Gender Differences in Mental Rotation Experiment

Gender Differences in Mental Rotation Experiment Abstract Mental rotation involves mind when it tries to recognize objects in the surrounding and figuring out what the altered objects really are. The aim of this experiment was to determine reaction time of different angles of rotation and influence of gender differences. The task involved comparing three letters, some letters appeared the same and others were difficult to tell during rotation. I also noted that, the more an image is rotated from the point of origin, the longer it takes for an individual to realize if the letters are the same. Neither the position nor the axis on the object being rotated is the degree in which it is rotated and the speed of the rotation. Matching the letters required a lot of time as the speed of rotation increases. The experiment also showed that, females are faster than males. Keywords: Mental rotation, experiment, females, males, mind, gender, memory Mental rotation Introduction Mental rotation involves moving objects in the brain. These objects are stimulus (Cohen, 2012). As they rotate physically they also move mentally. The differences that may occur in different genders may be as a result of picture vividness. Images may appear very bright seeming like real life because it is clearly bright or detailed. In this study females got the higher score because they have habits in thinking and their way of thinking is quite different from men. This experiment was aimed at determining the length of time that could be taken to determine whether the letters were the same or quite different. For each pair, I tried to redo it by closing one eye and tried it again when all eyes are open to identify any difference. According to the theory of Paivio and Harshman (1987) females always tend to remember first because they use more imagery, colorful images which they have developed a habit in. As compared to males, reported use of images is a way of solving problem and gives them the ability to visualize objects. For instance, females do well in images that view regularly provided that they are colorful hence drawing their attention, whereas males might do well in manipulation of images. Males perform well on arts like drawing; while female perform well on some tasks requiring visual memory. Female have the tendency of reporting events and use of imagery. These images are stimulated by the verbal accounts of events. According to Paivio and Harshman (1987), this theory indicates that female tend to have more pictorial imagery as compare to males. By applying commonsense, people may differ in image viewing and image control. Some individuals may be having eye complications (Johnson, 1990). This has a very big difference on individuals. It all depends on how the images are perceived. The finding of this experiment therefore indicates that, individual differences in imagery are multidimensional and image ability might be multidimensional. In conclusion, mental rotation is depends on the mental rotation speed of different people. There is need for research in future to focus on the effects of the various socio-cultural and biological factors, as well as competent mental effects that influence individuals’ mental rotation and the strategies to acquire competent mental rotation. It is also hypnotized that, gender also determines on the ability of mental rotation. Method Participants: Participants were 10 competent students. This group consisted of 6 females and 4 males with age range from 20-45. Participation was open and voluntary to anyone. There were more females than males. Materials: There were 10 trials of different lettered objects to the participants before being rotated. This was to determine if the objects were similar both on the left and right view. Participants were given different letters on computer screen for 10 trials. The objects were being shown randomly and the participants were to make a comparison by clicking on the mouse to accept by pressing a button of true or false. The mean time was measured in seconds. Participants were also asked to give more information on gender and age and their effects on the rotation. It came to my realization that young people tend to have a sharp memory than the old people hence they are more skilled in mental rotation. Procedure: For each trial, the entire 10 participant were shown two different presentations of the objects. The object on the left was the standard version and the shape on the right was a reflected version of the shape on the left. The object on the left was shown in the upright way appearance while the object on the right was rotated in each trial; participants were to rotate the right object mentally then draw a conclusion if the objects were similar. That is, if the right objects were identical to the left objects. Participants were also asked if the left object was identical to the right one or otherwise. The task of participants was to complete the 10 trials, and to mentally see if they could recognize objects in their upright position after being rotated. Results: The results showed that, the bigger the rotation of the angle, the longer it takes for the participants to make decisions on whether the two objects have any similarities. As the object on the right was reflected, the vision of the object on the left participants first rotated the shape mentally to the right position. Individuals with inability were faster and more accurate in identifying the images. After mentally rotating the imagery they responded whether or not the shape was identical to the first shape. The results from the table also showed that if a shape has been rotated to instance 240 degrees, physically it will take longer for an individual to compare a shape which has been rotated 60 degrees. From the group, females were the most of the participants and they were showing a higher reaction and quicker response than males. This clearly showed what sex difference influence mental rotation. Discussion As already mentioned that mental images are analogue representations of physical objects, this finding supports the result of Harshman and Paivio and (1987) on reaction time. The results provide supports for the hypothesis that as angle of rotation goes, the reaction time of participant increases. This information supports the hypothesis which has been supported in this study. As the angle of rotation becomes bigger, it takes the participant longer time to make a decision. According to the findings, participants mentally rotate the second objects to its upright position first then compared with the standard version of the object. After mentally rotating the imagery, they respond whether or not the shape is identical to the first shape. The results show that females have higher reaction time than males. The results showed that, it took females longer to decide â€Å"males are more proficient on paper and pencil tests requiring mental rotation or transformation† (Harris, 1978; Maccoby Jacklin, 1974) now that there was an equal number of a female participant to that of the male participants. The limitation of having a bigger number of female participants was eliminated by balancing the number. The results supported the hypothesis that gender differences influences the way an image is perceived. As predicted, the females scored higher than males on the mental imagery test because female perceive objects differently. This findings supported by earlier studies in which female needed more time to rotate the shape mentally than males. I also found out that, the ability to rotate objects mentally might relate to individual differences in specific kinds of imagery abilities. Also from the research mental rotation is activated by different coloured shapes. The coloured objects tend to take a shorter time than the dull objects. The setting for this experiment was at school. This enabled us get different results from the previous ones. The environment where the task completed made this study a success because there were very few distractions. All the concentration of all participants was sufficient in conducting this research. The environment was conducive and it enhanced the findings about mental rotation. Additional advantage of this study was the limited range of age group, which enabled us to establish the differences and how different people with different ages perceive objects in their brains. Differences in age may influence how long it might take a participant to make the decision that the object is real or similar to another. The overall result of this study is that, as the angle of rotation goes upwards the reaction time of the participants increase. This is because the image must first rotate mentally then decides the shape is mirror or not. In conclusion male participants are not a good simple of representations. Aged people are also not good in mental rotation. References: Cohen, M. 2012. Changes in Cortical Activities During Mental Rotation: A mapping study using functional magnetic resonance imaging Retrieved on May 29, 2014 from, http://airto.bmap.ucla.edu/BMCweb/BMC_BIOS/MarkCohen/Papers/Rotate.pdf Harshman R.A. Paivio, A. (1987). â€Å"Paradoxical† sex differences in self-reported imagery. Canadian Journal of Psychology, 41, 287-302 Johnson A.M. (1990). Speed of mental rotation as a function of problem solving strategies. Paivio, A., Harshman, R. A. (1983). Factor analysis of a questionnaire on imagery and verbal habits and skills. Canadian Journal of Psychology, 37, 46l-483

Narrative and Narration Essay

Narrative and narration in films are the way in which the audience follows the plot. The difference between narrative and narration is only really clear when both are understood properly. Narrative is basically the way we see all the events in a film unfold. E.g. ‘Blair Witch Project’. A group of film students go into the woods to film a documentary about the myth of the Blair Witch. What we see is the people film everything that they do. We see (in a nutshell) them get lost, get scared and then looking at a wall. Narration is the process through which a film conveys or withholds narrative information, the way the story is told. Narration concerns the actual arrangement and presentation of the story in the film, the way the film distributes story information in order to achieve specific effects. E.g. in the ‘Blair Witch Project’ the story conveys the idea that there is ‘something’ out there, but it withholds all the information on the thing by never showing anything out of the ordinary. Once these two are understood we have to look into the two other effects to do with narration. These two are omniscient and restricted narration. Omniscient narration is where the audience is subjected to information from many sources such as ‘Lock Stock and two Smoking Barrels’. The film switches from one character to the next all the time, thus we never get to know one character more that any other. Plus it gives the audience more information than any of the characters, so we have an advantage over them all, which creates a feeling of suspense because the viewer is on the edge of their seat wondering if a certain character will find out a specific piece of information. Restricted narrative is where the film conveys the narrative to the viewer via one character. E.g. ‘Get Carter’. In this film we get almost all of the information from Jack Carter. He is in almost every scene. The advantage of this is that you know everything Jack knows, also everything that he doesn’t know. This is used in the British gangster genre film because is ads mystery to the question what will happen to our man (Jack  Carter) next. Tzvetan Todorov’s theory of narrative structure is a very simple way of explaining filmic narrative. The following is a point from the theory followed by an example of this from the film ‘Armageddon’. â€Å"A state of equilibrium†. Everything in the world is fine. People getting on with their run of the mill lives. The main star is seen grafting on an oil rig. â€Å"A disturbance of that order by an event†. NASA discover a big ass rock coming to earth at an enormous speed. We also see New York get hit by a meteor storm which emphasises the enormity of this event because the rock was able to squash such big and strong city like New York. â€Å"A recognition that the disorder has occurred†. NASA devises a plot to stop the rock ending all life on Earth, by sending a bunch of drillers to land on it, dig a hole, set of a nuclear bomb and come home heroes. â€Å"A return or restoration of a NEW equilibrium†. The rock is blown to shreds and th e world is saved, so that now everyone can continue grafting for pittance just like before. The new equilibrium is emphasised by the shot of the wedding at the end with the photo of the people who died during this event, so there is less characters so its different from the original equilibrium. This new equilibrium is necessary or otherwise there would be no difference between the start and the end of the film so it would be pointless to watch it if nothing interesting has happened in the main event. So when a film is viewed in this way we get a better understanding of the plot because we realise that its not a straight linear concept, but a circular one. Otherwise how do we get back to the equilibrium if it goes straight. But it can also be argued that it is not a circular process because its not going back to a equilibrium like before but back to a new equilibrium so effectively its going in a linear structure. The narrative in the film is driven by attempts to restore equilibrium. But Todorov’s theory does not end there. Oh no. Todorov also argues that narrative involves a transformation. The characters or the situations are transformed through the progress of the disruption. E.g. Halloween. In this film Laurie Strode starts out as a geeky teenager who is more concerned with her lessons than boys. â€Å"Shit, what, I forgot my chemistry book†. â€Å"Hey Laurie I just got you a date with that boy you like. Oh no please tell me you didn’t. I sure did. OK th en you gotta ring him on  the morning and cancel the whole thing†. But then at the end of the story (which concludes at the end of the sequel Halloween 2) she is a much stronger character. This is emphasised with the character in Halloween H20 where we see how much she has moved on from geeky teenager to a confident, strong, energetic mum. Vladimir Propp believes that the characters in a film have a narrative function in the text. Characters are there to help provide a structure for the text. He found eight basic characters who perform a certain function. Following are the eight characters and with examples of their counterparts in some famous films. The HERO. In ‘The Matrix’ Neo is the person who on a quest for something gets drawn into a world of UN-reality and comes out the unlikely hero after being trained to realise the truth. This is a common action/thriller genre film technique, because it helps the audience feel related in a way to the hero because you realise that it could happen to anyone of us. This is used in ‘Enemy of the State’. Will Smith is the usual nothing and ends up learning how to outsmart the American Government, which are so hard to outsmart apparently. The VILLAIN. In Halloween the villain is the maniac killer Michael Myers. As with most horror films at least the villai n (a killer more times than not) is a psychopath. E.g. ‘Friday the 13th’, Mrs Voorhees is the shock killer, her son was killed in the opening of the film. ‘Nightmare on Elm Street’. Freddie Kruger is the mysterious killer who slashes people up in their sleep. In ‘Night of the Living Dead’ zombies are the weird dead things that try and kill everyone. In ‘The Texas Chainsaw Massacre’ its a family of freaks that lure people in and then kill’em. These are the films that scare people. The Villains that shock people are the ones that you cant see. Such as the devil in ‘The Exorcist’ or the witch in ‘The Blair Witch Project’. The reason why the films worked was because the viewer was taken into a world of un-reality and this scared people. It let them be witness to what reality would be like in a unreal society. But more recent horror attempts such as the ‘Scream’ trilogy and ‘Children of the Corn’ use real people as the freaks who go on killing sprees. This kind of film scared film fans because it gave the impression that anyone can turn into homicidal maniacs. These film’s wer e not as praised as the old fashioned films by big horror fans such as myself because  it tries to play the audience into believe something which is already happening in the world, whereas most people go to see films to get away from reality, the new sort of horror film just shows you real life situations. The DONOR. In my view the donor in 90% of films is the narrative. The reason being that in most films the plot is for the good guy to defeat the bad guy. This can be by arresting them, killing them etc., but it doesn’t really matter. The donor provides the object for the hero to go for, or the heroes goal, and this in most films is the neutralisation or stopping of the bad guy. So when looked at like this we see that its the films presentation that provides the goal for the hero. The DISPATCHER. The dispatcher in a film is the person who sends the hero on their way. In the film ‘The Lion King’ the dispatchers are Nala and Moustapha. The reason why it’s these two is because they persuade Simba to go after Scar and regain his kingdom as the king. These are one of the key characters in the story because if it wasn’t for them the hero would no nothing to try and fix the situation. The FALSE HERO. The false hero in the film ‘The World Is Not Enough’ is the character Electra. She appears to be on the side of the hero (James Bond) but then turns against him. She provides him and M with informati on that appears helpful to their cause but we then realise that its part of a trap, between her and the bad guy. This character is very important to the flow of a film because it provides the viewer with a reason to then go on and hate that character, because we relate to the hero and as that person has screwed the hero we therefore feel that she has screwed us to. So in a way it personalises the character with the audience. The HELPER. The helper in a film is the person that seems knowledgeable in a certain aspect of the plot and then goes onto help the hero. The helper in ‘Halloween’ is Sam Loomis. This character is usually a person who for some reason knows the actions of the bad guy. In the case of Sam Loomis he is the doctor of Michael Myers. This helps him know what the killer will do next. He tells the sheriff that the killer will return to Haddonfield to try and kill his one surviving relative Laurie Strode. If it wasn’t for this character the hero would have no chance of stopping the bad guy because he knows absolutely nothing about it. Its also the same in ‘E nemy of the State’. The helper Gene Hackman (Brill) is the person who knows all about surveillance, the US governments capabilities, so therefore can help the hero (Will Smith) overcome the  challenge that the narrative of the film has set out. The PRINCESS. The princess in a film is the sexual reward for the heroes good work. The princess in ‘Armageddon’ is played by Liv Tyler and is the reward for the partial hero’s (Ben Afflleck) hard work in saving the planet from total destruction. The princess character is very important to the conclusion if the film because it is possible for the men to relate to it. The way is that the typical family picture in the world today still is that man goes out to work, women cleans the house and kids go to school. The man comes home from work and gets some sex for all his work, just like the hero in the film. Also like in ‘Gone in 60 Seconds’, Angelina Jolie is the reward for Nicholas Cage’s efforts at stealing 50 cars in one night. The FATHER. The father in ‘Armageddon’ again is Bruce Willis. The role of the father is to reward the hero for a job well done. In ‘Armageddon’ the reward for good work is being able to live with the fathers daughter, because the father rewards him for good work by staying on the rock and choosing to die himself. The father in the film also acts as the man with all the knowledge that holds the group together. In ‘Gone in 60 Seconds’ the father Auto (Robert Duval) acts as the all powerful, all knowledgeable person who’s been there before and therefore is the person who can guide all the younger ones in the right direction. All of these eight points of characters carry the film. Not just one but all of them. When looked at in greater detail Propp’s theory we realise that its the way we sub-consciously look at the characters that makes the viewer thank anything of a certain film. In conclusion narrative and narration are the key elements that make a film what it is. All the above theories are vital, when it comes to reading a film in detail. These theories are useful because they make us view the film in a different way than you normally would. They help you to understand what the importance of certain characters and effects are. They help the viewer view key elements in totally different ways and to understand them in a much deeper detail than before. E.g. When I first saw ‘Halloween’ I saw Sam Loomis as an old doctor who seems a bit crazy upstairs. I thought his importance in the film was minimal and that he was only there to involve a British dude; and now when I watch the film I can realise how important his character is to Laurie Strodes quest to kill the Shape. If it was not for  him no one would have any idea of his intentions and that he would return to Haddonfield. So basically you’re decision as to weather you like a film or not can be identified by breaking down the certain aspects of a film down into questions. I.e. How do the films narrative functions effect you’re overall perception of the film.? How does the films narration effect the way you perceive the film. When you look at Todorov’s theory of narrative structure how does your view of the film change from the one you had of it before you compared it to the points Todorov makes in his theory? How does Propp’s theory of characters and narrative function make you look at the characters when you also look at the eight points outlined in his theory? All this along with all the stuff to do with camera movement, use of sound, use of lighting, use of Mise-en-scene and the way the plot is portrayed all help you understand a film in a deeper way than before.

Unbiased Report Exposes the Unanswered Questions on College Essay Samples Yale

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Leadership And Change Leadership Development - 852 Words

Introduction As defined by Katzenbach (1995), change leadership is â€Å"the process whereby individuals who lead initiatives that influence dozens to hundreds of others to perform differently—and better—by applying multiple leadership and change approaches.† Leadership alone is defined as setting a direction and developing the strategies necessary to move in that direction – that is, creating and achieving a vision – leadership is thus a process to do with change (Kotter 1999). Change leadership is critically important to the continuing success of organizations everywhere. Tennant Company understands and invests in change leadership by employing a Sr. Organization Development Manager named Annelise Larson, M.B.A. whose efforts includes setting direction, developing strategies, and leading initiatives through organizational change efforts. An interview was conducted with Annelise Larson to discuss and learn about her change leadership abilities. For the purp oses of this paper, the interview questions will be shared, a summary will be provided, and five recommendations are made for Annelise Larson as a change leader. Change Leader Introduction and Interview Annelise Larson is a passionate Organization Development (OD) professional who obtained her Master of Business Administration degree from Saint Thomas University in 2011 (A. Larson, personal communication, October 8, 2014). She has been employed by Tennant Company, a global manufacturer of industrial and commercialShow MoreRelatedLeadership And Change : Organization Development ( Od ), And Emergent Change1628 Words   |  7 Pagesopportunities before their competitors. The best method to change is the one that blends best innovations and practices (Leading Change, n.d.). This implies that the approach should be able to balance innovation with organizational performance and embrace strategic experimentation of the new systems without any risking (Leading Change, n.d.). 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