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of visual identity</title> <meta name="description" content="Search results for: components of visual identity"> <meta name="keywords" content="components of visual identity"> <meta name="viewport" content="width=device-width, initial-scale=1, minimum-scale=1, maximum-scale=1, user-scalable=no"> <meta charset="utf-8"> <link href="https://cdn.waset.org/favicon.ico" type="image/x-icon" rel="shortcut icon"> <link href="https://cdn.waset.org/static/plugins/bootstrap-4.2.1/css/bootstrap.min.css" rel="stylesheet"> <link href="https://cdn.waset.org/static/plugins/fontawesome/css/all.min.css" rel="stylesheet"> <link href="https://cdn.waset.org/static/css/site.css?v=150220211555" rel="stylesheet"> </head> <body> <header> <div class="container"> <nav class="navbar navbar-expand-lg navbar-light"> <a class="navbar-brand" href="https://waset.org"> <img src="https://cdn.waset.org/static/images/wasetc.png" alt="Open Science Research Excellence" title="Open Science Research Excellence" /> </a> <button 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action="https://publications.waset.org/abstracts/search"> <div id="custom-search-input"> <div class="input-group"> <i class="fas fa-search"></i> <input type="text" class="search-query" name="q" placeholder="Author, Title, Abstract, Keywords" value="components of visual identity"> <input type="submit" class="btn_search" value="Search"> </div> </div> </form> </div> </div> <div class="row mt-3"> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Commenced</strong> in January 2007</div> </div> </div> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Frequency:</strong> Monthly</div> </div> </div> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Edition:</strong> International</div> </div> </div> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Paper Count:</strong> 7327</div> </div> </div> </div> <h1 class="mt-3 mb-3 text-center" style="font-size:1.6rem;">Search results for: components of visual identity</h1> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">7327</span> Visual Identity Components of Tourist Destination</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Petra%20Barisic">Petra Barisic</a>, <a href="https://publications.waset.org/abstracts/search?q=Zrinka%20Blazevic"> Zrinka Blazevic</a> </p> <p class="card-text"><strong>Abstract:</strong></p> In the world of modern communications, visual identity has predominant influence on the overall success of tourist destinations, but despite of these, the problem of designing thriving tourist destination visual identity and their components are hardly addressed. This study highlights the importance of building and managing the visual identity of tourist destination, and based on the empirical study of well-known Mediterranean destination of Croatia analyses three main components of tourist destination visual identity; name, slogan, and logo. Moreover, the paper shows how respondents perceive each component of Croatia’s visual identity. According to study, logo is the most important, followed by the name and slogan. Research also reveals that Croatian economy lags behind developed countries in understanding the importance of visual identity, and its influence on marketing goal achievements. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=components%20of%20visual%20identity" title="components of visual identity">components of visual identity</a>, <a href="https://publications.waset.org/abstracts/search?q=Croatia" title=" Croatia"> Croatia</a>, <a href="https://publications.waset.org/abstracts/search?q=tourist%20destination" title=" tourist destination"> tourist destination</a>, <a href="https://publications.waset.org/abstracts/search?q=visual%20identity" title=" visual identity "> visual identity </a> </p> <a href="https://publications.waset.org/abstracts/6602/visual-identity-components-of-tourist-destination" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/6602.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">1050</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">7326</span> Enhancing Visual Corporate Identity on Festive Money Packets Design with Cultural Symbolisms</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Noranis%20Ismail">Noranis Ismail</a>, <a href="https://publications.waset.org/abstracts/search?q=Shamsul%20H.%20A.%20Rahman"> Shamsul H. A. Rahman</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The objective of this research is to accentuate the importance of Visual Corporate Identity by utilizing Malay motifs amalgamated with Malay proverbs to enhance the corporate brand of The Design School (TDS) of Taylor’s University. The researchers aim to manipulate festive money packet as a mean to communicate to the audience by using non-verbal visual cues such as colour, languages, and symbols that reflect styles and cultural heritage. The paper concluded that it is possible to utilize Hari Raya packet as a medium for creative expressions by creating high-impact design through the symbolism of selected Malay proverbs and traditional Malay motifs to enhance TDS corporate visual identity. It also provides a vital contribution to other organizations to understand an integral part of corporate visual identity in heightening corporate brand by communicating indirectly to its stakeholders using visual mnemonic and cultural heritage. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=corporate%20branding" title="corporate branding">corporate branding</a>, <a href="https://publications.waset.org/abstracts/search?q=cultural%20cues" title=" cultural cues"> cultural cues</a>, <a href="https://publications.waset.org/abstracts/search?q=Malay%20culture" title=" Malay culture"> Malay culture</a>, <a href="https://publications.waset.org/abstracts/search?q=visual%20identity" title=" visual identity"> visual identity</a> </p> <a href="https://publications.waset.org/abstracts/62238/enhancing-visual-corporate-identity-on-festive-money-packets-design-with-cultural-symbolisms" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/62238.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">428</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">7325</span> Visible Expression of Social Identity: The Clothing and Fashion</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Nihan%20Akdemir">Nihan Akdemir</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Clothes are more than a piece of fabric, and the most visible material item of the fashion symbol is the garment, which carries multiple and various meanings. The dynamism of the clothing symbol can carry open or closed codes depending on culture, gender, and social location. And each one can be the expression of social identity over ethnicity, religious beliefs, age, education and social class. Through observation of clothing styles over these items, the assumptions could be made about a person’s identity. A distinctive and typical style, form or character of the clothing such as ‘zoot suits’, ‘ao dai’, removes the garment from functional and ordinary element to the symbolic area. Clothing is an 'identification' tool that functions in determining the symbolic boundaries between people in a sense. And this paper includes the investigation of the relation between social identity and clothing and also fashion. And this relationship has been taken into consideration over the visual expression because even during the ancient times, the clothes were the basic and simple way of representing the identity and social classes. The visible expression of identity over clothing from Ancient Egypt to today’s clothing and fashion has been researched in this article. And all these items have been explained with visual images and supported by the literature investigations. Then the results have shown that every piece of clothing from fabric to coloring have visual significations about social identity. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=social%20identity" title="social identity">social identity</a>, <a href="https://publications.waset.org/abstracts/search?q=clothing" title=" clothing"> clothing</a>, <a href="https://publications.waset.org/abstracts/search?q=fashion" title=" fashion"> fashion</a>, <a href="https://publications.waset.org/abstracts/search?q=visual%20expression" title=" visual expression"> visual expression</a>, <a href="https://publications.waset.org/abstracts/search?q=visual%20signification" title=" visual signification"> visual signification</a> </p> <a href="https://publications.waset.org/abstracts/84251/visible-expression-of-social-identity-the-clothing-and-fashion" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/84251.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">617</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">7324</span> The Involvement of Visual and Verbal Representations Within a Quantitative and Qualitative Visual Change Detection Paradigm</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Laura%20Jenkins">Laura Jenkins</a>, <a href="https://publications.waset.org/abstracts/search?q=Tim%20Eschle"> Tim Eschle</a>, <a href="https://publications.waset.org/abstracts/search?q=Joanne%20Ciafone"> Joanne Ciafone</a>, <a href="https://publications.waset.org/abstracts/search?q=Colin%20Hamilton"> Colin Hamilton</a> </p> <p class="card-text"><strong>Abstract:</strong></p> An original working memory model suggested the separation of visual and verbal systems in working memory architecture, in which only visual working memory components were used during visual working memory tasks. It was later suggested that the visuo spatial sketch pad was the only memory component at use during visual working memory tasks, and components such as the phonological loop were not considered. In more recent years, a contrasting approach has been developed with the use of an executive resource to incorporate both visual and verbal representations in visual working memory paradigms. This was supported using research demonstrating the use of verbal representations and an executive resource in a visual matrix patterns task. The aim of the current research is to investigate the working memory architecture during both a quantitative and a qualitative visual working memory task. A dual task method will be used. Three secondary tasks will be used which are designed to hit specific components within the working memory architecture – Dynamic Visual Noise (visual components), Visual Attention (spatial components) and Verbal Attention (verbal components). A comparison of the visual working memory tasks will be made to discover if verbal representations are at use, as the previous literature suggested. This direct comparison has not been made so far in the literature. Considerations will be made as to whether a domain specific approach should be employed when discussing visual working memory tasks, or whether a more domain general approach could be used instead. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=semantic%20organisation" title="semantic organisation">semantic organisation</a>, <a href="https://publications.waset.org/abstracts/search?q=visual%20memory" title=" visual memory"> visual memory</a>, <a href="https://publications.waset.org/abstracts/search?q=change%20detection" title=" change detection"> change detection</a> </p> <a href="https://publications.waset.org/abstracts/22696/the-involvement-of-visual-and-verbal-representations-within-a-quantitative-and-qualitative-visual-change-detection-paradigm" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/22696.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">595</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">7323</span> Aspects of Semiotics in Contemporary Design: A Case Study on Dice Brand</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Laila%20Zahran%20Mohammed%20Alsibani">Laila Zahran Mohammed Alsibani</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The aim of the research is to understand the aspects of semiotics in contemporary designs by redesigning an Omani donut brand with localized cultural identity. To do so, visual identity samples of Dice brand of donuts in Oman has been selected to be a case study. This study conducted based on semiotic theory by using mixed method research tools which are: documentation analysis, interview and survey. The literature review concentrates on key areas of semiotics in visual elements used in the brand designs. Also, it spotlights on the categories of semiotics in visual design. In addition, this research explores the visual cues in brand identity. The objectives of the research are to investigate the aspects of semiotics in providing meaning to visual cues and to identify visual cues for each visual element. It is hoped that this study will have the contribution to a better understanding of the different ways of using semiotics in contemporary designs. Moreover, this research can be a review of further studies in understanding and explaining current and future design trends. Future research can also focus on how brand-related signs are perceived by consumers. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=brands" title="brands">brands</a>, <a href="https://publications.waset.org/abstracts/search?q=semiotics" title=" semiotics"> semiotics</a>, <a href="https://publications.waset.org/abstracts/search?q=visual%20arts" title=" visual arts"> visual arts</a>, <a href="https://publications.waset.org/abstracts/search?q=visual%20communication" title=" visual communication"> visual communication</a> </p> <a href="https://publications.waset.org/abstracts/158274/aspects-of-semiotics-in-contemporary-design-a-case-study-on-dice-brand" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/158274.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">159</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">7322</span> Examining the Functional and Practical Aspects of Iranian Painting as a Visual-Identity Language in Iranian Graphics</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Arezoo%20Seifollahi">Arezoo Seifollahi</a> </p> <p class="card-text"><strong>Abstract:</strong></p> One of the topics that is receiving a lot of attention in artistic circles and among Iran today and has been the subject of many conversations is the issue of Iranian graphics. In this research, the functional and practical aspects of Iranian painting as a visual-identity language in Iranian graphics have been investigated by relying on Iranian cultural and social posters in order to gain an understanding of the trend of contemporary graphic art in Iran and to help us reach the identity of graphics. In order to arrive at Iranian graphics, first, the issue of identity and what it is has been examined, and then this category has been addressed in Iran and throughout the history of this country in order to reveal the characteristics of the identity that has come to us today under the name of Iranian identity cognition. In the following, the search for Iranian identity in the art of this land, especially the art of painting, and then the art of contemporary painting and the search for identity in it have been discussed. After that, Iranian identity has been investigated in Iranian graphics. To understand Iranian graphics, after a brief description of its contemporary history, this art is examined at the considered time point. By using the inductive method of examining the posters of each course and taking into account the related cultural and social conditions, we tried to get a general and comprehensive understanding of the graphic features of each course. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Iranian%20painting" title="Iranian painting">Iranian painting</a>, <a href="https://publications.waset.org/abstracts/search?q=graphic%20visual%20language" title=" graphic visual language"> graphic visual language</a>, <a href="https://publications.waset.org/abstracts/search?q=Iranian%20identity" title=" Iranian identity"> Iranian identity</a>, <a href="https://publications.waset.org/abstracts/search?q=social%20cultural%20poster" title=" social cultural poster"> social cultural poster</a> </p> <a href="https://publications.waset.org/abstracts/185508/examining-the-functional-and-practical-aspects-of-iranian-painting-as-a-visual-identity-language-in-iranian-graphics" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/185508.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">50</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">7321</span> Continuity of Place-Identity: Identifying Regional Components of Kerala Architecture through 1805-1950</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Manoj%20K.%20Kumar">Manoj K. Kumar</a>, <a href="https://publications.waset.org/abstracts/search?q=Deepthi%20Bathala"> Deepthi Bathala</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Man has the need to know and feel as a part of the historical continuum and it is this continuum that reinforces his identity. Architecture and the built environment contribute to this identity as established by the various identity theories exploring the relationship between the two. Architecture which is organic has been successful in maintaining a continuum of identity until the advent of globalization when the world saw a drastic shift to architecture of ‘placelessness’. The answer to the perfect synthesis of ‘universalization’ and ‘regionalism’ is an ongoing quest. However, history has established a smooth transition from vernacular to colonial to modern unlike the architecture of today. The traditional Kerala architecture has evolved from the tropical climate, geography, local needs, materials, skills and foreign influences. It is unique in contrast to the architecture of the neighboring states as a result of the geographical barriers however influenced by the architecture of the Orient due to trade relations. Through 1805 to 1950, the European influence on the architecture of Kerala resulted in the emergence of the colonial style which managed to establish a continuum of the traditional architecture. The paper focuses on the identification of the components of architecture that established the continuity of place-identity in the architecture of Kerala and examines the transition from the traditional Kerala architecture to colonial architecture during the colonial period. Visual surveys based on the principles of urban design, cognitive mapping, typology analysis followed by the strong understanding of the morphological and built environment along with the matrix method are the research tools used. The understanding of these components of continuity can be useful in creating buildings which people can relate to in the present day. South-Asia shares the history of colonialism and the understanding of these components can pave the way for further research on how to establish a regional identity in the era of globalization. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=colonial" title="colonial">colonial</a>, <a href="https://publications.waset.org/abstracts/search?q=identity" title=" identity"> identity</a>, <a href="https://publications.waset.org/abstracts/search?q=place" title=" place"> place</a>, <a href="https://publications.waset.org/abstracts/search?q=regional" title=" regional"> regional</a> </p> <a href="https://publications.waset.org/abstracts/67228/continuity-of-place-identity-identifying-regional-components-of-kerala-architecture-through-1805-1950" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/67228.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">408</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">7320</span> National Identity in Connecting the Community through Mural Art for Petronas Dagangan Berhad</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Nadiah%20Mohamad">Nadiah Mohamad</a>, <a href="https://publications.waset.org/abstracts/search?q=Wan%20Samiati%20Andriana%20Wan%20Mohd%20Daud"> Wan Samiati Andriana Wan Mohd Daud</a>, <a href="https://publications.waset.org/abstracts/search?q=M.%20Suhaimi%20Tohid"> M. Suhaimi Tohid</a>, <a href="https://publications.waset.org/abstracts/search?q=Mohd%20Fazli%20Othman"> Mohd Fazli Othman</a>, <a href="https://publications.waset.org/abstracts/search?q=Mohamad%20Rizal%20Salleh"> Mohamad Rizal Salleh</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This is a collaborative project of the mural art between The Department of Fine Art from Universiti Teknologi MARA (UiTM) and Petronas Dagangan Berhad (PDB), the most leading retailer and marketer of downstream oil and gas products in Malaysia. Five different states in the Peninsular of Malaysia that has been identified in showcasing the National Identity of Malaysia at each Petronas gas station, this also includes the Air Keroh in Melaka, Pasir Pekan in Kelantan, Pontian in Johor, Simpang Pulai in Perak, and also Wakaf Bharu in Terengganu. This project is to analyze the element of national identity that has been demonstrated at the Petronas's Mural. The ultimate aim of the mural is to let the community and local people to be aware about what Malaysians are consists and proud of and how everyone is able to connect with the idea through visual art. The method that is being explained in this research is by using visual data through research and also self-experience in collecting the visual data in identifying what images is considered as the national identity and idea development and visual analysis is being transferred based upon the visual data collection. In this stage, elements and principles of design will be the key in highlighting what is necessary for a work of art. In conclusion, visual image of the National Identity of Malaysia is able to connect to the audience from local and also to the people from outside the country to learn and understand the beauty and diversity of Malaysia as a unique country with art through the wall of five Petronas gas station. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=community" title="community">community</a>, <a href="https://publications.waset.org/abstracts/search?q=fine%20art" title=" fine art"> fine art</a>, <a href="https://publications.waset.org/abstracts/search?q=mural%20art" title=" mural art"> mural art</a>, <a href="https://publications.waset.org/abstracts/search?q=national%20identity" title=" national identity"> national identity</a> </p> <a href="https://publications.waset.org/abstracts/124086/national-identity-in-connecting-the-community-through-mural-art-for-petronas-dagangan-berhad" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/124086.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">207</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">7319</span> Comparative Analysis of Identity Semiotics in Iran’s Modern and Traditional House Design</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Maryam%20Ghasemi">Maryam Ghasemi</a> </p> <p class="card-text"><strong>Abstract:</strong></p> One of the most significant components that provide comfort and protection is having a shelter called a house. Even if components and regions are changed or restored to meet new functions, the house's identity must be preserved. In the contemporary era, houses are increasingly being built regardless of cultural identity. This misunderstanding caused a sense of unease. This study analyses archaic and modern architecture to find semiotic areas and qualities in the latter, using the former as a reference. This study's technique used an exploratory assessment of architectural components from both periods. The Abbasid residence and the Ekbatan architectural complex were used as case studies. The identity of Iranian architecture does not correlate with current buildings. The other part is privacy, which is a missing link between traditional and modern Iranian architecture because it is directly related to the identities of homes based on the cultures of their residents. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=housing" title="housing">housing</a>, <a href="https://publications.waset.org/abstracts/search?q=traditional" title=" traditional"> traditional</a>, <a href="https://publications.waset.org/abstracts/search?q=contemporary" title=" contemporary"> contemporary</a>, <a href="https://publications.waset.org/abstracts/search?q=privacy" title=" privacy"> privacy</a>, <a href="https://publications.waset.org/abstracts/search?q=semiotic" title=" semiotic"> semiotic</a> </p> <a href="https://publications.waset.org/abstracts/166841/comparative-analysis-of-identity-semiotics-in-irans-modern-and-traditional-house-design" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/166841.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">107</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">7318</span> The Appearance of Identity in the Urban Landscape by Enjoying the Natural Factors</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Mehrdad%20Karimi">Mehrdad Karimi</a>, <a href="https://publications.waset.org/abstracts/search?q=Farshad%20Negintaji"> Farshad Negintaji</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This study has examined the appearance of identity in the urban landscape and its effects on the natural factors. For this purpose, the components of place identity, emotional attachment, place dependence and social bond which totally constitute place attachment, measures it in three domains of cognitive (place identity), affective (emotional attachment) and behavioral (place dependence and social bond). In order to measure the natural factors, three components of the absolute elements, living entities, natural elements have been measured. The study is descriptive and the statistical population has been Yasouj, a city in Iran. To analyze the data the SPSS software has been used. The results in two level of descriptive and inferential statistics have been investigated. In the inferential statistics, Pearson correlation coefficient test has been used to evaluate the research hypotheses. In this study, the variable of identity is in high level and the natural factors are also in high level. These results indicate a positive relationship between place identity and natural factors. Development of environment and reaching the quality level of the personality or identity will develop the individual and society. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=identity" title="identity">identity</a>, <a href="https://publications.waset.org/abstracts/search?q=place%20identity" title=" place identity"> place identity</a>, <a href="https://publications.waset.org/abstracts/search?q=landscape" title=" landscape"> landscape</a>, <a href="https://publications.waset.org/abstracts/search?q=urban%20landscape" title=" urban landscape"> urban landscape</a>, <a href="https://publications.waset.org/abstracts/search?q=landscaping" title=" landscaping"> landscaping</a> </p> <a href="https://publications.waset.org/abstracts/14399/the-appearance-of-identity-in-the-urban-landscape-by-enjoying-the-natural-factors" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/14399.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">516</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">7317</span> Life Expansion: Visual Autobiography, Identity, Representation and the Degrees of Fictionalization of the Self on Instagram</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Pablo%20De%20Macedo%20Silveira%20Vallejos">Pablo De Macedo Silveira Vallejos</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This article aims to observe autobiographical and visual narrative practices among users on Instagram. In this way, the work proposes to reflect on how image resources are used to develop edited representations of the self in that social network. The research aims to explore the uses of editing and the degrees of fictionalization present on Instagram. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=autobiography" title="autobiography">autobiography</a>, <a href="https://publications.waset.org/abstracts/search?q=visual%20narratives" title=" visual narratives"> visual narratives</a>, <a href="https://publications.waset.org/abstracts/search?q=representation" title=" representation"> representation</a>, <a href="https://publications.waset.org/abstracts/search?q=fiction" title=" fiction"> fiction</a>, <a href="https://publications.waset.org/abstracts/search?q=social%20media" title=" social media"> social media</a> </p> <a href="https://publications.waset.org/abstracts/172749/life-expansion-visual-autobiography-identity-representation-and-the-degrees-of-fictionalization-of-the-self-on-instagram" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/172749.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">74</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">7316</span> Fashion as Identity Architect: Sikhs in Perspective</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Anupreet%20B.%20Dugal">Anupreet B. Dugal</a>, <a href="https://publications.waset.org/abstracts/search?q=Suruchi%20Mittar"> Suruchi Mittar</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The research prospect explores fashion as a tool to effectively emancipate the Sikh identity. The study presents information on how fashion has played a critical and visible role in reflecting and helping to construct identities based on religiosity. It discusses the Sikh identity, its’ origin; its continuity and the contemporary ambivalence. Fashion has mostly, if not always been used as a means of establishing identity. This research creates a gateway to discuss the impact that fashion can have on the existing socio-cultural and religious models. The study focuses on the Sikhs, a small community of India with regard to their visual appearance. The research will be based on the case study of 1469, a store infusing Sikhism as a style quotient. Subsequently, in the research framework, a sample study would be conducted with Sikh youth (18-25 years old) hailing from New Delhi, the capital city of India. 1469 formulates a striking case study for examining the relationship between fashion and religious and personal identity. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=fashion" title="fashion">fashion</a>, <a href="https://publications.waset.org/abstracts/search?q=identity" title=" identity"> identity</a>, <a href="https://publications.waset.org/abstracts/search?q=sikh%20identity" title=" sikh identity"> sikh identity</a>, <a href="https://publications.waset.org/abstracts/search?q=textiles" title=" textiles"> textiles</a> </p> <a href="https://publications.waset.org/abstracts/7058/fashion-as-identity-architect-sikhs-in-perspective" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/7058.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">476</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">7315</span> Profiling on the Holistic Identity of Malaysian Gifted Learners</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Rorlinda%20Yusof">Rorlinda Yusof</a>, <a href="https://publications.waset.org/abstracts/search?q=Siti%20Aishah%20Hassan"> Siti Aishah Hassan</a>, <a href="https://publications.waset.org/abstracts/search?q=Afifah%20Mohamad%20Radzi"> Afifah Mohamad Radzi</a>, <a href="https://publications.waset.org/abstracts/search?q=Mohd%20Hakimie%20Zainal%20Abidin"> Mohd Hakimie Zainal Abidin</a>, <a href="https://publications.waset.org/abstracts/search?q=Amran%20Rasli"> Amran Rasli</a>, <a href="https://publications.waset.org/abstracts/search?q=Inderbir%20Sandhu"> Inderbir Sandhu</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The purpose of this study is to examine the self-identities of gifted and talented students and the relationship between self-identity and academic accomplishment. A random sample of 300 students enrolled in a secondary education programme at the Pusat GENIUS@pintar Negara was chosen as respondents of a 151-item holistic-identity component development tool. The validity of the instrument was assessed using Principal Components Analysis and Factor Analysis via an inter-Item Correlation Matrix (Loading values 0.44 to 0.86), which resulted in the formation of eight dimensions. The Cronbach's Alpha was calculated to determine the instrument's reliability (the overall result was 0.98). The results showed that students' holistic-identity profiles were relatively high (mean=4.09, standard deviation=0.449). In addition, spiritual identity received the greatest mean score (4.34) out of the eight components of identity investigated, while leadership identity received the lowest mean score (3.88). A conceptual framework for Islamic school leadership is recommended to implement spiritual values without differentiation to harmonize spiritual and intellectual intelligence among all the students. Some benchmarking studies with other centres for gifted and talented students are recommended for further research. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=holistic%20self-identity" title="holistic self-identity">holistic self-identity</a>, <a href="https://publications.waset.org/abstracts/search?q=academic%20achievement" title=" academic achievement"> academic achievement</a>, <a href="https://publications.waset.org/abstracts/search?q=self-development%20programme" title=" self-development programme"> self-development programme</a>, <a href="https://publications.waset.org/abstracts/search?q=counselling%20services" title=" counselling services"> counselling services</a>, <a href="https://publications.waset.org/abstracts/search?q=gifted%20and%20talented%20students" title=" gifted and talented students"> gifted and talented students</a> </p> <a href="https://publications.waset.org/abstracts/156156/profiling-on-the-holistic-identity-of-malaysian-gifted-learners" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/156156.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">112</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">7314</span> Analysis on Yogyakarta Istimewa Citygates on Urban Area Arterial Roads</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Nizar%20Caraka%20Trihanasia">Nizar Caraka Trihanasia</a>, <a href="https://publications.waset.org/abstracts/search?q=Suparwoko"> Suparwoko</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The purpose of this paper is to analyze the design model of city gates on arterial roads as Yogyakarta’s “Istimewa” (special) identity. City marketing has become a trend among cities in the past few years. It began to compete with each other in promoting their identity to the world. One of the easiest ways to recognize the identity is by knowing the image of the city which can be seen through architectural buildings or urban elements. The idea is to recognize how the image of the city can represent Yogyakarta’s identity, which is limited to the contribution of the city gates distinctiveness on Yogyakarta urban area. This study has concentrated on the aspect of city gates as built environment that provides a diversity, configuration and scale of development that promotes a sense of place and community. The visual analysis will be conducted to interpreted the existing Yogyakarta city gates (as built environment) focussing on some variables of 1) character and pattern, 2) circulation system establishment, and 3) open space utilisation. Literature review and site survey are also conducted to understand the relationship between the built environment and the sense of place in the community. This study suggests that visually the Yogyakarta city gate model has strong visual characters and pattern by using the concept of a sense of place of Yogyakarta community value. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=visual%20analysis" title="visual analysis">visual analysis</a>, <a href="https://publications.waset.org/abstracts/search?q=model" title=" model"> model</a>, <a href="https://publications.waset.org/abstracts/search?q=Yogyakarta%20%E2%80%9CIstimewa%E2%80%9D" title=" Yogyakarta “Istimewa”"> Yogyakarta “Istimewa”</a>, <a href="https://publications.waset.org/abstracts/search?q=citygates" title=" citygates"> citygates</a> </p> <a href="https://publications.waset.org/abstracts/53761/analysis-on-yogyakarta-istimewa-citygates-on-urban-area-arterial-roads" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/53761.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">258</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">7313</span> The Contemporary Visual Spectacle: Critical Visual Literacy</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Lai-Fen%20Yang">Lai-Fen Yang</a> </p> <p class="card-text"><strong>Abstract:</strong></p> In this increasingly visual world, how can we best decipher and understand the many ways that our everyday lives are organized around looking practices and the many images we encounter each day? Indeed, how we interact with and interpret visual images is a basic component of human life. Today, however, we are living in one of the most artificial visual and image-saturated cultures in human history, which makes understanding the complex construction and multiple social functions of visual imagery more important than ever before. Themes regarding our experience of a visually pervasive mediated culture, here, termed visual spectacle. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=visual%20culture" title="visual culture">visual culture</a>, <a href="https://publications.waset.org/abstracts/search?q=contemporary" title=" contemporary"> contemporary</a>, <a href="https://publications.waset.org/abstracts/search?q=images" title=" images"> images</a>, <a href="https://publications.waset.org/abstracts/search?q=literacy" title=" literacy"> literacy</a> </p> <a href="https://publications.waset.org/abstracts/9045/the-contemporary-visual-spectacle-critical-visual-literacy" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/9045.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">513</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">7312</span> Visual and Verbal Imagination in a Bilingual Context</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Erzsebet%20Gulyas">Erzsebet Gulyas</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Our inner world, our imagination, and our way of thinking are invisible and inaudible to others, but they influence our behavior. To investigate the relationship between thinking and language use, we created a test in Hungarian using ideas from the literature. The test prompts participants to make decisions based on visual images derived from the written information presented. There is a correlation (r=0.5) between the test result and the self-assessment of the visual imagery vividness and the visual and verbal components of internal representations measured by self-report questionnaires, as well as with responses to language-use inquiries in the background questionnaire. 56 university students completed the tests, and SPSS was used to analyze the data. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=imagination" title="imagination">imagination</a>, <a href="https://publications.waset.org/abstracts/search?q=internal%20representations" title=" internal representations"> internal representations</a>, <a href="https://publications.waset.org/abstracts/search?q=verbalization" title=" verbalization"> verbalization</a>, <a href="https://publications.waset.org/abstracts/search?q=visualization" title=" visualization"> visualization</a> </p> <a href="https://publications.waset.org/abstracts/182122/visual-and-verbal-imagination-in-a-bilingual-context" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/182122.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">54</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">7311</span> The Relationship between the Feeling of Distributive Justice and National Identity of the Youth</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Leila%20Batmany">Leila Batmany</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This research studies the relationship between the feeling of distributive justice and national identity of the youth. The present analysis intends to experimentally investigate the various dimensions of the justice feeling and its effect on the national identity components. The study has taken justice into consideration from four different points of view on the basis of availability of valuable social sources such as power, wealth, knowledge and status in the political, economic, and cultural and status justice respectively. Furthermore, the national identity has been considered as the feeling of honour, attachment and commitment towards national society and its seven components i.e. history, language, culture, political system, religion, geographical territory and society. The 'field study' has been used as the method for the research with the individual as unit, taking 368 young between the age of 18 and 29 living in Tehran, chosen randomly according to Cochran formula. The individual samples have been randomly chosen among five districts in north, south, west, east, and centre of Tehran, based on the multistage cluster sampling. The data collection has been performed with the use of questionnaire and interview. The most important results are as follows: i) The feeling of economic justice is the weakest one among the youth. ii) The strongest and the weakest dimensions of the national identity are, respectively, the historical and the social dimension. iii) There is a positive and meaningful relationship between the feeling political and statues justice and then national identity, whereas no meaningful relationship exists between the economic and cultural justice and the national identity. iv) There is a positive and meaningful relationship between the feeling of justice in all dimensions and legitimacy of the political system. There is also such a relationship between the legitimacy of the political system and national identity. v) Generally, there is a positive and meaningful relationship between the feeling of distributive justice and national identity among the youth. vi) It is through the legitimacy of the political system that justice feeling can have an influence on the national identity. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=distributive%20justice" title="distributive justice">distributive justice</a>, <a href="https://publications.waset.org/abstracts/search?q=national%20identity" title=" national identity"> national identity</a>, <a href="https://publications.waset.org/abstracts/search?q=legitimacy%20of%20political%20system" title=" legitimacy of political system"> legitimacy of political system</a>, <a href="https://publications.waset.org/abstracts/search?q=Cochran%20formula" title=" Cochran formula"> Cochran formula</a>, <a href="https://publications.waset.org/abstracts/search?q=multistage%20cluster%20sampling" title=" multistage cluster sampling"> multistage cluster sampling</a> </p> <a href="https://publications.waset.org/abstracts/110221/the-relationship-between-the-feeling-of-distributive-justice-and-national-identity-of-the-youth" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/110221.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">133</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">7310</span> Exploring the Visual Representations of Neon Signs and Its Vernacular Tacit Knowledge of Neon Making</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Brian%20Kwok">Brian Kwok</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Hong Kong is well-known for its name as "the Pearl of the Orient", due to its spectacular night-view with vast amount of decorative neon lights on the streets. Neon signs are first used as the pervasive media of communication for all kinds of commercial advertising, ranging from movie theatres to nightclubs and department stores, and later appropriated by artists as medium of artwork. As a well-established visual language, it displays texts in bilingual format due to British's colonial influence, which are sometimes arranged in an opposite reading order. Research on neon signs as a visual representation is rare but significant because they are part of people’s collective memories of the unique cityscapes which associate the shifting values of people's daily lives and culture identity. Nevertheless, with the current policy to remove abandoned neon signs, their total number dramatically declines recently. The Buildings Department found an estimation of 120,000 unauthorized signboards (including neon signs) in Hong Kong in 2013, and the removal of such is at a rate of estimated 1,600 per year since 2006. In other words, the vernacular cultural values and historical continuity of neon signs will gradually be vanished if no immediate action is taken in documenting them for the purpose of research and cultural preservation. Therefore, the Hong Kong Neon Signs Archive project was established in June of 2015, and over 100 neon signs are photo-documented so far. By content analysis, this project will explore the two components of neon signs – the use of visual languages and vernacular tacit knowledge of neon makers. It attempts to answer these questions about Hong Kong's neon signs: 'What are the ways in which visual representations are used to produce our cityscapes and streetscapes?'; 'What are the visual languages and conventions of usage in different business types?'; 'What the intact knowledge are applied when producing these visual forms of neon signs?' <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=cityscapes" title="cityscapes">cityscapes</a>, <a href="https://publications.waset.org/abstracts/search?q=neon%20signs" title=" neon signs"> neon signs</a>, <a href="https://publications.waset.org/abstracts/search?q=tacit%20knowledge" title=" tacit knowledge"> tacit knowledge</a>, <a href="https://publications.waset.org/abstracts/search?q=visual%20representation" title=" visual representation "> visual representation </a> </p> <a href="https://publications.waset.org/abstracts/43147/exploring-the-visual-representations-of-neon-signs-and-its-vernacular-tacit-knowledge-of-neon-making" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/43147.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">301</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">7309</span> Examining Predictive Coding in the Hierarchy of Visual Perception in the Autism Spectrum Using Fast Periodic Visual Stimulation</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Min%20L.%20Stewart">Min L. Stewart</a>, <a href="https://publications.waset.org/abstracts/search?q=Patrick%20Johnston"> Patrick Johnston</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Predictive coding has been proposed as a general explanatory framework for understanding the neural mechanisms of perception. As such, an underweighting of perceptual priors has been hypothesised to underpin a range of differences in inferential and sensory processing in autism spectrum disorders. However, empirical evidence to support this has not been well established. The present study uses an electroencephalography paradigm involving changes of facial identity and person category (actors etc.) to explore how levels of autistic traits (AT) affect predictive coding at multiple stages in the visual processing hierarchy. The study uses a rapid serial presentation of faces, with hierarchically structured sequences involving both periodic and aperiodic repetitions of different stimulus attributes (i.e., person identity and person category) in order to induce contextual expectations relating to these attributes. It investigates two main predictions: (1) significantly larger and late neural responses to change of expected visual sequences in high-relative to low-AT, and (2) significantly reduced neural responses to violations of contextually induced expectation in high- relative to low-AT. Preliminary frequency analysis data comparing high and low-AT show greater and later event-related-potentials (ERPs) in occipitotemporal areas and prefrontal areas in high-AT than in low-AT for periodic changes of facial identity and person category but smaller ERPs over the same areas in response to aperiodic changes of identity and category. The research advances our understanding of how abnormalities in predictive coding might underpin aberrant perceptual experience in autism spectrum. This is the first stage of a research project that will inform clinical practitioners in developing better diagnostic tests and interventions for people with autism. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=hierarchical%20visual%20processing" title="hierarchical visual processing">hierarchical visual processing</a>, <a href="https://publications.waset.org/abstracts/search?q=face%20processing" title=" face processing"> face processing</a>, <a href="https://publications.waset.org/abstracts/search?q=perceptual%20hierarchy" title=" perceptual hierarchy"> perceptual hierarchy</a>, <a href="https://publications.waset.org/abstracts/search?q=prediction%20error" title=" prediction error"> prediction error</a>, <a href="https://publications.waset.org/abstracts/search?q=predictive%20coding" title=" predictive coding"> predictive coding</a> </p> <a href="https://publications.waset.org/abstracts/107770/examining-predictive-coding-in-the-hierarchy-of-visual-perception-in-the-autism-spectrum-using-fast-periodic-visual-stimulation" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/107770.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">111</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">7308</span> The Analysis of the Role of Handicrafts in Consolidating Iran National Identity</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Nadia%20Pourabbas%20Tahvildari">Nadia Pourabbas Tahvildari</a> </p> <p class="card-text"><strong>Abstract:</strong></p> National identity is formed in the process of time and in the community while influenced by the historical events. The country which has a more coherent national and historical identity would be successful as well as strengthening solidarity and social cohesion. Among the international community where the various likes challenge the subject of identity, taking into consideration the components which using identity seems to be very critical. Handicrafts as reflecting the historical and cultural characteristics of the product location can be used as an important component in order to introduce the culture and identity to be evaluated. As one of the most durable crafts for man, handicrafts have played a continuous role in sustaining human culture. Today without the presence of handicrafts, restoration of culture and national identity and religious beliefs of the past clans and people, is not only difficult but is even impossible also. Due to its brilliant historical experience and having rich culture and civilization, Iran has accomplished to the high competence in the field of traditional arts and handicrafts. This article is a scientific approach which by using descriptive – analytic method based on library studies tried to address the issue of handicrafts looking to examine the position of the industry to consolidate the national identity. Studies indicate that Iran as one of the original human habitats in the field of handicrafts has adequate enrichment and in case there will be an appropriate planning and investment away from oil-based industry, it would be beneficent. Furthermore, the quality and variety of handicrafts can be used as an essential yardstick for the consolidation of Iran national identity in the age of globalization. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=handicrafts" title="handicrafts">handicrafts</a>, <a href="https://publications.waset.org/abstracts/search?q=Iran%20national%20identity" title=" Iran national identity"> Iran national identity</a>, <a href="https://publications.waset.org/abstracts/search?q=globalization" title=" globalization"> globalization</a>, <a href="https://publications.waset.org/abstracts/search?q=cultural%20heritage" title=" cultural heritage"> cultural heritage</a> </p> <a href="https://publications.waset.org/abstracts/35660/the-analysis-of-the-role-of-handicrafts-in-consolidating-iran-national-identity" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/35660.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">730</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">7307</span> Design Systems and the Need for a Usability Method: Assessing the Fitness of Components and Interaction Patterns in Design Systems Using Atmosphere Methodology</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Patrik%20Johansson">Patrik Johansson</a>, <a href="https://publications.waset.org/abstracts/search?q=Selina%20Mardh"> Selina Mardh</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The present study proposes a usability test method, Atmosphere, to assess the fitness of components and interaction patterns of design systems. The method covers the user’s perception of the components of the system, the efficiency of the logic of the interaction patterns, perceived ease of use as well as the user’s understanding of the intended outcome of interactions. These aspects are assessed by combining measures of first impression, visual affordance and expectancy. The method was applied to a design system developed for the design of an electronic health record system. The study was conducted involving 15 healthcare personnel. It could be concluded that the Atmosphere method provides tangible data that enable human-computer interaction practitioners to analyze and categorize components and patterns based on perceived usability, success rate of identifying interactive components and success rate of understanding components and interaction patterns intended outcome. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=atomic%20design" title="atomic design">atomic design</a>, <a href="https://publications.waset.org/abstracts/search?q=atmosphere%20methodology" title=" atmosphere methodology"> atmosphere methodology</a>, <a href="https://publications.waset.org/abstracts/search?q=design%20system" title=" design system"> design system</a>, <a href="https://publications.waset.org/abstracts/search?q=expectancy%20testing" title=" expectancy testing"> expectancy testing</a>, <a href="https://publications.waset.org/abstracts/search?q=first%20impression%20testing" title=" first impression testing"> first impression testing</a>, <a href="https://publications.waset.org/abstracts/search?q=usability%20testing" title=" usability testing"> usability testing</a>, <a href="https://publications.waset.org/abstracts/search?q=visual%20affordance%20testing" title=" visual affordance testing"> visual affordance testing</a> </p> <a href="https://publications.waset.org/abstracts/139041/design-systems-and-the-need-for-a-usability-method-assessing-the-fitness-of-components-and-interaction-patterns-in-design-systems-using-atmosphere-methodology" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/139041.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">180</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">7306</span> Fixing the Identity Gap in Fashion: Magazines' Role in Consumption of Clothes</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Kateryna%20Pilyarchuk">Kateryna Pilyarchuk</a> </p> <p class="card-text"><strong>Abstract:</strong></p> A dress has, since times immemorial, been used to communicate the wearer’s identity. When a new trend is born, fashionistas buy it not only with the purpose to beautify themselves, but also to acquire the collective identity. Fashion has become a means of narrating one’s stance and status. Thus, when one spends money on a brand, one pays for some unmaterial components associated with it. This paper will present some ways in which fashion magazines promote consumerism by drawing on women’s craving for collective identity and need to fill in their identity gap by means of a purchase. By applying the method of critical discursive psychology, it will present layers of ideology and positions that become visible in framing of the message in U.S. Harper’s Bazaar. In this context, fashion decisions that are presented to its readers will be critically evaluated from the gender perspective. It will be demonstrated that what is presented as a postfeminist choice in the neoliberal society is still, to a considerable extent, oppressive and driven by the male gaze. As the findings show, the contemporary female identities in fashion are still built on the principles of traditional femininity. Magazines and fashion discourse train women that they should fear being left out of fashion and, by extension, out of the category of the sexually appealing (from the male perspective). <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=collective%20identity" title="collective identity">collective identity</a>, <a href="https://publications.waset.org/abstracts/search?q=critical%20discursive%20psychology" title=" critical discursive psychology"> critical discursive psychology</a>, <a href="https://publications.waset.org/abstracts/search?q=fashion%20discourse" title=" fashion discourse"> fashion discourse</a>, <a href="https://publications.waset.org/abstracts/search?q=identity%20gap" title=" identity gap"> identity gap</a> </p> <a href="https://publications.waset.org/abstracts/112720/fixing-the-identity-gap-in-fashion-magazines-role-in-consumption-of-clothes" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/112720.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">148</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">7305</span> Applications of Visual Ethnography in Public Anthropology</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Subramaniam%20Panneerselvam">Subramaniam Panneerselvam</a>, <a href="https://publications.waset.org/abstracts/search?q=Gunanithi%20Perumal"> Gunanithi Perumal</a>, <a href="https://publications.waset.org/abstracts/search?q=KP%20Subin"> KP Subin</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The Visual Ethnography is used to document the culture of a community through a visual means. It could be either photography or audio-visual documentation. The visual ethnographic techniques are widely used in visual anthropology. The visual anthropologists use the camera to capture the cultural image of the studied community. There is a scope for subjectivity while the culture is documented by an external person. But the upcoming of the public anthropology provides an opportunity for the participants to document their own culture. There is a need to equip the participants with the skill of doing visual ethnography. The mobile phone technology provides visual documentation facility to everyone to capture the moments instantly. The visual ethnography facilitates the multiple-interpretation for the audiences. This study explores the effectiveness of visual ethnography among the tribal youth through public anthropology perspective. The case study was conducted to equip the tribal youth of Nilgiris in visual ethnography and the outcome of the experiment shared in this paper. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=visual%20ethnography" title="visual ethnography">visual ethnography</a>, <a href="https://publications.waset.org/abstracts/search?q=visual%20anthropology" title=" visual anthropology"> visual anthropology</a>, <a href="https://publications.waset.org/abstracts/search?q=public%20anthropology" title=" public anthropology"> public anthropology</a>, <a href="https://publications.waset.org/abstracts/search?q=multiple-interpretation" title=" multiple-interpretation"> multiple-interpretation</a>, <a href="https://publications.waset.org/abstracts/search?q=case%20study" title=" case study"> case study</a> </p> <a href="https://publications.waset.org/abstracts/127577/applications-of-visual-ethnography-in-public-anthropology" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/127577.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">183</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">7304</span> The Analogy of Visual Arts and Visual Literacy</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Lindelwa%20Pepu">Lindelwa Pepu</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Visual Arts and Visual Literacy are defined with distinction from one another. Visual Arts are known for art forms such as drawing, painting, and photography, just to name a few. At the same time, Visual Literacy is known for learning through images. The Visual Literacy phenomenon may be attributed to the use of images was first established for creating memories and enjoyment. As time evolved, images became the center and essential means of making contact between people. Gradually, images became a means for interpreting and understanding words through visuals, that being Visual Arts. The purpose of this study is to present the analogy of the two terms Visual Arts and Visual Literacy, which are defined and compared through early practicing visual artists as well as relevant researchers to reveal how they interrelate with one another. This is a qualitative study that uses an interpretive approach as it seeks to understand and explain the interest of the study. The results reveal correspondence of the analogy between the two terms through various writers of early and recent years. This study recommends the significance of the two terms and the role they play in relation to other fields of study. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=visual%20arts" title="visual arts">visual arts</a>, <a href="https://publications.waset.org/abstracts/search?q=visual%20literacy" title=" visual literacy"> visual literacy</a>, <a href="https://publications.waset.org/abstracts/search?q=pictures" title=" pictures"> pictures</a>, <a href="https://publications.waset.org/abstracts/search?q=images" title=" images"> images</a> </p> <a href="https://publications.waset.org/abstracts/165940/the-analogy-of-visual-arts-and-visual-literacy" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/165940.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">166</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">7303</span> Secure E-Pay System Using Steganography and Visual Cryptography</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=K.%20Suganya%20Devi">K. Suganya Devi</a>, <a href="https://publications.waset.org/abstracts/search?q=P.%20Srinivasan"> P. Srinivasan</a>, <a href="https://publications.waset.org/abstracts/search?q=M.%20P.%20Vaishnave"> M. P. Vaishnave</a>, <a href="https://publications.waset.org/abstracts/search?q=G.%20Arutperumjothi"> G. Arutperumjothi</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Today’s internet world is highly prone to various online attacks, of which the most harmful attack is phishing. The attackers host the fake websites which are very similar and look alike. We propose an image based authentication using steganography and visual cryptography to prevent phishing. This paper presents a secure steganographic technique for true color (RGB) images and uses Discrete Cosine Transform to compress the images. The proposed method hides the secret data inside the cover image. The use of visual cryptography is to preserve the privacy of an image by decomposing the original image into two shares. Original image can be identified only when both qualified shares are simultaneously available. Individual share does not reveal the identity of the original image. Thus, the existence of the secret message is hard to be detected by the RS steganalysis. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=image%20security" title="image security">image security</a>, <a href="https://publications.waset.org/abstracts/search?q=random%20LSB" title=" random LSB"> random LSB</a>, <a href="https://publications.waset.org/abstracts/search?q=steganography" title=" steganography"> steganography</a>, <a href="https://publications.waset.org/abstracts/search?q=visual%20cryptography" title=" visual cryptography"> visual cryptography</a> </p> <a href="https://publications.waset.org/abstracts/67554/secure-e-pay-system-using-steganography-and-visual-cryptography" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/67554.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">330</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">7302</span> Building an Arithmetic Model to Assess Visual Consistency in Townscape</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Dheyaa%20Hussein">Dheyaa Hussein</a>, <a href="https://publications.waset.org/abstracts/search?q=Peter%20Armstrong"> Peter Armstrong</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The phenomenon of visual disorder is prominent in contemporary townscapes. This paper provides a theoretical framework for the assessment of visual consistency in townscape in order to achieve more favourable outcomes for users. In this paper, visual consistency refers to the amount of similarity between adjacent components of townscape. The paper investigates parameters which relate to visual consistency in townscape, explores the relationships between them and highlights their significance. The paper uses arithmetic methods from outside the domain of urban design to enable the establishment of an objective approach of assessment which considers subjective indicators including users’ preferences. These methods involve the standard of deviation, colour distance and the distance between points. The paper identifies urban space as a key representative of the visual parameters of townscape. It focuses on its two components, geometry and colour in the evaluation of the visual consistency of townscape. Accordingly, this article proposes four measurements. The first quantifies the number of vertices, which are points in the three-dimensional space that are connected, by lines, to represent the appearance of elements. The second evaluates the visual surroundings of urban space through assessing the location of their vertices. The last two measurements calculate the visual similarity in both vertices and colour in townscape by the calculation of their variation using methods including standard of deviation and colour difference. The proposed quantitative assessment is based on users’ preferences towards these measurements. The paper offers a theoretical basis for a practical tool which can alter the current understanding of architectural form and its application in urban space. This tool is currently under development. The proposed method underpins expert subjective assessment and permits the establishment of a unified framework which adds to creativity by the achievement of a higher level of consistency and satisfaction among the citizens of evolving townscapes. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=townscape" title="townscape">townscape</a>, <a href="https://publications.waset.org/abstracts/search?q=urban%20design" title=" urban design"> urban design</a>, <a href="https://publications.waset.org/abstracts/search?q=visual%20assessment" title=" visual assessment"> visual assessment</a>, <a href="https://publications.waset.org/abstracts/search?q=visual%20consistency" title=" visual consistency"> visual consistency</a> </p> <a href="https://publications.waset.org/abstracts/46210/building-an-arithmetic-model-to-assess-visual-consistency-in-townscape" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/46210.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">312</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">7301</span> The Effects of Architectural Anatomy on Improving the Quality of Place Identity: Case Study of Shiraz Opera Hall</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Hamid%20Reza%20Zeraatpisheh">Hamid Reza Zeraatpisheh</a>, <a href="https://publications.waset.org/abstracts/search?q=Shamsoddin%20Hashemi"> Shamsoddin Hashemi</a>, <a href="https://publications.waset.org/abstracts/search?q=Farshad%20Negintaji"> Farshad Negintaji</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This study has examined the effects of the architectural anatomy of opera hall on improving the quality of place identity. By measuring the effects of place identity on the inner aspects of human which are influenced by the physical and social environments it has investigated the results of a balance between internal and external environment. To assess the anatomical effects of urban landscape, two components of subjective landscape including perception and diversity and the component of objective landscape including form and order have been measured. The current survey is descriptive and the statistical population has been Shiraz which is a city in Iran. To analyze the data the SPSS software has been used. The results have been investigated in two levels of descriptive and inferential statistics. In the inferential statistics, Pearson correlation coefficient has been used to evaluate the research hypotheses. The results of this study indicate that between the dimensions of landscape, the component of the subjective landscape has the highest impact on the place identity and in the second place, an objective landscape has the impact on the place identity. Anatomical effects have an important role on improving the quality of place identity of Shiraz citizens and in order to enhance the place identity in the urban landscape it is also required that they will be inspired and operated. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=architectural%20anatomy" title="architectural anatomy">architectural anatomy</a>, <a href="https://publications.waset.org/abstracts/search?q=identity" title=" identity"> identity</a>, <a href="https://publications.waset.org/abstracts/search?q=place%20identity" title=" place identity"> place identity</a>, <a href="https://publications.waset.org/abstracts/search?q=urban%20landscape" title=" urban landscape"> urban landscape</a>, <a href="https://publications.waset.org/abstracts/search?q=perception" title=" perception"> perception</a> </p> <a href="https://publications.waset.org/abstracts/22279/the-effects-of-architectural-anatomy-on-improving-the-quality-of-place-identity-case-study-of-shiraz-opera-hall" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/22279.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">548</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">7300</span> Ironic Historiography: On Art, Nationality and In-Between Identities</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Sigal%20Barkai">Sigal Barkai</a> </p> <p class="card-text"><strong>Abstract:</strong></p> 'Ironic Historiography' is a hybrid notion combining criticism of historical narratives concerning the Israeli state with ironic artistic expression. The paper will deal with questions of identities of native Israeli visual artists who chose to live out of the country, or to move back and forth to and from it. It will examine the ways these wanderings are reflected in their work. The paper discusses the work of 4 contemporary artists who produce artworks in diverse techniques and media, such as video, performance and installation art. Yael Bartana, Erez Israeli and Tamir Zadok are artists who constantly deal with Israeli nationality and history in their artwork, using ironic components. In comparison, the paper will review the works of Mika Rottenberg, who is now a New York based artist. She is concerned with global social issues and neglected specific national identity altogether. All of them use visual irony as a means of reflecting and criticizing society. The analysis was done in awareness of the life stories of the artists, in an attempt to trace the ways they establish their identities through their art. It was pre-supposed that these identities will be shaped in the in-between space of being an Israeli citizen and a citizen of the world. The study asks how ironic expression appears in their work, what kind of irony do they use and in what ways does it serves them. The methodology combined visual analysis, interviews with the artists, and analyzation of secondary discourses in the media. As theoretical background various fields of knowledge were used, such as literature and language studies, Sociology, and Visual Culture studies. The findings point out that visual and artistic irony has many different goals in the use of historiographic fiction. It can bind an artist to his homeland and native society, or it can help her to detach. It helps healing breaches in the in-between space, or it can be used as a means to completely detach from any identification with a native origin. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=visual%20art" title="visual art">visual art</a>, <a href="https://publications.waset.org/abstracts/search?q=irony" title=" irony"> irony</a>, <a href="https://publications.waset.org/abstracts/search?q=identities" title=" identities"> identities</a>, <a href="https://publications.waset.org/abstracts/search?q=Israel" title=" Israel"> Israel</a> </p> <a href="https://publications.waset.org/abstracts/50093/ironic-historiography-on-art-nationality-and-in-between-identities" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/50093.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">252</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">7299</span> The Impact of Personal Identity on Self-Esteem among Muslim Adolescents</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Nadia%20Ayub">Nadia Ayub</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The purpose of the study was to explore the impact of personal identity on self-esteem among adolescents. Two hypotheses were tested in the study, i.e., personal identity effects on self-esteem; and gender difference in the variables of personal identity and self-esteem. The total of 300 (150 female; 150 male) adolescents participated in the study. Personal identity scale (Ayub, N., In Press), and self-esteem scale (Rosenberg, 1985) were administered. The findings of the study suggest that positive personal identity impact on self-esteem and gender difference was found on the variables of personal identity and self-esteem. In conclusion, the results of the study are beneficial for researchers, policymakers, psychologists. The strong positive personal identity and self-esteem help in healthy mental development not only in adolescence but throughout the life of individuals. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=personal%20identity" title="personal identity">personal identity</a>, <a href="https://publications.waset.org/abstracts/search?q=self-esteem" title=" self-esteem"> self-esteem</a>, <a href="https://publications.waset.org/abstracts/search?q=adolescents" title=" adolescents"> adolescents</a>, <a href="https://publications.waset.org/abstracts/search?q=positive%20psychology" title=" positive psychology"> positive psychology</a> </p> <a href="https://publications.waset.org/abstracts/103746/the-impact-of-personal-identity-on-self-esteem-among-muslim-adolescents" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/103746.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">401</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">7298</span> Event Related Potentials in Terms of Visual and Auditory Stimuli</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Seokbeen%20Lim">Seokbeen Lim</a>, <a href="https://publications.waset.org/abstracts/search?q=KyeongSeok%20Sim"> KyeongSeok Sim</a>, <a href="https://publications.waset.org/abstracts/search?q=DaKyeong%20Shin"> DaKyeong Shin</a>, <a href="https://publications.waset.org/abstracts/search?q=Gilwon%20Yoon"> Gilwon Yoon</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Event-related potential (ERP) is one of the useful tools for investigating cognitive reactions. In this study, the potential of ERP components detected after auditory and visual stimuli was examined. Subjects were asked to respond upon stimuli that were of three categories; Target, Non-Target and Standard stimuli. The ERP after stimulus was measured. In the experiment of visual evoked potentials (VEPs), the subjects were asked to gaze at a center point on the monitor screen where the stimuli were provided by the reversal pattern of the checkerboard. In consequence of the VEP experiments, we observed consistent reactions. Each peak voltage could be measured when the ensemble average was applied. Visual stimuli had smaller amplitude and a longer latency compared to that of auditory stimuli. The amplitude was the highest with Target and the smallest with Standard in both stimuli. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=auditory%20stimulus" title="auditory stimulus">auditory stimulus</a>, <a href="https://publications.waset.org/abstracts/search?q=EEG" title=" EEG"> EEG</a>, <a href="https://publications.waset.org/abstracts/search?q=event%20related%20potential" title=" event related potential"> event related potential</a>, <a href="https://publications.waset.org/abstracts/search?q=oddball%20task" title=" oddball task"> oddball task</a>, <a href="https://publications.waset.org/abstracts/search?q=visual%20stimulus" title=" visual stimulus"> visual stimulus</a> </p> <a href="https://publications.waset.org/abstracts/62590/event-related-potentials-in-terms-of-visual-and-auditory-stimuli" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/62590.pdf" target="_blank" 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