Use Of Drawings Research Articles

Mental models of the Internet

As the amount of knowledge and the number of users connected to the Internet rapidly expands so the need to understand how users conceptualize this giant network becomes more important. Through the medium of sophisticated software interfaces users must navigate through cyberspace and access relevant information. Access to the user's mental model of the Internet will enable designers and information technologists to better understand and structure the knowledge deposits of the future. This study explores the use of drawings to access users' mental models of the Internet from a group of South African's with varying experience with the Internet and computers. Mental models from 51 University respondents were categorized by three independent raters. The mental models were arranged into six categories. Analyses on these categories suggest that the mental model categories may be hierarchically ordered according to respondents' experience with the Internet. These results are discussed in terms of the organization of knowledge on the Internet and in terms of designing Internet interfaces. Relevance to industry The results from this paper suggest that current windows-based Internet interfaces are not facilitating a deeper understanding of the underlying structure of the Internet, which may lead to users experiencing increasing navigation problems. Designers should therefore be considering embedding cues that facilitate accurate mental model formation into software interfaces.

Developmental Trends and Relationships in Children's Aural Perception and Symbol Use

The purpose of this study was to examine the relationships among children's aural perception of tonal patterns and children's symbol use in drawing and selection tasks based on tonal information. Children's performances on perception, drawing, and selection tasks were investigated for developmental trends within and across tasks. Sixty-four children, ranging in age from 4 years, 7 months, to 12 years, 8 months, were tested for their performance on aural perception of tonal patterns (PMMA/IMMA), selection, and drawing tasks. A principal components analysis showed perception, selection, and drawing to load on one factor. When factor scores were examined for differences by age with a one-way ANOVA, age was shown to be a significant effect, F(3, 60) = 7.58, p < .001. Post-hoc comparisons showed that children at the youngest level differed significantly (p < .01) from those at the two older levels on the literacy factor, with scores on all tasks and factor score means revealing a linear trend in children's musical development of symbol use.

Children’s use of drawing as a pre‐writing strategy

In this study the writing products of 60 third‐grade students, who drew before writing a story on a self‐selected topic, was compared with the writing products of 59 third‐grade students who wrote without drawing. The students in the group which drew before writing tended to produce more words, more sentences and more idea units, and their overall writing performance was higher than the students who wrote without drawing. These findings were consistent for boys as well as girls. Implications for writing research and instruction are discussed.

Advances towards the rolling processing of long BSCCO tapes

Uniform long length Ag clad mono-filamentary BSCCO tapes have been produced by the powder in tube method making use of drawing, cold rolling and annealing processes. The influence of the starting BSCCO powders, packing method and Ag addition on BSCCO/Ag superconducting tapes have been analyzed using XRD and scanning electron microscopy combined with EDX and Image Analysis. In addition, extensive electrical transport measurements have been carried out. Average values of J/sub c//spl ap/12 kA/cm/sup 2/ with a dispersion of /spl plusmn/5% over a 1 m length have been obtained.

The use of drawings in the management of adults who stammer

This paper arose from a collaboration between a speech and language therapist specializing in work with nonfluent clients and a registered art therapist. The literature from the two professions has been reviewed with regard to the application of one aspect of art therapy, namely the use of client's own drawings, to the management of adult clients who stammer. While the benefits of art therapy are well-documented, its particular use with this client group is minimal. Two case studies are presented in detail as a way of illustrating several practical advantages of this approach with adults who stammer. A number of additional benefits and points of further development are summarized in the final section.

The Role of Drawing in Graphic Design and the Implications for Curriculum Planning

Over a number of years a programme of research has been carried out into the role of drawing in design processes, primarily the graphic design process, and on the possible implications for curriculum planing for design students. From the findings of an original in‐depth analysis of the use of drawing in the commercial environment of the design consultant, various initiatives in educational planning and assessment in England and Scotland have been fostered and a contribution has been made to the ongoing debate in drawing studies

Research as Social Change, New Opportunities for Qualitative Research

Have you ever thought research is boring? Research writes Umberto Eco should be fun. It seems unlikely that Umberto Eco has read many of the standard social science or education research texts. But social research does offer the possibility of involvement in projects that are informative, sometimes revealing, and fun to do. This book shows us that teaching, learning and research are essentially social and deeply personal activities and that fun needs to be an integral part of this. This is not a conventional text, although it is about ways in which research can be used by those in various areas of professional practice. Its main concerns are with qualitative research, action research and case study methods, and it goes back to first principles arguing for research that is concerned with the nature of personal memories and of perception, the use of drawings and photographs, the emotional relationships implicit in any kind of research and the context of the contemporary workplace. The authors develop new directions and new possibilities for research and find ways of bringing together theory and practice, the personal and the social, organisations and their clients. It is an important resource for all who are interested in doing research but are sceptical or critical of most studies that are currently available.

The Projective Use of Mother-and-Child Drawings: A Manual for Clinicians

A new projective technique is described that is simple yet rich in potential clinical value. The child or adult is asked to Draw a Mother and Child. The rationale for this technique is explained by a brief overview of object relations theory and the historical use of drawings as projective material in psychological assessment and in therapy. The author uses this technique to demonstrate developmental and sex differences. Dr Gillespie attempts to broaden our focus to include the attitudes and reactions of the clinician and the wider cultural impact on production and interpretation. She cautions against the use of her technique by those who have no affinity for art and advocates that clinicians seek to understand their own responses to artistic expression as part of their training in this technique. She recommends that clinicians view the work of professional artists, who are the ones most skilled at pictorial

Winning by design: the methods of Gordon Murray, racing car designer

This is a case study of the working methods of one particularly successful designer in a highly competitive design domain, Formula One racing car design. Gordon Murray was chief designer for the very successful Brabham and McLaren racing car teams in the 1970s and 1980s. His record of success is characterized by innovative breakthroughs, often arising as sudden illuminations, based on considering the task from first principles and from a systemic viewpoint. His working methods are highly personal, and include intensive use of drawings. Personality factors and team management abilities also appear to be relevant. There are some evident similarities with some other successful, innovative designers.

Enhancing cultural self-awareness: use of drawing.

1Assistant Professor, Marquette University, Milwaukee, Wisconsin 2Associate Professor, Marquette University, Milwaukee, Wisconsin

Oeuvrecatalogus

AbstractThe seventeenth-century, probably Flemish, artist Abraham Casembroot (Bruges? before or in Ι593 - Messina Ι658) spent the latter half of his life in Sicily. His entire extant oeuvre was produced there, which is probably why he is so little known in the Netherlands. The painter lived in the east-coast port of Messina, where for the last nine years of his life he held the post of consul for the Republic of the United Netherlands. Some of the bulletins he sent to the States General in his consular capacity are kept in the Rijksarchief at The Hague. So are the documents which confirm his appointment in Ι649 and that of his successor and thus establish Ι658 as the year of Casembroot's death. Information about his life can be found in biographies of Messina artists. The most detailed account is by Francesco Susinno in his Vite de' pittori messinesi of Ι724, although later vite of Messina artists also devote a comparatively large amount of space to Casembroot. As a painter he was evidently held in considerable esteem in Messina, where he had five local pupils. Casembroot specialized in harbour and marine views and tempests; according to the vite his paintings were much in demand in both Sicily and the Netherlands. The well-known seventeenth-century collection amassed by Don Antonio Ruffo of Messina boasted no fewer than ten works by Casembroot, one of which was very likely the large canvas The Swordfish Catch, now in the Museo di San Martino in Naples. Incidentally, a hitherto unpublished document reveals that one of Casembroot's consular duties was to deal with the ship that in all probability had on board Rembrandt's Aristotle, commissioned by Ruffo. It is remarkable that currently only four authenticated paintings by Casembroot are known, plus a fifth which is attributed to him on convincing grounds. His imaginary harbours resemble those by less well-known Netherlandish painters in Italy such as Cornelis de Wael and notably Adriaen van der Cabel. For a long time the latter was thought to have been responsible for four large series of sketchbook drawings with Sicilian studies which were in the Kupferstichkabinett in Berlin until the I9305 and subsequently scattered. In I973 Hans Mielke observed numerous stylistic correspondences between sheets from this former Berlin series and a preliminary drawing by Casembroot for an etching. There is also a stylistic resemblance to other traceable sheets from the former Berlin series (a considerable number of which are now in the Fitzwilliam Museum in Cambridge), some of which have been identified as preliminary studies for etchings by Casembroot. Consequently, three of the four Berlin series of sketchbooks previously attributed to Van der Cabel must now be established as Casembroot's work. Compared with Casembroot's paintings, his etchings and drawings exhibit more obvious personal stylistic characteristics, which Mielke had already observed in the nervous lines and the distinctive manner in which the small human figures are depicted; this enables reliable attributions to be made now. Mielke also demonstrated that Van der Cabel made use of drawings by Casembroot for his own etchings, and he is quite likely to have owned drawings by Casembroot. Casembroot's best-known work is a series of etchings of views of Messina and the surrounding countryside which he dedicated to the collector Lucas van Uffelen. Preliminary drawings for this series and for an authentic painting have survived. Casembroot utilized the drawings he did from nature in his sketchbooks as preliminary studies for etchings and paintings. Surviving sheets show small figures engaged in various activities, topographical sketches and accurate studies of local ships. The artistic quality of Casembroot's oeuvre is not particularly high. Its current significance is largely due to the topographical depictions of Messina and its environs, which look completely different today as the result of natural disasters. Despite his lengthy sojourn in Sicily, Casembroot remained a recognizably northern painter. His subject-matter displayed typically Dutch features which were uncommon in Messina, where local painters generally confined themselves to history pieces. With his harbour and sea views Casembroot seems to have discovered a gap in the market, which may account for his success in Messina.

Drawings as judiciary aids in child sexual abuse litigation: A composite list of indicators

The utility of art therapy as a means for detecting sexual abuse and credence for the use of drawings as judiciary aids in child sexual abuse cases will be explored in this literature review. The latter will be addressed through examination of literature from the disciplines of art therapy, mental health and law.

Drawings for Story Problems: Practices in Japan and the United States

The problem-solving strategy “Make a drawing” is used in both the United States and Japan but with different degrees and varying amounts of success in each country. The purposes of this article are to compare what seem to be Japanese and United States practices in promoting the use of drawings in solving story problems and to use that comparison to suggest some teaching approaches.

Externalizing the Problem of Bulimia: Conversation, Drawing and Letter Writing in Group Therapy

White's ideas of externalization, separating the problem behavior from the personal identity of the patient, have been helpful to family therapists and their clients (White, 1984; 1986). Externalizing problem behavior is generally accomplished through conversation. This article discusses the use of drawing and letter writing techniques to accompany tradition conversation interventions and enhance the externalizing process. A case study involving bulimic women in group therapy illustrates these techniques. The group members reported positive changes in their eating behaviors and their perceptions about their problems.

Knowledge-based interpretation of architectural drawings

Architectural schematic drawings have been used to communicate building designs for centuries. The symbolic language used in these drawings efficiently represents much of the intricacy of the building process (e.g. implied business relationships, common building practice, and properties of construction materials). The drawing language is an accepted standard representation for building design, something that modern data languages have failed to achieve. In fact, the lack of an accepted standard electronic representation has hampered efforts at computer intergration and perhaps worsened industry fragmentation. In general, drawings must be interpreted, by a professional, and then reentered in order to transfer them from one CAD system to another. This work develops a method for machine interpretation of architectural (or other) schematic drawings. The central problem is to build an efficient drawing parser (i.e. a program that identifies the semantic entitites, characteristics, and relationships that are represented in the drawing). The parser is built from specifications of the drawing grammar and an underlying spatial model. The grammar describes what to look for, and the spatial model enables the parser to find it quickly. Coupled with existing optical recognition technology, this technique enables the use of drawings directly as: (1) a database to drive various AEC applications, (2) a communication protocol to integrate CAD systems, (3) a traditional user interface. (Copies available exclusively from MIT Libraries, Rm. 14-0551, Cambridge, MA 02139-4307. Ph. 617-253-5668; Fax 617-253-1690.)

Human Factors Support of Nasa's Safety Directorate on the Space Station Processing Facility (SSPF) Kennedy Space Center, FL

A Human Factors Engineering (HFE) pilot project was undertaken by the National Aeronautics and Space Administration (NASA) on the Space Station Processing Facility (SSPF) at the Kennedy Space Center, Florida in 1991. It is to demonstrate the use of Human Factors in supporting the role of NASA Safety in achieving their objective of reducing the causes of accidents by helping to eliminate error producing situations. The initial phase of this endeavor consisted of a review of the design drawings for the SSPF, identifying all human factors concerns with special emphases on those which affected personnel safety, operational efficiency and hazards which might produce damage to expensive payloads. Where drawings did not completely disclose the characteristics of the intended operations, other facilities at the Kennedy Space Center were visited to obtain “Lessons Learned” insights that could be applied to the drawing critique. As Human Factors concerns and/or Safety issues were identified, they were discussed with the appropriate engineering personnel to effect a workable solution. During the lecture presentation, examples of identified HF & Safety deficiencies will be presented by the use of drawings, photographs in viewgraph form and a video of an accident to the Magellan Spacecraft. Discussion of the findings of the Magellan Spacecraft Mishap Review Board will elaborate on their conclusion that the lack of Human Factors Engineering was a major Contributor to this incident. A video segment showing an advanced and innovative Human Factors (HF) modeling technique will graphically demonstrate the potential application of conducting Human Engineering (HE) evaluations in conjunction with Engineering Prototyping in a Computer Aided Design (CAD) environment.

Pre- and Postconstruction Environmental Evaluations

Previous research found a low correlation between evaluations by a neighborhood design review board and by the public for drawings of houses. However, the use of drawings raised the possibility that the correlation was due to media effects. That possibility was tested in a second experiment which used as-built photographs for stimuli. The correlation between the review board's preconstruction and the public's postconstruction evaluations was .10, but the correlation between pre- and postconstruction scientific public evaluations was .73. These findings suggest that the lack of correspondence between the review board and the other people was not due to media effects and that the scientific method of design review outperformed the neighborhood design review board method.

The Use of Drawings in Group Intervention for Children of Divorce

Children participating in a court-based divorce intervention group for parents and children were asked to draw a picture of your family divorcing. Analysis of the divorce drawings indicated that children's use of denial, expression of emotionality, depiction of aggression, or use of abstraction in their drawings were not related to sex, age or time since divorce. Results showed that characteristics of children's drawings can be clinically useful in detecting underlying fears and concerns which may be related to coping styles, such as repression or sensitization styles of responding. Either style of coping may be adaptive, since both were related to more realistic beliefs about divorce. A measure of children's beliefs about divorce. There was also some positive change in children's beliefs about divorce following participation in the group program.

Modernidad del Universal vocabulario de Alfonso Fernández de Palencia

Published two years before Antonio de Nebrija' s splendid Diccionario latino-español, Alfonso Fernández de Palencia's Universal Vocabulario has not aroused among the critics the enthusiasm it deserves. This Spanish humanist's work has been frequently described as medieval. Furthermore, there is enough evidence to state unmistakably that Palencia's dictionary follows very closely Papias' Elementarium Doctrinae Durimentum. In fact, Palencia takes Papias' work as a starting point, whom he copies literally. But it is a reflexive and selective copy, not the kind of hurried plagiarism we are used to in lexicography. Palencia laboured over Papias' work until he turned his own Universal Vocabulario into the threshold of modern lexicography which starts definitely from Nebrija's dictionaries: a) As constrasted with other dictionaries of the same period, the Universal Vocabulario sometimes includes several meanings under a single entry. b) Palencia is different from other contemporary lexicographers because he tries to form small lexematic groupings. c) He resorts to drawings in order to illustrate the explanations given for the entries. The use of drawings reveals the pedagogical aim inspiring him in the planning of his work, rather than his unability to give definitions. This pedagogical aim is reflected in the many classical authors' quotations and examples included. All these features —except for the drawings which will not appear again until the XVth century with Francisco Rosal— can be found in the most successful and well-known dictionaries of the XVth and XVIth centuries: in Rodrigo Fernández de Santaella's Vocabularium ecclesiasticum (Sevilla, 1499) and in Diego Jiménez Arias' Lexicon ecclesiaticum (Salamanca, 1566). Therefore, the Universal Vocabulario arises in the history of Spanish lexicography as a perfect hinge between the Middle Ages and the Renaissance, but also as the first link of a chain which goes without a break for centuries except for Nebrija, who steps out of line in points where his immediate predecessor had made important progress.

On the role of drawing in the rehabilitation of aphasia

Abstract Communication by drawing has often been suggested in the reha.bilitation of aphasia. According to the PACE) therapy approach, Davis and Wilcox (1981) proposed the use of drawing as a nonverbal mode of communication in dialogue situations. Ducarne de Ribaucourt (1986) was more cautious arid suggested adopting drawing for therapeutic piirposcs only in particular cases. More recently, Birnes (1988) and Pachalska et al. (1988) have recommended art programmes in order to improw social interactions and cmotional expression of aphasics.