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In order to discuss the innovation of intangible cultural heritage arts and crafts design, it is essential to first understand the current situation of intangible heritage arts and crafts, and then proceed from two directions, which include visual form and functional value. The role and influence of digitization and industrialization on the modern transformation of intangible cultural heritage arts and crafts design need to be clarified. In terms of ideas for innovative designs, interactive scene design and cultural brand building can be emphasized. These research results provide ideas and methods for realizing the creative transformation and innovative inheritance of intangible cultural heritage arts and crafts.

After the pictorial turn, it is not surprising that political messages are more and more often presented in a visual form. Today, the battle between great ideas is not only fought via texts, but also through real and virtual images, or, through imagetexts. This paper tackles the image politics of the Romanian post-2016 anti-government popular resistance through some typical cases of imagetext: hashtags, symbols, video mapping, posters and some cases of visible space-occupation. These examples can present the anonymous (in some cases professional) artistic creativity, which helps the formation of social solidarity and crystallizes the message of the resistance.

Purpose: Although the cognitive sequelae of multiple sclerosis have been recognized for more than four decades, the focus of research has been on studying the more common deficits of the disease, including those involving memory and information processing speed. Less understood and investigated are the visual-spatial perceptual disturbances of multiple sclerosis, which can be difficult to assess and interpret given the potential confounds associated with the physical problems and other cognitive disturbances of the disorder.Materials and methods: This study examined the visual-spatial perceptual deficits of multiple sclerosis in 40 participants diagnosed with this condition using two measures generally unaffected by the aforementioned confounds, the Hooper Visual Organization Test and Visual Form Discrimination.Results: Results revealed both measures to be sensitive to the impairments of multiple sclerosis but suggested that they are assessing somewhat different aspects of visual-spatial perception in this population, given their relationship with one another and with disease-related variables.Conclusions: In this light, findings indicate that a complete and accurate understanding of the visual-spatial perceptual sequelae of multiple sclerosis requires the administration of more than a single measure.

In Translation Studies, explicitation generally refers to an interlingual process where something that is implicit in the source text is made explicit in the target text. This article analyses the concept in an intersemiotic context, focusing on word-to-image translation, with the aim of determining whether word-to-image translation includes meaning construction that could be described as explicitation. The empirical data of the article is a comic contract, a verbal-only document that has been intersemiotically translated into a visual form, i.e. a comic. The analysis concluded that while some of the characteristics described for interlingual explicitation operate with verbal language-specific concepts and cannot be applied to word-to-image translation, other characteristics of explicitation – such as the specification of meaning in translation – seem well-suited for this type of intersemiotic analysis. The analysis also emphasized that distinguishing types of explicitation in word-to-image translation is complicated by the inherent differences of words and images as meaning making resources.

The size-weight illusion is a perceptual illusion in which smaller objects are judged as heavier than larger objects of equal weight. A previous informal report suggests that patient DF, who has visual form agnosia, does not experience the size-weight illusion when vision is the only available cue to object size. We tested this experimentally by comparing the magnitudes of DF’s visual, kinaesthetic and visual-kinaesthetic size-weight illusions to those of 28 similarly-aged controls. A modified t-test found that DF’s visual size-weight illusion was significantly smaller than that of controls (zcc= -1.7). A test of simple dissociation based on the Revised Standardised Difference Test found that the discrepancy between the magnitude of DF’s visual and kinaesthetic size-weight illusions was not significantly different from that of the controls (zdcc = -1.054), thereby failing to establish a dissociation between the visual and kinaesthetic conditions. These results are consistent with previous suggestions that visual form agnosia, following ventral visual stream damage, is associated with an abnormally reduced size-weight illusion. The results, however, do not confirm that this reduction is specific to the use of visual size cues to predict object weight, rather than reflecting more general changes in the processing of object size cues or the use of predictive strategies for lifting.

This article argues that the US War in Afghanistan, given its status as a Long War, must contend with a specific visual form that threatens to disclose that the war is an irreversible failure: the ‘visual quagmire’. A visual quagmire is a visualization of a nation’s catastrophic, self-inflicted entanglement in war. In ‘Cluster fuck: The forcible frame in Errol Morris’s Standard Operating Procedure’ (2010), Linda Williams argues that the ‘cluster fuck’ is the ‘most eloquent figure of the American entanglement in Iraq’. This essay proposes that the ‘visual quagmire’ is an eloquent figure of the failure of America’s networked war in Afghanistan. To support this, this essay analyzes the widely criticized PowerPoint slide depicting counterinsurgency dynamics in Afghanistan, which was presented to the then Commander of US Forces in Afghanistan, General Stanley A McChrystal in summer 2009. Elaborating on the form of the ‘visual quagmire’ underscores the importance of theorizing the processual emergence of quagmires and indexes that US military forces are responsible for strategic misguidance through how they visualize war.

This paper reveals the form of the presentation in Atilah Soeryajaya's Bedhaya Samparan Dance Matah Ati. The idea of creation in this dance is derived from the story of Matah Ati and Mangkunegara I. Qualitative methods with a phenomenological approach were chosen to explore the phenomenon of art in this writing. The visual form of bedhaya, which is a little different from bedhaya in general, makes this dance need to be studied further. The difference lies in the use of more than one property, the structure of the presentation, the number of dancers, costumes, and floor patterns. Keywords: bedhaya, phenomenon, form

The development of high information technology has an impact on the learning process carried out by lecturers in the classroom. The impact of this technology is the creation of lecture material in a visual form both in the form of pictures and videos that are able to provide an overview of the field of science being studied so that students become more interested in the field of science they are learning. This Research is Experimental Research where the accounting student get pre-test and post-test after they get visual learning method. The population in this study is all accounting student at the University at Palembang City. Samples were taken using a purposive random sampling technique. Data was collected using a test result annd questionnaire. Data were analyzed by Paired Sample T-Test. the results of the study showed that there were differences between the learning outcomes of conventional methods and learning using visual learning methods

The French guillotine was an instrument of revolutionary political discipline, the legacy of which would also be felt in cultural spheres. The fragment, as a visual form and literary device in nine...

This article demonstrates an analytical and arts-based approach using drawings as tools to retain the visual information in a film visual, throughout the research process as well as for thinking. T...

Fractions, decimals, and percentages are a rational number that is very important in mathematics and everyday life. However, there are still many students experiencing difficulties in understanding the concept due to its complexity in the scope of application and technical. Difficulty in understanding fractions and decimals will undoubtedly have implication for learning. This study aims to describe visual problem-solving strategies related to rational numbers of junior high school students in solving visual form problems. Descriptive research with a mixed approach was used for this purpose, with 32 students of grade VII in the middle school consisting of 10 (31.25%) boys, and 22 (68.75%) girls were used as research subjects. Data obtained through the subject has written answers to four questions in the form of visuals, namely one question determines the fraction, decimal, and percent values of a shaded area and three questions make up an area if a fraction, decimal, and percent value is given and the relationships among of them, which are then analyzed descriptively. The analysis results show that the subject's strategy of connecting fractions, decimals, and percent using conceptual and arithmetic operations, has not utilized the visual images provided optimally. On the other hand, the visual model is very important in understanding abstract mathematical concepts. Thus, the use of multiple visuals in learning fractions, decimals, and percent should be a concern to the teacher, especially on the topic of fractions.

Sasirangan is a typical fabric of South Kalimantan that has a variety of types, motifs and techniques. Along with the development era Sasirangan experienced ups and downs of interest due to lack of public knowledge. Sasirangan Gallery is a form to promote sasirangan fabric, facilitating the process of buying and selling sasirangan fabric, providing knowledge to the public about the history, motifs and meaning of sasirangan fabric, and providing sasirangan wastewater treatment. Through the semiotic approach method with an interactive concept, users can understand the information provided by visual form and experience. This semiotic approach method is applied to emphasize the characteristics of Sasirangan motifs that are characteristic of Sasirangan fabrics. The Sasirangan Gallery design concept in Banjarbaru applies an interactive architecture in the building mass and space that refers to the material, texture and color in the space so that visitors can interact directly or indirectly.

Plagiarism is a concern among nursing students. Students may sometimes plagiarise intentionally; however, students also plagiarise unintentionally, as they demonstrate a poor understanding as to what constitutes plagiarism. Here, we provide a tool for nurse educators to use with students which demonstrates the concept of plagiarism in visual form Four categories of plagiarism are identified: Copy-and-Pasting, Minimalist Paraphrasing, Pathworking, and The Twisted Grapevine. Three original pieces of art are presented. These pieces are then altered in order to give students visual examples of the four categories of plagiarism. Text-based examples of plagiarism are also provided, in order to give students a comprehensive insight into this area.

In legal discourse and practice, concerns regarding the appearance of text focus almost exclusively on questions of legibility. There is little analysis of law’s textual form beyond matters of practical readability, indicating an underlying assumption that printed words are merely a vehicle for the transmission of law’s intellectual content. However, the UK’s Road Vehicles (Display of Registration Marks) Regulations 2001 (SI No 561) (the ‘2001 Regulations’) prescribe the detailed regulation of the visual appearance of registration marks (or number plates) beyond that required for their practical operation. Through analysis of these regulations, this paper overturns the assumption that the significance of textual appearance is purely pragmatic by demonstrating the widespread importance of the visual form of writing within the regulatory praxis of the modern state—of which registration marks are a part. When we read the law, when we encounter a regulatory text, we are not just decoding intellectual content but are witnessing the appearance and repetition of sovereign power.

Significant changes have occurred in the past decades from analogue or manual technology to digital technology which caused many industries to adapt or even transition to it. One of a product commodity which is the result of innovation caused by this change is self-service technology (SST). Currently, there aren’t so many industries of SSTs in Indonesia, but the concept is still feasible because it has characteristics that have high selling value and facilitate activities in commercial industry in general. This literature examines the important aspects which take effect and need to be considered in SST visual form decision making. The purpose of this research is to produce SST design through formalistic approach also as a tool for the analysis process in space, human, and business aspects. This research generates a product design which has harmony in the interaction with its surrounding objects’ visual characteristics.Keywords: innovation, self-service technology, formalistic, visual form decision

This research was designed as an experimental study of intermedia art creation based research by reinterpretingthe loro blonyo statue as a source of ideas for creating works. Loro Blonyo is a pair of wooden sculpturesconsisting of a female statue and accompanied by a man wearing a Javanese traditional wedding dress in asitting position. Broadly, the meaning of the Loro Blonyo statue for the Javanese people is the unity of thecouple as a reflection of the harmony of the Javanese mind and harmony. The meaning of the loro blonyostatue is then analyzed, elaborated and reinterpreted. This research is an artistic study with a focus on thestudy of the creation of intermedia art creation using various media based on conceptual thinking with aninterdisciplinary approach. The purpose of this creation is to create a multi-media installation art that usesvisual, motion and sound elements. This artistic research method uses Dharsono’s Creative Creation (2016):research with are ethic and emic approach, exploration, experimentation and formation approach. The resultsof the research were concluded and became the basis for the concept of space-based intermedia artwork,namely multi-media installation art with a visual form of local culture as a strengthening of national identity.

This article aims to discuss the role of “disk magazines” in the identity construction and performance of masculinity among Polish adolescents. It examines the subculture of users of popular home computers Commodore 64 and Commodore Amiga during the post-communist system transition. Both written content and visual form were used by disk magazine editors to manifest their position in the peer group and perform their masculinity. This article outlines how youth actively constructed cultural forms and meanings that reflect the outside world both in terms of mass media culture and the ongoing process of post-communist transition.

This study aims to describe the mathematical representation of students solving geometric problems based on sex differences. Both subjects have equivalent mathematical abilities based on the results of the math ability test. The results showed that the subject used mathematical representation in expressing his idea to solve geometry problems by using Polya's problem solving steps: (a) understanding the problem (b) devising the plan (c) carrying out the plan, and (d) looking back. The mathematical representations of female subjects in solving geometric problems are: understanding information and what is asked verbally and symbolically, carrying the plans visually in the form of geometric formulas and mathematics, carrying out planning by drawing, and manipulating mathematical models, at the stage of looking back the subject performed symbolic recalculation. While mathematical representations of male subjects in express their ideas to solve geometric problems by: understanding information and what is asked verbally, devising the plans in visual form in the form of images and then making mathematical formulas, carrying out the plans by manipulating mathematical models that has been made and looking back by doing recalculation and writing conclusions.

Late in the nineteenth century, the French civil servant and anthropologist Alphonse Bertillon developed a system of criminal identification that sought to classify human beings on individual standardized cards, each containing a consistent set of biometric measurements and observations. This process, which came to be known as "Bertillonnage," disassembled the visual form of the human body into small pieces of data that police forces used to individuate, and thus identify, single human beings within populations of millions. In this paper, we investigate Bertillonnage as a system that exemplified the most sophisticated approaches to organizing and retrieving data at the turn of the twentieth century. In addition, we demonstrate that the techniques it implemented-which turned on a purely functional equivalence between the operations of information systems and operations of the human mind-made thinkable a number of subsequent practices well-known to the history of information management. We argue that the physical infrastructure of Bertillonnage served as a set of grubby material practices that exercised a form of technological inertia over later information architectures. Without suggesting a direct, causal relationship, we note that certain of the imperatives and strategies that governed the history of modern digital computing, which scholars have long asserted grew out of the nineteenth-century culture of information, also structured core features of Bertillonnage.

O sumptuoso túmulo de Petosíris, em Tuna el-Guebel, é um dos mais interessantes monumentos em termos artísticos e arquitectónicos do Período Ptolomaico inicial. Edificado e decorado no final da vida deste sumo sacerdote de Tot, em Hermópolis, provavelmente por volta de 300 a.C., expressa a justaposição cultural-artística típica do Helenismo. Pela primeira vez, vemos impor-se num monumento egípcio (neste caso, um túmulo) uma gramática decorativa com outras influências de estilo e de técnicas, diferente de tudo o que se vira até então na arte egípcia. Os baixos-relevos na fachada, no pronaos e no naos do túmulo fornecem-nos a biografia de Petosíris ou a sua auto-apresentação em forma visual, expressa em duplo estilo. Numa programada convergência e conciliação de tradições, percebemos um tratamento iconográfico simultaneamente devedor dos estilos faraónico e grego. Neste texto trataremos as várias representações iconográficas de Petosíris no seu túmulo de Tuna el-Guebel, com o objectivo de perceber a sua tipologia, funções e distribuição pelas três divisões do edifício. From an artistic and architectonic perspective, the luxurious tomb of Petosiris, at Tuna el-Gebel is one of the most interesting monuments from the beginning of the Ptolemaic period. The tomb was built and decorated by the high priest of Thoth at the end of his life, in Hermopolis, probably circa 300 BC, and it expresses the characteristic cultural-artistic juxtaposition, a feature of Hellenism. For the first time, we see emerging in an Egyptian monument (in this case, a tomb) a decorative grammar with other style and technique influences, different from everything that had been seen before in Egyptian art. The bas-reliefs in the facade, in the pronaos and in the naos of the tomb, present the biography of Petosiris, or his auto-presentation in visual form, expressed in dual style. In a deliberated convergence and conciliation of traditions, we see an iconographic treatment that borrows both from the pharaonic and the Greek style. In this text, we will address the various iconographic representations of Petosiris in his tomb, at Tuna el-Gebel, aiming to understand its typology, functions and distribution among the three rooms of the building. info:eu-repo/semantics/publishedVersion

Recent studies examine the behavioral capacities of rats and mice with and without visual input, and the neuronal mechanisms underlying such capacities. These animals are assumed to be functionally blind under red light, an assumption that might originate in the fact that they are dichromats who possess ultraviolet and green but not red cones. But the inability to see red as a color does not necessarily rule out form vision based on red light absorption. We measured Long-Evans rats’ capacity for visual form discrimination under red light of various wavelength bands. Upon viewing a black and white grating, they had to distinguish between two categories of orientation, horizontal and vertical. Psychometric curves plotting judged orientation versus angle demonstrate the conserved visual capacity of rats under red light. Investigations aiming to explore rodent physiological and behavioral functions in the absence of visual input should not assume red-light blindness.

Generally, making the building load lighter is to use lightweight concrete on wall components. Cellular Lightweight Concrete (CLC) is lighter than red-bricks because CLC contains pores. Changes in temperature due to building fires impact the characteristics and performance of CLC, especially in density, compressive strength, and visual shape of CLC. The research aims to analyze the performance of CLC; compressive strength and appearance of CLC surfaces after exposure to high temperatures. CLC sample is the block with size 60 cm length, 10 cm width, and 20 cm height. Variation of temperature exposure time is 10 minutes, 20 minutes, 30 minutes and 40 minutes. CLC is placed close to traditional brick kilns with an average surface temperature of 370 degrees Celsius along 40 minutes of combustion. The CLC block compressive strength value due to exposure to high temperatures for 40 minutes is 0.3 MPa. The compressive strength of CLC after exposure to high temperatures decreases by 42.3% compared to CLC at room temperature. Whereas, the visual form on the surface of CLC gives rise to a blackish grey colour resulting from exposure to high temperatures. This study indicated that the dry and cracked surface texture on CLC has caused a decrease in the performance includes density and compressive strength of CLC. Therefore, CLC needs to maintain after being exposed to high temperatures by providing an additional layer on the CLC surface

O objetivo deste artigo e investigar as dimensoes esteticas e politicas das imagens alusivas ao levante historico da Cabanagem (1835-1840), tensionando seu trabalho de dar forma visual ao tempo historico daquela revolta e sua capacidade de desvelar a sobrevivencia de gestos e afetos de resistencia politica dos povos amazonicos. A argumentacao se inicia pelas premissas relativas a historicidade da Cabanagem como a unica revolta popular do periodo regencial que efetivamente conseguiu a tomada do poder. Em seguida, exploramos uma antropologia politica das imagens a luz das perspectivas de Georges Didi-Huberman e Aby Warburg, buscando entender o papel das imagens nos conflitos politicos dessa natureza, reconhecendo-as como repositorios de uma historia visual e tambem dos desejos sobreviventes, da dimensao sensivel subjacente a dinâmica das sublevacoes. Por fim, analisamos, em certa iconografia da Cabanagem, as figuracoes do heroismo do homem revoltado e da ira das massas sanguinarias como elementos estetico-expressivos (im)proprios dessas imagens. Palavras-chave: Levantes. Cabanagem. Imagem. Ghosts of the Cabanagem uprising: between the heroism of revolted and the wrath of the seditious crowds Abstract: The aim of this article is to investigate the aesthetic and political dimensions of images alluding the historical uprising of the Cabanagem (1835-1840), tensioning its work to shape visual form to the historical time of that revolt and its ability to unveil the survival of gestures and affections of political resistance of the Amazonian peoples. The argument begins with the premises related to historicity of the Cabanagem as the only popular uprising of the regency period that effectively managed to reach power. Then, we explored a political anthropology of images in the light of the perspectives of Georges Didi-Huberman and Aby Warburg, seeking to understand the role of the images in political conflicts of this nature, recognizing them as repositories of a visual history and also of the surviving desires, of the sensible dimension underlying the dynamics of the uprisings. Finally, we analyzed, in a certain iconography of the Cabanagem, the figurations of the revolted man's heroism and the wrath of the seditious crowds as aesthetic-expressive elements (im)proper to these images. Keywords: Uprising. Cabanagem. Image.

Sound signals can travel through long distances, becoming an important communication channel between animals that need to establish contact beyond the visual form. They can then be considered a relevant form of communication between species living in the underground environment. Ctenomys torquatus and Ctenomys lami are solitary subterranean rodents, thus demanding an improvement of the communicative channels, especially in territorial defense actions and meeting potential reproductive partners. This work was aimed to describe the variability of acoustic signals emitted by C. torquatus and C. lami by analyzing the physical-morphological characteristics of the signals. The study was carried out in two populations, one of each species and was selected 14 individuals of C. torquatus and 15 C. lami. The acoustic signals were recorded in a natural environment, obtaining the sounds straight from the animal tunnels. A total of 1,380 signals were captured and analyzed, 786 from C. torquatus and 594 from C. lami. It was possible to characterize 5 different types of signals, emitted by both species. Most of the analyzed sequences presented low frequency, and many of these calls exhibited characteristics of long-range signals. It was verified a sharing of sound signals in both species, as regarding the acoustic parameters as the morphology of the analyzed spectrograms. For the first time, it was possible to have access to sound data emitted by direct subterranean rodents from their tunnels in the natural environment.

هدفت الدراسة إلى معرفة فاعلية استراتيجية المحطات العلمية في تدريس العلوم على تنمية مهارات التفکير البصري والتحصيل الدراسي لدى تلميذات الصف الثاني المتوسط بمدينة مکة المکرمة. حيث استخدم المنهج شبه التجريبي القائم على تصميم المجموعة الضابطة والتجريبية ذات القياس القبلي والبعدي، وتکونت عينة البحث من (54) تلميذة من تلميذات الصف الثاني المتوسط بمکة المکرمة، وتم تقسيم العينة تقسيما عشوائيا بسيطا إلى مجموعتين، مجموعة تجريبية وعددها (27) تلميذة تم تدريسهن باستراتيجية المحطات العلمية، ومجموعة ضابطة وعددها (27) تلميذة تم تدريسهن بالطريقة المعتادة. وتم إعداد أداتي الدراسة وهما: اختبار مهارات التفکير البصري والاختبار التحصيلي، وتم تطبيق الأداتين قبليا وبعديا على مجموعتي الدراسة. وقد أظهرت نتائج الدراسة: وجود فرق ذا دلالة إحصائية عند مستوى دلالة (α ≤ 0.05) بين متوسطي درجات تلميذات المجموعتين التجريبية والضابطة في اختبار مهارات التفکير البصري البعدي الکلي وعند مهاراته المختلفة: (القراءة البصرية -التمييز البصري- تفسير المعلومات على الشکل البصري - تحليل المعلومات على الشکل البصري -إدراک العلاقات -استنتاج المعنى) لصالح المجموعة التجريبية. کما يوجد فرق ذو دلالة إحصائية عند مستوى دلالة (α ≤ 0.05) بين متوسطي درجات تلميذات المجموعتين التجريبية والضابطة في اختبار التحصيل الدراسي البعدي الکلي وعند مستوياته المعرفية (التذکر-الفهم –التطبيق-التحليل-الترکيب-التقويم) لصالح المجموعة التجريبية. This study aimed to identify the effectiveness of the strategy of scientific stations in teaching science for developing visual thinking skills and academic achievement for second intermediate students in Makkah. The researcher used the quasi-experimental approach based on the design of the pre- and post-control and experimental group. The sample of the study consisted of (54) female students, from the second intermediate students. The sample was randomly divided into two groups; an experimental group of 27 female students were taught by the strategy of scientific stations and a control group of (27) female students were taught using the usual method. Two study tools were prepared: the visual thinking skills test and the achievement test. The two tools were pre and post applied to two study groups. The findings of the study revealed: that there is a statistically significant difference (a ≤ 0,05) between the average scores of the two experimental and controlling students in the test of visual dimensional skills and its related skills: (visual reading - visual discrimination - interpretation of information on the visual form - Visual information analysis - perception of relationships - meaning conclusion) in favor of the experimental group. There is also a statistically significant difference at (a ≤ 0,05) between the mean scores of students of the experimental and control groups in the total post-academic achievement test and at the cognitive levels (remembering - understanding - application - analysis - composition - evaluation) in favor of the experimental group.

Rockets are spacecraft, missiles, or flying vehicles that get a boost through rocket reactions to fluid materials. In this film the rocket represents dreams and hopes. The process of launching a rocket is the process of reaching someone's dream. The process of launching missiles into space is not easy, but that doesn't mean it can't. This film, invites the audience to be sure of hope and dare to fight for it. The creation of this animated film is presented in the form of 2D animation without using any narration or dialogue. As a support for the atmosphere, music is created that can build an atmosphere. Not forget the 12 principles of animation applied in this animated film to strengthen and improve the artistic impression as a support of visualization. The twodimensional animation technique is intentionally used because the visual form of 2D animation has a light but easy to remember impression.

Memorabilia: Old Photographic Process Application on Functional Object s . It is a concept of creating photographic artwork as a personal expression of memories that have passed for a long time, or have just been overlooked because they are triggered by an object or moment and are always ringing in the mind so that they bring back memories of the past. As one of several o ld photographic process es, Vandyke print is a photo printing technique in the nineteenth century with monochrome (sepia) color characters that fits perfectly with the old impression of representing memorabilia memories that are realized in visual form. In this creation , functional objects are used as photo print media. Material or objects used as media to express ideas are such as something impressive , penetrating into feeling, thought, or action . Generally the material is understood to be passive, but on this context, things become active because they can trigger someone 's memory of memorabilia. The works aim to bring back the memory of the past by printing old photographic processes by responding to functional objects which have personal stories and leave an impression. Apart from provoking the memories of the past, the photographic works could also become a personal reference of how important those memorabilia were. Keywords: memorabilia, old photographic process, functional objects

Construct validity with a confirmatory factor analysis (CFA) method is often used by researchers to identify the structure of psychological measurement. Although this CFA method has provided a complete evaluation of the structure of the test, sometimes there is no consensus reached regarding the number of factors. With the CFA method, researchers determined and compared several models to choose the adequate scale structure, including the number of factors in a scale. The network analysis can play a role to help researchers. In this network analysis, the results of the analysis presented in a visual form, which can facilitate the researchers quickly identify the scale structure based on the relations, displayed in the form of lines (thick-thin) and colors (green-red). Current research aims to test the reliability and construct validity; also, shows that network analysis can be an alternative in presenting visualizations and interpretations compare with factor analysis methods, especially CFA. We used The Emotion Regulation Questionnaire (ERQ) with 954 participants aged 16-57 years. The results are either, with the CFA analysis method or network analysis; it is evident that ERQ has two factors, namely suppression and reappraisal. The results show that the network analysis method can be used as an alternative in identifying the structure of the psychological scale.

W artykule zainteresowanie badawcze koncentruje się na postmodernistycznych strategiach (auto)mitologizacji w twórczości znanego serbskiego pisarza Savy Damjanova. Składnikami tych strategii są prowokacja intelektualna, tworzenie swojego własnego świata literackiego oraz mitu w połączeniu z apokryficznym, ironicznym (czasami pozostającym na granicy bluźnierstwa) stosunkiem do „wielkich narracji” i mitów narodowych oraz intertekstualności (w tym autocytowanie). Szczególne miejsce zajmują strategie autoreprezentacji (tekstualne i wizualne), a także strategie znoszenia granic między rzeczywistością realną a literacką (stosowanie kodu erotycznego w postaci zarówno tekstowej, jak i wizualnej, znoszenie granic między kodami tekstualnym a cielesnym, między fikcją i autobiografizmem, między ciałem pisarza a jego utworami).

This research focuses on the classification of BINUS University student organizations’ logo using textual qualitative approach. It aims at analyzing how they chose the shape of the logo in order to express their identity. This research is framed by three significant focal points in view of its construction namely, the combination of picture mark and letter mark, the integration of picture mark within letter mark or vice versa, and letter mark only. The result of this research shows that the officials of the organizations tend to choose logo that has aesthetic quality in simple visual form rather than complicated one. This research also closely observes the making process of the logo and its classification up to its final appointment as the official logo of the student organizations.

Models of visual word recognition share the assumption that lexical access is based on abstract letter identities. The present study re-examined the assumption that this is because information about the visual form of the letter is lost early in the course of activating the abstract letter identities. The main support for this assumption has come from the case-independent masked priming effects. Experiment 1 used common English words presented in lowercase as targets in lexical decision, and replicated the oft-reported case-independent identity priming effect (e.g., edge-edge = EDGE-edge). In contrast, Experiment 2 using abbreviations (e.g., DNA, CIA) produced a robust case-dependent identity priming effect (e.g., DNA-DNA < dna-DNA). Experiment 3 used the same abbreviation stimuli as primes in a semantic priming lexical decision experiment. Here the prime case effect was absent, but so was the semantic priming effect (e.g., dna-GENETICS = DNA-GENETICS = LSD-GENETICS). The results question the view that information about the visual form of the letter is lost early. We offer an alternative perspective that the abstract nature of priming for common words stems from how these words are represented in the reader's lexicon. The implication of these findings for letter and word recognition is discussed. (197 words).

The purpose of the article is to show how Vilnius stories and legends, collected by Władysław Zahorski, are alive today and are reflected in the physical, visual form of the city, including in monuments, memorial plaques, installations, but also in stories told to guests and residents of the Lithuanian capital.The stories explain the appearance of specific historical and geographical objects in Vilnius, contain signs of the past, reflect old beliefs, customs, ethical and social principles, and clarify encrypted religious, historiographic and national meanings. They bring information about legendary rulers and important places.Zahorski’s book is part of the city’s presentations characteristic of tourist guides addressed to the universal recipient. Stories and legends create a picture of a multicultural, multi-faith city with a complex past that is visible today through various physical signs. Zahorski combines various narratives about Lithuanian, Polish and Jewish Vilnius in the book.

As one of the cultural forms of human beings, ceramic murals transcend the dimension of time and space and transcend the single cognition of materialism in the sense of purely material materials. The emergence of computer vision technology has also provided conditions for developing ceramic murals in terms of concepts and technical forms. This article first studies the visual communication language research in ceramic mural art, at the same time comprehensively analyzes the design principles of ceramic mural art, and interprets the visual form of ceramic mural art from the perspective of actual projects in the thesis; then, it boldly analyzes the future of ceramic mural art Development trend. Finally, this article analyzes the composition in ceramic mural art, the graphics in ceramic mural art, the color in ceramic mural art, the scale in ceramic mural art, the lighting in ceramic mural art, and the design principles in ceramic mural art. The experimental results show that there are significant differences in the artistic design principles of ceramic muralsP<0.05, and there are significant differences in the artistic design principles of ceramic muralsP<0.05. Therefore, the artistic design principles of modern ceramic murals should mainly follow elegant and prominent forms.