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This is a study to determine whether the teaching of isometric drawing will affect spatial perception.

Les théories qui modélisent la perception spatiale chez l'adulte s'accordent à postuler l'existence de liens forts entre la perception et l'action(James, 1892 ; Poincaré, 1902 ; Gibson, 1979 ; Noe, 2004). Une vaste collection de données montre également que ces liens sont présents dans le développement ontogénétique. Ce travail de thèse vise à examiner les implications de tels liens dans le développement de la perception spatiale et d'en identifier les déterminants chez l'enfant. Nous avons mené une série d'expériences, basée sur l'utilisation des paradigmes d'atteignabilité et d'amorçage visuomoteur, autour de la problématique de l'élaboration et l'utilisation des représentations perceptives et sensorimotrices dans la perception spatiale. Nous avons mené ces expériences chez une population d'adultes et d'enfants âgées de 7 à 13 ans avec l'objectif d'évaluer la trajectoire développementale de la perception spatiale. Les résultats obtenus mettent en évidence des discontinuités dans les trajectoires développementales des différentes tâches proposées. Nous avons mis en évidence les marqueurs de ces changements développementaux dans les performances des tâches d'atteignabilité, d'imagerie motrice et également d'amorçage visuomoteur. Nous interprétons ces résultats comme relevant d'un changement qualitatif de la perception spatiale durant cette période. D'une manière générale, les travaux présentés dans cette thèse apportent des données nouvelles sur le développement de la perception spatiale chez l'enfant, et sont mis en relation avec la littérature en psychologie et en neurosciences du développement. / Spatial perception and motor skills : a developmental approach

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Visual learning experiences are becoming increasingly prevalent in education as symbols, imagery and simulations replace traditional text-based materials. Although the utilization of images for instructional purposes is not a new occurrence, most images used in instruction have been two-dimensional representations, giving learners little experience working with three-dimensional images. Little research has been done to explain the effects of two-dimensional and three-dimensional stimuli on the learning process. This study examined the effects of two-dimensional and three-dimensional stimuli on spatial representation in drawings. Through the use of stereopsis, a scene was projected as both a two-dimensional image and as a three-dimensional image. Students wore polarizing glasses to enable them to perceive the superimposed images as a three-dimensional scene; whereas a single slide was projected when the image was to be perceived as a two-dimensional scene. Four test groups were established from eighth grade students who elected to take art. Participants in Group A were ask to draw the scene from the two-dimensional stimulus and, a week later, from the three-dimensional stimulus. Group B was asked to draw the scene from the three-dimensional stimulus and, a week later, from the two-dimensional stimulus. Group C drew only from the two-dimensional stimulus while Group D drew only from the three-dimensional stimulus. In all groups, participants were asked to draw the scene as realistically as possible using a graphite pencil. The completed drawings were evaluated for evidence of spatial cues and the students' perception and response to spatial information. / Ph. D.

The core project within my PhD research has been the development of a system as an extension of existing media facades that allows me to test the representation of information and ideas as 'form' within space that is constantly generated and regenerated as a result of fresh input. The hypothesis is that this real time reconfiguration of space using light offers a variety of new perceptions ranging from information sharing to public art never experienced previously. During my research, I have established an extensive body of evidence that points to a growing scholarship around the details and impacts of media façade technological developments and the content displayed on them. In the thesis I define the boundaries of these technology shifts and enhanced content combinations limited to 2 dimensions. In my research I consider the technical and media implications of extending conventional 2D screens which are limited currently to architectural cladding into a 3D ma trix thereby causing an alteration to spatial perception through the content animating the 3D matrix. The core research-question is: When weaving together architecture and electronically applied and managed imagery, are their respective properties successfully interchanged to the extent that they mutually create a new architectural zone in constant flux, generated and regenerated through content that never stands still? I have undertaken four projects to develop my research hypothesis. I have developed a prototype system which, with the use of a 3D light-point matrix, alters space. The prototype system has then been applied in an architectural context, tested by applying 'designed' content to it. Lastly I have experimented with writing software 'applets' for a third party to adapt their own input for display purposes. I argue that with such a prototype system, a shift from an autoplastic determinated architecture to an alloplastic indeterminate architecture is possible [Goulthorpe, 1999]. This is a significant shift for architecture beyond the scope of a single PhD. I have concentrated within my area of expertise: media and architecture. By experimenting with a prototype system and limiting the scope of my research to examining the shift from auto to alloplastic architecture, I can consider whether this shift can be achieved through the manipulation of content alone and not rely on the appearance and status of the associated hardware.

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The human being may no longer be reduced to the bounds of organic matter. An organism – a life form constructed from interdependent components that maintain various vital processes – may now reach beyond the limits of biological materials. Beyond the skin, thumbs, eyes, and organs of the average human being, we may notice the mutually dependent system of parts, functioning simultaneously as autonomous and interconnected components. These organic systems are now capable of fusing with foreign systems that help maintain the vitality of the macroscopic system – the human. Between human and machine, recent advancements in technology and prosthetic designs have enabled humans to graft with mechanized and computerized systems, challenging the preconception of what it is to be human. The advanced prosthesis has become an integrated extension of the human body. This realization begs the question: how intimate can architecture become? Pros+Tithenai analyzes the body’s imposition on space - transforming, manipulating, conforming to the void – and the equivalent imposition of space on the body. Pros+Tithenai examines how the human body unfolds in the creases between architecture, biology, engineering, cybernetics, psychology, and emerges reassembled.

Traditional psychophysical studies have been primarily unimodal experiments due to the ease in which a single sense can be isolated in a laboratory setting. This study, however, presents participants with auditory and visual stimuli to better understand the interaction of the two senses in visuospatial perception. Visual stimuli, presented as Gaussian distributed blobs, moved laterally across a computer monitor to a central location and "bounced" back to their starting position. During this passage across the screen, a brief auditory "click" was presented via headphones. Participants were asked to respond to the bounce of the ball, and response latency was recorded. Response latency to the bounce position varied as a function of baseline (no sound) and the varying sound offset locations.