Pictorial size perception in schizophrenia

In this study, we compared visual pictorial size perception between healthy volunteers (CG) and an experimental group (EG) of people diagnosed with schizophrenia. We have been using paintings by Salvador Dalí and Rorschach plates to estimate visual pictorial size perception. In this transversal, ex post facto, and quasi-experimental study, we observed differences between EG and CG. Schizophrenic in-patients perceived sizes about 1.3-fold greater than healthy volunteers (p=0.006), implying that pictorial size perception is altered in some way in schizophrenia. Considering the present and previous results, this measurement of diameter size of first pictorial perception may be a useful estimate of some aspects of perceptual alterations that may be associated with psychotic symptoms in prodromal and acute schizophrenic episodes and other related mental states. Eventually, this may help in preventing people from evolving to acute episodes.

Seeing Depicted Space (Or Not)

What is it to see something in a picture? Most accounts of pictorial experience—or, to use Richard Wollheim's term, ‘seeing-in’—seek, in various ways, to explain it in terms of how pictures somehow display the looks of things. However, some ‘things’ that we apparently see in pictures do not display any ‘look’. In particular, most pictures depict empty space, but empty space does not seem to display any ‘look’—at least not in the way material objects do. How do we see it in pictures, if we do? This chapter offers an account of pictorial perception of empty space by elaborating on Wollheim's claim that ‘seeing-in’ is permeable to thought. It ends by pointing to the aesthetic relevance of seeing—or not seeing—empty space in pictures.

Persuading Iranian Women toward Normal Vaginal Delivery: Using Pictorial Perception of the Labour Process

BACKGROUND: Pictorial education could provide an innovative approach for health educators which help to increase health-related information, the attention of individuals, comprehension, and recall.AIM: The purpose of this study was to determine the effect of pictorial perception of labour process by persuading Iranian women toward normal vaginal delivery.MATERIALS AND METHODS: The pre and post non-randomized trial with control group carried out on non-probability sample consisted of 76 pregnant women during the third trimester of pregnancy in the four urban health care centres in Pars-Abad city, Iran, during 2014. Demographic, knowledge, attitude, subjective norms, outcome expectations, self-efficacy, and intention to do normal vaginal delivery variables were measured by using self-administered questionnaire and via the self-report method. Data analysis was performed using SPSS-21 software by Independent t-test, repeated measure, paired T-test, ANOVA, chi-square, Cochran’s Q, and McNemar test. Manipulation included a pictorial education program to persuade pregnant women toward selecting normal vaginal delivery.RESULTS: The results showed significant improvement in mean scores of knowledge, attitudes, self-efficacy and behavioural intention of labour after manipulation in the intervention group (P < 0.001). It was found about 60% changes for intending to choose normal vaginal delivery, and 27/06% of women in the intervention group reported normal vaginal delivery versus the control group. And 10/81% of women did a cesarean section because of medical reasons during of delivery. Reduction of cesarean section was evident. Additionally, the annual rate of cesarean section decreased about 7% in comparison to the previous year.CONCLUSION: Pictorial education could be effective on the intention of women to choose natural vaginal delivery among pregnant women, and it can be used as an effective training technique for developing health literacy, enhancing self-efficacy and decision-making power of women in the delivery.

Musée imaginaire: Fontanes Gemäldegalerie

This paper tends to explore ,Fontane's picture gallery' referring to its genesis, characteristic and effect. In doing so the art critic Fontane is improving a distinctive image as an expert especially of English art und of the at that time in Germany leading Dusseldorf School of Painting (Düsseldorfer Malerschule). Furthermore it will be set out how the writer Fontane is acting in his work with pictures and pictorial perception. Eventually there is a suggestion for recovering ,Fontane's picture gallery' to make it possible for the contemporary audience to read Fontane's works in a wider and subtly differentiated manner.