this particular study there were three specific aims; (a) to ascertain the relative incidence of EI on a cross-cultural level, (b) to assess the influence of EI on the memory process, and (c) to ascertain the extent to which principles of STM developed in the West applied to the African groups. The groups concerned in the study comprised two Xhosa groups and a European group. The European group (WS) was drawn from a White Student population at Rhodes University and was regarded as a control group. The equivalent literate Xhosa group (BS) was drawn from a Black Student population at the University of Fort Hare. The illiterate Xhosa group (RX) was drawn from a population of Red Xhosa people in the Transkei. Four tasks were administered to the groups with the cross-cultural variable carefully controlled as much as possible. The following comprised the four tasks; (a) eidetic imagery (b) auditory serial recall (c) visual serial recall and (d) an acoustic confusable task. Each subject commenced with the eidetic imagery task and was then confronted with a random presentation of the other three tasks. The EI task began with an after image task which was foIlowed by three selected pictures which comprised the EI task. After each picture presentation the subject was closely questioned as to the presence of imagery. Scoring was of a subjective nature. The visual and acoustic confusion tasks constituted serial presentation of ten items over six randomized trials. Each item was presented for 0,75 seconds with a negligible inter-item interval. The presentation order of the items was randomized throughout the trials. Presentation was by means of a preprogrammed 16mm colour film. Items were scored for correct serial position. The auditory task consisted of the serial presentation of ten items over six randomized trials. The items were once again randomized throughout the trials with regards to presentation order. The presentation speed was one word per second. The presentation was by means of a pre-programmed tape. Items were scored for correct serial position. The visual task was common to both language groups whilst the other two tasks correlated with the language group. Thus, the items in the auditory and acoustic confusion tasks were different for each language but an attempt was made to control this variable. The tasks were conducted in the subjects home language which was either Xhosa or English. It was assumed that the RX group would demonstrate a greater incidence of EI, irrespective of the age of the subject, and that imagery would be reflected in the recall performance of the memory tasks. It was suggested that imagery may determine or encourage the mode of storage that the subject employed, which, in this case, would be the visual modality. If so then it would be expected that visual storage would circumvent the detrimental influence of acoustic confusability. The Xhosa university group (BS ) was an unknown quantity but was included to ascertain whether there were any marked differences between the group and the other two. The results revealed that imagery was in fact more prevalent in the Xhosa groups whilst the WS group demonstrated a complete lack of EI but did report the presence of pictorial imagery (PI). However, imagery did not appear to function as an aid to memory. It seemed, however, that in certain instances it correlated with visual encoding. Generally the Xhosa subjects, especially with regards to the visual tasks, tended to encode visually whilst the WS group encoded auditorily. With reference to recall performance, it was found that in all instances the WS group demonstrated superior recall followed by the BS and RX groups in that order. There was a significant difference in the strength of recall between each of the groups. The results of the auditory and visual tasks were interpreted within the STM principles developed in the West. It was found that the WS group adhered to these principles thereby justifying its position as a central group. The BS group followed a similar pattern with exception to the recency effect which was much weaker in their case. The RX group reported the absence of any storage and rehearsal strategies and this was reflected in their poor recall performance. They too were characterized by a very weak recency effect. The interesting point arose, however, when the auditory and visual recency effects were compared. According to Crawder and Norton (1969) the influence or the precategorical acoustic store (PAS) on recall should be reflected by a comparatively stronger auditory recency effect. This trend was observed in relation to the WS group but not to the Xhosa groups who tended to demonstrate a stronger visual recency effect. It was therefore, suspected that PAS did not operate with the same effectiveness with the Xhosa subjects. In fact it was suggested that in the case of the Xhosa subjects the visual peripheral store may be stronger than PAS. Contrary to expectation all three groups exhibited acoustic confusion. This was expected of the WS group as the subjects preferred auditory storage , but not of the Xhosa subjects who preferred visual storage. It was suggested however, that in the case of the Xhosa subjects the visual storage technique would have to be abandoned immediately prior to or during recall as recall was necessarily in the auditory modality. The outcome of the experiment generally confirmed Doab's conclusions as to the incidence of imagery and its relation with memory. However, due to the Xhosa preference for visual storage and their stronger visual recency effect, Sperling's model was slightly modified. Conrad 's findings were, of course, substantiated.

Submitted by GILMAR RENAN KISAKI OLIVEIRA null (renan.kisaki@gmail.com) on 2016-12-20T03:09:27Z No. of bitstreams: 1 2016_MSc_Gilmar_Renan_Unesp.pdf: 3787156 bytes, checksum: 03bf116759b5ae85b2e5302f167eb985 (MD5) / Approved for entry into archive by Felipe Augusto Arakaki (arakaki@reitoria.unesp.br) on 2016-12-21T19:54:13Z (GMT) No. of bitstreams: 1 oliveira_grk_me_prud.pdf: 3787156 bytes, checksum: 03bf116759b5ae85b2e5302f167eb985 (MD5) / Made available in DSpace on 2016-12-21T19:54:13Z (GMT). No. of bitstreams: 1 oliveira_grk_me_prud.pdf: 3787156 bytes, checksum: 03bf116759b5ae85b2e5302f167eb985 (MD5) Previous issue date: 2016-02-29 / Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq) / Esta dissertação contempla o desenvolvimento de um método que combina os dados LiDAR (Light Detection And Ranging) obtidos por sistema de varredura LASER (Light Amplification by Stimulated Emission of Radiation) e imagens aéreas de uma mesma região a fim de extrair os contornos de telhados de edificações, onde os parâmetros de orientação das imagens são conhecidos. O método proposto neste trabalho pode ser dividido nas seguintes etapas: extração das edificações nos dados LiDAR; extração dos contornos das edificações nos dados LiDAR; e refinamento dos contornos das edificações integrando dados LiDAR e imagens. Primeiramente, as edificações são extraídas dos dados LiDAR, seguida da determinação dos seus pontos de contorno, que por sua vez, são projetados em duas imagens que formam um modelo estereoscópico. Às imagens do par é aplicado o algoritmo de detecção de bordas de Canny com o objetivo de identificar as bordas de edificações. Tendo os contornos dos telhados de edificações (provenientes dos dados LiDAR) projetados nas imagens de bordas, é realizado um procedimento de busca dos pontos de bordas de edificações nas imagens. Com base nos pixels identificados como bordas de edificações e com o propósito de obter uma figura geométrica que represente os contornos, é aplicado o ajuste de retas 2D pelo Método dos Mínimos Quadrados (MMQ) integrado à filtragem de pontos espúrios por meio do teste Tau. Para avaliar o método proposto e implementado foram utilizados dados LiDAR com densidade média de 6,7 pontos/m² e imagens aéreas digitais com GSD de 8 cm. Os resultados obtidos na avaliação dos experimentos mostraram que o método proposto conseguiu extrair os contornos dos telhados, com melhores resultados para edificações isoladas que não possuíam projeção de sombras ou objetos sobre elas, atingindo valores da ordem de 0,97 GSD e 1,80 GSD, para o REMQ em planimetria e altimetria, respectivamente. / This dissertation proposes a methodology to extract building boundary through the integration of LiDAR data and aerial imagery where the image orientation parameters are known. The proposed method can be divided into following steps: building extraction from LiDAR data; building boundary extraction from LiDAR data; and refinement of building boundary through the integration of LiDAR data and optical imaging. Building are first extracted from LiDAR data, then building boundaries are determined in LiDAR data and projected onto the stereo pair of aerial images. These aerial images are results from the application of Canny edge detector in order to identify building boundaries from images. Since the 3D building boundaries (determined from LiDAR data) are projected onto the Canny images, a search mechanism is performed to find the building edge points in these images. A 2D line adjustment by Least Squares Method (LSM) is performed, followed by outlier detection based on Tau Statistical Test, for generating a geometric shape to represent the buildings through the building edge pixels identified. In order to evaluate the proposed approach, LiDAR data with approximate density of 6.7 pts/m² and digital aerial images with GSD around 8 cm were used. The results showed that the proposed method enabled to extract building roof boundaries with best results for isolated buildings without objects or shadow’s projection on them with the root mean square error (RMSE) around 0.97 GSD and 1.80 GSD in planimetry and altimetry, respectively. / CNPq: 130473/2013-8

abstract: Numerous studies have examined the attachments individuals have to the places they visit, and that those attachments are formed through experiencing a place in person. This study is unique in that it examines pre-trip place attachment formation via the use of mobile technology and social media. It proposes that media experienced through the use of a participant's smartphone can foster the development of positive emotions, which in turn, facilitates greater mental imagery processing that ultimately influences pre-trip place attachment formation. An experimental design was constructed to examine how text and video on a destination's Facebook page influences an individual's emotions, mental imagery, and subsequently attachment to that destination. Specifically, a 2 (narrative text vs. descriptive text) x 2 (short, fast-paced video vs. long, slow-paced video) between-subjects design was used. A total of 343 usable participant responses were included in the analysis. The data was then analyzed through a two-step process using structural equation modeling. Results revealed no significant influence of textual or video media on emotions although the choice in text has a greater influence on emotions than choice in video. Additionally, emotions had a significant impact on mental imagery. Finally, mental imagery processing had a significant impact on only the social bonding dimension of place attachment. In conclusion, while media had no significant impact on emotions, the effect of previous traveler's retelling of personal accounts on the emotions of potential travelers researching a destination should be examined more closely. Further, the study participants had no prior experience with the destination, yet emotions influenced mental imagery, which also influenced social bonding. Thus further research should be conducted to better understand how potential traveler's image of a destination can be affected by the stories or others. / Dissertation/Thesis / Ph.D. Community Resources and Development 2013

Esta dissertação busca mostrar as questões envolvidas no teatro de Sartre. Para tanto, partese de uma descrição da consciência em geral para atingir uma caracterização da consciência imaginante - é esta consciência que toma o objeto estético como tal, posto que tal objeto é um objeto imaginário. A partir dessa caracterização da obra de arte em geral, busca-se descrever a especificidade da obra de arte teatral, de forma a mostrar a formulação do gênero teatral proposto por Sartre, o teatro de situações, a maneira como sua descrição sobre o evento teatral lhe serve como recusa do teatro burguês e para a crítica da produção dramatúrgica de sua época, e como o teatro opera uma descrição da vivência humana concreta que a filosofia descreve de forma estrutural. / This dissertation aims at opening up questions involved in Sartre\'s theatre. Firstly, beginning with a description of the consciousness in general one comes to a characterisation of the imaging consciousness - the one that takes into account the aesthetic object as such, given that this is an imagined object. Secondly, considering this characterisation of the work of art in general one intends to point out the characteristics of the theatrical work of art. The elaboration of the theatrical genre proposed by Sartre, i.e., the theatre of situations, is a description of the theatrical event that allows him to refuse the bourgeois theatre and to criticise the dramaturgical production of his period. For the French philosopher, the theatre operates a description of the concrete human lived experience that philosophy can only describe in a structural way.

Esta tese propõe, a partir da premissa de que existe um cinema pós-moderno, observar e identificar marcas estéticas e técnicas nos filmes contemporâneos que construam uma imageria audiovisual pós-moderna. Após, procura compreender que sentidos são criados por essa imageria e que figuras comuns do “espírito pós-moderno” estão engendradas nessa estética. Para tanto, conduzo um mapeamento de filmes realizados entre 1980 e 2010, a partir de onde busco compreender os clichês visuais, ou recorrências técnicas e estéticas, que marquem a produção audiovisual contemporânea, a fim de organizar um objeto de análise. Essas recorrências são analisadas dentro de quatro estéticas, categorias de pesquisa dentro das quais relaciono as marcas estéticas e técnicas como formas com as figuras históricas e culturais que caracterizam o período pós-moderno. Nesse percurso teórico-metodológico, lanço mão de uma abordagem de Omar Calabrese e de um constructo teórico que articula, por um lado, as teorias de Fredric Jameson e Zygmunt Bauman sobre a contemporaneidade e, por outro, uma abordagem da imagem e do audiovisual principalmente das perspectivas de Philippe Dubois, Arlindo Machado e Jacques Aumont, assim como da contribuição de Maria Beatriz Rahde e Flávio Cauduro no que tange o apontamento sobre formas pós-modernas nas artes visuais gráficas. / This thesis proposes, based on the premise that there is a postmodern cinema, observe and identify aesthetic and technical marks of the contemporary movies that build a postmodern audiovisual imagery. Following, to understand the meanings created by this imagery and common figures of the "post-modern spirit" engendered in these aesthetics. In order to do this, I mapped films made between 1980 and 2010, from where I try to comprehend the visual cliches or technical and aesthetic recurrences that mark the contemporary audiovisual production in order to organize an object of analysis. These recurrences are analyzed within four aesthetics, categories of research within which I relate the aesthetic and technical marks as forms and the historical and cultural figures that characterize the postmodern period. Along the theoretical and methodological course, I made use of an approach by Omar Calabrese and a theoretical construct that hinges on the one hand, the theories of Fredric Jameson and Zygmunt Bauman on contemporary and, secondly, an approach of image and audiovisual, mainly the prospects for Philippe Dubois, Arlindo Machado, Jacques Aumont, as well as the contribution of Maria Beatriz Rahde and Flavio Cauduro regarding the appointment of postmodern forms in visual graphic arts.

For pianists working within the western art music tradition, the ability to perform a large and complex repertoire from memory is almost a prerequisite for a successful career. Memorising and maintaining this repertoire requires considerable practice and can lead to physical overuse syndromes. Additionally, automated motor memory developed via physical practice is not always sufficient for secure recall, often leading to performance anxiety. It is important therefore for professionals to identify optimal practice strategies, and mental rehearsal has been widely advocated as a potential means of enhancing memorisation and performance fluency while at the same time avoiding physical overuse. The results of three studies that examined mental imagery rehearsal by expert pianists, adopting a mixed methods approach, are presented in this thesis. The first was a participant observation study of a course at which eleven advanced pianists learned to use a memorisation technique incorporating deliberate imagery; the study aimed to describe the teaching and learning of specific imagery techniques and to examine the potential advantages and drawbacks of this approach. The second study was an online questionnaire survey of thirty six piano students at UK conservatoires designed to investigate the teaching and implementation of mental rehearsal techniques at advanced training levels; the survey found that despite a widespread awareness of imagery rehearsal as a potentially effective strategy, training in specific techniques was not consistently available, and recommended mental practice strategies were adopted much less consistently than strategies involving physical practice. Finally, an fMRI study of fourteen expert pianists aimed to determine the neural correlates of imagery rehearsal and simulated piano playing. Differences observed in brain activation between tasks suggested increased involvement of working memory processes during mental imagery. The thesis concludes that mental imagery rehearsal techniques are acquired skills that can be taught and improved over time and which have specific advantages over motor learning, but that more pedagogical training is needed in order for these techniques to become fully effective and widely adopted.

M.A. / Each of Virginia Woolf’s novels provides a unique text dense with insight. This study explicates, with specific attention to detail, Woolf’s portrayal of the awareness of her characters through the content and form of the novel itself. Awareness and the development of awareness create a vision (or acute perspective) in the individual who possesses the highest level of sensitivity. This vision is the awareness of different perspectives through a sensitivity to sensory experience. The characters in Mrs Dalloway and the characters in The Waves, albeit to differing degrees, from total non-action to different attempts of action to interaction, create a perspective for their individual selves respectively. Perspective mediates every part of the life: community, relationships and/or the internal consciousness of any one character. In turn the perspective of any one character is influenced by those external factors: community and/or other people. The dynamic between perspective, the individual and internal and external influences is the central part of this study. Woolf explores this dynamic through sensory imagery. The character that consciously chooses to create and participates in the action of creation becomes more aware. There is a responsibility that comes with that conscious choice and interaction as a result of self-awareness. The responsibility is that in any attempt to create there exists the potential to bring about change. This change can be constructive and positive, or destructive and negative. Active awareness takes place in the community, in relationships among characters or within the individual. A positive change allows unique expression while a negative change advocates a system that condemns individual vision. This study does not favour one result over another but intends to portray the different versions of perspective, vision, choice and creativity through the functioning of individual characters at different levels of awareness in Mrs Dalloway and in The Waves at the level of community, relationship and the individual.

>Magister Scientiae - MSc / Soil moisture forms an integral part of the hydrological cycle and exerts considerable influence on hydrological processes at or near the earth’s surface. Knowledge of soil moisture is important for planning and decision-making in the agricultural sector, land and water conservation and flood warning. Point measurements of soil moisture, although highly accurate, are time consuming, costly and do not provide an accurate indication of the soil moisture variation over time and space as soil moisture has a high degree of spatial and temporal variability. The spatial variability of soil moisture is due to the heterogeneity of soil water holding properties, the influence of plants, and land uses. The downscaling of satellite microwave soil moisture estimates and soil water balance modelling was investigated at six transects in the semi-arid, Western Cape Province of South Africa, as alternatives to in situ soil measurements. It was found that microwave soil moisture estimates compared well to in situ measurements at the six transects (study sites), with coefficient of determination (r2) values greater than 0.7 and root mean square error (RMSE) values less than 1.5%. Downscaling using the universal triangle method, performed well at 4 of the 6 transects, with r2 values great than 0.65 and low to moderate RMSE values (0.5-12%). Soil water balance modelling similarly performed well in comparison with in situ measurements at 4 of the transects with regards to r2 values (>0.6) but had moderate to high RMSE (4.5-19%). Poor downscaling results were attributed to fine scale (within 1 km) surface heterogeneity while poor model performance was attributed to soil hydrological and rainfall heterogeneity within the study areas.

This study evaluated the rape fantasies of a female undergraduate sample (N = 355) using a sexual fantasy checklist, a sexual fantasy log, a rape fantasy scenario presentation, and measures of personality. Results indicated that 62% of women have had a rape fantasy. For these women, the median rape fantasy frequency was about four times per year, with 14% of participants reporting that they had rape fantasies at least once a week. Further, rape fantasies exist on a continuum between erotic and aversive, with 9% completely aversive, 45% completely erotic, and 46% both erotic and aversive. Women who are more erotophilic, open to fantasy, and higher in self-esteem tended to have more frequent and erotic rape fantasies than other women. The major theories that have been proposed to explain why women have rape fantasies were tested. Results indicated that sexual blame avoidance and ovulation theories were not supported. Openness to sexuality, sexual desirability, and sympathetic activation theories received partial support.

John Cheever uses nature imagery, particularly images of light and water, to support his main themes of nostalgia, memory, tradition, alienation, travel, and confinement in his five novels. In the novels these images entwine and intersect to reveal Cheever's vision of an attainable earthly paradise comprised of familial love and an appreciation of the beauties and strengths of the natural world.