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A classroom game using a group of photographs from which students must derive a story is outlined. Beyond the original game, suggestions are given for further discussion, activities, and manipulation of the materials. Three series of photographs are provided as examples. (MSE)

Four instructional activities for language learning are described, including a unit on body-related vocabulary and expressions using the names of body parts, reading headlines, reading an entire literary work, and "reading" pictures. (MSE)

Over the past few decades, cities’ identities have been subject to dramatic global influences, the rapid modernization have transformed and internationalized cultures, and planning ideologies which affected the spatial development and consequence, the urban visual identity.However, within the need of homogeneity, and the “call to difference”, globalization / nationalism discourse is becoming the difficult dialectical synthesis of national identity and modernity.whereas architecture does not operate only on the local level, but also on the global through the work and creations of celebrity architects among other factors, thus, Those architects or architects who seek to have such status through iconic designs tend to have global rather than local perspectives. As a result architecture is increasingly becoming a message of global abstract culture rather than being cultural element of stability for the local.The aim of this paper is to look at the visual identity of urban in new capital cities and how they change under the impact of globalization, city centers of Dubai, Brasilia, Doha, and New Capital Cairo have been chosen as a cases studied because have been significantly shaped particularly with regard to contemporary planning policies, reflecting the needs and modern outlook of contemporary architecture. Moreover, this work focuses on the problems of urban/architecture visual identity and the trends of its expression by urban/architectural tools, examines the formation of identity as a construct and indirect form of architecture, the phenomena of globalization and pastiche of local styles, and analyzes the discourses of identity between globalization and nationalism.

Archaeological discoveries describing the first abstract engravings and ornamentations of the body, through objects of adornment and the use of pigments, suggest that the use of signs and/or symbols is not limited to Homo sapiens. From a neuro-archaeological perspective, our study aims to infer the neural bases required for the emergence of these first potentially symbolic types of behaviour. We used functional Magnetic Resonance Imaging to record participants' brain activity when we presented them with stimuli from potentially symbolic cultural innovations. These were schematic versions and photographs of early Palaeolithic engravings, followed by faces that were culturally ornamented with wooden beads and red paint strokes. Their perception involved associative visual brain areas. The salience network was mobilized to attribute a human origin to abstract patterns and a social status to ornamented faces. The latter also involved frontal regions belonging to the "social brain". My work suggests that the neural bases that not only enable relevant elements of the environment to be selected in order to recognize intentional productions of others, but also probably culturally determined meaning to be attached to these productions, were already functional in the Middle Palaeolithic, in the context of an increasingly complex social organization.

Research on the impact of the visual design of the user interface of learning management systems (LMS) on learning experience is sparse. The purpose of this study was to conduct a preliminary examination of students’ perceptions of the visual design of their postsecondary institutions’ LMS and their learning experiences using survey methodology (N= 46). Students generally agreed that the course homepages were well organized and that the LMS colours, while deemed moderately to very important, did not enhance learning or increase the ability to remember course content. However, more positive perceptions of the visual appearance of the LMS were associated with greater satisfaction with grades. Expected end of term grade point average was negatively correlated with the degree to which students perceived that colour enhanced their learning. Students reported a greater satisfaction with the contribution of the LMS to learning correlated to the number of school terms they had used an LMS, their LMS proficiency, and their perceptions about the visual appeal of the LMS design. Together, these results suggest that exploring the impact of LMS colour and other dimensions of visual design on student engagement and learning are important and have practical value for LMS developers, instructional designers, and instructors.

The design of information has an important and effective role in simplifying information and data, as it is easy to read information by representing a large amount of information and data visually, where symbols and signs are used to recommend information easily and in an attractive way that facilitates the recipient's understanding and awareness.Where the information and data inside the advertisement are designed according to the visual culture of the intended recipients in order to achieve the highest rate of interaction of the recipient with the advertisement.As the use of symbols, shapes, pictures and graphics is an important means of transmitting information and data in a simple and easy way that makes it easier for the recipient to understand and understand complex information, as there are many reasons for the spread of infographics, which is one of the most important types of information design, including: attracting attention and ease Retrieval, understanding, perception, and the ability to spread.An infographic is a form of information design that has several types and forms for its use, and it also includes many elements that are not easily accessible to the visual representation that can communicate information in a way that is easily perceived correctly.It is important that this information is presented in a fun and visually arranged way to direct the audience to what the advertisement aims, and that this information is appropriate to the recipient's culture visually, and that by defining the message to be conveyed and the action that aims infographic to urge the receiving audience to do with it .As studying the culture of the target audience is an important step for the success of advertising design in achieving its marketing goals, the relationship between the culture of the audience and design work is a relationship that cannot be ignored, as each society is concerned with different habits, trends and interests that must be taken into account when defining and designing advertising ideas.

The impact of Gestalt theoryon the photographic art image CompositionExpressive painting movement is a German and French for more points affecting the genesis and evolution of art, artists have called to resist the control of art in academic templates and obtain their freedom to express their feelings and self encloses herewith information and access to these feelings rather than show The external appearance of the subjects, or emotions. The research aims to determine the impact of the theory of Gestalt on the path of the photographic art movement, and its role in the evolution of the concepts of photography in the light of modern art schools and trends in the world. And prove that its principles are still valid in contemporary photographic art.The research problem is What are the changes brought about by Gestalt theories, ideas in the design of contemporary photo? And how it influenced the artistic vision of photography? Gestalt principles are in Visual perception are as follows:1. the ground Figure 2.Similarity 3-Proximity 4. Common region5. Continuity 6. Closure7. Focal Point-After completion of the research, the results can be formulated in the following points:- Gestalt principles adherents ideas tended to devise new forms of photographic compositions. - the principles Gestalt credit for laying the foundations for real photographic composition to become more nuanced compositions both for each component or as a whole.- Gestalt visions were formed a new photographic image are a no longer mere transfer of reality but a tool of creativity to the photographic artist, which has continued to this day and have become higher and improved production capability with the development of digital technologies and software image processors to produce photographically creative.The search ended for the following recommendations- Further studies and research for scholars and researchers in the field of professional photography ideas for principles of Gestalt.- the teaching principles of Gestalt within their curriculum in design at Department at the Faculty of applied arts Helwan University.- The photographers are working in the field of interest to study Gestalt principles to develop their creative and professional specializations.

In this paper, I analyse the noun forms derived from the prototypical verbs of visual perception, see and look. The descriptors used to process verbal polysemy must prepare the correspondence between verb classes and noun classes. This involves indicating whether perception verbs have nouns as associated forms. I also show that if the predicates and arguments are fundamental for the interpretation of the sentence, the actualizers are fundamental for its grammaticalization. The actualization will condition the reading of the nominal predicate. I show how this actualization will allow us to elaborate classes of predicates and thus to renew the approaches of polysemy. [ABSTRACT FROM AUTHOR]

Copyright of Revue Bossuet is the property of Classiques Garnier and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Research has demonstrated that students’ learning outcomes and motivation to learn are influenced by the visual design of learning technologies (e.g., learning management systems or LMS). One aspect of LMS design that has not been thoroughly investigated is visual complexity. In two experiments, postsecondary students rated the visual complexity of images of LMS after exposure durations of 50-500 ms. Perceptions of complexity were positively correlated across timed conditions and working memory capacity was associated with complexity ratings. Low-level image metrics were also found to predict perceptions of the LMS complexity. Results demonstrate the importance of the visual complexity of learning technologies and suggest that additional research on the impact of LMS design on learning outcomes is warranted.

The presence of the camera becomes prominent among scientific and artistic discourses of the 19th century; it is also fundamental to John Ruskin’s aesthetic theory, as a close study of several of his writings shows. Photography reveals for instance the existence of some physiological distortions in human perception, and perceptual aberration was analysed at great length by John Ruskin, whether it be revealed by Turner’s art or by the daguerreotypist’s talent or lack of skill. In volume IV of Modern Painters, Ruskin contends that photographs might after all be more on Turner’s side than he and other critics might have first thought: ‘Photographs never look entirely sharp; but because clearness is supposed a merit in them, they are usually taken from very clearly marked and un-Turnerian subjects; and such results as are misty and faint, though often precisely those which contain the most subtle renderings of nature, are thrown away, and the clear ones only are preserved. Those clear ones depend for much of their force on the faults of the process. Photography either exaggerates shadows, or loses detail in the lights . . . and misses certain of the utmost subtleties of natural effect (which are often the things that Turner has chiefly aimed at,) while it renders subtleties of form which no human hand could achieve’. (Ruskin, 1856, vol. IV, Chapter IV, §11).I shall strive to define in this paper some of the implications of the act of vision according to Ruskin, wondering about differences in effect and form for instance, and seeking their causes; I will attempt to show how some of the obstacles which can actually hamper human sight turn out to be eminently positive for Ruskin, giving birth to the main arguments of his belief in the superiority of Medieval art over Renaissance art. Ruskin’s defence of imperfection thus appears to be closely linked to natural perceptual aberration.

This paper aimed to study how to attract more attention to the digital images used on advertising posters, by applying the visual perceptual constancy. To achieve this goal, the study used the descriptive and experimental, methods to analyze the nature of visual perception and visual perceptual constancy. Then, experiments were designed to employ the perceptual constancy, which extends its influence to the ability to produce a digital image used in advertising poster, beyond the boundaries of the visually familiar. The results measured the audience' exposure time and analyzed it. They indicated that there was an increase in the audience’ exposure time when using perceptual constancy as the main design concept in the digital images on advertising posters, and they led to recommendations to expand the use of perceptual constancy in the digital image on advertising media to get more audience' attracting attention.

The article focuses on visual and olfactory tour guides in Morocco during the years 1954-2018. It analyzes the diachronic perspective and comparative expression of colors and smells. It highlights the collection of guides of publisher Louis Hachette and discusses editions of the guides published after its creations.

The article focuses on the efforts of French poet Jean Nicolas Arthur Rimbaud in enhancing his creativity on the medical role of colors. It discusses the visual perception and experimental reality appeared in the poetic writings of Rimbaud. It also highlights the impact of Judeo-Christian civilization on poetic creations of Rimbaud.

A literary criticism is presented of the book "Nouveaux mémoires sur l'état présent de la Chine" by Louis Lecomte. It offers observations of a French Jesuit, p. Louis Daniel Lecomte, sent to Peking in 1685, with five of his colleagues, as Mathematicians of the King, to meet Emperor Kangxi. It mentions that it highlights the apologist in Lecomte, struggling with the hostility of devotees of the metropolis, as well as its commitment to the sciences of nature and vision of true merit.

That a link exists between vision and knowledge cannot be denied, but this link is by no means straightforward, and can function in either direction. In order to describe it accurately, the distinction between information and knowledge must first be clarified. We must then examine that which, in our visual perception, really stems from the stimuli, as opposed to that which results from some reworking by the brain. And finally we need to investigate how a global visual image can be transformed into a linear verbal sequence. We may then analyze a series of examples, some very famous, that illustrate the role of vision in such fields as epistemology, general science, techniques, teaching and finally in poetic and symbolic imagination.

Résumé: La perception visuelle est la modalité privilégiée par l'homme pour prendre des informations sur le monde qui l'entoure afin d'interagir avec lui. Dans la maladie d'Alzheimer, la perception visuelle est souvent altérée dès les phases précoces de la maladie, ce qui altère la qualité de vie des patients et rend plus difficile l'évaluation des troubles cognitifs qu'ils présentent par ailleurs. Dans cet article, nous rapportons les déficits visuels décrits chez des patients souffrant de maladie d'Alzheimer en les classant selon leur correspondance neuroanatomique, de la rétine aux régions sous-corticales et corticales. Les troubles sont fréquemment rencontrés dans la perception visuelle de bas niveau, défaut de sensibilité au contraste ou de discrimination des couleurs, et de haut niveau, troubles visuospatiaux ou agnosiques. Ces troubles doivent être pris en compte pour adapter la prise en charge des patients, mais aussi pour un diagnostic précoce. Visual perception is humans' preferred way for taking information on the surrounding world. Visual perception is frequently impaired in patients with Alzheimer's disease, lessening patients' quality of life, and making evaluation of other cognitive deficits more complicated. Our review covers the recent literature describing visual perception deficits in patients suffering from Alzheimer's disease by classifying them according to their neuroanatomical correspondence: retina, visual pathway, subcortical structures, occipital visual cortex, occipito-temporal "what" and occipito-parietal "where" pathways. Overall, both low-level and high-level visual perception disorders seem quite common in Alzheimer's disease, including, on a low-level, loss of visual field, decreased acuity and contrast sensitivity, and impaired color vision, and on a high-level, impaired color vision, motion perception, visuospatial deficits, object agnosia, prosopagnosia and impaired recognition of facial emotional expressions. Professionals working with Alzheimer's disease should be aware of visuoperceptual deficits, which could impair the quality of life of the patients, and distort the results of neuropsychological tests using visual material. Moreover, some tests assessing visual perception could be of interest for early diagnosis of the disease. [ABSTRACT FROM AUTHOR]

Copyright of Signata is the property of Presses Universitaires de Liege and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Este artigo revela a interdisciplinaridade entre Arte, Matemática e História, revelando o quanto elas são justapostas. Foi abordada a leitura de imagem envolvendo a ótica de gênero na obra "Café" do artista Cândido Portinari. Há uma abordagem da história do café e uma discussão das possíveis relações matemáticas que a obra oferece. Houve uma preocupação em aliar a leitura tanto histórica quanto da linguagem do pensamento e percepção visual.This article reveals the interdisciplinary between art, mathematics and history, showing how they are juxtaposed. It was addressed to read the image involving a gender perspective in the painting "Coffee" of the artist Candido Portinari. One approach the history of coffee and a discussion of possible mathematical relationships that the work offers. There was a concern to combine both historic and the reading of the language of thought and visual perception.

The purpose of this article is to understand the semiotic impact of the cleaning of a painting and the cognitive effects induced on the observer. This study analyses conjointly the visual phenomenon generated by yellowing varnish and its removal and controlled interviews of observers. The removal of yellowing varnish modifies considerably the perception of the picture. Daytime, climate, season and characters activities are modified. The patina may be perceived either as an obstacle to the painting exploration, or, for those who appreciate it, as a medium for a closer relationship between the painting and the observer.

The importance of the visual aspects of the fantastic reverberates even into theory, as shown by several researchers throughout the last decades. These researchers distinguished themselves from their predecessors, whose definition of the fantastic implied mainly an involvement of the intellect. From the many forms it takes, we will concentrate in this article on the thematic level of the text, or, more precisely, on the use of the mirrors and other forms of reflection as a form of exploration of the self in the fantastic tales of the Belgian writer Thomas Owen. Vision becomes more than a common way of perceiving reality for the writer's characters, now looking to shed a new light on the unknown and offering an insight on things beyond reason. [ABSTRACT FROM AUTHOR]

This research focuses on the ability of the young child to detect and identify the continuity or discontinuity of a cursive handwriting movement. The evolution of this ability has been studied by comparing the performance of nonscripters (kindergarten) pupils and students scripters (2nd and 5th years of primary school). Results showed that the perception of information relating to the continuity of writing movement is antecedent to the formal learning of cursive handwriting. Analysis of the justifications produced by the youngest participants suggests that early knowledge of handwriting movement is not explicitable. [ABSTRACT FROM AUTHOR]

Summary: For practising sports, vision is a major sensorial element whatsoever sport level is concerned. The vision is based on a sensorial system and the eye picks up the information. This information conveys through retina, visual ways and brain. Throughout this process, filtration or amplification mechanisms, plurimodal and multisensorial mechanisms, cognitive mechanisms, paying attention and memorizing mechanisms are playing an essential role. This so perfect and rather complex construction can be easily damaged when the eye is wounded. Practising a sport may expose the eyes to damageable traumatisms. The subsequent secondary effects would be a decline of the visual capacity and consequently a decline of the athletic performance. Finally, “sport doctors” and coaches focus on the physical preparation, heart ventilation, cardiovascular monitoring, but they should not forgot the visual system which has an essential role as the brain is in an hermetically closed box and can only react when receiving relevant information of which 80% come from vision. Most injuries involve the cornea due to penetration of small foreign bodies. Direct or indirect shock can have secondary consequences such as glaucoma, cataract or retinal injury. The secondary effects can be measured in terms of visual acuity. [ABSTRACT FROM AUTHOR]

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Copyright of Societes is the property of De Boeck Universite and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Societes is the property of De Boeck Universite and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Abstract: Background: Abnormal recognition of facial expressions (ARFE) is associated with poor inter-relational difficulties. Among depressive patients, the difficulties in recognising facial expressions lead to errors in emotionally charged information. Objectives: To evaluate ARFE following the Analysis method and the search for emotional integration (MARIE). This tool uses a continuation of fictive portraits created from two real portraits and in varying proportions (Professor Eckman''s portraits with his agreement). This is an emotional series, which can be either unipolar or bipolar (neutral/emotion, emotion/emotion). The subject has to choose between two possibilities for each portrait. The programme comprises nine series of 19 pictures of three different faces (a fair-haired woman, a dark-haired woman and a man). Statistical analysis: An average between the two evaluations (X 2 test) can be compared according to the patient''s answers. Comparison of results between patient''s answers before and after the treatment and results before and after of a standard reference, which is, by definition, 100%. Comparing the averages of time answering between the two evaluations (Student test) by logarithms. Results: The joy would be the emotion most sensitive to improve the mood and thus therapy. Conversely, recognition of fear and surprise would be the less sensitive. There would be a gradient answer of qualitative (type of emotion) and quantitative (intensity score) over treatment. The patient hardly recognizes the sadness at the opposite of the anger. There would be a hypo-sensibility to sadness or hypersensitivity to anger in a major depression. However, the disorder varies according to the face presented. Discussion: We report the results of a unique case and we must remain critical. However, the results are in the line with most writers. It credits the interest of the measurement tool. The graduation in the intensity of the scores does not suggest a single system but seven emotional subsystems separated which intensity of the response is proportional to the mood disorder. This work should be extended to a homogeneous population of patients with more tests faces to avoid the idiosyncrasie and to better study the interactions between emotions and mood. [Copyright &y& Elsevier]

Copyright of Psychologie Française is the property of Elsevier B.V. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Summary: Aim of the study: A previous study has shown some behavioral differences in normal subjects depending on the position of the eyelids: the postural behavior was varying if the subject had the eyes open in darkness or the eyes closed. In this study, we explore the possible role of vision on this behavior. Patients and methods: The postural behavior of 12 blind and nine visually impaired participants was studied during undisturbed upright stance. Results: In this sample, no difference was found in the conditions eyes open in the dark and eyes closed: the observed behavior in blind and visually impaired subjects is different compared to normal sighted subjects who show a visual preference even in total darkness when the eyes are open. Our two groups (blind and visually impaired) actually show a difference on the median frequency of the centre of gravity displacements. Conclusion: Our results suggest an adaptive mechanism of the central nervous system in healthy individuals to predominantly weigh visual cues when the eyelids remain open. Good visual acuity and time seem to be necessary for this process. [Copyright &y& Elsevier]

Abstract: We studied the visual recognition of the facial emotions, on 20 chronic and institutionalized schizophrenics. They were paired in age, sex, educational level with a reference group. We used the MARIE battery which uses a binary pairing in a continuum of intermediate images. The recognition of the disgust is decreased followed by the fear. The surprise is the least overdrawn. The recognition of anger and the bipolar series (emotion-emotion) is strictly identical to that of the controls. [Copyright &y& Elsevier]

The concept of aerial perspective has been used for the first time by Leonardo da Vinci (1452-1519). This article studies its dependence on Ptolemy's Optica and overall on the optical tradition inaugurated by Ibn al-Haytham's Kitāb al-Manāzir (d. after 1040). This treatise, that was accessible through several Latin and Italian manuscripts, and was the source of many Medieval commentaries, offers a general theory of visual perception emancipated from the case of the moon illusion, in which physical and psychological factors are closely combined. Atmospheric extinction (not refraction, which is sometimes confused with) affects the conjectured size of remote objects. This phenomenon is also the core source for a pictorial rendering of depth, that is based onto a principle different from the diminution of size. [ABSTRACT FROM AUTHOR]

Copyright of Psychologie Française is the property of Elsevier B.V. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)