Master of Architecture

This study investigates the effects of clustering or format of presentation (categorized and uncategorized lists), level of color realism of graphics (color pictures, black and white pictures and line drawings), and age (10 year old, 16 year old and adults) on the pictorial recall memory among students in Malaysia. Three hundred sixty students of three age groups were randomly assigned to one of the six stimulus treatments (categorized color, uncategorized color, categorized black and white, uncategorized black and white, categorized line drawing, and uncategorized line drawing). There was a significant interaction effect between age and cluster, F (2, 342) = 9.07, p < 0.0001). Simple main effects test shows that among 10-year olds, significant difference exists between the mean recall of pictures in categorized lists and uncategorized lists. More pictures in the categorized lists were recalled than in the uncategorized ones. However, the mean recall of pictures between the categorized and uncategorized lists among 16-year olds and adults did not differ significantly. Interaction between age and color realism was also significant, F (4, 342) = 2.93, p < 0.021). Simple main effects test indicates that among 10-year olds and adults, the mean number of items recalled differed significantly under each level of color realism. Pairwise comparison shows that among 10-year olds and adults, color pictures were recalled significantly better than both black and white pictures and line drawings. The mean number of items recalled between black and white pictures and line drawings however, was not significantly different. It was concluded that color pictures or illustrations are recalled better than black and white pictures and line drawings, and that categorized lists of pictures are recalled better than the uncategorized lists. / Ph. D.

Thesis (PhD)--Stellenbosch University, 2003. / ENGLISH ABSTRACT: There are vanous definitions of the concept humour, each depending on the perception thereof. Such perceptions are influenced by shared experiences, culture, milieu and individual creativity. Pictorial humour is divided into various sub genres such as the caricature, cartoon and comic strip. Each one of these sub genres portrays an individual process of development, both locally and globally. The work of TO Honiball forms part of this tradition. His artistic personality and sense of humour is unmistakably portrayed in his creative work. Honiball became famous as a political cartoonist and played an important role in the rise of the National Party, seeing that his association with the Nasionale Pers provided him with a forum as opinion-former. It is said that his comic strips Oom Kaspaas, Jakkals en Wolf and Adoons-hulle influenced different age groups and even people who were not Afrikaners. It was however mainly Afrikaans-speaking people who strongly identified with these strips due to the strong Afrikaans character thereof. Various instances own Honniballiana, where it is being preserved and is available for research purposes. A number of marketing initiatives were launched to promote the work of Honiball, mainly by TO Honiball-Promosies. Despite the fact that much of his work is dated, new interest is generated by utilising his work in educational programmes. Honiball's body of work is a source for culture-historical research seeing that it offers references to the tangible and intangible culture of Afrikaans-speaking South Africans during his lifetime. / AFRIKAANSE OPSOMMING: Etlike definisies bestaan van die begrip humor, afhangend van die persepsie daarvan. Sodanige persepsies word beïnvloed deur onder andere gedeelde ondervindings, kultuur, milieu en individuele kreatiwiteit. Pikturale humor word onderverdeel in verskillende sub-genres, soos die karikatuur, spotprent en strokie. Hierdie sub-genres toon elk 'n afsonderlike ontwikkelingsgang, plaaslik en globaal. Die werk van TO Honiball vorm deel van dié tradisie. Sy kunstenaarspersoonlikheid en humorsin word eweneens onmiskenbaar verbeeld in sy skeppings. Honiball het bekendheid verwerf as politieke spotprenttekenaar en het 'n belangrike rol gespeel in die opgang van die Nasionale Party, omdat sy verbintenis met die Nasionale Pers aan hom 'n forum gebied het om as meningsvormer op te tree. Daar word beweer dat sy strokiesreekse Oom Kaspaas, Jakkals en Wolf en Adoons-hulle verskillende ouderdomsgroepe en selfs mense van ander volksgroepe as die Afrikaner bereik het. As gevolg van die eg- Afrikaansheid daarvan het egter hoofsaaklik Afrikaanssprekendes sterk aanklank daarby gevind. Verskillende instansies is in besit van Honiballiana, waar dit bewaar word en beskikbaar is vir navorsingsdoeleindes. 'n Aantal bemarkingsinisiatiewe is geloods om Honiball se werk te promoveer, hoofsaaklik deur TO Honiball-Promosies. Ten spyte van die feit dat talle voorbeelde van sy werk gedateer is, word nuwe belangstelling gegenereer deur middel van die aanwending van sy werk in opvoedkundige programme. Honiball se oeuvre bied bronne vir kultuurhistoriese navorsing aangesien dit verwysings bied na die geestelike en stoflike kultuur van Afrikaanssprekendes gedurende sy leeftyd.

Although, to a great extent, research has been done on pictorial illustrations in other text types, research into their use in dictionaries has been relatively limited. This study looks at the inclusion of pictorial illustrations in dictionaries with a special emphasis on African Language dictionaries. Ostensive addressing is an important lexicographic tool as it aids the lexicographer in conveying all the necessary details of the lemma and thus go a long way in making the dictionary a useful resource. In African Language dictionaries in particular, this is a good technique to express several of the concepts that probably do not have an equivalent in another language or are culture-specific. This can be attributed to the fact that the use of illustrations not only saves much needed space but also aids the lexicographer in defining the lemma thus leaving little room for misinterpretation. A survey of the African language dictionaries reveals that very few of these dictionaries do actually employ pictorial illustrations. This study argues that lexicographers need to consider this technique as an important element of dictionary compilation. / Thesis (MA (African Languages))--University of Pretoria, 2004. / African Languages / unrestricted

En kamera fångar ögonblick av det ljus som människan kan uppfatta, eller verkligheten som det ibland kallas. Dessa ögonblick i form av fotografier, arbetar de elever och den lärare med, som Ola Lindholm har följt på gymnasiet. Läsaren kan följa hur eleverna interagerar, hur det sociala samspelet organiseras under lektioner och redovisningar, vad som görs viktigt samt hur bildteoretiska- och yrkesmässiga kunskaper framträder i interaktionen. I studien framträder ett arbetssätt som ger eleverna ansvar och möjlighet att visa vad de kan i interaktionerna och vid redovisningarna av deras fotografier. Resultatet visar hur läraren försöker få eleverna att se skillnader i fotografiets uttryck, skärpedjup, bildbeskärning etcetera. Ibland gör eleverna motstånd och förhandlar med läraren där eleverna hävdar sin kunskap och sina åsikter om sina bilder. I bildanalysen av ett elevfotografi framträder två olika intentioner med de förslag som läraren och eleven förhandlar om. Studien visar att bildteorier, bildspråket och vad bilden kan berätta, inte är lika framträdande i interaktionen som frågor om teknik och process. Ola Lindholm, är bild- och medielärare på Sundstagymnasiet i Karlstad. Licentiatavhandlingen har skrivits inom Forskarskolan i yrkesämnenas didaktik. / A camera captures the moment of light that humans can perceive, or the reality as it is sometimes called. The work and the interaction in the classroom with these frozen moments in the form of photographs can be followed in this study at a media program in high school. The aim of the study is to research how students interact, how the social interaction is organized in lectures and presentations, what becomes important and how the pictorial theory and professional knowledge emerges from the interaction.The study reveals a didactical way of working that gives students the responsibility and opportunity to communicate and show what they can, both in interactions with the teacher during their work with the photographic picture and in the presentations of their photographs. The results show how the teacher tries to get students to see the differences in the photographic expression, depth of field, cropping and so on. Sometimes the students make resistance and negotiate with the teacher, showing knowledge and arguing for their opinions about their pictures. One picture analysis of student photography reveals different intentions with the proposals that the teacher and student negotiates about. The study shows that pictorial theories, picture language, and the communicative intention, are not as prominent in the interaction as issues about technique and process.

This thesis examines images of women shopping in the art of Kenneth Hayes Miller and Reginald Marsh during the 1920s and 1930s. New York City's Fourteenth Street served Kenneth Hayes Miller and Reginald Marsh, respectively, as a location generating the inspiration to study and visually represent its contemporaneity. Of particular interest to this thesis are relationships between developments in shopping and the images of women shopping in and around Fourteenth Street that populate the paintings of Miller and Marsh. Although, as Ellen Todd Wiley has shown, the emerging notion of the New Woman helped to shape female identity at this time, what remains unstudied are dimensions that geographically specific, historical developments in shopping contributed to the construction of female identity which, this thesis argues, Marsh and Miller related to, by locating in, the department store and bargain store.

Traditional text-based passwords used for authentication in information systems have several known issues in the areas of usability and security. Research has shown that when users generate passwords for systems, they tend to create passwords that are subject to compromise more so than those created randomly by the computer. Research has also shown that users have difficulty remembering highly secure, randomly created, text-based passwords. Graphical-based passwords have been shown to be highly memorable for users when applied to system authentication. However, graphical-based authentication systems require additional cognitive load to recognize and enter a password compared to traditional text-based authentication that is more muscle-memory. This increase in cognitive load causes an increased security risk of shoulder-surfing created from the longer amount of time needed to input a password. Graphical-based authentication systems use the same images for each possible input value. This makes these authentication systems vulnerable to attackers. The attackers use their ability to remember visual information to compromise a graphical-based password. This study conducted research into a graphical-based authentication scheme that implemented pictorial synonyms. The goal is to decrease security risk of graphical-based authentication systems while maintaining (or even increasing) the usability of these systems. To accomplish this goal, a study to evaluate the impact on the cognitive load required using an image synonym authentication system compared to traditional graphical-based authentication schemes. The research found that there was not a significant difference in the areas of user cognitive load, shoulder-surfing threat, and user effectiveness. The research evaluated users' accuracy, cognitive load, and time to authenticate and found to have significant impact of pictorial synonyms on graphical-based authentication systems. The research shows that the accuracy of pictorial synonyms was greater than word password. This appears to due to people's ability to recall pictorial information over text information. Future research should look at the impact of pictorial synonyms on shoulder-surfing attackers and different ages.

在臺灣國中英語課程的寫作部份，一向只有片段的填空、改寫句子或翻譯等，加強文法及句型結構的練習，而忽略能讓學生自我表達的創意寫作。對英語能力相當有限的國中生而言，若能提供有效、有趣的寫作指導，他們也能應用語言能力並發揮創意，寫出有趣的文章。 本研究在探討由看圖說故事進而寫故事，對國中生寫作能力的影響。本研究以台北市某國中兩班三年級，六十位學生為研究對象，先施以一次先前研究，作為主要研究的設計及實施之參考，再以三個故事為主題進行六篇記敘文的寫作。其中三篇只給作文題目及引導句，稱為題目引導式寫作；另三篇則提供題目加圖片，稱為圖片引導式寫作。整個研究內容另包括三次問卷及一系列的訪談。問卷一及問卷三在了解受測學生在研究前、研究後的寫作態度及動機的轉變；問卷二及訪談旨在了解學生對於圖片做為輔助教材的觀感。 本研究的主要發現如下：（1）圖片有助於學生寫故事的組織及架構，（2）圖片提供語料及文意，有助於學生發展故事內容及長度，（3）圖片刺激學生想像力，增加學生故事的創意，（4）學生在經過圖片式的寫作引導之後，對英文作文表現出比較積極的學習態度及動機。 / For junior high students in Taiwan, writing activities have been restricted to grammar-oriented exercises. Creative writing that engages students in using the target language communicatively has been neglected. Students at this level of proficiency, if provided with effective and stimulating writing instruction, are also able to compose fascinating stories. The purpose of this study is to explore the effectiveness of pictures on junior high students’ narrative writing. Subjects in this study are sixty ninth-graders from two classes in a junior high school in Taipei city. Instruments consist of a pilot study, three student surveys, six narrative writing assignments and a series of one-to-one interviews. Findings are summarized as follows: First, picture aids facilitate students’ organizational skills for story writing. Second, pictorial presentation provides students with linguistic resources that help to enrich their story content. Third, pictorial images stimulate students’ imagination and add creativity to their stories. Furthermore, writing improvements through pictorial instruction also lead to the students’ positive attitude toward writing and stronger motivation as well.

Indigenous communities, like the Bushmen of the Southern Kalahari, always attract visitors who 'go there' to experience the 'life out there'. Travelling in their 4x4s, these visitors also bring cameras and take pictures of their interactions with subject communities as evidence of 'having been there'. For academics and journalists, these pictures are meant to illustrate their presentations of 'what is actually there'. Both types of photographs are known as ethnographic photography. This study. asks and attempts to answer the question: how do we study ethnographic photography? As much as photographers attempt to portray their subjects realistically, their representations are often contested and criticised as entrenching subjugation, displacement and dehumanisation of indigenous peoples through 'visual metaphors' and other significatory regimes. This discussion reconsiders the concept of imaging others, by offering an analytical semiotic comparison between Paul Weinberg's anchored and published photographic texts of the Bushmen, on the one hand, and Sian Dunn's unpublished, inactive texts of the #tKhomani Bushmen, on the other. The discussion is an attempt to understand documentary photographers, processes of producing of images, the contexts in which they are produced and how the communities that are represented make sense of them. Concerns with the objectivity of representation go beyond the taking and consuming pictures of other cultures. This study is, therefore, grounded in cultural, social and ideological factors that shape the production and consumption ofphotographic representations of and from other cultures. / Thesis (M.A.)-University of Natal, Durban, 2002.

The purpose of the present study was to determine the relationship between the Stanford-Binet, Form L-M and the French Pictorial Test of Intelligence in a group of educable mental retardates.