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Concepts Derived From Observed Movement Patterns Represented By Visual Forms

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Concepts Derived From Observed Movement Patterns Represented By Visual Forms

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Content This dissertation has been
microfilmed exactly as received 6 8-7173
ALLEN, Dorothy Jean, 1936-
CONCEPTS DERIVED FROM OBSERVED
MOVEMENT PATTERNS REPRESENTED BY
VISUAL FORMS.
University of Southern California, Ph.D., 1968
Education, physical
University Microfilms, Inc., Ann Arbor, Michigan
Q Copyright by
DOROTHY JEAN ALLEN
1968
CONCEPTS DERIVED FROM OBSERVED MOVEMENT
PATTERNS REPRESENTED BY VISUAL FORMS
by
Dorothy Jean Allen
A DlBBertatlon Presented to the
FACULTY OF THE GRADUATE SCHOOL
UNIVERSITY OF SOUTHERN CALIFORNIA
In Partial Fulfillment of the
Requirements for the Degree
DOCTOR OF PHILOSOPHY
(Physical Education)
January 1968
UNIVERSITY O F SOUTHERN CALIFORNIA
T H E GRADUATE SCH O O L
UNIVERSITY PARK
LOS A N O ELE8, CA LIFO RN IA 9 0 0 0 7
This dissertation, written by
........... D o r o t h ^ ^ ..........
under the direction of .Dissertation Com
mittee, and approved by all its members, has
been presented to and accepted by the Graduate
School, in partial fulfillment of requirements
for the degree of
D O C T O R OF P H IL O S O P H Y
Z f i & S x C.
Dean
Da t e 1968
DISSERTATION COMMITTEE
Chairman
Between the conception and the creation
Between the emotion and the response
Falls the Shadow
. . . T. S. Eliot
TABLE OF CONTENTS
CHAPTER PAGE
I. INTRODUCTION............................... 1
Purpose of the study
Hypotheses
Statement of the problem
Assumptions
Limitations
Definitions
Significance of the study
Organization of the remaining chapters
II. PATTERN-FORMING PROCESSES OF M A N .......... 8
Perception
Symbolic transofmratlon
Concept formation
Meaning in creative forms
III. PROCEDURE................................. 18
Procedure
The visual forms
The subjects and groups
The response sessions
Analysis of the data
IV. ANALYSIS AND DISCUSSION OF THE FINDINGS • • 30
Initial interpretation: Levels,
fluency and groups
Series I: Levels, fluency, attitudes
and oonoeptual relationships
Series II: Levels, fluency, attitudes
and oonoeptual relationships
Series I - II: Summary relationships:
Levels, fluency> conceptual groups,
and common oonoepts
Discussion
V. SUMMARY, CONCLUSIONS, AND IMPLICATIONS . . . 158
Conclusion
Implications
V
CHAPTER PAGE
BIBLIOGRAPHY .................................. 166
APPENDIX...................................... 172
LIST OF TABLES
TABLE
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
11.
12.
13.
PAGE
Summary of Groups.......................... . 35
Concepts Expressed on the Form Level .... 37
Concepts Expressed on the Idea Level • • • • 38
Concepts Expressed on the Feeling Level . . . 39
Response Levels, Fluency, and Common
Concepts Between Sessions and Groups for
Series I - Transparency 1 ...............
Response Levels, Fluenoy, and Common
Concepts Between Sessions and Groups for
Series I - Transparency 4 ...........
Response Levels, Fluency, and Common
Concepts Between Sessions and Groups for
Series I - Transparency 9 .............
41
Response Levels, Fluency, and Common
Concepts Between Sessions and Groups for
Series I - Transparency 2 ................. 42
Response Levels, Fluency, and Common
Concepts Between Sessions and Groups for
Series I - Transparency 3 ................ 43
44
Response Levels, Fluency, and Common
Concepts Between Sessions and Groups for
Series I - Transparency 5 ................ 45
Response Levels, Fluency, and Common
Concepts Between Sessions and Groups for
Series I - Transparency 6 ................ 46
Response Levels, Fluency, and Common
Concepts Between Sessions and Groups for
Series I - Transparency 7 • 47
Re8porise Levels, Fluency, and Common
Concepts Between Sessions and Groups for
Series I - Transparency 8 ................ 48
49
!TABLE
14.
15.
16.
17.
18.
19.
20.
21.
22.
23.
24.
25.
vll
PAGE
Response Levels, Fluency, and Common
Oonoepts Between Sessions and Groups for
Series I - Transparency 1 0 .............. 50
Summary of Common Concepts for Series I • • 91
Response Levels, Fluency, and Common
Oonoepts Between Sessions and Groups for
Series II - Transparency 1 ............... 94
Response Levels, Fluency, and Common
Concepts Between Sessions and Groups for
Series II - Transparency 2 ............... 95
Response Levels, Fluency, and Common
Concepts Between Sessions and Groups for
Series II - Transparency 3 ............... 96
Response Levels, Fluency, and Common
Concepts Between Sessions and Groups for
Series II - Transparency 4 ............... 97
Response Levels, Fluency, and Common
Concepts Between Sessions and Groups for
Series II - Transparency 5 ............. 98
Response Levels, Fluency, and Common
Concepts Between Sessions and Groups for
Series II - Transparency 6 ............... 99
Response Levels, Fluency, and Common
Concepts Between Sessions and Groups for
Series II - Transparency 7 ............... 100
Response Levels, Fluency, and Common
Concepts Between Sessions and Groups for
Series II - Transparency 8 ............... 101
Response Levels, Fluency, and Common
Concepts Between Sessions and Groups for
Series II - Transparency 9 ............... 102
Response LevelB, Fluency, and Common
Concepts Between Sessions and Groups for
Series II - Transparency 10 •••••.. 103
vili
TABLE PAGE
26. Summary of Common Concepts for Series II . • 142
27. Summary of Common Concepts for Movement
Categories ............... 152
LIST OF ILLUSTRATIONS
FIGURE PAGE
1. Series
Jump
- Transparency 1— Standing Broad
51
2. Series I - Transparency 2— Basketball
Lay-Up.................... .............. 55
3.
Series - Transparency 3— Tennis Drive • • 59
4. Series - Transparency 4— Cartwheel • • • • 63
5. Series - Transparency 5— Discus Release •
67
6. Series - Transparency 6— Badminton Smash •
70
7. Series - Transparency 7— Running Start • • 74
8. Series - Transparency 8— Overarm Throw • . 78
9.
Series - Transparency 9— Volleyball Spike
81
10. Series - Transparency 10— Walkover ....
85
11. Series
Jump
I - Transparency 1— Standing Broad
104
12. Series II - Transparency 2— Basketball
Lay-Up •••• .......................... 108
13.
Series I - Transparency 3— Tennis Drive . . 111
14. Series I - Transparency 4— Cartwheel . . • 115
15.
Series I - Transparency 5— Discus Release •
119
16. Series I - Transparency 6— Badminton Smash
123
17. Series I - Transparency 7— Running Start •
126
18. Series I - Transparency 8— Overarm Throw • 130
19.
Series I - Transparency 9— Volleyball Spike 134
20. Series I - Transparency 10— Walkover . • . 137
21. A Schematic Representation of Meaning
in Selected Movement Patterns .......... 151
CHAPTER I
INTRODUCTION
Han's whole world of meaning Is expressed in
i
several kinds of symbolic forms and each kind has its
!
unique human function. Significance is not limited to j
!
literal meanings but also extends to the symbols which j
objectify the patterns of feeling found in man's inner
i
life. Man engages in movement for many purposes, and as j
he does so, he seeks out and retains those experiences j
I
which are meaningful to him. The class of phenomena |
which can be grouped under the term movement (exercise, |
sport, dance) must be considered, both perceptually and |
aesthetically, as a significant dimension of human
existence. This study was concerned with an investigation
of the meanings in movement patterns.
Purpose of the Study
The intent of this study was to investigate the
representation and expression of meaning associated with
i
movement patterns in order to understand more clearly
possible relationships between meaning and movement. The
visual representations of patterns which were the bases
for this study gave permanence to the essentially
transitory phenomenon of movement. When a movement
performance Is photographed, there results an image which
may be perceived as structured sequences of patterns (18),
and these may suggest ideas and feelings (19)*
Hypotheses
In still photography, aocording to Ruesch and
Kees (38), the nature of the pathway that a moving object
produces may have highly significant communicative value.
The pattern-forming processes of man and the expressive
function of patterns in creative formB, apart from their
literal content, suggested the following hypothesis:
(1) Structured movements, when abstracted and represented
in visual forms, result in patterns which may be inter
preted to have meaning beyond that of the movement
performance itself. (2) Such meanings may be expressed
verbally on the denotatlonal and connotational levels of
meaning. (3) Responses to the observed visual forms may
change with a change in the representation and presenta
tion of the visual forms.
Statement of the Problem
The problem was to Investigate the possibility
that responses can be made to observed movement patterns
when such patterns are represented in visual forms, and
that these responses can be described and Interpreted.
More specifically, the problem was to describe and
interpret relationships among responses when two groups of j
subjects observed visual forms in different orders of
i
presentation; to describe and interpret relationships
among responses when such responses were made to the same
visual forms, during two separate response sessions; to
describe and interpret relationships among responses when |
such responses were made to literal and more abstract j
representations of movement patterns; and, to synthesize
relationships among responses into a schematic representa-
tion. j
I
Assumptions
The following assumptions were basic to the study:
1. There is need for a greater understanding of
the nature of meanings in movement, as such understanding j
should increase man's conception of movement and deepen
his experience in movement.
2. Man is motivated to seek meaning, to establish
perceptual order.
!
3. Meanings can be evoked from the recognition of
form; this form may be called a symbol, and is susceptible
to further interpretation.
i
4. Concepts are tools with which man is able to
interpret experience.
5. The two groups of subjects, designated as
"set" and "non-set", were assumed to be representative of
4
the population.
6. Subjects can express valid responses as a
result of their experiencing.
Limitations
The source of data was limited to the responses of
107 women students enrolled in the Fundamentals of
Physical Efficiency classes at the University of Southern
California during the Spring semester, 1967* The study
was limited further by each subject's ability to respond
and this investigator's ability to interpret such data
accurately. The visual forms which were the bases for
this study were limited to those chosen by the investi
gator! and were based upon her understanding of movement
which was partly achieved as a result of a preliminary
investigation of responses to similar visual forms (59)*
Definitions
In order that the reader may understand certain
terms as they are used in this study, the following words
and phrases are defined below:
Literal movement patterns.— A sequence of super
imposed images of body positions, represented by strobo
scopic time photography, whioh are oharaoterlBtic of
specific structured movement patterns.
Abstract movement patterns.— A sequence of body
movements, abstracted from specific structured movement
i
performances and represented by time photography*
Abstraction.—’The separation of movement pattern
from its functional form, the performance. j
Meaning.—-A conscious experience which emerges |
when potentially meaningful signs, symbols, and concepts j
I
are related to and incorporated within an individual's
I
cognitive structure.
I
Symbol.— A vehicle for thinking about or conceiving j
form and aotion. It suggests meanings. I
I
Concept.— A verbal response made to visually
perceived movement patterns which were represented in
visual formB.
Form. — The formulation of details of lines and
i
volumes into an entity which, when perceived, makes mean
ing possible for the peroelver. For the purpose of
Interpretation of conceptual responses, form is the
factual meaning denoted by the perceiver.
Idea.— Symbolic meaning which was expressed in ■
writing by the perceiver.
Feeling.— Symbolic meaning, in the form of feel
ings and attitudes about the visual forms, which were |
expressed in writing by the perceiver.
Significance of the Study
If movement is the focus of the study called
physical education* it seems imperative to investigate
this phenomenon from many approaches so that it may he
understood more deeply and clearly* Many contemporary
thinkers and writers* whose concern is focused upon
humanistic man and his existence, have expressed the theme
that man is motivated to seek meaning in his life. Man's
whole world of meaning is expressed in several kinds of
symbolic forms* both verbal and non-verbal, and each kind
has its unique human function. An important question to
be asked by those whose concern is human movement is:
What is the unique function of movement within man's
world of meaning? In the past, movement has been analyzed
kineslologically but not from the point of view of con
ceptual analysis. To study the meanings which may be
formed about movement requires a new method of represent
ing and apprehending movement. Solution of the problem of
this study required the Investigator to attempt to dis
cover such a method.
Organization of the Remaining Chanters '
Chapter II presents the development of the
rationale of the investigation; this was based upon an
understanding of perception, symbolic transformation, oon-
cept formation, and meaning in creative forms.
In Chapter III, the procedures used in the develop- i
i
ment of the visual forms, the selection of the respondents,
the methods employed in oollecting the responses, and the
procedures for analyzing the responses are described. The
findings are presented, analyzed and discussed in Chapter
IV.
Chapter V presents a brief summary of the study, a
i
summary of the major findings, and the conclusions drawn
from the findings. A presentation of implications is
found in Chapter V.
CHAPTER II
PATTERN-FORMING PROCESSES OF MAN
Available literature in education, physical edu
cation, psychology, philosophy and art deemed relevant to
!
the problem was studied. An understanding of the pro- j
i
cesses of perception, symbolic transformation, concept j
formation, and meaning in creative forms was considered
i
basic to the solution of the problem of this study. No ;
i
specific investigations, however, were found which
related directly to the problem of the present study.
i
Allport, in discussing patterning processes,
stated that, "An event, defined as an encounter, cannot be
!
fractionated; it simply 'occurs'. There cannot be
'degrees' of an event • • . and the same is true of the
patterning of events ..." (1:619). In the present study
a Gestalt view of man and the way in which he organizes
and expresses his energy systems was taken. Man's inter
pretation of stimuli comes from the way he organizes his i
j
perceptions and the concepts that he develops. Read !
!
stated that there is a "unitary principle which is emerg
ing as the explanation of all phenomena within the range
of human perception and understanding." (47:v) This
unitary prlnoiple is the essential pattern-forming nature
of the perceptual and Intellectual processes of man.
Many other writers have discussed this basic unifying
principle in experience (6), (44), (26).
Perception
Perception is essentially a pattern-selecting and
pattern-making function which is inherent in human pro
cesses and its coordination depends upon the patterning j
i
nature of a highly integrated nervous system. Perception j
and its integration are the only means man has of relating j
to the world. Head stated that, "Perceptions resulting in [
images, sensations resulting in feelings— these are the
elementary materials out of which we build our conception
i
of the world . • ." (33:56). Kohler in his early work
in psychology found that all experiences are unified in
the brain, whether they be sensory, affective, or motor.
Perception has a phenomenological as well as a physio
logical character. Perceptual patterns, according to
Read, "... are effective and ontologically significant
by virtue of an organization of their parts which can
only be characterized as aesthetic . • ." (47:iv). Per
ception involves percepts, and responses about the per
ceptual experience are made possible by receptors,
neural impulses, cortical patterns, and motor elements;
perception is also influenced by "sets" or bodily states
such as need, motivation, and emotion.
In the search for meaning, man strives to organize
what he knows into coherent patterns. This tendency is an
10;
i
integral feature of the perceptual process. In man, the
perception of form or Gestalt is the basis for knowing,
and in this process, concepts, principles and other pat
terns from past experiences are embraced and related to
the immediate situation* Perception, according to Mooney,
is . • a creative phenomenon, * . ." (29:79)* The
response of the mind to any act of perception is not an !
!
isolated event, in that a perceptual experience may evoke
a personal feeling and become symbolic. In the discern-
ment of a perceived event or feeling there are factors no
less real than the event itself* The significance of a
particular form, to its perceiver, depends not only on its i
actual shape and structure, but also on the formative
processes of his perception, his personal needs and
tensions and his Bocial and historical context* Blgge
stated that
What one perceives— one *s reality— consists of
what one makes of what seems to be oneself and one's
environment. Depending on the habits— insights or
understandings— a person brings to a particular
occasion, he seems to give meaning and order to
things in terms of his own needs, abilities, and |
purposes. (7:184)
Hunt has conceived of perception as being "• • •
i
the process of screening and relating percepts, embracing
j
reorganization and reconstruction from past percepts and
concepts." (58:75)
Vernon stated that ". • • the normal adult can
extend and Interpret his immediate perceptions * * . by
means of Ideas and Images which have become Integrated
with his perceptions." (44:137)
Walter explained man's responses to relationships j
I
among peroeptual forms as a physiological phenomenon. j
Perception of Image Is communicated to the areas |
of the brain In which there 1b cognition— awareness
of sensory perception, or recognition of things,
remembrance and association of them with other
remembered sensory Impressions and all their as
sociated thoughts, feelings, and Ideas. (46:103) i
Perception Is Important because It Is a pre
requisite to cognition. Perceptual Inferences are con-
i
tinuous as one moves to conceptual activities. Langer
has pointed out that all thinking begins "... with some
basic formulation of sense perceptions • • • For all i
I
thinking Is conceptual and conception begins with the
comprehension of Gestalt." (23:224)
Symbolic Transformation
Experiencing per se does not guarantee meaning.
It Is only when symbols are linked to that which is per
ceived that meaning arises. Symbols become meaningful
and evoke human responses when a perceiver projects mean
ing Into them and responds In terms of meaning. Meaning
Is the matrix In which all knowing takes place. Knowing
is the recognition, interpretation and response to symbols;
in this way the world is Identified and made meaningful
and understandable in terms of basic concepts and assump-
tions. Cassirer (9) has called this process of transform- I
lag sensory percepts Into concepts or symbolic forms of j
experience "symbolic transformation•" In this eplstemo-
logioal theory, the human brain is constantly carrying on
a process of "symbolic transformation" of its experiential
data. Cassirer pointed out that I
Between the receptor and effector system, . . .
we find in man a third link which we may describe
as the symbolic system. This new acquisition trans
forms the whole of human life . • • man lives • . •
in a new dimension of reality. (9:24) !
i
The mind "makes sense" out of sensory perception, in that i
it symbolizes reality-as-perceived-through-the-senses. j
i
Human responses then, according to Langer (23), are the
i
expressions of the meanings which men find in the thoughts
that symbolize their emotional-intellectual comprehension
of reality.
Ittelson and Cantril, in their study of perception,
stated that "• • • it is impossible to have any perception i
which is devoid of symbolic content." (15:19)
Symbols share with concepts the property of not
i
possessing the properties of the entities they represent. |
I
!
Symbols are basic to concepts and serve to initiate and
facilitate thinking, thereby conceptualizing its meaning, i
According to Read, "Symbols are visual loons that anti
cipate the development of the concept." (34:39)
1 3 j
|
Concept Pormatlon •
i
i
A concept is a construction of a Gestalt derived
from perceptually oategorized events, and is formed
through an intellectual operation in which all the
elementary mental functions participate In specific
pattern-forming processes. It is a selective mechanism, !
j
tying together sensory impressions, thus aiding in the
identification and classification of objects (45). Con
cepts represent what is symbolized and are the intellectual |
tools that man uses in organizing his environment and !
coping with his problems, and in relating coherently with
hie external world. Johnson has described a concept as
"a spherical pattern, with a center of precise meaning and l
a periphery of connotations." (16:232)
At the level of concepts, the tendency is to
organize meaningful patterns of experience in the same
manner as perceptual processes. This may take the form
of some introspective activity during which the concept
is developed, assessed and re-assessed until it becomes
i
assimilated with the remainder of man's ooncept organiza- 1
tion. This consolidation may be applied to external con- |
orete situations, the attitude of olosure changing to an
open one, thus allowing further perceptual organization
and concept formation. In this way, human perception may
be conoeptualized to an indefinite extent. Man's reaction
14 I
j
to stimuli by understanding or interpreting the meaning of
such stimuli necessitates the employment of concepts. In
order to communicate experiences, they must be expressed
in conceptual forms which human society regards as a unit
and calls symbolic forms. When man peroeives, remembers, j
i
thinks or wills, he also means. Bartlett has stated that j
every human cognitive reaction can be regarded as Nan
effort after meaning" (5:44).
I
Meaning in Oreatlve Forms |
!
The essential unity of primary Bense experience
(the percept) and intellectual evaluation (the concept)
makes the artistic form unique in human experience. Form
is formulation, according to Shahn (41), the turning of
attitudes, intrinsic meanings, connotations (content)
into a material entity which becomes accessible to the
perceiver. It is "• • • the visible shape of content."
(41:71) Read stated that "Form activates feeling."
(35:61) Visual formB— lines, colors, proportions— are
capable of articulation, and present their elements
simultaneously so that their viBual structure may be
!
grasped in one act of vision. No visual pattern is only
itself. It always represents something beyond its own
existence— that is, the pattern is the formulation of
some content. The visual form achieves a significance of
i
its own and its meaning is intrinsic.
15
Abstraction is inherent in the creation of a
I
symbolic form. Creative forms such as art, music, poetry
I
and dance, according to Read (35)» have patterns which, |
!
when abstracted from their literal content, have ex
pressive function. A poem has a sound pattern which can
be abstracted from the literal oontent of the poem, just j
I
as the pattern of a visual form has an expressive func- |
tlon when abstracted from its literal content. In all |
i
created forms, images are created and perceived as
structured sequences of patterns. Such images are in
essence, symbolic by their very structure, because their
forms find access to the Intellect and the emotions.
Photographing a movement performance results in an image
which may suggest ideas and feelings, acoordlng to Kepes j
(18) (19)» and these images may be perceived as structured !
sequences of pattern.
The purpose of created forms is not to expend
feeling, or excite feeling, but rather to give feeling
form, to find its "objective correlative," so that it can
be recognized for what it is. Sheets (42) has indicated
that this is the purpose of dance as a creative art form.
The movement patterns in dance create an illusion of feel- j
i
ing rather than the feeling itself; patterns give form to
i
feeling. The present investigator asked a similar
question with reBpeot to movement patterns in sport and
the nature of their meanings. As movement is described
through space and time, Is the form which appears the
"shape of content?" !
The concepts formed about visual forms, according
to Panofsky (28), can be embraced on three levels of mean- j
ing: (1) The primary or natural subject matter which may j
be apprehended by identifying pure forms (line, color,
direction), as representations of natural objects and !
!
events. (2) The secondary or conventional subject matter j
(images) which ariBes out of a feeling response to the |
pure forms and may include specific themes, concepts, and
i
personifications. (3) The intrinsic meaning (content)
which is interpreted from the pure form and a feeling |
response (images) to the form. Panofsky has adopted these ,
levels of meaning to interpret meaning in works of art. |
Hetheny (25) has theorized about the meaning of
i
, i
movement along the same lines of reasoning as Oassirer s j
theory of symbolic forms. The theory of symbolic forms
states that any physical form is a symbolic form if it
j
signifies, denotes, or connotes some elements of meaning. j
i
1 word may signify an event or relationship; it may denote j
or name the essential oharaoter of an event or object;
i
and, it may connote feelings, implications, or concepts
about an event or object. Metheny has stated that
the public form of a movement pattern has the
power of connotation, as well as the powers of
denotation and signification. It may, therefore,
be identified as a symbolic form or a formulation
of meaning. (25:74)
The levels of meaning which were employed in this
study in interpreting responses were based upon the work
of Cassirer* Panofsky and Metheny, as well as on a
preliminary study of similar visual forms made by this
investigator (59)*
CHAPTER III
PROCEDURE
i
I
The purpose of this study was to Investigate the I
i
i
representation and expression of meaning associated with j
movement patterns in order to understand more clearly
i
possible relationships between meaning and movement. The ]
specific problem was to investigate the possibility that j
!
responses can be made to observed movement patterns when !
Buoh patterns are represented in visual forms, and that
these responses can be described and interpreted. ThlB
investigation was concerned further with possible inter- j
j
pretlve changes which might result when the representation |
and presentation of visual forms were altered. j
i
An effort to solve this problem was based on the j
i
following rationale: There is a unifying-pattern-forming
principle which underlies all of man's perceptual and
i
intellectual processes, these processes being dependent
upon a highly Integrated nervous system which coordinates j
|
and continually reorganises all experiences within the
context of needs, abilities and past experiences. Man's
perceptual experiences are transformed into symbolic
i
forms, or concepts out of which all meaning arises, and
from which the expression of meaning is Initiated and
facilitated. In all creative forms there are patterns
which may he abstracted from the literal content of the
form, and which have intrinsic meanings. The theory of
symbolic forms and Panofsky's interpretation of meaning in
works of art suggest that meaning can be described and
interpreted.
i
i
Procedure
j
In the present chapter, the development of the
visual forms, selection of subjects and groups, the
I
response sessions, the procedures for the analysis of the
data and the consistency of the subjects' responses and j
i
the Investigator'8 Interpretations are presented. j
One hundred and seven women students- enrolled in |
i
six sections of the course, Fundamentals of Physical Ef- j
ficlency classes at the University of Southern California
during the Spring semester, 1967, were selected as sub-
!
jects for this study. From the population of clasB
i
sections, as selected by the Investigator, each section was I
randomly drawn and designated as "set" or "non-set". The f
l
visual forms were observed and responded to by the subjects j
on two separate occasions, one week apart.
The visual forms were black and white transparen
cies of ten sport and gymnastic movements. These
I
transparencies were made by two time photography techniques,
I
distinguished by the source of lighting employed. The ten j
movements which were employed were selected on the basis of i
20 |
a preliminary study and a predetermined classification of
movements. :
i
The data consisted of the written responses made by I
i
the subjects after observing the transparencies; all data
were collected in group sessions. The subjects were con
tacted initially by the class instructor during the class j
!
meeting prior to the first response session. The standard !
i
i
set of instructions was read at this time and repeated
during both subsequent response sessions. No instructions
were given regarding the nature of the transparencies nor |
]
of the purpose of the study. The subjects, by a method of j
!
free association, were asked to respond to the twenty
transparencies; they were asked to write the concepts (in
a single word, or in short phrases) which were suggested to
them by each transparency, and to evaluate each trans
parency with respect to a favorable, unfavorable, or
neutral response.
The data, derived as indicated previously, were
/ !
treated descriptively with respect to both the quantitative i
and qualitative aspects of the responses. This was neoes-
sary in order to study the nature of the responses and the
relationships among them.
The VlBual Norms
i
A preliminary study was conducted, the purpose of
which was to investigate the u b s of photography as a
21 !
i
i
medium for representing movement patterns in visual form
i
(59)* This Investigation Involved free association
responses to color transparencies of various movement j
i
i
patterns and provided some basis for the selection and j
presentation of the movement patterns utilized in the |
!
present study. The nature of the responses indicated some
tendency for the subjects to respond to the colors of the j
transparency; this pointed out the need to eliminate the j
color variable from future visual forms. The trans- |
j
parencles used in the present study therefore were black
i
and white. |
Since movements which generally are considered j
"sport1 1 movements are many and varied* this Investigator j
deemed it necessary to devise some means of classifying
the movements which were used in both the preliminary study J
and in this Investigation so that various "types" of
movement patterns would be represented equally. An
evaluation of the responses made by a "Jury of experts"
(as defined in the preliminary study) to a group of sixty
colored transparencies and Informal questioning of
colleagues with respect to classification of movements*
provided some basis for the selection of the three move
ment categories and the ten movements which were the sub
ject of the final visual forms. The selection, by this
investigator* of the final ten movement patterns was based
i
further on equal representation within the three categories !
22
and the ten final movement patterns consisted of:
I. Total body orientation— movements which involve
the total body in space, moving from one place
to another (locomotion)* and/or a new orienta
tion to sp$oe such as an inverted body position.
Transparency 1 - Standing broad jump
Transparency 4 - Cartwheel
Transparency 7 - Running start
Transparency 10 - Pront walkover
II. Release movement— movements which involve the
release of an object, the force being applied
directly from a body part to the objeot.
Transparency 2 - Basketball lay-up shot
Transparency 5 - Discus release
Transparency 8 - Overarm throw
III. Striking movement— movements which involve the
striking of a moving object either with an
Implement or a body part.
Transparency 3 - Tennis drive
Transparency 6 - Badminton smash
Transparency 9 - Volleyball spike
The visual forms, which were black and white
transparencies of ten structured sport and gymnastic move
ments as defined previously, were represented by time
photography with strobosooplc lighting. These visual forms
are designated hereafter as "movement patterns— Series I".
The same movements represented by time photography but
with customary photographic lighting are designated here
after as "movement patterns— Series II". Stroboscopic
photographs (Series I) show the same figure at a number of
locations in a series of superimposed images. The sequence
of the locations forms a consistent path, and the Internal
changes of the figure, for example a change of poBture in
a leaping athlete, also occur gradually. The similarity
of the images and the consistency of the changes produce j
i
a perceptual whole. The time photograph under customary,
continuous photography lighting (Series II) represents
the moving figure in a more abstract and continuous
pattern of movement which eliminates the definitive Images j
of the figure. j
i
Three thousand speed, type fifty-seven, Polaroid |
film was employed for the Series I transparencies. A
Strobetac Type 15-31A lighting unit, set at 300/fpm I
(flashes per minute), with one auxiliary unit were the |
j
sources for the stroboscopic lighting. The camera lens
was set at f 16, with the shutter speed set for time. Mr. j
i
Donald Perrin from the Instructional Technology Department j
j
at the University of Southern California gave the
technical assistance which was required for the strobo
scopic photography.
A 35 mm oamera with Plus-X Pan film was employed
for the Series II transparencies. The source of lighting
I
was tungsten lighting from ellipsoidal stage lighting.
The camera lens was set between f 4 and f 5•*>, with the
i
shutter speed set for time.
i
The Subjects and Groups I
The subjects were 107 women students enrolled in
six sections of the required course, Fundamentals of
24 j
I
Physical Efficiency, at the University of Southern
California during the Spring semester, 1967* All the
class sections of this course were available to this !
investigator, so responses to the visual forms could be
elicited within a group situation. It was believed that
a group situation might eliminate some of the subjects'
inhibitions in responding freely, which might have been !
the case had they responded individually. Furthermore,
within the context of individuals' past experiences, edu-
I
catlonal or otherwise, it is more common and natural to
I
observe projected transparencies in group situations. j
The students enrolled in these classes became sub
jects for this study by virtue of their enrollment in one j
of the class sections chosen as a source of data. An
attempt was made to secure a representative Bample by
selecting classes which met at different times of the day
and were taught by different instructors.
From the population of class sections so selected,
each was designated randomly for inclusion in the "set" or
i
"non-set" group. The "set" group observed the Series I
(stroboscopic) visual forms prior to observing Series II;
the "non-set" group observed the Series II visual forms j
first. The only difference between the "set" and "non
set" group was the reversed order of presenting the two
series of transparencies. The order of presenting trans
parencies within each series was not altered. In summary,
25
the investigation involved four groups of subjects
designated as follows:
"Set" Group - Session 1
"Non-set" Group - Session 1
"Set" Group - Session 2
"Non-set" Group - Session 2
Each class section observed the visual forms dur
ing two separate response sessions, one week apart. The
order of presentation of the Series I and II trans
parencies was the same during each of the response
sessions. There were fifty-two subjects in the "set"
group and fifty-five subjects in the "non-set" group. A
subject was eliminated from this study if she did not
attend both response sessions.
The Response Sessions
Subjects responded to the observed visual forms;
the data (written) so secured were collected from members
of classes which were selected from the population of all
similar classes.
In developing the instructions which were to be
read to the subjects, every attempt was made to be ex
plicit while, at the same time, not to apprise the sub
jects of the nature of the transparencies or the purpose
of the study. The subjects were assured of the anonymous
nature of their responses and that there were no pre
determined "correct" responses. It was believed that a
26
free association atmosphere was created* The initial
instructions to the subjects were read by each class
Instructor during the class meeting prior to the day of
the first response session* No other instructions or
explanations were given until the actual response session.
The initial instruction form appears in the Appendix*
During the response sessions, further instructions
were read to the subjects by the Investigator, and time
was allowed for answering questions. Following the second
(final) response session, the investigator explained the
purpose of the study and time was allowed for questions
and general discussion.
The free association method, which allows the sub
ject to be relatively unrestricted in making hiB responses,
was used to elicit responses. Free association responses
are controlled only by a subject's set for the experiment
and thus are not unrelated to his set for other social
situations* The free response method can yield concepts
which may be classified* A discussion of the interpreta
tion of such free responses is presented in the Analysis
of the Data section of this chapter*
During the response session, the subjects were
instructed to respond, in written form, to the twenty
transparencies* One question only was posed for the sub
jects, to which they may or may not have responded: "What
form, idea, and/or feeling does the transparency suggest
2 7 !
to you?" It was emphasized that the categories of form, j
Idea, and/or feeling were given only as guides and should
In no way limit responses. The subjects were asked also
to evaluate their responses to the observed visual forms.
i
i
This was done by checking a column on the response form {
which read "favorable," "neutral," or "unfavorable." Bach j
transparency was projected on the screen for ten seconds; i
]
a sixty second response time was then provided. The
response form and written Instructions appear In the
; j
Appendix.
A second response session was conducted one week
after the Initial response session. This session, which
was conducted In the same manner as the first, gave a
second opportunity for the subjects to respond to the same
transparencies; this procedure allowed Interpretation, by
the Investigator, of the consistency of responses between
the two separate response sessions. A further explanation
of the Interpretation of these data Is presented In the
Analysis of Data section In this chapter and the results
of this Interpretation are presented In the Findings
section of Chapter V.
During the Initial response session, the subjects
were Informed that a second response session would follow
one week later; they were not Informed that the Investiga
tion would be repeated exactly after the first session;
and the subjects were requested not to discuss the trans-
parencies or their responses with anyone. They were asked !
I
to note their response form numbers so that they could be
identified by number, rather than name, at the second
i
session. |
i
Analysis of the Data !
i
i
i
The data were treated descriptively with respect to |
|
both the quantitative and qualitative characteristics of j
the responses and the relationships among the responses. j
!
A problem inherent in the free association method
is the necessity of interpreting the data so derived in a
I
subjective manner. In psychology and the social sciences
the classification of such responses has been called j
"content analysis" or "coding." For the present study, a
I
set of categories was developed which could be used as a !
!
basis for the interpretation of the freely expressed
responses. Results of the preliminary investigation (59)
indicated that the responses could be interpreted on the j
denotational and connotational levels of meaning, employ- |
i
lng for this purpose the following definitions: (1) Form !
i
is the factual symbolic meaning, the event, object, and j
i
pattern denoted in writing by the perceiver; for example, j
the event of running, a discus thrower, a circular
pattern. (2) Idea is the symbolic meaning connoted in
writing by the perceiver; for example, force, violence,
aspiration. (3) Feeling is the symbolic meaning connoted
in writing by the perceiver; for example, awkward, angry,
beautiful.
Data derived from the response forms were placed
into one of the above three levels of interpretation. The
initial interpretation was repeated by the investigator in
!
order to verify her consistency, and these interpretations
were found to be highly consistent.
i
Groups then were formulated within each response |
I
level. Analysis was made of the fluency of responses, the
"no response" responses, and the "general reaction
responses" for all Series I and Series II transparencies.
Percentages for these responses were determined and the
differences among the percentages were tested for slgnifi- !
cance using the "t" test. Differences were considered j
i
significant at the .05 level of confidence. Consistent
relationships within groups and concepts, and concepts
i
common between sessions and groups, were determined for
each transparency in both series. Corresponding trans- |
parencies in Series I and II were also compared for i
response levels, fluency of responses, group responses and
common concepts. A schematic representation of meaning in
movement patterns then was determined from the analysis I
of the responses for all transparencies in Series I and II.
This schema represents the general trend of responses and
their relationships; it is based on an analysis of all
transparencies, all groups and sessions.
CHAPTER IV
|
I
ANALYSIS AND DISCUSSION OF THE FINDINGS
The purpose of this study was to Investigate the
representation and expression of meaning associated with
f
movement patterns In order to understand more clearly I
possible relationships between meaning and movement. The |
specific problem was to Investigate the possibility that j
responses can be made to observed movement patterns when
isuoh patterns are represented In vlBual forms, and that j
these responses can be described and Interpreted. This |
Investigation was concerned further with possible Inter
pretive changes which might result when the representation •
and presentation of visual forms were altered. In this |
i
present ohapter the findings of the Investigation are
analyzed and discussed.
As explained previously, the responses were treated |
descriptively with respect to both quantitative and
I
i
qualitative characteristics of the responses and the j
relationships among responses. The findings are presented j
i
below In four sections which are titled: (1) Initial !
i
i
Interpretation: Levels, Fluency, and Groups. (2) Series j
I: Levels, Fluency, Attitudes and Conceptual Relation
ships. (3) Series II: Levels, Fluency, Attitudes and
Conceptual Relationships. (4) Series I and II Summary
Relationships: Levels, Fluency, Groups and Common
Concepts. !
i
Initial Interpretation: Levels. j
Fluency and Groups
i
j
The written responses whloh were made to the ob- j
served transparencies were analyzed on three levels of
Interpretation: (1) Form: the factual symbolic meanings, j
the event, object, and/or patterns denoted and recorded by
the perceiver. (2) Idea: the symbolic meaning connoted
by the perceiver, and (3) Feeling: the symbolic meaning
related to a feeling about, or an attitude toward, the
visual form. Analyses of the level and the fluency of
responses, Including an indication also of the lack of '
responses, were made. Further analysis was made of the |
nature of the responses by categorizing them into groups !
within each level of response.
An analysis of the responses for all trans
parencies indicated that 53 percent of all responses were
made on one level; 40.9 percent of all responses were
i
made on combinations of two levels; and 6.9 percent of
all responses were made on three levels. No general
i
tendency was found for subjects to respond within specific ;
combinations of levels, although certain tendencies ap
peared within the sessions and groups. These are noted
later in this chapter.
The greatest percentage (19*1 percent) of single
level responses appeared on the form level; 17*9 percent
of the responses were on the Idea level, 16 percent on
the feeling level, 15 percent on combined form and idea
levels, 13*9 percent on combined Idea and feeling levels,
12 percent on combined form and feeling levels, and 6*9
percent on a combined form, Idea and feeling level. In
arriving at these percentages, this Investigator consider-
ed instances where a subject Indicated Beveral concepts on !
i
I
the same level in a single response. Analysis of the
degree of responses for the three levels, when multiple
i
responses (more than one concept indicated on the same
level by one subject) were considered, indicated that the
greatest percentage of responses appeared on the form j
level (37.6 percent); this was followed by 35*9 percent on
the idea level, and 29.7 percent on the feeling level.
The differences among the percentages were not found to be j
statistically significant.
An analysis of the degree of "no response"
responses for all transparencies indicated that 51*9 per- ■
!
cent of the subjects recorded one or less "no response"
responses. The number of "no response" responses for any
one subject, regardless of groups or sessions, ranged from |
i
zero to thirteen.
The general reaction of the subjects toward all
transparencies, regardless of group or session, appeared
to be favorable. An analysis of the "check column"
33
responses indicated that 50.6 percent of all subjects
checked the favorable column, 36.7 percent checked the un
favorable column, and 12.3 percent checked the neutral
column. The differences among the percentages were not
found to be statistically significant.
The initial interpretation placed all responses on
one of three levels of interpretation. Further analysis
showed that within each of the three levels similarities
among the responses appeared and these could provide a
basis for the formulation of groups of responses. The
responses which were interpreted on the form level, there
fore, were categorized further into three general groups:
events, objects and patterns. These groups, in turn, were
sub-categorized. The sub-groups and concepts within each
of these groups for the form level are presented in Table
2.
The responses whloh were Interpreted on the idea
level were categorized into seven general groups: move
ment, achievement, external conflict-aggresslon, Internal
conflict-aggression, supplication, emergence, and ab
stractions. The groups and concepts within each of these
groups are presented in Table 3*
The responses which were interpreted on the feeling
level were categorized into four general groups: feelings
about continuity of movement, feelings about clarity of
movement, intensity of feeling and movement, and feelings
34
about appearance. The groups and concepts within each of
these groups are presented In Table 4.
A summary of the response groups, the levels of
meaning, and the general groups and sub-groups within each
level Is presented In Table 1.
Series I: levels. Fluency. Attitudes
and Conceptual Relationships
Series I consisted of ten transparencies of sport
movements which were photographed with stroboscopic
lighting and time exposure, thus providing a more literal
representation of the movement pattern with more dis
cernible images than the Series II transparencies.
An analysis of the level of response for all trans
parencies In Series I Indicated that the greatest
percentage (19.7 percent) appeared on the Idea and feeling
levelB, followed by 18.1 percent on the form level, 17
percent on combined Idea and feeling levels, 13*4 percent
on combined form and feeling levels, and 7.1 percent on
combined form, Idea and feeling levels. Further analysis
of multiple level responses Indicated that the greatest
percentage appeared on the Idea level (37 percent),
followed by 33.6 percent on the feeling level and 32.4
percent on the form level. The differences among the
percentages was not found to be statistically significant.
A tendency to respond on a specific level or levels, there-
TABLE 1
SUMMARY OF GROUPS
Response Groups (4)
Set (3 class sections)
Session 1
Session 2_________
Non-set (3 class sections)
Session 1
Session 2____________
General Groups:
Sub-groups:
Levels of Meaning (3)
Denotatlonal (Form)
0b.1ect
human forms
animal forms
reptile and
bird forms
Insect forms
sea animal forms
man-made forms
anatomical forms
natural forms
sport performer
prehistoric forms
supernatural forms
mythological forms
personages
art forms
abstract forms
Event
body movements
sport movements
sport forms
dance forms
game forms
natural events
Pattern
design
geometric
planes
abstract
clarity
V jI
V J l
TABLE 1 (continued)
SUMMARY OF GROUPS
General Groups:
Oonnotatlonal (Idea)
Movement, Achievement, External Conflict-Aggression, Internal Conflict*
Aggression, Supplication, Emergence, and Abstraction.
Connotational (Feeling)
General Groups: Continuity of Movement, Clarity of Movement, Intensity of Feeling
and Movement, and Appearance of Movement.
i > i
os
37
i
I I
UUP i l i i s i ! litis |I!
!l!3l
J i | i f i I . liljf [ . i l l . I I j J f j
I I i l l
! Si 1 l l . l t a,
m
I
i !
i iiiiiif

I
8
s
I ' I
„ J O « 4
|| « 4 « 4 I I «
9 ?s§Ss 1 . 1 g!
1 SihlisfiS j| ft
Jfca ill i l l liiilli
• «
ii fa ii I U 1 illii
a | i o*!,
i l l m
5 Ii,.,
M S I illlillil!
fore, was probably due to chanoe.
Analysis of "no response" responses for Series I
transparencies by all subjects, for both response
sessions, Indicated that 48 percent appeared In Series I.
I
There were no less than five "no response" responses and j
no more than thirty-four for any one transparency In Series|
1, when all groups and sessions were considered*
The general reaction of the subjects toward the
Series I transparencies, regardless of groups and
sessions, appeared to be slightly more favorable than for
all transparencies* An analysis of the "check column"
responses Indicated that 53 percent were favorable, 35*2
percent were unfavorable, and 11*3 percent were neutral;
however, these differences were not found to be statis
tically significant*
Relationships between response sessions and groups
Relationships of level responses, fluency of
responses and common concepts were analyzed by groups
and sessions for the Series I transparencies. Summaries
of these relationships, by transparency, are presented In
Tables 5 to 14. |
Transparency 1,— An analysis of the responses be- j
tween sessions for the set group Indicated a tendency to
respond In terms of Ideas and feelings, although the
fluency of the Idea and feeling responses decreased during ;

T A B L S 6
n io n i Limj, turner, aid 0 0 — oneira u m i
n u c n m a m iat a n 1 . ru m m e r 2
H ftfl. 1 : 2 t»rt) - tittf N hm w t tt-W JtL:
1 5 -1 8 (2 1 -2 1 )
l M 1 .3
h a a k a th a ll la y -u p
4 -1
l * t U i » 1-1 (1-2)
i t r l c a l 1 -1
18- tm a 33.38)
HIM ( I i ft-Ml
Para tw m 28-11)
9-11 ( 1 1 - 1 6 )
■t 6-7
MtlM 1-1
l m l i 2 -3
« - « ■ ■ < * » 2 2 .1 7 (2 2 -1 7 ) t i l 2 1 -1 7 (2 1 -2 3 )
,u 12
6 -3 (1 2 -5 )
M l m 5 -1
tM a a t U l u U i 1 -2
T l t H l r 5 -8 (6 -1 4 )
t—N 1-2
( t y riwU 1-1
a tr a a g 1 -1
a t r o a a fa i 1 -2
m n m i t - u do-is) ua*7 1-2
u i l n t l N 4 -1 2
— 0— 1 -1 i n i M — t 4 -5 ( 5 - 7 )
to t o p a la a t la a 2 -2 — aem lla * 2 -2
a f f a r t 2 -1 a g ly 1 -2
a a p la a a a a t 1 -1
r o a a h la g 7 - 5
( ■ d l l 3 - 8
r a a a la g 1 -2
1— H a g 3 -1
la a p la g 3 -3
k a a t e t h a ll :
4 -2
la y -a p
O tlM t 4 -2 ( 6 - 7 )
■■-If,I Ulr ftW h t C f W I tf-Ml
l*n ti t rttliM ( ■ « Tvn)
10-3 ( 1 1 - 6 )
i t 6 -1
M t lM 2 -1
lirala 2-1
9 - 6 (1 2 -1 2 )
n u i n 6 - 4
fa r a o 2 -1
HWH 1-1
6-12 (10-20)
a f f a r t 3 -3
aaeoM a 1 -2
a a p lr a tlo a 3 -9
■ m t t 22-6 (2 2 - 8 )
M feaarg 1 8 -3
HimUl 6-6 ( 8 - 1 2 )
l i n k 1 -2
«M M 1 -1
S tS M g 1 -1
I t t m l U 2 -1
t m i i U l - l
3 - 3 ( 5 - 7 )
2-1
■ f ly 1 - 2
( h p m i m * a - /" ft B ll«g T O --
i - 8 a t ( 2 ) - t o t a l 1 m »— m
.ito (iia-a__
h h i m i - ? (imt r a n t e_g_M l-l8 L JtLJl I K - l V l
HW ( I «
t m l 1 4 -3 2 (2 3 -3 6 )
f i a a la g 4 -3
lo a p la g 3 -1 0
M a n t S a l l la p -o p
2-8
r a a a la g 2 - 3
a z a r o ls la g l - l
]M p la g 1 -3
h a a k a tb a ll 1 -4
O k la ct 3 -4 ( 7 - 9 )
d a e c a r^ l-1
6-6 ( 6-6)
a t 1 -3
aoqaaaao 3 -1
a o t lo a l - l
M ig h t 1 -1
O a a f lle t 8 - 6 (1 2 -1 0 )
fo a r 2 -1
aaeapa 1 -2
a tta o k 1 -1
f a l lo r o 4 -2
A a h laT M iat 13 -1 5
a f f o r t 2 -1
aaeeaaa 2 -1
a a p lr a tlo a 8 -1 3
m i i M ( i t n - i i ) .Iff II i-?7s3TL
8-11 (8-11)
awkaard 3 -3
I a t a a a lt r 2 - 3 (1 2 -3 )
IB S W
l i g h t 1 -1
Aoa aaraaea 5 -1 0 (7 -1 4 )
k a a u t if a l 2.3
a g l7 2 -2
a a s a o lla o 1 -5
H j i t i y * (2 1 -3 6 )
r a a a la g 3 -3
la a p la g 2 -1 0
h a a k g th a ll la y -a p
P a tta ra 1 -1 ( 2 - 2 )
i l i t l a o t 1-1
1 3 -5 (1 6 -6 )
i t 7 - 3
aagooaea 2 -1
M ig h t 4 -1
C a a T llet 2 -3 (5 -1 0 )
f a l l a r o 1 -2
fa a r 1 -1
» o a lla « C , 3 8 -2 8 )
C o a tla ^ Lt^ l 6 - l l (1 7 -1 1 )
aakaord 1 2 -3
, 6 -1 4 (7 -1 4 )
goad 1 - 4
a r t l s t l a 1 -1
ogljr 2 - 2
o a p la a a a a t 1 -2
a a a e o lla a 2 -5
ro

|vi>2 ? £
^ J j3 I f
si
fes fill
8 s •i h * J «
i n
44
si* 2!
Its S I
■ <
! S n l s
3 ? ? ? » wi i
3* jj
fll w _
-- 4 *
i i f e y
i i * 1
* ? s • ?
Xt2 3 A & S i
I i j
TABU 10
Wurn tl « 22-24)
■ MPUI
1-0 Mrtl - « a
Btt W T ( i t - * i )
B r n l H 1 5 -1 7
30-13 ( a o - i6 )
I t u - *
. 1 0 -1 0 ^ (1 1 -1 7 )
5 -3 (1 2 -3 )
■at - ■ —H I til - 9m
iii u - H l ______awdi a-^)
1 1 -1 5 (1 1 -1 5 )
‘ 1 7 - 6
( 12-11)
MUtt 1 - 2
ttluM
2 - 8
3 -3
1 -2 ( 2 - 4 )
1-2
A lt iittla i 1-1
i 2 5 -7 (2 8 -1 0 )
---------- I t 1 1 -4
■tto 6 - 1
■ ■t —i — 6 - 2
6 -6 (1 1 -1 5 )
■tn^tt i - i
f l i l m 5 -4
- 1 0 4 -—
— 11M tn - ti-25)
J i l l m M t
intnTS.
M O l l t i l i 4 -3
1 1 -7 (1 2 -9 )
11-8 (11-8)
: 7 -4
9 -1 1 (1 2 -1 1 ) I » t — ItT 9 <
■ * T 7 > 5
t w H K N M 3 -4
n l u M 3-2
I —n r — w 4 -2 ( 7 - 4 )
mmUm 1 - 1
■ l l N M t 3 -1
■ IHH
4 2 - 4 3 1
M b
t m i 3 0 -3 3 (3 1 -3 7 )
a p w t o f 2 7 -3 0
• tr U O a i 3 -3
2 -2 ( 7 - 2 )
f a t t a r 2 -2
l U t n > -3 ( 4 - 4 )
no— l - l
l l i t t e t fa tta x a 2 -2
.7 - 5 (1 0 -9 )
r t 4 -2
3 -3
7 -6 (1 5 -9 )
--------insissnTi-------
H3 -!■ -— ! 1 8 ) - f tH iH W H I llM L
i M a a a L * * (9-u>
^•MOTfSuOHOl
• f f a r t 4 -6
■t 2-1
HatlMlto M (6-6)
•SBCT-j
4-3
9-6 ( 1 1 - 6 )
*£, l ^ * 4- 7 ,
— ■ m i M i - 4
■ U t M N t l i i 1-1
K h i 1 9 -3 2 (2 1 -3 7 )
t l m l i l 1 7 -3 0
t t m t l l l 2 -2
2 6 3 H a 2 - * (3 - 4 )
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t la t ia a * p i t t m 1-1
Itn II t 3HBL
11-8 (16- 9)
I t 4 -2
t t l l w t t m i k 4 -a
O l t N N 1 -3
«Ua 2- 1
f l a O h i 15-7 (17-9)
f m t 7-2
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r M lltM M 1 -1
b raak -ay 1-1
u u m w i 3-8 (3-u)
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affart 1-6
<■ - 30^21___
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6 -3
Til— III 3-6 (11-6)
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aa 2 - 4 - 4 ( 4 - 7»
\
O N
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B|j^l6-ao^l9-22)
n a t a l s t a r t 6-11
3-3
O fclaat 1 -1 (1 -2)
M m U pU|W 1 - 1
b u n m ( i - i )
t l a t l a e t f a t t e n l - l
14a. C a 42-2T)
k M M 15-11 (19-12)
H W m t 4-3
a a tla a l - l
M tM M t 5-1
MlWUl 1 - 2
1 -2
a fa a f 3-2
g n m a t 2-6 (12-9)
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2- 2 ( 1 0 - 6 )
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V M 1-* ( 1 - * )
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rtiu- a ■ a a - a n — m-a wM-m
lat - 1— «t (1) - fatal M m i m » 105-118
^ ^ 1 2-13 (12-13)
U ta M U i 6-9 (T-12)
( H i t 1 -1
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2-2
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M M llta l 4-2
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t— i n s t a r t 6-9
■ M i l l 3-1
leaf {Nf | w l-l
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15-12 (19-13)
a t 4-5
N |« N M 4-2
l l T N t l N 1-1
sp a a « 3-3
a s t ls a 3 -1
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m n n 7 -3
(N T 2 -3
l | U | n M t 7-7 (10-12)
• f f e r t 6 -6
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1 - 1 ( 1 - 1 )
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tlr e e tle a 1-1
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a g s n e e le a 4-3
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3-1
iM N H M t 9-10 (9-12)
s e e a t l n l l - l
a a a a a lla a 4-5
a a a a a tk a tle 3-2
a a fla a a a a t 1-2
f a t t e n 1-2 (1 -2 )
i l t t l a e t f a t t a n 1-2
. 9-10 (12-12)
a t 3-2
eeq aen ea 1-1
a a t ls a 1-2
tlr e e tls a 2-1
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sauuu 5-3 (9-i4)
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re a ls ta a e a 1-2
4 -3 ( 4 - 3 )
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13-14 (13-14)
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I a |M ||^ j - 4 (1 2 -5 )
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48
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— r c c = r r “ IT
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t - 8 m
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(48-X8) 8X -A X
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(A-4)
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x-x A m w i
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(6X-OX)
9-4 10m
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TWIT- ( I » F — T T
r I T ■ H t i W l I I ____
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T f l
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- xtiiq (08-08) SX-4X
— ( W= g ■■)
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u m u . ru m o r, i n oono
i o n i n n o o n voi ix a in x 10
aa b m I m i m a
. 105-139
TMa (■ > 4 1 -4 3 ) P a a lla a I M - 5 4 -6 1 )
■ m a t 3 -6 (5 -1 2 ) | m m 1 7 -1 2 (1 9 -1 7 )
a a S m a a a lt 3 -6 M v a M a t 1 1 -5
O lr m tlM 2 -2
fih la a t 1 -2 (1 -1 0 ) M tlM 2 -2
M r 1 -2 f a lla a ttr a a a h 1 -2
a x ta a a lm 1-1
O m fll« t l - l (5 -8 )
a m t S r t ln l - l
A ah lavM M t 1 0 -8 (1 4 .1 1 )
am M il M M M t 3 -1
• f f a r i 3 -5
M lt r 4 -2
S a l l n l S S 2 7 -1 8 (2 7 -1 8 ) h a t 4 - U (5 -2 2 )
■ M ath 9 2 -1 6 a a S a r a a a lt 3 -1 0
aakaarA 5 -2 a n k l i i l - l
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la t a a a lt r 7 -6 (1 1 -1 0 )
a a a ita a 7 ^
I m h h 7 ^ (1 0 -9 )
p J I T *
M p la a a a a t 2 -1
■ n r 1-1
k a a a t lf t l 1 -2
l U t t 1 5 -1 6 (1 9 -1 8 )
O lr a a tiM 2^6
M tlM 2 -3
A eU avM M t 4 -5 (1 7 -9 )
a a o a a p ilM h rn t 1 -2
fr a a O n 3 -3
A ta tr a a tla a 2 -3 ( 3 - 8 )
U u t r R
hap pM lag 1 -1
O a a tla a ltr 2 3 -1 6 (2 7 -1 8 )
■ M ata 1 8 -1 5
avkaarO 5 -1
C la r ity 6 -7 ( 6 - 8 )
oaaroaad 6 -7
la t a a a lt r 8 -1 5 (1 1 -2 6 )
a a a lta o 4 -6
a la tiO 4 -9
A a a a a m a a 2 -3 (1 0 -9 )
h a a a tila l 3 -3
----------------------------------------------------1 8 8W M M U < 2 -0 -------- l a ia a p M a m s 2 -0
f t a a ( I = 3 5 -3 9 ) I6 m I M . 4 3 -4 4 )--------------- P a a lla . i* . 6 1 -4 8 )_____
iw a i ?s-;aL _____ U t i ___________
f M llM i t . 4 2 -4 8 )
1 9 -2 5 (2 2 -3 9 )
t i o - «
0 2 -3
1 -3
1 -3
uahlii 1 - 2
a tra ta h la c 2 -2
K Tm aatlea 1 - 2
r a llla c 1 -2
f i U f t l 5 -4 (7 -7 )
UCkM 1 - 2
ra o p la 1 -1
tr a m 1 -1
ZhUUB. 3 -3 (6 -3 )
l l a t l a c t p a tta m 2-1
t r le a l 1 -2
1 8 - 1 5 ( 1 8 - 1 8 )
■ t 7 -3
M tlM 3 -3
M tlM 2 -4
O lr a o tla a 6 -5
n - . f i i . t2-2 ( 1 1 - 1 6 )
r a ja a tlo a l - l
A eh la v m m t 4 -2 (6 -6 )
r a r fm tiM 1 - 1
f t a i l w } - l
A ta tr a a tlM 4 -3 (8 -4 )
ham tr 2-1
la v a a f U f a 1 -1
g ra m 1 -1
1 8 -1 6 (1 8 -1 6 ) m a t 1 1 -1 7 (1 2 -2 9 )
■ m ath 1 6 -1 5 M M r m a lt 6 -8
H ta a r t 2 -1 a a lh a v a r 2 -3
iM O la i 1 -3
Q g |^ M ^ ( l - S ) h a a ia ta a d 2 -3
, O tla o t 5 -3 (1 0 -7 )
T * * r T M w W -l7 (2 6 -1 9 ) m i l l 4 -2
a la ta o 4 -5 voaaa 1 -1
j o r fh l 4 -1 0
lltM M 7 -2
A a a a a m a a 9 -6 (9 -8 )
b n Q t a 4 -4
p la a a M t 4 -1
fM la la a 1 -1
1 3 -1 3 (1 7 -1 8 )
a t 5 -3
M tlM 2 -3
O lr a a tiM 2 -5
la v a la 2 .1
aataM M 2 -1
CMtlai^L^l 8 - l 6 ( 1 8 - 1 6 )
O M flla t 2-i
m aaa 1 -1
2 - 2 ( 8 - 1 6 )
n j a e t l M -
a o m p tm ea 1 -1
o h lm — a a t 8 -7 (1 1 -6 )
a f f a r t 5 -1
■ k ill 1 -2
fraaA m 2 -4
16-15
2-1
C la r ltT 5 -4 ( 5 - 4 )
aaafm aO 5 -4
T a « —a l t v 7 - 2 2 ( 1 0 - 2 2 )
a x o lta d 6 -1 9
fr a a 1 -3
4 -1 ( 9 -8 )
V J I
o
SERIES I
FIGURE 1
- TRANSPARENCY 1— STAHDIUG BROAD JUMP m
session two, while the form responses increased slightly.
The form responses indicated some consistent relationships
i
within the event group. The common ooncept was jumping.
The focus of the form responses changed from the object and
event groups, during session one, to the event group during
Besslon two. The idea responses indicated consistent
relationship within the movement, conflict, and achievement
groups. The common concepts were movement, direction, es
cape . freedom, completion, action, and motion. The feeling
responses focused within the continuity of movement group
during both response sessions. There were no concepts
which appeared to be common between sessions which
indicated a lack of consistency on the feeling level, al
though the focus of responses remained consistent.
Analysis of the responses between sessions for the
non-set group indicated a tendency to respond on all
levels during session one, and in terms of form during
session two. The idea and feeling responses during
session two decreased, while the form responses Increased.
The form responses showed consistent relationships within
the event group. Jumping was the common concept. The
idea responses were directed toward the movement and con
flict groups; however, these relationships were not ex
tensive with respect to common concepts. The feeling
responses during both sessions remained stable within the
continuity of movement and clarity of movement groups;
53
however* there were no common concepts which were exten
sive in their relationship. During session one intensity
of feeling and movement appeared to be high, while during
session two, intensity of feeling was low and there was a
decrease in the fluency of the intensity of feeling
responses.
An analysis of the responses between groups during
session one indicated a tendency for the set group to
respond in terms of ideas and feelings, while the non-set
group responded on all levels. The fluency of the set
group was greater than for the non-set group during both
sessions. During session two, the set group tended to
respond on the idea and feeling levels, while the non-set
group responded in terms of form. The form responses for
the set group tended to appear within the event and object
groups, while the non-set group responded in terms of the
event group. During session two, both groups responded
in terms of event. The form responses between groups,
during both sessions, showed consistent relationship
within the event group. The common concept again was
.lumping. The idea responses between groups during session
one indicated consistent relationships within the move
ment and achievement groups. The common concepts were
movement, motion, sequence, action, and unity. During
session two, the idea responses were consistent within
the movement and external conflict groups. The common
54
concepts were movement, motion. sequence and force. The |
feeling responses between groups during session one |
j
Indicated consistent relationships within continuity of |
movement, intensity of feeling and movement, and clarity j
of movement groups. The common conoepts were smooth. !
confused, and excited. During session two, the feeling
responses were consistent within the oontinulty of j
i
movement and Intensity of feeling and movement groups. j
!
The common concepts were smooth and excited. The trans- !
parency one photograph for Series I appears as Figure 1.
i
A summary of common relationships between sessions and I
groups is presented in Table 5*
Transparency 2.~An analysis of the responses
between sessions for the set group indicated a tendency j
to respond in terms of ideas and feelings. The fluency
1
of the form responses remained stable for both sessions, i
but there were slight inoreases in the fluency of the |
idea and feeling responses during session two. The form
i
responses showed consistent relationships within the j
i
event group. The common concepts were running, .lumping.
leaping, reaching, and a basketball lay-up. It was noted
i
that all of these concepts Involve the common element of j
height. The form responses continued to be focused |
within the event group during session two. The idea
responses were most consistent within the movement group;
some oommon conoepts appeared also within the achievement
FIGURE 2
SERIES I - TRANSPARENCY 2— BASKETBALL LAY-UP
V J 1
ui
56 |
and Internal conflict groups. The common concepts were |
movement, levels. aspiration, effort and failure. The j
feeling responses for sessions one and two remained fairly
stable within the continuity of movement, intensity of
S
feeling and movement, and the appearance groups. The !
common concept was awkward: furthermore, It should be
noted that the common concepts within the intensity and |
i
appearance groups, while not extensive, also appeared to
have similar connotations with the oonoept awkward. j
!
An analysis of the responses between sessions for j
the non-set group during session one indicated a tendency |
to respond on all levels, and in terms of form during j
session two. During session two, the idea and feeling j
responses decreased slightly, while the form responses I
j
increased considerably. The form responses showed con-
sistent relationships within the event group. There were |
i
I
several common concepts; however, their relationship was
i
not extensive. There was slight relationship within the |
i
object group; however, this relationship was not exten- j
i
sive. The form responses continued to be focused within
i
the event group during session two. The idea responses
|
were most consistent within the achievement group; some
common ooncepts appeared also within the conflict-
aggression group and the movement group. The common con-
i
oepts were aspiration and failure. The feeling responses
for sessions one and two remained fairly stable within the |
57
continuity of movement and the appearance groups; how
ever , the common concepts were not extensive.
An analysis of the responses indicated a tendency
for the set group to respond in terms of ideas and feel
ings during both sessions, while the non-set group
responded on all levels during session one and in terms
of form during session two. The fluency of the responses
was stable between groups during both sessions. The form
responses between groups, during both sessions, lndloated
consistent relationships within the event group. The
common concepts during session one were reaching, dancing.
leaning and the basketball lav- u p : during session two, the
common concept was running. The idea responses between
groups during session one Indicated some consistent
relationships within the internal conflict group, with
some common concepts within the achievement group. These
relationships were not extensive, however. The set group
tended to respond in terms of movement, while the non-set
group responded in terms of achievement. The common con
cepts were failure, effort and aspiration. The idea
responses between groups during session two indicated
consistent relationships within the achievement group.
The common concept was aspiration. The feeling responses
between groups for session one showed little consistent
relationship. This may have been due partly to the
considerable difference in the fluency of responses
58
between groups. The feeling responses during session two
indicated some consistent relationships within the con
tinuity of movement group; however, there were no concepts
which were oommon to both groups. The set group tended
to respond in terms of continuity of movement, while the
non-set group tended to respond in termB of appearance and
continuity of movement. The transparency two photograph
for Series I appears as Figure 2. A summary of common
relationships between sessions and groups is presented in
Table 6.
Transparency 3.— An analysis of the responses
between sessions for the set group indicated a tendency to
respond in terms of ideas and feelings. The level
responses were not stable between sessions; the form
responses increased and the idea and feeling responses
decreased during session two. The form responses showed
no consistent relationships, with few common concepts.
The focus of form responses remained stable within the
event group during sessions one and two, while the fluency
of the responses Increased within the event and pattern
groups. The idea responses were consistent within the
movement, internal oonflict, and achievement groups. The
common concepts were movement. Indecision and effort.
The feeling responses for sessions one and two remained
fairly stable within the continuity of movement, the
intensity of feeling, and movement groups. The common
FIGURE 3
SERIES I - TRANSPARENCY 3~TENNIS DRIVE
60
concepts were smooth, stressful and sad.
An analysis of the responses between sessions for
the non-set group indicated a tendenoy to respond on the
form and idea levels during session one; during session
two, however, there was an increase \ k form responses and a
decrease in the idea and feeling responses. The form
:responses showed consistent relationships within the
event group. The common concept was tug-of-war. The form
responses continued to be focused within the event group
during session two. The idea responses were most con
sistent within the internal conflict group, with some
common concepts appearing also within the movement group.
The movement group concepts were not extensive, however.
The common conoepts were failure. struggle, purposeless
ness and movement. The feeling responses were not stable,
nor were there consistent relationships within any of the
groups during either session. It should be noted that the
fluency of the feeling responses decreased considerably
between sessions, which may account somewhat for the lack
of consistency among the feeling responses.
An analysis of the responses between groups
indicated a tendency for the set group to respond on the
idea and feeling level during session one, while the non
set group responded on all levels, which may have been due
partly to an increase in the fluency of form responses.
During session two, the set group responded on all levels,
61
while the non-set group tended to respond on the form
level. The fluency of the responses was stable between
groups during both sessions. The form responses between
groups during session one showed little consistent
relationship. Luring session two, the form responses
were consistent within the event group; however, the
responses were not extensive. The common concepts were
the tenniB drive and pulling. The idea responses between
groups during session one indicated consistent relation
ships within the conflict group. The common concepts
were struggle, agony, indecision and submission. The set
group tended to respond in terms of movement and conflict,
while the non-set group responded in terms of conflict.
Luring session two, the idea responses between groups
showed some consistent relationships within the conflict
group. The common concept was resistance. The set group
tended to respond in terms of movement and conflict, while
the non-set group responded in terms of conflict. The
feeling responses between groups during session one
indicated some consistent relationships within the con
tinuity of movement and the intensity of feeling and move
ment groups. The common concepts were Bmooth and depressed
The set group tended to respond in terms of continuity of
movement, intensity of feeling and movement, while the
non-set group responded in terms of continuity of movement.
Luring session two, the feeling responses showed little
62
; i
consistent relationship. The set group tended to respond |
in terns of intensity of feeling and movement, while the j
fluency of the non-set group was not extensive and j
indicated no consistent focus. The transparency three j
i
photograph for Series I appears as Figure 3. A summary of j
I
common relationships between sessions and groups is pre
sented in Table 7. j
Transparency 4.— An analysis of the responses be
tween sessions for the set group indicated a tendency to
respond on the feeling level. During session two, there
were slight decreases in the fluency of the idea and feel- |
ing responses, while the form responses increased slightly.
The form responses showed consistent relationships within
I
the pattern and event groups. The common concepts were !
cartwheel and symmetrical pattern. The idea responses were
most consistent within the movement group, with some
common conoepts appearing also within the achievement and
i
external conflict groups. The common concepts were move-
i
ment and action. The feeling responses were consistent
within all groups; the continuity of movement group was the
most consistent. The common concepts were smooth, con-
I
fused, elated and good.
An analysis of the responses between sessions for
the non-Bet group indicated a tendency to respond on the
form level. During session two, there was a slight de
crease in the fluency of the feeling responses, while the
SERIES I
FIGURE 4
- TRANSPARENCY 4— CARTWHEEL $
64
form and idea responses increased slightly. The form
i
I
responses showed consistent relationships within all j
groups; the event group was the most consistent. The j
common concepts were cartwheel, dancing, a bridge, and a
symmetrical pattern. The idea responses showed little
consistent relationship of an extensive nature, with few
common concepts. The conflict group was the most con
sistent; however, this relationship was not extensive.
j
The feeling responses were consistent within all groups;
the appearance group was the most consistent and the
continuity of movement group the most extensive. The j
common concepts were smooth, confused, elated and beauti
ful.
Analysis of the responses for groups Indicated a '
I
tendency for the set group to respond on the feeling level
during both sessions, while the non-set group responded
in terms of form during both sessions. The fluency of
the responses was stable between groups during both
sessions. The form responses between groups during session
one indicated consistent relationships within the event
and pattern groups. The set group tended to respond in
terms of pattern and event, while the non-set group
responded in terms of event and object. The common con
cepts were cartwheel and a symmetrical pattern. During
session two, the form responses were consistent within
the event and pattern groups. The set group tended to
65
respond in terms of pattern and event, while the non-set
group responded in terms of event and pattern* The common
concepts were cartwheel and « - symmetrical pattern. The
idea responses between groups during session one indicated
little consistent relationship. The set group tended to
respond in terms of movement, while the non-set group
indicated no consistent response focus. During session
two, the idea responses showed little consistent relation
ships. The set group tended to respond in terms of move
ment, while the non-set group responded in terms of con
flict. The feeling responses between groups during
session one indicated consistent relationships within the
continuity of movement and clarity of movement groups.
The set group tended to respond in terms of continuity of
movement and appearance, while the non-set group responded
in terms of the continuity of movement and clarity of
movement. The common concepts were smooth, confused and
excited. During session two, the feeling responses showed
consistent relationships within the continuity of move
ment, clarity of movement and intensity of feeling and
movement groups. The set group tended to respond in terms
of continuity of movement and appearance, while the non-
set group indicated no specific focus of response. The
most common concepts were smooth, confused, excited and
beautiful. The transparency four photograph for Series I
appears as Figure 4. A summary of common relationships
between sessions and groups Is presented in Table 8.
Transparency 5.— An analysis of the responses be
tween sessions for the set group indicated a tendency to
respond in terms of ideas. During session two, there was
a decrease in feeling responses and an increase in the
form responses, while the fluenoy of the idea responses
remained stable. The form responses showed some con
sistent relationships within the event group; however,
these relationships were not extensive. The common con
cept was reaching. The idea responses were most con
sistent within the movement, achievement and external
conflict groups. The common concepts were movement.
aspiration and restraint-release. The feeling responses
showed little consistent relationships of an extensive
nature, with few common concepts. The common concepts
were awkward and tense; however, these relationships were
not extensive and should be considered common only within
the similarities between the two concepts.
An analysis of the responses between sessions for
the non-set group indicated a tendency to respond on the
idea level. During session two there were decreases in
the fluency of form and feeling responses, while the
fluency of the idea responses increased. The form
responses showed consistent relationships within the
event and objeot groups. The common concepts were throw
ing. stretching, discus thrower, and human forms. The
SERIES I
FIGURE 5
TRANSPARENCY 5— DISCUS RELEASE
idea responses were most consistent within the external
conflictv achievement, supplication and emergency groups.
The common concepts were aspiration, restraint, supplica
tion. and emerging freedom. The feeling responses showed
no consistent relationships, with few common concepts of
an extensive nature.
An analysis of the responses for groups indicated a
tendency for the set and non-set groups to respond on the
idea level during both sessions. The fluency of the non
set group responses was greater than for the set group
during both sessions. The form responses between groups
during session one indicated little consistent relation
ships. The set group tended to respond in terms of events,
while the non-set group responded in terms of event and
Object. It should be noted that the fluency of the form
responses for the set group was quite low, while the form
responses increased considerably for the non-set group
during session one. During session two, the form
responses showed some consistency within the event group.
The common concepts were reaching and throwing. The set
group tended to respond in terms of event, while the non
set group responded in terms of event and object. The idea
responses between groups during session one indicated con
sistent relationships within the movement, achievement,
internal conflict and emergence groups. The common con
cepts were movement, aspiration, restraint, defeat and
69
freedom. During session two, the Idea responses Indicated
consistent relationships within the achievement, emergence,
and Internal conflict groups. The set group tended to
respond In terms of conflict, movement and achievement,
while the non-set group responded In terms of conflict and
achievement. The common concepts were aspiration, self-
emergence. failure and force. The feeling responses be
tween groups during session one Indicated little consistent
relationships. The set group tended to respond In terms
of appearance, while the non-set group responded In terms
of Intensity of feeling and movement. During session two,
the feeling responses showed some conBlBtent relationships
within the Intensity of feeling and movement group. The
common concept was tense. The set group responded In
terms of continuity of movement and Intensity of feeling
and movement, while the non-set group responded In terms
of Intensity of feeling and movement. The transparency
five photograph for Series 1 appears as Figure 5* A
summary of common relationships between sessions and groups
is presented in Table 9.
Transparency 6.— An analysis of the responses be
tween sessions for the Bet group Indicated a tendency to
respond on the idea level. During session two there was a
considerable decrease in the fluency of the idea responses
and a slight increase in the fluency of form responses,
while the fluency of the feeling responses remained stable.
FIGURE 6
SERIES I - TRANSPARENCY 6— BAMINTON SMASH o
The form responses shoved highly consistent relationships
i
within the event group* The common concept was throwing» !
i
The idea responses were most consistent within the move- |
ment and the external conflict groups, with some common
concepts within the achievement group. The common con- i
cepts were sequence, movement, aggression, and force. The i
feeling responses showed little consistent relationships
of an extensive nature, with few common concepts.
An analysis of the responses between sessions for
i
the non-set group Indicated a tendency to respond on the
j
form level. During session two, there was a decrease in !
the fluency of idea responses, while the fluency of the |
form and feeling responses remained stable. The form
responses showed highly consistent relationships within
i
the event group; the common concept was throwing. The
i
idea responses were most consistent within the external
conflict, achievement and the movement groups, although
these relationships were not extensive. The common con
cepts were aggression, fear, effort and distance. The i
|
feeling responses showed some consistent relationships
within the intensity of feeling and movement group, al-
i
though these relationships were not extensive. The common i
i
concepts, which were angry and tense, should be considered
common only within the similarities between the two con
cepts.
An analysis of the responses for groups indicated a
tendency for the set group to respond in terms of ideas j
I
during both sessions, while the non-set group responded on i
the form level during both sessions. The fluency of the j
responses between groups was stable during both sessions.
!
The form responses between groups during session one |
indicated some consistent relationships within the event
I
group. The common concept was throwing. During session
two, the form responses showed some consistent relation
ships within the event group. The common concept was
throwing. The idea responses between groups during session j
one indicated consistent relationships within the achieve
ment and external conflict groups. The set group tended !
to respond in terms of movement, while the non-set group |
responded in terms of external conflict. The common con- j
i
I
cepts were effort, completion and violence. During
session two, the idea responses Indicated some consistent
relationships; however, these relationships were not j
extensive. The set group tended to respond in terms of
conflict and movement, while the non-set group responded
in terms of achievement. The common concept was accomplish
ment; however, this relationship was not extensive. The
feeling responses between groups during session one
indicated some consistent relationships; however, these
relationships were not extensive. The set group tended to
respond in terms of intensity of feeling and movement and
continuity of movement, while the non-set group responded
73
in terms of intensity of feeling and movement. The common
concepts were smooth, anxious and tense. During session
two, the feeling responses indioated little consistent
relationships. The set group tended to respond in terms
of continuity of movement and intensity of feeling and
movement, while the non-set group responses were not
focused toward a specific group. The transparency six
photograph for Series I appears as Figure 6. A summary
of common relationships between sessions and groups is
presented in Table 10.
Transparency 7.— An analysis of the responses be
tween sessions for the set group indicated a tendency to
respond on the idea level during session one and the feel
ing level during session two. During session two, there
was a considerable decrease in the fluency of idea
responses and a slight increase in the fluency of form
responses, while the fluency of the feeling responses
remained stable. The form responses showed consistent
relationships within the event group. The common concepts
were running, a running start, and crouching. The idea
responses showed some consistent relationships within the
movement group. The common concept was movement; however,
this relationship was not extensive. The feeling responses
showed some consistent relationships within the continuity
of movement, the Intensity of feeling and movement, and the
appearance groupB; although these relationships were not
FIGURE 7
SERIES I - TRANSPARENCY 7— RUNNING START *
75 I
I
i
extensive. The common concepts, which were awkward and
unpleasant-masculine. should he considered common only j
i
within similarities between the two concepts. !
in analysis of the responses between sessions for
the non-set group indicated a tendency to respond on the
idea level during session one, and on all levels during
session two. During session two, there was a considerable
decrease in the fluency of the feeling responses, while
the fluency of the form responses remained stable. The
i
form responses showed consistent relationships within the
i
event group. The common concepts were running and a
running start. The idea responses showed some consistent
relationships within the movement, achievement, and
internal conflict groups; however, these relationships were I
not extensive with respect to common concepts. The common
ooncepts were speed, growth, aggression, fear and search.
The feeling responses Bhowed some consistent relationships
within the continuity of movement and appearance groups.
The common concept was awkwardt although there were three j
ooncepts within the appearance group, masculine, unaesthetic
and unpleasant, which were similar in connotations and
could be considered common within this interpretation.
An analysis of the responses for groups indicated
a tendency for the set and non-set groups to respond on
the idea level during session one, while both groups
responded on all levels during session two. The fluency
of the non-set group responses was greater than for the set
group during both sessions. It was noted that the form
[
responses Increased considerably between groups during j
both sessions. The form responses between groups during j
both sessions Indicated some consistent relationships j
within the event group; however* there was a considerable
difference In the fluenoy of responses within the event
group. The common concepts were running and a running
start. The Idea Responses between groups during session
one Indicated some consistent relationships within the
movement, achievement, and conflict groups. The set group j
I
tended to respond In terms of movement and external con
flict, while the non-set group responded In terms of
external conflict and movement. The common concepts were j
!
movement, speed, effort, esoane and fear. During session
I
two, the idea responses between groups Indicated some
i
consistent relationships within the movement group; how
ever, there were no common concepts of an extensive
nature. The feeling responses between groups during
I
session one indicated some consistent relationships with
in the continuity of movement and appearance groupB, al
though these responses were not extensive. The set group
tended to respond in terms of continuity of movement and
appearance, while the non-set group responded in terms of
continuity of movement. The common concepts were awkward.
smooth and masculine. During session two, the feeling
77
responses between groups indicated some consistent
relationships within the continuity of movement and
intensity of feeling and movement groups* The common con
cepts were awkward and tense. The set group tended to
respond in terms of continuity of movement and intensity
of feeling and movement, while the non-set group responded
in terms of continuity of movement and appearance. The
transparency seven photograph for Series I appears as
Figure 7« A summary of common relationships between
sessions and groups is presented in Table 11.
Transparency 8.— An analysis of the responses be
tween sessions for the set group indicated a tendency to
respond on all levels. During session two, there was a
considerable decrease in the fluency of feeling responses,
while the fluency of form and idea responses remained
stable. The form responses showed some consistent
relationships within the event group, although these
relationships were not extensive. The common concept was
throwing. The idea responses showed some consistent
relationships within the movement and Internal conflict
groups, although these relationships were not extensive.
The common concepts were movement and indecision. The
feeling responses were consistent within the continuity of
movement group, however, the responses were not extensive.
The oommon concept was smooth.
An analysis of the responses between sessions for
SERIES I
FIGURE 8
TRANSPARENCY 8~OVERARM THROW
the non-set group indicated a tendency to respond on all
levels during both sessions. Curing session two, there
was a slight decrease in the fluency of idea responses, |
while the fluency of the form and feeling responses
remained stable. The form responses were consistent with- j
in the event group. The common concepts were throwing and
thrusting. The idea responses showed some consistent
relationships within the movement group; however, these
relationships were not extensive. There were several
common concepts, however, their relationships were not
extensive. The feeling responses showed some consistent
relationships within the continuity of movement group.
The common concept was smooth.
An analysis of the responses between groups indi
cated a tendency for the set group to respond on all levels ;
during both sessions, while the non-set group responded on ;
i
all levels during session one, and in terms of form and
ideas during session two. The fluency of the responses was |
i
stable between groups during both sessions. Curing
session two, the feeling responses for the non-set group
decreased considerably. The form responses between groups
during both sessions indicated some consistent relation
ships within the event group; however, there was a con
siderable difference in the fluency of responses within the
event group during session two. The common concept was
throwing. The idea responses between groups during session
80
one Indicated some consistent relationships within the
movement and confliot groups; however, these relationships
were not extensive* The common concepts were movement,
direction, anxiety, and force. During session two, the
Idea responses between groups indicated little consistent
relationships. The set group tended to respond In terms
of movement, while the non-set group responded in terms of
conflict. The feeling responses between groups during
session one Indicated some consistent relationships within
the continuity of movement and clarity of movement groups,
although the responses were not extensive. The set group
tended to respond in terms of continuity of movement,
while the non-set group responses were not focused toward
any specific group. The common concepts were smooth and
confused. During session two, the feeling responses be
tween groups indicated little consistent relationships of
an extensive nature. The common concept was awkward. The
transparency eight photograph for Series I appears as
Figure 8. A summary of common relationships between
sessions and groups is presented in Table 12.
Transparency 9.— An analysis of the responses be
tween sessions for the set group indicated a tendency to
respond on the idea and feeling levels. During session
two, there were decreases in the fluency of idea and
feeling responses, while the fluency of form responses
increased slightly. The form responses were highly con-
SERIES I
PIGURE 9
- TRANSPARENCY 9— VOLLEYBALL SPIKE
sistent within the event group. The common concept was
.lumping. The idea responses were consistent within the
movement, internal conflict, and emergence groups. The
common concepts were movement, levels, freedom, force and
escape. The feeling responses were consistent within the
continuity of movement, and Intensity of feeling and
movement groups. The common concepts were awkward and
excited.
An analysis of the responses between sessions for
the non-set group Indicated a tendency to respond on all
levels. During session two, there were considerable in
creases in the fluency of form and idea responses, while
the fluency of feeling responses remained stable. The
form responses were consistent within the event group with
some common concepts within the object group. The common
ooncepts were .lumping, leaping and a human form. The idea
responses were consistent within the movement and external
conflict groups. The common concepts were height, con
quest. power and escape. The feeling responses were con
sistent within the intensity of feeling and movement
group, with some common concepts within the continuity of
movement group. The common concepts were elated and awk
ward.
Analysis of the responses for groups indicated a
tendency for the set group to respond on the idea and
feeling levels during both sessions, while the non-set
group responded on all levels during session one and on
the form and Idea levels during session two. The fluency
of the responses was stable between groups during session
one, while the non-set group responses were more fluent
than the responses for the set group during session two. j
The form responses between groups during both sessions
i
Indicated highly consistent relationships within the event ;
I
group. The common concept was .lumping. The Idea re
sponses between groups during session one Indicated con-
t
slstent relationships within the movement and external
I
conflict groups, with some common concepts within the
achievement group. The common concepts were movement.
height, force, escape and Individualism. During session
two, the Idea responses between groups Indicated some con- i
slstent relationships within the movement, achievement,
and external conflict groups. The set group tended to
I
respond In terms of movement and external conflict, while
the non-set group responded In terms of external conflict
and achievement. The common concepts were height, success, j
effort, force, and escape. The feeling responses between
groups during session one Indicated some consistent
relationships within the continuity of movement and
Intensity of feeling and movement groups. The set group
tended to respond In terms of continuity of movement and
Intensity of feeling and movement, while the non-set group
reBponsed In terms of Intensity of feeling and movement.
84
The Gommon ooncepts were awkward. ecstatic, forceful and
angry. During session two, the feeling responses between
groups Indicated some oonslstent relationships within the
continuity of movement and Intensity of feeling and move
ment groups. The common concepts were awkward, excited,
forceful and free. The transparency nine photograph for
Series I appears as Figure 9. A summary of common
relationships between sessions and groups is presented in
Table 13.
Transparency 10.— Analysis of the responses between
sessions for the set group indicated a tendency to respond
on the Idea and feeling levels. During session two, there
was a considerable decrease In the fluency of the feeling
responses and a considerable increase in the fluency of
the form responses, while the fluency of the idea responses
remained stable. The form responses showed little con
sistent relationships. The common concept was a somersault.
however, this relationship was not extensive. The Idea
responses were consistent within the movement and achieve
ment groups. The common concepts were movement, effort
and unity, although these relationships were not exten
sive. The feeling responses were consistent within the
continuity of movement, the clarity of movement, and the
intensity of feeling and movement groups. The common con
cepts were smooth, confused and excited.
An analysis of the responses between sessions for
FIGURE 10
C D
SERIES I - TRANSPARENCY 10— WALKOVER 01
the non-set group indicated a tendency to respond on the j
feeling level during session one, while during session two
i
the responses were on all levels. During session two !
i
there was a slight increase in the fluency of form
responses and a considerable decrease in the fluency of j
the feeling responses, while the fluency of the idea
responses remained stable. The form responses showed some I
consistent relationships within the event group. The !
common concept was a somersault. The idea responses
showed some consistent relationships within the movement j
group. The common concepts were direction and motion.
The feeling responses were consistent within the continuity j
of movement, intensity of feeling and movement, and the
appearance groups. The common concepts were Bmooth,
elated, .loyful. Intense and beautiful. It was noted that
the oommon concepts within the intensity group had similar
connotations and could be considered oommon also within
this interpretation.
An analysis of the responses for groups Indicated a ;
tendency for the set group to respond on the idea and feel
ing levels during both sessions, while the non-set group
responded on the feeling level during session one and on
all levels during session two. The fluency of the
responses was greater for the non-set group than for the
set group during both sessions. The form responses be
tween groups during session one indicated little consistent
relationships within the event group. The one common con- |
cept was a somersault, although the fluency of the re- j
!
Bponses was not extensive. During session two, the form
responses between groups indicated some consistent
l
relationships within the event and object group. The |
common concepts were somersault, walkover. handstand and |
arches, although the fluency of the responses was not ex
tensive. The idea responses between groups during session
one indicated some consistent relationships within the
movement group. The common concepts were movement and
|
motion. During session two, the idea responses between
groups indicated consistent relationships within the
movement and achievement groups. The set group tended to
!
respond in terms of movement, while the non-set group
i
responded in terms of movement and conflict. The common
concepts were movement, motion and freedom. The feeling
responses between groups during session one indicated con
sistent relationships within all groups. The set group
tended to respond in terms of continuity of movement, while j
the non-set group responded in terms of intensity of feeling
and movement and continuity of movement. The common con
cepts were smooth, confuged, excited, elated and beautiful.
During session two, the form responses between groups were
consistent within the continuity of movement, clarity of
movement, and intensity of feeling and movement groups.
The set group tended to respond in terms of continuity of
88
!
| movement* while the non-set group responded in terms of
: intensity of feeling and movement and continuity of move
ment. The common concepts were smooth, confused and ex
cited. The transparency ten photograph for Series I ap
pears as Figure 10. A summary of common relationships
between sessions and groups is presented in Table 14.
i
Summary
An analysis of the responses for groups and sessions
indicated a tendency for the set group to respond on the
i
idea and feeling levels during both sessions, while the
non-set group responded on all levels during session one
and on the form level during session two. The differences
in the level of responses between groups and between
sessions, for Series I, were not found to be statistically
significant. The level of responses was consistent be
tween groups and between sessions. There seemed to be a
trend for the idea and feeling responses to decrease when
the form responses increased. There was a slight trend
for the non-set group responses to be greater than the set
group responses for both sessions (2108-1994), while the
total number of responses, regardless of group, decreased
slightly between sessions (2096-2006). The non-set group
during session one showed the most fluent responses, while
the set group during session two showed the least fluent
responses. The differences in the fluency of responses
between groups and between sessions for Series I were not
found to be statistically significant* The fluency of
responses was consistent between groups and between
sessions.
The form responses for groups and sessions focuBed ,
i
within the event group* The Idea responses for the set
i
group, during both sessions, focused within the movement
group, with some tendency to respond also In terms of |
i
conflict during session one. The Idea responses for the
non-set group showed a tendency to not focus within
specific groups during both sessions, although the re- j
sponses within the conflict group were slightly greater
I
than other groups during both sessions. The feeling
!
responses for the set group, during both sessions, focused j
within the continuity of movement group, with some
tendency for greater response in terms of intensity of
feeling and movement during session two* The feeling
responses for the non-set group showed a tendency to not
I
i
focus within specific groups during both sessions, with |
less tendency for the session two responses to be focused
within specific groups. The feeling responses of the
I
non-set group, during both sessions, indicated some
tendency for a slightly greater response in terms of con
tinuity of movement and intensity of feeling and movement.
The differences in the focus of responses between groups
and between sessions, for SerieB I, were not found to be
statistically significant. The focus of responses was
consistent between groups and between sessions. The feel
ing responses within the intensity group seemed to be
direoted toward the intensity of feeling rather than the
intensity of movement, for both groups and sessions, A
summary of common concepts, with the total number of
transparencies which indicated the concept as common, is
presented in Table 15•
Series II: Levels. Fluency. Attitudes
and Conceptual Relationships
Series II consisted of ten transparencies of sport
movements which were photographed with time exposure and
regular photographic lighting which provided a more ab
stract representation of the movement pattern than the
Series I transparencies.
An analysis of the level of response for all
transparencies in Series II indicated that the greatest
percentage (20,9 percent) of level responses appeared on
the form level, followed by 16.4 percent of responses on
the idea level and the combined form and idea levels,
12,2 percent of responses on the feeling level, 12 per
cent on the combined form and feeling level, and 6,4
percent on the combined form, idea, and feeling levels.
Further analysis of multiple level responses indicated
that the greatest percentage of level responses appeared
I
TAILS IS
ro n u ir or o o w q e oosc sm ros m t n x
BSTSSrTT*
Utii__ -ZBDL.
j a m s 3*
fill 2
t t r w b i 2
ltylil 1
r w r tlo i 1
TO— ISg Ittft 1
■W Mllhl 1
It 1
1
i ) i i n w i
pattern 1
ila.
U n i* 2
■ l i n i i l w l
iMNbiM 2
( l U m l
r a t n l i t 1
D m 2
•Mm 2
aaplrm tloa 2
• t t n t 3
fWllw 2
n a ltr 1
o sa p la tlo a 1
JBUlL
Itt A
oMfml 2
itmitu 1
M 4 1
•U U I Z
fM 1
•x c lto d 1
MHlUll 1
i B l________
thrsalag 3
ras?
tktuuii 1
1
sa rta h o sl
daaelag 1
• t n t t t b i 1
raaalag 1
rmlu s t a r t 1
a lt 1
Jiml.
d ir ec tio n i
fa lla r a 2
IHUM
sn o o tt 3
U m u th ro ssr 1
hnaaq f a n s 2
k r l l f i 1
sp a a str le a l
pattern 1
oaafassd 1
e la te d 3
■W }
taaaa l
Joyful 1
la te a s e 1
b e a u tifu l 2
a a ssu lla e -u a a e sth e tic -
anp lsasaat 1
str u g g le 1
purp oselessaeee 1
r a s tr a la t 1
fa a r 2
oaarek 1
conquest 1
power 1
ssea p s 1
a sp ira tio n 2
• f f o r t i
growth 1
eaergeaee-freed oa 1
sn pp lleatlS B 1
• *uuber o f traasparoaclos which In dicated tb s oonespt as nnmnn
fo r a
Juaplag 2
threwlag 2
reaching 1
daaelag 1
lea p la g 1
SSLin
rasa la g l
raaalag s ta r t
asMar s a a lt 1
apaaatrloal
p a tts r s 1
Zdaa
i t 6
a e tio a 2
aeqaaaoo 1
a o tlsa 1
sp ssd 1
d lr s o tls a 1
h eig h t 1
saaaps 2
fa ro s 2
•easy 2
fa lla r a 2
str a g g le X
In d ecision 1
n u h alssloe 1
r a s tr a la t 1
T le lw e e 1
fs a r 1
o f f a r t 3
asp& ratlea 2
fraadaa 1
eo a p lo tlo s 1
la ilw ld u a llta l
u n ity 1
feeling
th 7
eoafnsod 4
s z e lto d 3
dsprosssd 1
anxious 1
toaso l
a a sta tlo 1
fs r a a fa l 1
aagrp l
e la ts d 1
a a se a lla s 1
h e a n tlfu l 1
■at - feu-set
U J____ hn ■ l i f t . m u i L
th r sa la c 3
] sap la g 2
ra sa la g 2
ta a a ls drive 1
p a llla g 1
ea rta h a el 1
roaching 1
roanlag s t a r t 1
ssa o rsa u lt 1
walkover 1
handstand 1
arohas 1
oy s t r ie s !
p a ttsra 1
a s tla a 2
sequence 2
halght 1
forea 3
r sa la ta a ca 1
fa llu r a 1
a sp lr a tlsa 2
a c o sa p llshaont 1
s f f o r t 1
f ra s dsa 1
•a lf-a a a rg sa ca 1
•th 3
esafusad 2
a xoltad 4
taaaa 2
fs r a a fa l 1
fraa 1
h a a a tlfu l 1
on the form level (42.9 percent), followed by 34.7 percent
l
on the Idea level and 25.7 percent on the feeling level.
The differences among the percentages were not found to be
statistically significant. Any tendency to respond on a
specific level or levels probably was due to chance.
I
I
Analysis of "no response" responses for Series II
transparencies by all subjects, for both response sessions, ;
l
Indicated that 52 percent appeared In Series II. There
i
were no less than three "no response" responses, and no
i
more than twenty-three for any one transparency when all
groups and sessions were considered. The difference
between the percentages of "no response" responses for
Series I and Series II were not statistically significant.
j
Any trend for a greater percentage of "no response" |
i
responses for Series II was probably due to chance.
|
An analysis of the "check column" responses Indl-
i
cated that 48.3 percent were favorable, 38.3 percent were
unfavorable, and 13*3 percent were neutral. When Series
II was compared with the general reactions for all trans- j
parencles, It was noted that the percentage of favorable j
responses was slightly lower for Series II (50.6 percent-
i
48.3 percent); the percentage of unfavorable responses
was slightly higher (36.7 percent-38.3 percent); and the
percentage of neutral responses Increased slightly for
the Series II transparencies (12.3 percent-13.3 percent).
The differences among the percentages for Series II and
93
the differences between the percentages for Series I and
II were not found to be statistically significant. Any
tendency to respond with a "favorable," "unfavorable," or
"neutral" reaction was probably due to chance.
Relationships between response sessions and groups
The relationships of level responses, fluency of
responses, and the nature of concepts were analyzed for
groups and sessions for Series II transparencies. Sum
maries of these relationships, by transparency, are
presented In Tables 16-25.
Transparency 1.— An analysis of the responses be
tween sessions for the set group Indicated a tendency to
respond In terms of Ideas and feelings during session one,
and on all levels during session two. The non-set group
tended to respond In terms of form during both sessions.
The fluency of the total responses was stable between
sessions for the set group, while the fluency of responses
for the non-set group was greater during session one than
during session two. The form responses between sessions
for the set group indicated some consistent relationships
within the pattern group. The common concept was an In
distinct pattern. The form responses between sessions for
the non-Bet group indicated consistent relationships within
all groups. The common concepts were .lumping, somersault.
a bird, a human figure and an Indistinct pattern. The idea
m u 16
U O T U u u u , n u o i , I I I O O M O B
i m i m i n m o o r v o i t u r n i x • i *
■a m p a a a a a * 4-2
B atetaaa 1 - 2 f l a t ) - « a t* l la s s — . 104-102 S at
ka kaap—aaa a 4 -o
- S— S a t (1 ) - f a ta l U n u n a 104-138
V a n (8 a 26-33) I —a la a 41-33) S t e l l a . (■ . 37-36) v a n ( I « 26-58) X«aa (B a 41-43) m i l — (B a 3 7 -3 7 )
U n i 8 -5 (8 -8 )
• —i r a s s l t 4-2
j — Via* 3*2
tk ra a tla * 1-1
OH—t 2-2 (5-10)
a l a s 1-1
a t a t — 1-1
n u n 11-16 (13-15)
a t a tr —t 2-1
la O la tla e t 9-13
t e n a n t i* ;* * (19-21)
•IT— t l — 4-2
— t l — 1-1
apaa* 3 - f
aa ta a—a 1-x
I f l U l l B n l 3-3 (5 -6 )
a f t a r t 1-1
■ l t f 2-2
A ta tr—t l — 3-4 (1 2 -4 )
a r t 2-3
M t t l a p m 1-2
O aatla^L t^^t-11 (>-11)
•ak aa r* 2-5
O la rlte 13-6 (1 3 -6 )
s a g —a* 13-6
T a tte a lta 2 -5 ($-1 0 )
t lit r a a a a * 1-3
aap rassa* 1*2
i h w m i 11-6 (16-9)
la ia r a a tla * 4-1
a la r* 2-2
t e n t 7 - 8 (8-21)
a— r a a a lt 4 -4
J—Via* 3-4
f if e ln t 3-2 (5-3 0 )
• a a lp ta ra 2-1
t e a — f l* a ra l - l
X fe ttW 11-5 (1 3 -7 )
i S m a t 2-1
la d la tla e t 9 -4
■aea—a t 17-20 (19-22)
a a r a a ia t 6 -10
• l n e t l a a 4-2
— t i n 2 -3
• a tla a 2-2
■PM* 3 -3
C s a tla a lte 3-12 (3 -1 2 )
■ M S tE T -9
•ak aa r* 2-3
O la rltT 13-1 (1 3 -1 )
o a a n a a * 13-1
T a te a a lte 1 .1 ( 5 - U )
• s a l t s * 1 -1
10-11 (16-13)
la ta r a a tla * 4-1
k a m tlf a l l - l
■817 3 -6
a la r* 2 -3
S at
l a laap aaaaa . 2 -2
■ l t f t - 1 1 f .1 3 - a i_________
m i l — (■ a 17-26)
h n t t i 3 3 -ttJ ______
! * • • (S a 33-31)
f W M l (■ s t t - t t )
N M t M l l t 4 -4
l N » l « 4-1
•—M«1 1-1
1*M fra * g—a l - l
OkiMt 18-17 (30-30)
e r i i 2 -2
IllHW 1-1
k lr * T-5
flC V M 4 -4
i - n n l - l
MlHl 1-1
MUtW 1-1
a r e te s 1 -2
f l t t W I 4-4 (7 -9 )
l i l l i t t a e t 4-4
20-16 (22-16)
i t 10*3
• I N I 3-3
M t l N 2-1
M t l H 3*6
U n e tlM 2-3
t e p i . t 7 -5 ( 1 1 4 )
fUlHH 6-6
I V N l t 1-2
, 2-2 (2-2)
n— <*. 12-10 (1 2 -1 0 )l e e s t 5-13 (8 -1 9 )
N N tk 9 -8 m m n l t 2-4
ja a p la * 2-8
• p r i i i u i l - l
MMH 3-2
O la rltT 1-2 (1 -2 )
O N I I N l 1-2
H M M ltf 5*S (11-9)
f T N j - J
f s s 1-1
• s a lts * l - l
9 -6 (13-5)
17-10 (21-16)
» t 9-3
t t l a a i i - i (10-30)
o s s -e « lls 4 s t a s l - l
t u n a 1 3 -6 (15*9)
l a t l s t l a e t 13-4
• lM a tla a 2-3
• f te * 5-3
s o tla s l - l
B ffa rt 1-1
A rt 2-2
a la r* 3-1
11-10 (U -1 0 )
sao o th 6-8
• • te a r * 5-2
6-2 (6-2)
eaiuil 6-2
la t w i t e 4-4 (10-9)
T H T P 3
• s a lts * 3-1
Aaaaaraaca 5-4 (9-5)
• H I 3-3
v la rd 2-1
V O
• P -
TABU 17
n m m u n u . v i c t o t . u s oomoa o a c x m b it w
m a i o n i n oaooia to t i n n x i - n u n u B o r 2
l a aaayaaaaa a 4-3
IM I m
aa aaavaaaaa ■ a -*
m m 96-128
Bara (■ > 2 8 -K ) ISaaa (■ a V4-21) M I m fa . Vfc-OTl
I m i 2 -6 (4 -8 )
r a a a la f 1-3
a t n t d d a i 1-2
O tla e t 7 -1 0 (1 7 -1 9 )
a a la a l faxaa 4 -5
t e a m 2 -4
aaaatalaa 1-1
2 U M U 5 -6 (7 -8 )
l a t t a t la e t 5 -6
m — 1 ! 3 - 6 (1 8 -1 2 )
a a tla a 2 -2
l l a n e l a a 1 -1
Q a a flle t 4 -2 (9 -5 )
(arpaaalaaaaaaa 1 -1
M t n a t t a i 3-1
T i ^ - T I T l - l (1-1)
6 -1 0 (6 -1 0 )
aaaatW 5 -7
u t a a r t 1 -3
J la r l|T 15-6 (1 6 -6 )
oaaraaal 15-8
I a ta a a ltr 5 -2 (8 -9 )
l l a t a n a i 5 -2
h a t l - l (4 -2 1 ) M f f l M l 16-16 (1 8 -1 7 )
aaaaraaalt l - l aaraaaat 10-5
a a tla a 1-1
O tla a t 4-20 (1 7 -3 2 ) a a tla a 2 -5
karaa 1 -4 ay a a l 3 -5
a aa a ta r l - l
paa^la 2 -1 5 O a a flla t 8-7 (9 -2 8 )
l l i U r t l a 2 -2
Vattara 5 -2 (7-4) a tr a a fth -fa ra a 1 -4
l a l l a t l a e t 5 -2 f a lla r a 3 -1
(6 -8 )
n t f 1 6 -1 (1 6 -1 )
a n f n a i 16-1
A B t t D M l 2 -7 (4 -9 )
la ta r e a tla g 1 -3
H 7 1 -4
•a a a la a a 1 -
■a laayaaaaa ■ 3-2
CUB (*_* 57-42)
- I l f * . ( I r 5 M 0 > _________ r w i l M (1 a » - « ) ____ V a n ( I a 35-42) H a a (1 « 21-38)-------
tmi 2-3 (21 -6)
m a x l a s 1-2
W l H
f i l i u i U - l * (3 2 -2 8 )
b i u t l p N 4 -2
k o n t 4 ^
aaaka 2 -2
M n t a horaa 1-1
l> H w « 2 -2 (4 -8 )
l a t t a t la e t 2 -2
15-10 (1 7 -1 5 )
sasw
H M « 5-2
Ca^ m a t ^ 20-16 (2 8 -2 0 )
f l i l M N 7 -3
e«(im 3-8
atra g g la 4-3
raaiataaoa 2-1
2-1 (2-1)
0— t l a a lt r 8-12 (8 -1 2 )
■NUH
4 -3
Q la r ltr 1 -4 (1 -4 )
M lA a H 1 -4
i”1 (3”4>
1»h «i— o« 4-8 (9-8)
W «
6 -3 (8 -6 )
ra a a la g J - l
• t r a t a i la s 2 -1
Jaaplas 1-1
043aat 8 -1 7 (1 9 -2 8 )
a a la a l ( m m 4-11
t e a m 2 -3
o a t a r f llla r 2 -3
B attara 8 -2 (8 -8 )
l a l u t l a e t 6 -2
. 8 -1 0 (1 2 -1 5 )
■t 3 -4
la a 1 -1
a a tla a 2 -4
h alffct 2 -1
n - p | « t 2 -2 (5 -2 0 )
T lolaaoa 1 -1
a a a f lla t 1 -1
I 1 0 " 1 2 *
*"*" 3 -3
“SfcSVT’
1 M M U I 2 -1 (4 -7 )
a ia r s 2 -1
V O
U1
f
UBU 16
1 B N I 8 B L iT O i. m i p i. a s o o m o i o oicxvn n r v x a
i M i m i n t w i i n i s n z a xx - n m n n o i 3
Ltaa a 90-68
aa aaapaaaaa ■ T -i
■at - la a -O a t (1 ) - r a ta l k t M H i a 90-138
vara (1 * 13-24) »— (V > 58-11) f a n (8 . 13-47) Xiaa (* a 39-65) •■ a llo a ta . 38-26)
Imi 3-4 (5-8
raaalag 1-2
p a llla g 1-1
a t r lk la g l - l
O klaat 1-1 (2-6)
arm 1-1
Vattara 6-8 (6-10)
la t la t l a o t 4-8
Itxmti 12-3 ( 16-5)
ilr a a t la a 2-1
a a tla a 2-1
C o a flln t 9-8 (16-13)
aaoapa 2-3
p a ra o lt l - l
f a ir 3-1
r a a tr a la t l - l
T lolaaaa l - l
gala 1-1
ishlmmi 8-11 ( 8- 13)
fra a d a a -la d lw ld u a l-
ia a 8-11
A katractlaa 1-1 (2-1)
( u t h 1-1
O aatlanltT 23-4 (23-4)
a a a a t k ie-1
aafcaard 5-3
la t a a a lt r 6-3 (10-4)
aaaarad 3-1
haarr 2-1
a tra la a d 1-1
A M aarn ea 3-2 (5-2)
a g lr 1-1
la ta r a a tla g 2-1
Imi 1_u (5-17)
n o a la g 1-11
Vattara 5-6 (6-9)
abatraot 1-1
la d ia t la c t 4-5
l a m ) 11-16 ( 16-18)
aaroaaat 8-11
a a tla a 2-4
avaag 1-1
O a a fllo t 10-33 (15-61)
aaeapa 4-13
a o r a o lt 1-8
d a fa a t 2-1
r a a tr a la t 2-1
r la l a a a a ^ t r n g l a 1-10
TlllTltMlI— fnilM
6-3 (6-3)
aa-* ( 23-6)
aoaatk 1 8 -5
aatoard 5-1
6-6 (10-15)
aaaaral 3-3
aad 1-1
taaaa l - l
fr a a tla l - l
Aaaaaraaaa 2-2 ( 5- 4)
a g lj 1 -1
a r t la t la 1-1
■a oaapoaaaa » 1-3 M 9 ^
V a n (■ . 47-51) X«aa (1 a 65-45) fa a lla a (t a 26-22)___ f a n (1 = 24-51) __________ I la a (1 a 33-45)_______
15-10 (17-16)
raaalag 11-3
< M « U | 2 -4
tw lr llo g l . i
t e a a l a l - 2
C U t& l 15-16 (21-29)
■atador n i k a i l l - l
G raclaa f i n e * 2-1
Caataar 2 -3
flg o r a 10-11
t i t t m 8 -4 (9 -6 )
u i l l t l a c t 5-2
U M l i e t p t t U n 3-2
16-6 (1 8 -9 )
H T a a t 11-3
■ o tla a 4-2
IPM( 1-1
C o a fllc t 25-21 (41-31)
imp* 13-7
p u rsu it 9-4
fbT N 4 -3
a tru ggla 6-3
N j N t l r a 2-1
r a s t r a la t 1-3
2 -5 (2 -5 )
C a a tla u ltr 6 -4 (6 -4 )
■ N t h 5-2
awkward 1-2
ClarltT l-l (1-1)
eoafSaad 1 -1
la ta a a lt r 3-3 (15- H )
•Srr-2
fa a r fu l 2-1
i M a a m w 2 -5 (4 -6 )
M a a tlr o l l - l
«8ly I-*
t r a a t 1 -4 (8 -1 6 )
palll lla g 1 -4
O klaat 3 -7 (6 -2 9 )
Oaataar 2-3
V attara 9-3 (10-6)
la a la t la e t 8 -2
lla a a 1-1
3-6 (5-9)
H t N H t 1-3
a a tla a 1 -1
a a tla a 1 -2
10-22 (1 4 -3 1 )
aaeap* 3-8
y a r a o lt 1 -4
T lcla a o a -fa ra a 6-10
AgktfBMU U”T (16-7)
poryeaa 1 -1
u a l a n h l f 1 -1
l a d l v ld a a l ln 9 -5
4-4 (4-4)
tn a rltw l - l (1-1)
n a n — I 1 -1
i M u m * 1 -4 (2 -6 )
■eST*
v o
o\
TABU 19
97
I*
I
8 ?
Is
i S
s i
If
1
*
i
Si
t
m +
ft
* * J A , U : i
*
*
N
« l
f
*¥? 2? S
•
CM I
1 * C M
•mB «SS vMNHHH HI • 1 H C M O*
Tijli* 4~;« ^33
p i r 1 1 1 ’ “ *
a2
'r^v
0 H IH
ft 7' ~
C fH
HH I
I
S i t & - J | f J j ;
j ! l j | f i ! i i ! i
T 7.
I A < J L flf
-7 iAw
731
4«4«1
iillil
TASK 20
m r a n unu, iujbct, aid oomoi omoimi i h m
ocmon aid o o m vok i o n zi - runrmror 5
tmrm Cl « 21-26)
6*001*00 1 - 2 ( l o t ) - H U 1 — » » BO-76
Jli-H
8 -7 (1 0 -1 5 )
mckln 5-5
M1U111-1
th ro a tto g 2-1
Q » t e t 3-3 (10-6)
C h rist 1-1
■ eolptor* 1-1
hlrA 1-1
httm^l-l ( 1 - 5 )
IA00 ( I . 32-31)
6-8 (6- 9)
Bt 2-4
holght 5-3
folio* through 1-1
e— flint 4-6 (6-15)
«Ut*rtlM 3-4
f o lia r * 1-2
UOOMlS-i ( 1 2 - 2 )
MikHtM 5-2
rwiui ii i iT -M ) d » m (1«2i-»)
■ I' W PHH
mi m
T=r
0— tloolt* 11-7 (11-7)
•OMth 4-1
ukoorA 7-8
T«twrttw 2-2 (8-8)
0 * 0 * 7 1-1
0 0 0 * 7 * 4 1-1
Ai— orooB* 4-3 (5-4)
*«17 3-1
go«4 1-2
imi 7-14 (10-34)
rwahlog 5-11
h * a 4 1l g 1-1
•trlklag 1-2
O blyet 7-9 (10-23)
tl*o«* throoor 2-3
6r**k sculptor* l-l
hoaso flgar* 2-2
hlr4 l-l
■kok**p*or*aa pl*7*r
1-2
5 -3 (6 -4 )
It 2 -2
O alght 3 -1
s_6 ( 6 - 1 8 )
fS llo r * 1-3
A lo to r tto o 3 -2
OOOtOMft 1-1
m u m i 9-7 (12-7)
o a p lr o tle o 9 -7
I b o t r o o t lw 1-1 (8 -3 )
th* aapraa* Balog 1 -1
tW-BT
ihmm a r a -xi____
« i —* « —««» U-10 (11-10)
M M th 4-9
7 -1
g ia x iiz 2-3 (2 -3 )
n B S n 4 2-3
JlBlUl 8-8 (6-15)
—0*7*4 2-3
■ H W M ll* 2-3
hM *7 1-1
mo—«i-i
{■— Ml
■gv 3-i
3-1 (5 -4 )
V * Im m m ; 5 = 8 -------------------
•H i)-- a w liflW flJ 1 2 7 -1 8 2
W T S S S S S S T T T ^ ^
P.* - ■«-*.» t o y - — 1 — - 14-190 8— 3 *0* 1 - 2 ( I i
fM B a = S S r S S L ,
_ 25-13 (34-23)
raoohlag 11-5
4— clog 10-2
throolog 2-2
ertmshlog 2-4
Oblwt 16-17 (23-27)
1400 ( I * 36-51)
3-13.(4-13)
00*00—t 2 - 8
holght 1-5
C a o fllo t 10-13 (1 8 -2 1 )
•oeop* 2-6
■g—7 5-3
f o lia r * 2-3
dleh ot—7 1-1
lohl*«*■*■t 3-6 (7-11)
o * p lr * tlo a 3-6
B o o o lle o tl— 4-3 (4-3)
B*out* l - l
m U K C 2 38-85) loro (■ * 26-53)
C o o tln ^ t|^ 1 0 -q (1 0 -9 )
ookoorA 1-3
lot— olt* 6-8 (15-15)
StiJ-5
firuotrotoA 2-1
h*o*7 l-l
t*B0* 1-1
•Motional 2-2
9-12 (15-23)
raoohlog 5-5
eroaahlog 2-4
to m lo g l - l
Aooelog 1 -2
BMtrt 2-4 (6-27)
" t r i o 1-2
• t o t a l 1-2
iim s t « a-aL
6-13^(9-13)
holght 2-5
Mfflllf 7-11 (15-21)
•tr a o g th l - l
Bor oooolooooMO 1-1
ro o lo to o M -o tro g g lo
1-3
poU 1-2
foliar* 2-3
AlehotOHp 1-1
lahlnmki 2-6 ( 2 - 1 1 )
oapliM tloo 2 -6
M o lla o Iw . 1 0 -2 5 )
_ 7 -9 (7 -9 )
1-6
6-3
lo to o o lt* 7-12 (8-14)
•ooltoA 3-5
fXM 1-3
f r ootroM A i - i
hoo*7 1-1
■ V trlto o l 1-2
VO
OD
TABU 21
narcra iiru, rumor, u» can o o wra ■»«
union jib anon rat m m ii - mnruasr 6
m aaayoaaaa * W-io
•■ — i — i . a f i a t i . h u i - a r-ra i a t - l M - t a t (1 ) - f a t a l BaaaaaaM . 67-125
rara fa m 45 -2 9 ) M l ( I * 22-46) I I f f , ( I * 45 -49)
P fa llM f | . 2 0 -2 8 )
I m i 11-19 (1 4 -2 2 )
U i m 1i | 6 -1 6
th r a a tla g 1-1
• tr lk la g 1-1
ta a a la 1 -1
U l i m 5 -9 (5 -9 )
l a t la t i a c t 4 -6
M M 1-1
6 -9 (2 3 -1 2 )
fa lla a " thraagh 3 -3
O lra etla a 1-3
14-6 (1 5 -1 1 )
■t r o ta la -fa r e s 10-5
O la ta r tlra 1 -1
■ f i r l - l
a h a g la a la g -M MO 2 -1
m i a m n i 2-1 (3-5)
O M fla tlM 2 -1
c n t i i r l f t 6 -6 (6 -8 )
• a a a t h 5-7
aakaari 1 -1
O la r ltr 3 -1 (4 -1 )
erafM aO 3 -1
T .ty— <*- 4 -1 (7 -7 )
distzwasaO 4-1
t i m n u L 1-2 0 - 2 )
n y la s a a a t 1-2
I m i U - 1 6 (1 4 -2 6 )
Ikravlag 8-12
a n a la g 1-1
• tr lk la g 1-3
t r a i l s 1-2
H u m 6-5 (5 -6 )
l a i i a t l a o t 4-5
B iT M ral 16-12 (2 3 -1 4 )
yragraaalM 1-1
M t lM 5 -2
M tlM 4-1
f a lla a thraagh 3 -2
O lra etlM 1 -1
C r a fllo t 12-21 (1 5 -2 7 )
a tro g g la -fa ro a 10-14
d la ta r tlr a 1-1
raatralaaO 1 -6
6-5 (6 -5 )
MHOth 5-2
aakaarO 1 -3
O la r ltr 3 -2 (4 -2 )
• m R m O 3 -2
la t a a a lt r 4 -5 (7 -1 6 )
llatraaaaO 4-5
- 2 ( iM ^ ta t) - t a t a l la a m u a s * 125-109---------------
— * a t
Ba asapaaaM * 10-1
- lM r * a t _ ( g ) - - f a t a l H i m i m a 79-109------------------------
Itn a •J9S3L (■ « fWUil (1 g gf-lfl M i (M . 32-53) IlM (t a 29-40)
| m i 22-19 (2 6 -2 5 )
thrawlag 12*12
a tr lk la g 3*3
p i t t l M i t o t 1 -1
ta r a la g 3-1
n l i l l i f 1 -1
u n i t 2-1
OH»ct 5-7 (14-21)
IIicm a n « n 2-1
haara ( l | m 5 -6
H t t m 6 -6 (6 -7 )
c lr a a la r l - l
lullitlnct 5-5
13-16 (1 4 -1 6 )
»t 5-6
•PH< 2-2
M t lM 2 -4
( • U h throagh 2 -1
M tlM 1-1
U n e ttM 1-2
O — f l l a t 20-14 (2 7 -2 0 )
nSTw
baatiiity 2-i
■ truggla io - 6
O f t r l - l
• • m m 1-3
r lo lr a e a 2 -2
C w t l i ^ 5 -3 (5 -3 )
r -2
3-1
01-rltr 2-3 (2-3)
omKhI 2-3
a t M i t y 5 -3 (1 6 -5 )
■ M i n 2-1
•H>7 2-1
hM«7 1-1
h w t 21-16 (2 2 -2 5 )
thrawlag 16-12
i t r l k l i i 2.3
aw laglag l-l
tkmtlii 1-1
t r a i l s l-l
H U t t * 6 -5 (9 -7 )
ialiatlaet 6-5
12-11 (1 2 -1 6 )
■t 3-6
O lT M tlM 3 -2
■pMO 3-2
f a l l s * th r e a t* 3-1
C r a flla t 5 -6 (1 1 -2 0 )
r i a l n c a 2 -4
t a n a 1 -3
ra ta r l - l
ahaaarlt? 1-1
« ■ « * « * 6 - 3 (6 -3 )
i a a s t t T - i ' - 2
1-1
C la r ltr 1 -3 (1 -3 )
eaalM aO 1 -3
la t a a a lt r 3 -1 (7 -5 )
V O
vo
TABU 22
IUMT, in
BO B l
inagwT'Fi'
■UtB. t l f-48r*lL
t a t - l a - h t (1 ) - i « U l B w m i » 101-186
m»n« 2 6 - 4 3 )
7 -1 * (11-19)
i — i t 3**
t n o i i i 1-2
• t N M l i f 2-2
1-1
t t M 7 -9 (1 0 -1 8 )
liam ra y-}
> — Opw 1-2
OlMktfftf 1 —1
NtMfUlV 1 - 2
*t W N 1 - 1
. 4 -3 (5 -8 )
I M U t l w t 3-2
lla a a r l - l
> 28-28 (3 0 -2 8 )
a t 6 -7
■ a tla s 5-1
apaai 12-13
l i n n i a i 2-2
lla a a a la a 3 -3
O —f i l e t 8 -4 (11-:
U a t a r t l a 6-3
faraa 2 -1
1 -2 (7 -2 )
10)
it a tr a a tla a 1 -
u n u t r 2-1
■ 191-U2
B ta lla a (■ , 27-28) - « ■ ( » . 26-53)
, 12-12 (12-12)
u t a w l 3-2
m—it- j-i ( j - 1 )
aw f t aal
I i U y l t T 1>1 (4 -7 )
taaaa 1-1
iMNQHI
w T R
5 -6 (8 -7 )
t o t « m t U | 1-2
v la r t 3-2
8 -1 4 (11-20)
r a n la c 3-11
l l f l l l 2-1
a tra ta k la g 2-1
a a lk la g 1-1
O tla a t 4 -6 (1 0 -2 5 )
ta y tU a 3-4
e a ta r p llla r 1-2
H t t a a 4 -4 (5 -8 )
I a l i a t la e t 3-3
lla a a r l - l
tm . 48-48)
iw m m a 2 gr-rrj.
, 30-21 (30-21)
it 6 *6
■ a tla s 5-2
I B S tSA-t
a a tla a 1 -3
la a a l 1-1
lla a a a la a 3-1
fa r c a -r la la a e a 2 -3
fa a r 2 -3
«— f « ia t 10.10 (1 1 -2 4 ) Aaaaaraaaa
a ia ta r tla a 6 -4
^12-7 (1 2 -7 )
M ta a H 3 -2
la t a a a lt r 4 -3 (6 -1 1 )
taaaa 1-1
aafclla ra ta t 2-1
1-1
3 -8 (6 -9 )
la t a r a a tla f l - l
• l a r i 1-3
L - M a 1
IMBi g-m mh a 1
13-15 (2 0 -1 9 )
-12
2-3
faaalag 11-12
nreatafag 2
f i li B i l 16-19 (25-36)
c a t e r p illa r 2-1
ta a paapla 2-1
a a la a l 1-2
tr a la 2-1
iragaa 2 -2
l l s a r i 3-4
o a a tlp a ia 2-3
aaaka 1-2
ia g 1 4
prafclaterla
aaaatar 2-2
20-23 (21-23)
a t 6-5
a a tla a 2 -4
a a tla a 3-1
ilr a a t la a 2-1
apaai 6-10
1-2
«— 20-15 (24-15)
p a ra a it 11-7
a ia ta r tla a 4-1
fa r a a -r la la a e a 2 -4
eeaape 2 -2
fa a r 1-1
m il— c a 37-gv
I a |a a a ^ t|
, 5 -7 (7 -7 )
>th 5-7
3-4 (11-10)
fr e e 1-2
la taaaa 1-1
Aaaaaraaaa 4 -2 (6 -2 )
• l a r i 3-3
------------------------ w n » h 1 s p i --------------------------------
t a t - Maa-Oat (2 ) - t a t a l Baaaaaaaa a 112-126
■ E w e a 1(91 a r, »> r*U
13-16 (19-19)
raaalag 9 -9
raaalag a ta r i 1-3
f a l ll a g 1-1
araw llag 2-3
O tla a t 10- U (1 8 -3 6 )
g lg a a tla U a a r i 3-2
— a - 1-2
e a ta r a llla r 2 -1
laga 1-1
a a la a l 1-2
•trea a a 1-2
r lr a r 1-1
H U m 3-6 (6-7)
lla a a r 1-4
l a ii a t l a o t 2-2
26-22 (2 6 -2 3 )
a t 7 -5
ila a a a le a -le a g tk 3-2
■ a tla a 1 -4
a p e e l 13-10
ilr e e t~ a tla a 2-1
O om fllct 7 -6 ( 1 0 4 5 )
aaaapa 3 -2
ila t o r t la a 3-1
oppraaalaa 1-3
POellaa IB a 28-23)
O a a tla a ltr 10-7 (1 2 -7 )
aaaatk 10-7
O la r ltr l - l ( l - l )
aaaiaa a i 1-1
la t a a a lt r 4 -3 (7 -1 0 )
lataaaa ‘ 3-2
aaaakp 1-1
Aaaaaraaca <
S i S r w
4 -5 (8 -5 )
100
TIKI 23
n u o n x u t il s , r a w e r . i d oommi o o g cirrs m a n
s n s i a n i n o m d m io k m m n - m u m m e r s
I — lo s e 1 - 2 l i l t ) - T o ta l m i — N l « 64-103
J l L i
m » u « « .-* g L
I m t 4 -6 (5 -1 7 )
t k r u t & ii 1-2
la a e la g 1-1
u n U | l-l
■ tr lk la g 1 -2
O M H t 3 -6 (6 -1 2 )
S K l - i
• i m 1-3
n r r y - g o - r o m l 1-2
P attara 7 -1 2 (9 -2 0 )
I a l i a t la e t 5-6
e lr e a la r 2 -6
Mm II iJfe-gSL
M M i l I I » « - 8 l f e t a <■ * 22-50)
■ l a ' T a a
I — a t (1 1
I le a ( I a 34-40)
T8=T
,9 - 6 (1 7 -1 5 )
it 7 -6
apaai 1-1
aatlaa 1-1
O e a file t 4 -4 (1 4 -6 )
I la t a r t la a l - l
faraa 3 -3
O m tla a ltr 8 -1 0 (8 -1 0 )
m a a tE T -6
aakaarl 1 -4
c ia r i t r 7-4. (7 -4 )
e a a fa a a l 7 -4
la t a a a lt r 4 -3 (6 -9 )
fiST*
blah 3-1
_ 6 -5 (7 -6 )
la llk a 2 -1
la ta r a a tla g 2-2
a z e a lla a t l - l
plaaaaat 1-1
Ir a a t 1-10 (5 -2 4 )
la a e la g 1-10
O tla a t 2-3 (8 -1 2 )
■area l - l
a a rxT -ce-rooai 1-2
P attara 7 -1 0 (9 -1 * )
i a l i a t l a e t 5-1
e lr e a la r 2 -9
, 9 -1 0 (1 7 -1 4 )
■t 7-*
apaai 1-1
aatlaa 1 -5
7 -8 (1 4 -1 6 )
chaea 2-1
parpaaalaaaaaaa 2-2
faraa 3 -5
i l U i m n l 3 -3 (3 -3 )
■ t a t l l l t7 2 -2
l a l l r l t a a l l a a 1 -1
O a a tla a ltr 8-6 ( M )
■ aaath 7 -7
1 -1
OlarltT 7 -1 0 (7 -1 0 )
o a a fa a a l 7 -1 0
lataaaltr 1-2 (6-11)
Saa i-2
I m o o m K
U M n m a i
2-1 (7 -2 )
2-1
■a iaapaaaaa a
S a t - l a a - l a t 12) - T otal ~
f a iaapaaaaa = i - i
S aasloas 1 - 2 ( le a -S a t) - T atal Iaapaaaaa » 1 2 1 -U 1
F M l t l = 5 9 -S Ii
Ir a a t 16-15 (24-19)
la a e la g 10-7
p a llla g 2 -1
raaalag 2 -4
r la g -a r a a a l-tb e -
2 -3
O blact 9 -1 6 (12-23)
aaraa 1 -3
sh a t p a tte r l - l
Oraak aealp tora l - l
faraa 5-7
P attara 12-9 (1 4 -1 1 )
e lr e a la r 9-6
eorraa 2 -1
I a l i a t la e t 1-2
Waraaaat 12-9 (1 4 -1 0 )
aaraaaat 4-2
a a tla a 5 -2
la r a la 2-2
apaai 1-3
C e a file t 10-9 (1 8 -1 5 )
o a a f llo t 5 -5
ra a lataaea 3-2
la la o la le a 1-1
aaeape 1-1
A chleraaaat 3 -4 (3 -4 )
l a ll r il a a l la a - a a l f
azpreaalen 3 -4
IM M II ( I 8 3 lrS * l T ara ( i « 49-53) M M ( I P 88-J4)
C e a tla a ltr 8 -5 (8 -5 )
■ aaotT T -4
aakaarl 1 -1
O la r ltr 10-7 (1 0 -7 )
oa a fa a a l 10-7
la t a a a lt r 5 -5 (1 1 -1 2 )
■am 3-3
fr e e 2-2
4-12 (1 7 -1 9 )
p a llla g 2-1
ra a a la g 1 -4
la a e la g 1-7
O H aot 5 -9 (1 2 -2 3 )
aaraa 3-3
paapla 1-5
e e a r f 1-1
P attara 14-10 (2 0 -1 1 )
I a l i a t la e t 6-2
e lr e a la r 6 -7
a a lr la 2 -1
8 -7 (1 5 -1 0 )
apaai 1 -3
• a t la a 1 -2
C a a flle t 5 -8 (8 -1 5 )
r e s is t * Lataaeo 3 -6
aaeapa 1 -1
la la e la le a l - l
1-1 ( 1 - 1 )
« 103-111
ftlllM (1 m a=f4J__
IQ -5 (1 0 -5 )
aakaar l 4 -1
4 -7 ( 4 - 7 )
oaafaaal 4 -7
IltmillT * * (9-12)
free 9-2
happy 2 -3
101
u u o n s an tM , pebm o x . u s o o m m ooi o u b — bu m
■ M ia n u s a n o n rom —a x u xx - t u i m n c i 9
It— 1 - a ( k t l - t i t o l I w m w i « 62-90
■ M .
tWT If ¥ 35-5BL
« W » 6-11 (9 -2 2 )
6-11
0> m t 15-19 (2 0 -2 5 )
b m 10-12
a a la a l 2 -4
o n 1-1
g ir a f f e 1-1
k a li l - l
P attara 4 -6 (6 -1 1 )
l a ii a t l a o t 4 -6
I — (■ a 32-19)
. 9-5 (13-6
a t 2-2
h a lg t t 7 -3
«■ » * « « « 3-2 (1 3 -6 )
la f e r r a t le a 2 -1
aaeapa 1-1
- i f M M (1 * 15-13)____ Para (1 » 35-42)
ajgjf^J-5 ( « - 5 ) njgrj^ & 10)
—■ — ■ 2 - 1 '— -----
m e m 1-3 (1-3)
ooaraaal 1-3
la t a a a lt r 2-1 (4 -3 )
e z e i t e l 2-1
laaaaraaoa 2-1 (4 -2 )
Im M raatlag 2-1
la a p l t a i p a l 1-2
Oklaat 15-20 (2 0 -3 0 )
aaraa 10-11
oaa 1 -1
a a la a l 2-1
Iracoa 1-4
t a l l 1 -3
Pattara 4 -2 (6 -2 )
l a ii a t l a o t 4 -2
“™ T n B T i ---
l i - f f l (1 1 - I t H I
I la a (1 . 32-35)
Oaa P ilo t 7 -1 0 (1 3 -3 0 )
aaeapa 2 -1
l la t a r t lo a 2-2
a r i l 1-3
ea a ta ea t 1 -3
la a p a r a tlo e 1 -1
tm - 1 5 - 1 7 )
lle ra a a a t 7 -3 (1 3 -4 ) "*TftTlT*T 6-5 (6 -5 )
ia r a la 7 -3 a a a a ta 4-3
2-2
Olar&tr 1 -2 (1 -2 )
o aa faaa l 1-2
r—— « « - 2 -4 (4 -5 )
fc a a r 1 -2
f r e e 1-2
A aaaanage 2 -1 (4 -5 )
la te r a a tla g 2 -1
n M f l H IV 4-5
2 tlea -O a t) - P ate
J24-2L.
Para (■ a 42 -5 7 )
9 -9 (1 0 -1 4 )
Jaaplag 4 -5
l a a e la i l - l
flu 1-1
lea p la p l - l
laap frap gaae 2-1
f iU t S i 24-35 (3 0 -4 1 )
Sataa 1-2
Satpr l - l
Iracoa a a l aaa 1-1
Irayea 3-7
t o l l 3-3
harea 11-15
aaa 1 -1
r e ln le e r l - l
1-2
P attara 2 -2 (2 -2 )
la O la tla c t 2-2
IM a (1 a 35-21)
P a a lla a (1 « 17 -1 9 ) Para ( i « 56-57)
■a iaapaaaaa
■ at - S o a - a e t (2 ) - t a t a l
T T
._______3 -3 (4 -5 )
Ia ra la 3 -3
C o a flle t 17-8 (26-10)
p a ra a it 2-2
f e r e e -r lo le e e e 13-4
aaeapa l - l
laaaolaioB i - i
l - l
( 4 - 5 >
C r o o lflz lo n l - l
Q a a tia a ltr 5 -9 (5 -9 )
e a ee ta 3 -3
a a te a r l 2 -6
O larltT 2 -1 (2 -1 )
oearaaet 2-1
la t a a a lt r 4 -2 (5 -6 )
foray 2-1
fraa 2-1
1 -2 (5 -3 ) I n a a r u o r
agly 1^2
U n t 17-7 (2 2 -1 4 )
^ j a a p la g 11-5
raaalag 5-1
reaefclag 1-1
O klaet 21-25 (2 5 -4 1 )
H a it e a r l - l
la t e a 1 -2
karaa 12-15
eaa l - l
a a la a l 4 -2
t o l l 1 -3
people 1-1
P attara 6 -2 (1 1 -2 )
la a la t la o t 6 -2
T* - <■ ■ » - n l
“ a i a t m ” '
Ia r a la 3 -3
(6 -1 3 )
reroe 2 -3
aaeapa 1 -1
.20=37.
IH11M ( I I IWt)
(5-9)
Qwlti 3-1 (3-1)
aa a n ia a l 3-1
la t a a a lt r 1 -1 (3 -6 )
r a r e e z a l 1-1 ■
TAILS 25
w a n s u r n s , rum c r , i n o a u m o m o sk s m n
s m i a u a s s a t o m y o i t a n s i i - n u s n m c r 10
fM».a
' 1 11 u ip m u . t
1 — 1— 1 - 2 I h t l - t i t o l h .
9-11 (12-16)
M M IM Ilt 7-6
k a l i t n l 1-2
taiilK l - l
O kleet 8-15 (1 6 -2 1 )
k i m l - l
k r ilg e 1 -1
i n k n 2 -4
reta k es 1 -4
k a t t e r f lr 1-3
■ m u r 1-1
4og l - l
{ U U a 3 -5 (5 -1 3 )
I a l i a t la e t 3-5
MW.(1 F «-»>
________ 1 0 - U (14-13)
■ m a t 5-4
S lr e e tlo a 2 -6
a e t le a 3 -1
f i n m s i s - 4 ( s - 4 )
l l a t a r t l e e 5 -4
Ig k la M M rt 1 -1 (2 -3 )
s k i l l 1-1
88 f JB-M3.
S e t - le a - a e t Cl) - t a t a l
P a e lla s (■ a 3 0 -2 6 ) P er . C . 33-56)
O ea tla a ltr 13-17 (1 3 -1 7 )
ea eeta 10-7
aakaarl 3-10
la t a a a lt r 3 -2 (1 1 -7 )
t a | | j 2 - l
l i s k t i - i
Aaaearaane 1 -2 (6 -2 )
■ess i3
11-11 (12-25)
se a a r sa a lt 7 -6
k e e ls t e a l 1 -2
e e r ta h e e l l - l
k s a lla g 1 -1
t a l e t l a s 1-1
O kleet 4 -9 (1 6 -2 8 )
kerae 1-3
arekee 2 -4
k a t t e r f lr 1-2
d i i m 3-1 (5-3)
l a u i t l a o t 3-1
g - U )
5 -2 (1 4 -3 )
t 5 -2
,5 - 5 (5 -5 )
A k etraatlea 1 -2 (1 -6 )
l e s s 1 -2
(HUM (1 ■
m i m t T 1 9 -8 (1 3 -6 )
aaeetk^lO -6
IlttMllT 1 1 ( 1 0 -10)
I n s 1-3
S 3 L 2 1 . 1
Ase ea rsaae 5-5 (7 -8 )
a r t i s l i e 2 -2
a t u 2 -2
a t a r i 1 -1
IM I U F SfeSBL
------------------------------- H U I P U M I . 5-3-----------------------------
P f t l n t 1 - ? f l * n - tt » - n r n r n -
12-16 (25-16)
se a e r s a a lt 6-11
haateprlag 1 -1
o a rta k eel l - l
etratafclag 2-1
f a l l l a g 1-1
e p rla g la g 1-1
O kteat 14-19 (2 8 -2 7 )
Cklaeee Iragea 1-1
w ater f e ta t a le 4 -5
arakes 4 -4
k a t t e r f lr 2-2
haaee fe ra e 1-1
k t r l 2-6
P ettere 1-3 (3 -7 )
l a i l e t l a e t 1-3
Tf— fa T
2 -8 (3 -1 5 )
it 2 -8
O o a fllc t 6 -3 (8 -7 )
l l e t o r t l e a 5-2
le e e le a e e 1-1
Slaalleltw 1-1
J lL
S e a -6 e t (2 ) - TH U f l l l l M " « 103-103
iwmm a r a-ai »«■ a « 5 0 - 5 0 )
O ea tla a ltr 8 -6 (8 -6 )
ia e e tk 6-3
aakaarl 2-3
f ila r lt r 1-1 (1 -1 )
l a n a l s l t l r e
Tat— alt. 5-4 (1 0 -6 )
f r e e 3 -2 3-2
r e la x e s 1-1
lee ea r e a ee 7 -6 (8 -8 )
l t k e S - l
a g lr 2-1
k e a e t if e l 2-3
w le r l l - l
8-11 (16-16)
■ ea era ea lt 8-11
O kleet 8 -7 (2 1 -2 7 )
arekee 4 -4
a ea a ter l - l
k a t t e r f lr 3 -2
f e t t e r s 7 -5 (1 3 -7 )
l a ii a t l a o t 5-3
I l e t l a e t p a tte r s 2 -2
I le a ( I . 25-32)
11-13 (1 3 -1 5 )
a t 4 -6
U r e e t la a 6 -3
M t le a 1-2
4 -1 (5 -7 )
i t e t e r t l M 4 -1
A M lerM M t 1-1 (3- 4)
eU.ll 1-1
m n — c ■ a -n i_ _
Q a a tla a lti 1 7 -6 (1 7 -8 )
e S eeik 7 -3
1 0 -3
1-1 (7 -7 )
1-1
H
0
01
FIGURE 11
SERIES II - TRANSPARENCY 1— STANDING BROAD JUMP
104
105 |
responses between sessions for the set group Indicated
consistent relationships within the movement group. The
common concepts were movement, direction and speed. The i
idea responses between sessions for the non-set group j
i
indicated consistent relationships within the movement and j
external conflict groups. The common concepts were speed, j
motion, movement and violence. The feeling responses be- j
I
tween sessions for the set group indicated little con-
i
sistent relationships. The common concept, confused, ap-
i
peared within the clarity of movement group; however, the
j
relationship was not extensive. The feeling responses be- |
tween sessions for the non-set group indicated some con
sistent relationships within the continuity of movement
i
and intensity of feeling and movement groups. The common !
j
concepts were smooth and free.
i
An analysis of the responses between groups indi
cated a tendency for the set group to respond on the idea
and feeling levels during session one, while the non-set
group responded on the form and idea levels. During
session two, the set group responded on all levels, while
the non-set group responded on the form level. The
fluency of the non-set group was greater than for the set
group, during both sessions. The form responses between
groups during session one were consistent within the event
group. The common concepts were somersault and .lumping.
The set group tended to respond in terms of pattern, while i
106 |
i
the non-set group responded In terms of object and event. |
During session two, the form responses between groups
Indicated some consistent relationships within the pattern i
group; however, there was a considerable difference In the |
fluency of responses within this group. The common conceptj
was an Indistinct pattern. The set group tended to respond
in terms of pattern while the non-set group responded in
i
terms of object and event. The idea responses between
I
groups during session one Indicated consistent relation
ships within the movement group. The common concepts were i
movement, direction, motion, action, and speed. The idea
i
responses during session two Indicated some consistent 1
relationships within the movement group. The common con
cepts were movement, direction, and speed. The feeling !
responses between groups during session one Indicated some ;
consistent relationships within the appearance group. The
common concepts were ugly and wlerd. The set group tended
to respond in terms of appearance and clarity of movement,
i
while the non-set group responded in terms of appearance,
continuity of movement, and intensity of feelihg and move
ment. During session two, the feeling responses between
groups indicated consistent relationships within the con
tinuity of movement and appearance groups. The common con
cepts were smooth and ugly. The transparency one photo
graph for Series II appears as Figure 11. A summary of
common relationships between sessions and groups is
107 j
i
presented in Table 16.
Transparency 2.— An analysis of the responses be
tween sessions for the set group Indicated a tendency to j
i
respond on all levels during session one, and on the form
I
level during session two. The non-set group tended to |
respond on the form and idea levels during both sessions.
i
The fluency of the total responses for both groups was I
greater during session one than session two. The form
[
responses between sessions for the set group Indicated some |
consistent relationships within the object and pattern •
groups. The common concepts were an animal and an in
distinct pattern. The form responses between sessions for !
I
the non-set group indicated little consistent relation- j
ships. The common concept was a human figuret however, the
relationship was not extensive. The idea responses be- |
i
tween sessions for the set group Indicated little con
sistent relationships. The common concepts were movement
and motion: however, the relationships were not extensive.
The idea responses for the non-set group indicated some {
consistent relationships within the movement and external
conflict groups. The common concepts were movement,
motion, speed, force, violence, conquest, and struggle.
I
The feeling responses between sessions for the set group
indicated little consistent relationships. The common con
cepts were smooth and confused; however, the relationships
for the latter concept were not extensive. The feeling
) r
FIGURE 12
SERIES II - TRANSPARENCY 2— BASKETBALL LAY-UP
108
109
responses for the non-set group Indicated some consistent
!
relationships within the continuity of movement and ap-
I
pearance groups. The common concepts were smooth, awkward. ;
i
and ugly. i
An analysis of the responses between groups
Indicated a tendency for the set group to respond on all
levels during session one, while the non-set group respond- j
ed on the form and Idea levels. During session two, the
i
set group tended to respond on the form level, while the (
non-set group responded on the form and Idea level. The |
I
fluency of the responses for the non-set group was greater j
than the fluency of responses for the set group during
both sessions. The form responses between groups during |
session one Indicated little consistent relationship of an
extensive nature. The Bet group tended to respond In
terms of object, while the non-set group responded In
i
terms of object and event. During session two, the form
responses Indicated some consistent relationships within
1
the object group; however, the relationships were not
extensive. The common concepts were animal forms and
dragon. The Idea responses between groups during session
one Indicated some consistent relationships within the
movement group. The common concepts were movement, motion
and speed. The set group tended to respond In terms of
conflict and movement. The idea responses during session
two Indicated some consistent relationships within the
no j
i
I movement group; however, these relationships were not j
i
extensive. The common concepts“were movement and motion.
The set group tended to respond in terms of movement,
while the non-set group responded in terms of conflict and ,
i
movement. The feeling responses between groups during
session one Indicated some consistent relationships within
the continuity of movement group; however, this relation- j
ship was not extensive. The common concept was smooth.
I
The set group tended to respond in terms of clarity of j
movement, while the fluency of the non-set group was not
j
extensive and indicated no consistent focus within any
group. During session two, the feeling responses indi
cated some consistent relationships within the continuity
of movement and clarity of movement groups. The common I
concepts were smooth and confused. The transparency two
photograph for Series II appears as Figure 12. A summary
of common relationships between sessions and groups is
presented in Table 17.
Transparency 3.— An analysis of the responses be
tween sessions for the set group indicated a tendency to
respond on the idea and feeling levels during session one,
and on the form and idea levels during session two. The
fluenoy of the feeling responses decreased considerably
during session two, while the form responses increased.
The non-set group tended to respond on the form and idea
levels during both sessions. The fluency of total
FIGURE 13
SERIES II - TRAHSPARENCY 3— TEHHIS DRIVE
112
responses for both groups was greater during session one
than session two. The form responses between sessions for
the set group Indicated little consistent relationships.
The common concept was an Indistinct pattern: however» this
relationship was not extensive. The form responses for
the non-set group indicated consistent relationships within
all groups; however, the relationships within the event
and pattern groups were not extensive. The common con
cepts were running, dancing, human figures, and an in
distinct pattern. The idea responses between sessions for
the set group indicated consistent relationships within
the achievement and external conflict groups. The common
concepts were lndlvlduallsm-freedom and escape. The Idea
responses for the non-set group were consistent within the
movement, conflict and achievement groups. The common
concepts were escape, pursuit, force, struggle, movement.
motion and Individualism. The feeling responses between
sessions for the set group indicated little consistent
relationships; however, this may have been due partly to
the large decrease In the fluency of the feeling responses
during session two. The feeling responses for the non-set
group Indicated little consistent relationships between
sessions.
An analysis of the responses between groups
indicated a tendency for the set group to respond on the
idea and feeling levels during session one, while the non-
set group responded on the form and idea levels. During
i
session two, both groups tended to respond on the form and j
S
idea levels; however, there were considerable differences
i
in the fluency of the responses between groups. The
i
fluency of responses for the non-set group was greater !
than the fluency of the set group during both sessions.
The form responses between groups during session one
!
indicated little consistent relationships; this may have
been due partly to the considerable differences in the j
fluency of the form responses between groups during session !
one. The common concept was an indistinct pattern. The
Bet group responses were not focused toward a specific
group, while the non-set group tended to respond in terms I
j
of object and event. The form responses during session i
two indicated little consistent relationships. The common |
concepts were a Centaur and an indistinct pattern; how
ever, these relationships were not extensive. The set
group tended to respond in terms of pattern, while the
non-set group responded in terms of object and event. i
There was a considerable difference in the fluency of form
responses between groups during session one. The idea
responses between groups during session one indicated
consistent relationships within the movement, external
conflict and achievement groups. The common concepts were
movement, motion, escape and lndlvlduallsm-freedom. There
was a considerable increase in the idea responses within
114
the external conflict group for the non-set group. The
idea responses during session two Indicated some consistent
relationships within the external conflict and achievement
groups. The common concepts were Individualism, escape and
vlolence-foroe. The set group tended to respond in terms
of achievement and external conflict, while the non-set
group responded in terms of conflict. The feeling j
responses between groups during session one indicated some
consistent relationships within the continuity of movement
and intensity of feeling and movement groups. The common j
!
concepts were smooth and annoyed. The set group tended to
i
respond in terms of continuity of movement, while the non- j
i
set group responded in terms of intensity of feeling and
movement. During session two, the feeling responses
i
indicated little consistent relationships. The common con- j
cept was awkward: however, this relationship was not
i
extensive. The transparency three photograph for Series
II appears as Figure 13. A summary of common relation
ships between sessions and groups is presented in Table
I
18.
Transparency 4.— An analysis of the responses be-
l
tween sessions for the set and non-set groups indicated a j
tendency to respond on the form and feeling levels during |
sessions one and on the form level during session two.
The fluency of the total responses was stable between
sessions for both groups. The form responses between
FIGURE 14
SERIES II - TRAHSPARENCY 4— CARTWHEEL
sessions for the set group indicated consistent relation- j
ships within the event and object groups. The common con
cepts were arches, cartwheel and handstand. The form
responses for the non-set group indicated consistent
i
relationships within the event and object groups. The j
j
common concepts were arches, bridge. cartwheel, handstand j
I
and exercising. The fluency of the form responses was
quite consistent between sessions. The idea responses be- |
tween sessions for the set group indicated some consistent :
relationships within the movement and conflict groups;
i
however, these relationships were not extensive. The
common concepts were movement and distortion. The idea
responses for the non-set group Indicated little consistent i
relationships. The common concept was stability. The
|
feeling responses for the set group indicated some con
sistent relationships within all groups; however, these
relationships were not extensive. The common concepts
were smooth, happy and interesting. The feeling responses
for the non-set group indicated some consistent relation
ships within all groups; however, these relationships
were not extensive. The common concepts were awkward.
smooth, excited and funny.
An analysis of the responses between groups
indicated a tendency for the set group to respond on the
form and feeling levels during session one, while the non
set group responded on the form level. During session two,
117
both groups tended to respond on the form level* The
fluency of responses for the non-set group was greater
than the responses of the set group during both sessions.
:The form responses between groups during session one
Indicated consistent relationships within the event and
object groups* The common concepts were arches, an
animal, a human form, handstand and cartwheel. During
both sessionsv there was a considerable difference In the
fluency of the form responses In favor of the non-set
group. The form responses during session two Indicated
consistent relationships within all groups. The common
concepts were arches, a bridge, a sculpture, cartwheel.
handstand and symmetrical pattern. The Idea responses
between groups during session one Indicated little con
sistent relationships. The common concept was movement;
however, this relationships was not extensive. The Idea
responses between groups during session two indicated
little consistent relationship. The common concepts were
movement and distortion: however, these relationships were
not extensive. The feeling responses between groups
during session one indicated some consistent relationships
within the intensity of feeling and movement and appearance
groups; however, these relationships were not extensive.
The common concepts were happy, tense and funny. The set
group tended to respond in terms of intensity of feeling
and movement, while the non-set group responded In terms
118
of appearance and intensity of feeling and movement. The
feeling responses during session two indicated some con
sistent relationships within the continuity of movement
group. The common concept was smooth. The transparency
four photograph for Series II appears as Figure 14. A
summary of common relationships between sessions and groups
is presented in Table 19*
Transparency 5.— An analysis of the responses be
tween sessions for the set group indicated a tendency to
respond on all levels during both sessions, while the non
set group responded on the form level during session one,
and on the form and idea level during session two. The
fluency of the total responses remained stable between
sessions for both groups. The form responses between
sessions for the set group indicated little consistent
relationships. The common concept was reaching; however,
the fluency of the responses was not extensive. The form
responses for the non-set group Indicated consistent
relationships within the event and object groups. The
common concepts were reaching, throwing. crouching, a
dlscuB thrower, and a human form. The idea responses be
tween sessions for the set group Indicated Borne consistent
relationships within the movement, achievement and con
flict groups. The common concepts were height, movement,
aspiration, and distortion. The idea responses for the
non-set group indicated some consistent relationships
SERIES II
FIGURE 15
- TRANSPARENCY 5— DISCUS RELEASE
119
120
within the achievement, internal conflict and supplication
groups. The common concepts were supplication, aspiration.
escape, agony and failure. The feeling responses between
sessions for the set group Indicated some consistent
relationships within the continuity of movement group;
i
however, these relationships were not extensive. The
common concept was awkward. The feeling responses for the
non-set group indicated some consistent relationships
within the continuity of movement and Intensity of feeling
and movement groups;.however, these relationships were not
extensive. The common concepts were smooth, free and
emotional.
An analysis of the responses between groups
indicated a tendency for the set group to respond on the
idea and feeling levels during session one, while the non
set group responded on the form level. Curing session two,
both groups tended to respond on the form and idea levels,
although there was a considerable difference in the
fluency of responses in favor of the non-set group. The
fluency of responses for the non-Bet group was greater than
the responses for the set group during both sessions. The
form responses between groups during session one indicated
some consistent relationships within the event and object
groups. There was a considerable difference in the
fluency of form responses in favor of the non-set group
during session one. The common concepts were reaching.
121
a discus thrower, and human figures. The form responses
during session two Indicated some consistent relationships
within the event group. The common concepts were reaching
and crouching. The set group tended to respond In terms
of event, while the non-set group responded In terms of
event and object. There was a considerable difference In
the fluenoy of the form and Idea responses In favor of the
non-set group during session two. The Idea responses be
tween groups during seBBlon one Indicated some consistent
relationships within the movement, achievement, and con
flict groups. The common concepts were aspiration, move
ment and distortion. The set group tended to respond in
terms of achievement, while the non-set group responded
in terms of conflict. The idea responses during session
two indicated some consistent relationships within the
movement, achievement and conflict groups; however, these
relationships were not extensive. The common concepts
were movement. height, failure and aspiration. The feel
ing responses between groups during session one Indicated
some consistent relationships within the continuity of
mQvement, the clarity of movement and intensity of feeling
and movement groups, although these relationships were not
extensive. The common concepts were smooth, confused.
annoyed and expressive. The feeling responses during
session two indicated some consistent relationships within
the continuity of movement and intensity of feeling and
122
movement groups, although these relationships were not
extensive. The common concepts were awkward and excited.
The transparency five photograph for Series II appears as
Figure 15. A summary of common relationships between
sessions and groups is presented in Table 20.
Transparency 6.-"An analysis of the responses be
tween sessions for the set group indicated a tendency to
respond on the idea level, during session one, and on the
form and idea level during session two. The non-set
group tended to respond on the form and idea level during
both sessions. The fluency of the total responses was
8table between sessions for the set group, while the
fluenoy of responses for the non-set group was greater
during session one than session two. The form responses
between sessions for the set group Indicated some con
sistent relationships within the event and pattern groups.
The common concepts were throwing and an indistinct
pattern. The form responses for the non-set group indi
cated consistent relationships within all groups. The
common concepts were throwing. striking, a human form, and
an indistinct pattern. The idea responses between
sessions for the set group were consistent within the
movement and conflict groups. There was a considerable
difference in the fluency of idea responses for the set
group in favor of session one. The common concepts were
movement, follow through, and struggle-force. The idea
FIGURE 16
SERIES II - TRANSPARENCY 6— BADMINTON SMASH
124
responses for the non-set group Indicated consistent
relationships within the movement and external conflict
groups. The common concepts were movement, speed, motion.
force, struggle and violence. The feeling responses be
tween sessions for the Bet group Indicated some consistent
relationships within the continuity of movement group.
The common concept was smooth. The feeling responses for
the non-set group indicated little consistent relation
ships. The common concepts were smooth and confused, al
though these relationships were not extensive.
An analysis of the responses between groups Indi
cated a tendency for the set group to respond on the Idea
level during session one, and on the form and idea levels
during session two, while the non-set group responded on
the form and idea levels during both sessions. The
fluency of the total responses for the non-set group was
greater than the responses for the set group during both
sessions. The form responses between groups during session
one Indicated consistent relationships within the event and
pattern groups. The common concepts were throwing and an
Indistinct pattern. During session two, the form responses
were consistent within the event and pattern groups. The
common concepts were throwing. striking and an indistinct
pattern. The idea responses between groups during session
one indicated consistent relationships within the movement
and external conflict groups. The common concepts were
movement, motion, follow through and struggle-force. The
set group tended to respond In terms of movement, while
the non-set group responded In terms of external conflict
during hoth sessions. The Idea responses during session
two Indicated some consistent relationships within the
movement and external conflict groups. The common concepts
were movement. direction, speed, and violence: however, the
fluency of the responses was not extensive. The feeling
responses between groups during session one indicated some
consistent relationships within the continuity of movement,
clarity of movement and intensity of feeling and movement
groups; however, these relationships were not extensive.
The common concepts were smooth, confused, and distressed.
During session two, the feeling responses indicated little
consistent relationship. The common concept was smooth,
although this relationship was not extensive. The
transparency six photograph for Series II appears as
Figure 16. A summary of common relationships between
sessions and groups is presented in Table 21.
Transparency 7.— An analysis of the responses be
tween sessions for the set group indicated a tendency to
respond on the idea level during session one, and on the
form and idea level during session two. The non-set group
tended to respond on the form and idea levels during both
sessions. The fluenoy of the total responses was stable
between sessions for the non-set group, while the fluency
\
SERIES II
FIGURE 17
- TRANSPARENCY 7— RUSHING START
126
127
i
I
|of responses for the set group was greater during session
two than session one. The form responses between sessions
for the set group indicated some consistent relationships
within all groups; however, these relationships were not
extensive. The common concepts were running, stretching.
a lizard and an indistinct pattern. For the non-set group,
the form responses were consistent within all groups. The
common concepts were running, crouching, lizard, centi
pede. dragon, prehistoric monster and an Indistinct
pattern. The idea responses between sessions for the set
group indicated consistent relationships within the move
ment and conflict group. The common concepts were move
ment. 8peed, direction, dimension (length), and distortion.
The idea responses for the non-set group were consistent
within the movement and conflict groups. The common con
cepts were movement, motion, speed, pursuit, force-
violence and escape. The feeling responses between
sessions for the set group indicated some consistent
relationships within the continuity of movement and ap
pearance groups. The common concepts were smooth and
weird. The feeling responses for the non-set group
indicated some consistent relationships within the con
tinuity of movement and appearance groups. The common
concepts were smooth, ugly and weird.
An analysis of the responses between groups indi
cated a tendency for the set group to respond on the idea
128
| i
level during session one, while the non-set group
responded on the form and idea level during hoth sessions.
j
The fluenoy of the responses for the non-set group waB |
greater than the responses for the set group during both
I
sessions. The form responses between groups during session j
one indicated some consistent relationships within all
groups, although these relationships were not extensive.
The oommon concepts were running. a reptile and an indis
tinct pattern. During session two the form responses
indioated some consistent relationships within the event
!
!
and object groups. The common conoepts were running.
crawling and a gigantic lizard. There was a considerable
inorease in the fluency of responses within the object
group for the non-set group. The idea responses between
I
I
groups during session one indicated consistent relation
ships within the movement and conflict groups. The common
concepts were movement. motion, speed, direction, dis
tortion. force-vlolenoe and fear. The idea responses dur
ing session two indicated consistent relationships within
the movement and conflict groups. The common concepts were
movement, speed, dimension (length), and escape. The feel- \
!
ing responses between groups during session one indicated
i
some consistent relationships within the continuity of
movement groups. The common concept was smooth. The
feeling responses during session two indicated some con
sistent relationships within the continuity of movement and
129 I
I
intensity of feeling and movement groups, although these
relationships were not extensive. The common ooncepts
i
were smooth and intense. The transparency seven photo- J
i
graph for Series II appears as Figure 17. A summary of
common relationships between sessions and groups is
presented in Table 22. |
i
Transparency 8.— An analysis of the responses be- j
i
tween sessions for the set group indicated a tendency to
respond on the idea and feeling levels during session one,
and on the form level during session two. The non-set
i
group responded on the form and idea levels during session j
one, and on the form level during session two. The
fluency of the total responses between sessions for the
set group was greater during session two than session one,
while the responses between sessions for the non-set
group was greater during session one than session two.
The form responses between sessions for the set group
indicated some consistent relationships within the pattern
group. The common concepts were an indistinct pattern and |
i
a circular pattern: however, these relationships were not
extensive. For the non-set group the form responses indi
cated consistent relationships within all groups. The
common concepts were dancing, running, rlng-around-the-
rosev. human forms and circular pattern. The idea responses
between sessions for the set group Indicated some con
sistent relationships within the movement and confllot
I
/
FIGURE 18
SERIES II - TRANSPARENCY 8— OVERARM THROW
130
131
groups; however, these relationships were not extensive.
The common concepts were movement and force. The Idea
iresponses for the non-set group Indicated consistent
,relationships within the movement, Internal conflict and
achievement groups. The oommon concepts were movement.
motion, levels. conflict, resistance and Individualism.
The feeling responses between sessions for the set group
Indicated some consistent relationships within the con
tinuity of movement and the clarity of movement groups.
The common concepts were smooth and confused. The feeling
responses for the non-set group Indicated some consistent
relationships within the continuity of movement, the
clarity of movement and the Intensity of feeling and move
ment groups. The common concepts were jgmooth, confused.
happ.v and free.
An analysis of the responses between groupB indi
cated a tendency for the set group to respond on the idea
and feeling levels during session one, and on the form
level during session two. The non-set group tended to
respond on the form and idea levels during bothsessions.
The fluency of the responses for the non-set group was
greater than the responses for the set group during both
sessions. The form responses between groups during
session one indicated little consistent relationship.
There.was a considerable difference between the fluency of
responses for the set and non-set groups; this difference
may have been one factor affecting the form response
relationships for Bession one. During session two the
form responses indicated some consistent relationships
within the object and pattern groups. The common concepts
were waves. circular pattern, and an indistinct pattern.
The set group tended to respond in terms of pattern and
event, while the non-set group responded in terms of ob
ject and event. The idea responses between groups during
session one indicated some consistent relationships within
the movement, conflict and achievement groups. The common
concepts were movement, purposelessness. force and
stability. The idea responses during session two indi
cated some consistent relationships within the movement and
internal conflict groups; however, these relationships were
hot extensive. The common concepts were movement and
resistance. The set group tended to respond in terms of
movement, while the non-set group responded in terms of
internal conflict. The feeling responses between groups
during session one indicated some consistent relationships
within the continuity of movement and clarity of movement
groups. The common ooncepts were smooth and confused.
During session two the feeling responses indicated some
consistent relationships within the continuity of movement,
clarity of movement and intensity of feeling and movement
groups. The common concepts were smooth, confused, free
and happy. The transparency eight photograph for Series
133
II appears as Figure 18. A summary of common relationships
between sessions and groups is presented in Table 23.
T^naparenoy 9.--An analysis of responses between
sessions for the set group indicated a tendency to respond
on the form and idea levels during session one, and on the
form level during session two. The non-set group tended
to respond on the form and idea levels during session one
and on the form level during session two. The fluency of
total responses for both groups was stable during both
sessions. The form responses between sessions for^the set
group were consistent within all groups. The oommon con
cepts were .lumping, a horse, an animal, and an indistinct
pattern. The form responses for the non»set group indi
cated some consistent relationships within the event and
object groups. The common concepts were .lumping, a dragon.
a bull, and a horse. The idea responses between sessions
for the set group indicated little consistent relation
ships. The common concepts were height and movement: how
ever, these relationships were not extensive. The idea
responses for the non-set group indicated some consistent
relationships within the movement, conflict and abstraction
groups. The common concepts were levels, pursuit, force
and Hell. The feeling responses between sessions for the
set group lndioated little consistent relationships. The
common concept was smooth. The feeling responses for the
non-set group Indicated little consistent relationships.
FIGURE 19
H
SERIES II - TRANSPARENCY 9— VOLLEYBALL SPIKE
135
The common concept was smooth. The feeling responses for
the non-set group Indicated little consistent relation
ships. The common concept was smooth.
An analysis of the responses between groups indi
cated a tendency for the set and non-set groups to respond
on the form and idea levels during session one, and on the
form level during session two. The fluency of responses
was stable between groups during both sessions. The form
responses between groups during session one indicated con
sistent relationships within all groups. The common con
cepts were .lumping, a horse, and an indistinct pattern.
The form responses during session two indicated consistent
relationships on all levels. The common conoepts were
.lumping, a horse, an animal and an indistinct pattern.
There was a considerable increase in the fluency of
responses within the object group for the non-set group
during session two. The idea responses between groups
during session one indicated some consistent relationships
within the movement and conflict groups, however, these
relationships were not extensive. The common concepts
were levels and distortion. There was a considerable in
crease in the fluency of responses within the conflict
group for the non-set group during session one. During
session two the idea responses indicated some consistent
relationships within the movement and conflict groups,
however, these relationships were not extensive. The
common concepts were movement. levels and foroe. The
feeling responses between groups during session one Indi
cated little consistent relationships. The common concept ;
was smooth: this relationship was not extensive. The feel
ing responses during session two Indicated little con- I
slstent relationships. The common concept was smooth.
i
however, this relationship was not extensive. The
transparency nine photograph for Series II appears as
Figure 19. A summary of common relationships between
sessions and groups Is presented In Table 24.
Transparency 10.— An analysis of the responses be-
,tween sessions for the set group Indicated a tendency to
respond on all levels during session one, and on the form
level during session two. The non-set group responded on
the form level during session one, and on the form and
Idea levels during session two. The fluenoy of the total
responses was stable between sessions for the non-set
group, while the fluency of responses for the set group
was greater during session two than session one. The form
responses between sessions for the set group Indicated
some consistent relationships within all groups. The common
concepts were somersault, arches and an Indistinct pattern.
The form responses for the non-set group Indicated con
sistent relationships within the event and object groupB.
The common concepts were somersault, water fountain.
arohes. butterfly and a bird. The Idea responses between
SERIES II - TRANSPARENCY 10— WALKOVER
138 |
sessions for the set group indicated some consistent j
relationships within the movement and conflict groups; !
however, these relationships were not extensive* The j
common concepts were movement, direction and distortion.
i
For the non-set group the idea responses Indicated little |
consistent relationships. The common concepts were move
ment and distortion. There was a considerable increase in ;
the fluency of the idea responses during session two with- j
in the movement group. The feeling responses between
sessions for the set group indicated some consistent
relationships within the continuity of movement group.
The common concept was smooth. For the non-set group the
feeling responses indicated some consistent relationships
within the continuity of movement, intensity of feeling
and movement and the appearance groups. The common con
cepts were smooth, free, and beautiful.
An analysis of the responses between groups indi
cated a tendency for the set group to respond on all
levels during session one, and on the form level during
j
session two. The non-set group responded on the form
level during both sessions. The fluenoy of the responses
between groups was stable during session two, while the
fluency of responses during session one was greater for
the non-set group than for the set group. The form
responses between groups during session one lndioated some
consistent relationships within the event and object
139 j
groups. Ihe common concepts were somersault and arches. j
I
During session two the form responses indicated consistent j
relationships within all groups. The oommon concepts were
somersault. arches, butterfly, and an indistinct pattern.
The idea responses between groups during session one |
indicated little consistent relationships. The common
i
concepts were distortion and movement; however, these |
relationships were not extensive. During session two the
idea responses between groups Indicated some consistent
relationships within the movement group. The common con
cepts were movement and direction. The feeling responses
between groups during session one indicated some con
sistent relationships within the continuity of movement
group. The common concept was smooth. The feeling re
sponses during session two indicated some consistent
relationships within the continuity of movement group,
however, these relationships were not extensive. The
common concepts were smooth and awkward. The transparency
i
ten photograph for Series II appears as Figure 20. A
i
summary of common relationships between sessions and
groups is presented in Table 25.
Summary
An analysis of the responses for groups and
sessions indicated a tendency for the set group to respond
on the idea and feeling levels during session one, and on !
140
the form and idea levels during session two. The non-set
group responded on the form and idea levels during both
sessions. The differences In the level of responses be
tween groups and sessions for Series II were not found to
be statistically significant; thus chance probably ac
counted for the recorded level of responses between groups
and sessions. The non-set group tended to respond more
freely than the set group (2335-1795). The total number
of responses, regardless of groupf decreased between
sessions (2108-2022). This difference was not found to be
statistically significant. The differences In the fluency
of responses between groups and sessions for Series II was
not found to be statistically significant; thus dif
ferences could not be attributable to groups or sessions.
The form responses, when compared for groups,
focused within the event and object groups, while the
responses during sessions focused within the event and
object groups for the non-set group and within the pattern
group for the set group. The idea responses, when response
groups were compared, tended to foous within the movement
group, while the responses compared for sessions focused
within the conflict and movement groups for the non-set
group and within the movement group for the set group.
The feeling responses, when compared for groups, tended to
focus within the continuity of movement and Intensity of
feeling and movement group during session one, and within
the continuity of movement group during session two* The
feeling responses, when compared for sessions, tended to
focus within the continuity of movement group and the
intensity of feeling and movement group for the non-set
group, and within the continuity of movement group for the
set group* The differences in the focus of responses be
tween groups and between sessions for Series II was not
found to be statistically significant, thus no real dif
ferences were discovered between groups or sessions* The
feeling responses within the intensity group seemed to be
directed toward intensity of feeling rather than intensity
of movement for both groups and sessions* The summary of
common concepts with the total number of transparencies
I
which indicated the concepts as common is presented in
!
Table 26. j
Series I - II: Summary Relationships? Levels.
Fluency. Conceptual Groups, and Common Concepts
i
Levels and Fluency
i
An analysis of the responses for groups and sessions
I
between Series I and II indicated a tendency for Series I
j
responses to appear within the idea level and Series II
i
responses within the form level* The difference between
the percentages was not found to be statistically signifi
cant, however* The total Nno response" responses and
general reaction responses were not significantly different'
142
HH
6~
ifn
ir
4 »
l i 1 1 1
8 1 1
f e d ; f e 1 !
SIJ3A istis 52
II j ii IS
0 *
HH Ih
*m : \ i m *
4*^0 M H «• «•
tfVOH
1 ill! ilmiilifi H I I i
I « F I
5 « S 5
” N m C 6 H OH 5 H H H
;i£njfi|: I -l-a feS
iiuiilr iHiliinlii! iil
MM
143
between Series I and II* For Series I and II, although
the non-set group responses appeared to be the most
fluent, the set 2 group the least fluent for Series I, and
the set 1 group the least fluent for Series II, these
differences In fluency between groups and sessions were
not found to be statistically significant. Differences in
levels and fluency thus were attributable to chance.
Groups and Common Concepts
A synthesis of the Series I and II responses is
presented below by transparency. Concepts were considered
common by virtue of their common appearance within three
of the four combined groups and sessions, or by the
extensiveness of the common concepts within two of the
four combined groups and sessions.
Transparency 1— Standing Broad Jump. The form
responses were focused within the event group for Series
I, while the Series II form responses were focused within
the object and pattern groups* The idea responses were
focused within the movement group for both Series I and
II* The feeling responses were focused within the con
tinuity of movement group and the intensity of feeling
and movement group for both Series I and II.
Transparency one, which represents the movement
pattern of the standing broad Jump in a visual form, was
described as symbolic of conoepts denoting Jumping* a
144
human form, and an Indistinct pattern: of concepts con
noting ideas of movement* motion, direction, action, eneed.
force, violence, unity, and freedom: and of concepts con
noting feelings of smooth and awkward continuity of move
ment , confused clarity of movement, an excited intensity
of feeling, and an ugly appearance.
Transparency 2— Basketball lay-up Shot. The form
responses were focused within the event group for Series
I, while the Series II form responses focused within the
object group. The idea responses were focused within the
movement group for both Series I and II. The feeling
responses were focused within the continuity of movement
and Intensity of feeling and movement groups for Series I,
and within the continuity of movement group for Series II.
Transparency two, which represents the movement
pattern of the basketball lay-up shot in visual form, was
described as symbolic of concepts denoting .lumping.
running. and a human form: of concepts connoting ideas of
movement, motion, failure. force, violence, emergence-
freedom: and of concepts connoting feelings of smooth and
awkward continuity of movement and an ugly appearance.
Transparency 3— Tennis Drive. The form responses
were focused within the event group for Series I, while
the Series II form responses were focused within the event
and object groups. The idea responses focused within the
movement and conflict groupB for Series I, while the Series
145 ;
II idea responses focused within the conflict group. The
i
feeling responses were focused within the intensity of
feeling and movement and continuity of movement groups for j
both Series I and II. j
i
Transparency three, which represents the movement ■
[
pattern of the tennis drive in visual form, was described i
as symbolic of concepts denoting nulling and an indistinct j
pattern: of concepts connoting ideas of movement, motion,
force, resistance, restraint, agony, escape, and indivi- !
i
dualism: and of concepts connoting feelings of smooth and
awkward continuity of movement, confused clarity of move
ment; and a tense. angry, emotional intensity of feelings.
Transparency 4— Cartwheel. The form responses were
focused within the event and pattern groups for Series I,
while the Series II form responses focused within the
object and event groups. The idea responses were focused
within the movement and conflict groups for Series I and
II. The feeling responses were focused within the con
tinuity of movement and appearance groups for Series I,
while Series II feeling responses were focused within the
intensity of feeling and movement group. j
i
I
Transparency four, which represents the movement
pattern of the cartwheel in visual form, was described as
i
symbolic of concepts denoting a cartwheel, a handstand, a
human form, a bridge, arches: of concepts connoting ideas
of movement, aotion. unity-freedom; and of concepts con-
146 |
noting feelings of smooth continuity of movement, excited
elated Intensity of feelings, and an interesting, ugly, and j
I
beautiful appearance. !
Transparency 5— Discus Release. The form responses j
I
were focused within the event group for Series I, while the j
Series II form responses were focused within the event and •
i
object groups. The idea responses were focused within the j
t
conflict and achievement groups for Series I and II. The
feeling responses were focused within the Intensity of
feeling and movement group for both Series I and II.
Transparency five, which represents the movement
pattern of the discus release in visual form, was des
cribed as symbolic of concepts denoting reaching, throwing.
dancing, a discus thrower, a human form: of concepts con
noting ideas of movement, failure, restralnt-release. agony.
aspiration, achievement, freedom-lndlvlduallsm: and of
concepts connoting feelings of smooth and awkward con
tinuity of movement, emotional intensity of feeling, and
an ugly appearance.
Transparency 6— Badminton Smash. The form responses
were focuBed within the event group for Series I and II.
The idea responses were focused within the movement, con
flict, and achievement groups for Series I, while the
Series II idea responses were focused within the movement
and conflict groups. The feeling responses were fooused
within the continuity of movement and Intensity of feeling
and movement groups for Series I, while the Series II
feeling responses were focused within the intensity of
feeling and movement group.
Transparency six, which represents the movement
pattern of the badminton smash in visual form, was des
cribed as symbollo of concepts denoting throwing: of con
cepts oonnoting ideas of movement. sequence, force.
violence, resistance, anger, aspirationt and concepts con
noting feelings of smooth and awkward continuity of move
ment, and angry and tense intensity of feelings.
Transparency 7— Running Start. The form responses
were focused within the event group for Series I, while
the Series II form responses were focused within the event
and object groups. The idea responses were focused with
in the movement and conflict groups for Series I and II.
The feeling responses were focused within the continuity of
movement,appearance, and intensity of feeling and movement
groups for Series I, while the Series II feeling re
sponses were focused within the intensity of feeling and
movement and the continuity of movement groups.
Transparency seven, which represents the movement
pattern of the running start in visual form, was des
cribed as symbollo of concepts denoting running: of con
cepts connoting ideas of movement, direction, speed.
force, resistance, fear, escape: and of concepts connoting
feelings of smooth and awkward continuity of movement,
tense intensity of feelings, and an ugly appearance.
Transparency 8— Overarm Throw. The form responses
were focused within the event group for Series I, while
the Series II form responses were focused within the
event, object and pattern groups. The idea responses were j
focused within the movement and conflict groups for Series
l
I and II. The feeling responses were focused within the
continuity of movement group for Series I, while the Series ■
i
II feeling responses were focused within the intensity of
; I
feeling and movement and continuity of movement groups. |
Transparency eight, which represents the movement
pattern of the overarm throw in visual form, was des
cribed as symbolic of concepts denoting throwing. thrust
ing. a human form, an indlBtlnct pattern: of concepts con-
t
noting ideas of movement, motion, foroe. indecision: and
of concepts connoting feelings of smooth and awkward con
tinuity of movement, and confused clarity of movement.
Transparency 9— Volleyball Spike. The form re
sponses were focused within the event group for Series I,
while the Series II form responses were focused within the
object group. The idea responses were focused within the
movement and conflict groups for Series I, while the Series
i
I
II idea responses were focused within the conflict group.
i
The feeling responses were focused within the Intensity of
feeling and movement group for Series I, while the Series
i
II feeling responses were focused within the continuity of
149
j
movement and intensity of feeling and movement groups.
Transparency nine, which represents the movement
pattern of the volleyball spike in visual form, was des- \
l
/
cribed as symbolio of ooncepts denoting .lumping, a human j
forms of conoepts connoting ideas of movement, levels. {
escape, force-aggress1on. achievement, freedom: and of j
i
concepts connoting feelings of smooth and awkward con- i
l
tinuity of movement and an excited intensity of feeling.
Transparency 10— gront Walkover. The form responses j
were focused within the event group for Series I, while j
j
the Series II form responses were focused within the ob-
!
Ject and event groups. The idea responses were focused
within the movement, conflict, and achievement groups for
Series I, while the Series II idea responses were focused
within the movement and conflict groups. The feeling re
sponses were focused within the continuity of movement
and intensity of feeling and movement groups.
Transparency ten, which represents the movement
pattern of the front walkover in visual form, was des
cribed as symbolic of concepts denoting a somersault, a
human form, arches: of concepts connoting ideas of move
ment . direction, motion, sklll-achievement: and of con
cepts connoting feelings of Bmooth and awkward continuity
of movement, oonfused clarity of movement, excited, elated
intensity of feelings, and a beautiful appearance.
i further synthesis of responses, regardless of
groups, sessions, and series for groups and common con
cepts determined a symmary of the meanings denoted and con
noted by the subjeots when visual forms of movement pat
terns were observed. A schematic presentation of mean
ings for movement patterns pppears as Figure 21. Further
discussion of this schema is presented in the Discussion.
nomrnon Concents for Movement Categories
An analysis of responses when combined within move
ment categories, as presented earlier in this study (page
20) resulted in concepts which were common among the
movement patterns. A concept was considered common if it
appeared in three out of four transparencies in the body
orientation category, two of the three transparencies in
the btriking oategory, and two of the three transparencies
in the release category. A summary of the common concepts
is presented in Table 27.
Discussion
A schematic representation of the meanings in
selected movement patterns, as presented in Figure 21, was
formulated from an analysis of the levels and fluency of
responses, the common groups and conoepts, and the
relationships which seemed to exiBt among the responses
for all transparencies. The fluenoy of responses within
groups, as pictured in Figure 21, moves from the center
151
Donotad Conotptual Laval
Jun ting
runi ilng
dan ilng
pul .tag
ran thing
thr tiring
thr tating
oar twhaal
han atand
aono: ‘ Baul
tinot
a port
P9M.9t.fd, f l
AOhlBVBBBnt onj fliot
Mot nant
daont
•ion
;ion
ad
anoa
Action
ala
s Abairnotion
9fflPll9fctt9R
ty
don/
< ualiaa
i atjfon
11/
a^aant
^S£g*R2*
Olarltv^
oontuaad
Anoaaranca
J i u l
riauRi 21
A 80BBUTI0 RSIR1SBITATI01 OF MSAIHO
n SBLSOTSD MOVBCMT PATTBRV8
Ralationahip batvaan ra-
•ponaa lavala and laTola
and groupa of oonoapta
Ralationahip batvaan groupa
of oonoapta
152 |
i
i
i
TABLE 27
SUMMARY OP COMMON CONCEPTS
FOR MOVEMENT CATEGORIES
Body
Orientation Release Striking
human forms 7**
i
♦throwing 2 movement
I
movement
human forms force
♦direction A ♦resistance 9
movement ♦escape 6
smooth ♦motion 5
!
awkward A smooth
force 5 awkward
♦excited 7 ♦failure 8
♦tense 9
ugly 10 ♦freedom 8
smooth
awkward
ugly 8
♦angry 9
f
i
# Concepts which were unique to the specific movement
category.
♦♦ The number of the transparency for which the concept
was not common.
153
to the periphery and the lines represent relationships
between levels of response and among groups.
The responses were found to embrace three levels of I
response (form, idea, and feeling) within the denotational
: ' I
and connotatlonal elements of meaning which are, according !
to Cassirer, prerequisites for symbolic forms. It was j
found that the connotatlonal responses could be identified j
more specifically in terms of ideas and feelings, as |
defined for this study. There was some tendency for idea
: i
and feeling? responses to decrease as form responses in
creased. The relationships between the form and idea
level responses were related directly, while the form and
feeling responses were related only indirectly by means of
groups on the idea level.
The form responses were given most frequently with- |
in the event group and appeared to be related directly to
the movement group on the connotatlonal level. This
relationship appeared mainly within the set groups. When
the form responses were focused within the event group,
most responses within the object group denoted the sub
groups, human forms and sport performers. There seemed to
be some direct relationship between specific event con
cepts and connotations. The gymnastic movement patterns
(cartwheel, handstand, and Bomersault) were related
direotly to connotations of achievement and feelings of
ezoitement and elation, while the other event concepts
154 ;
i
were related more directly to connotations of conflict and !
tense and angry feelings. These relationships were indi-
oated also when analysis was made of the responses for
l
movement categories.
!
The object and pattern group responses gave rise j
to further Interpretations on the connotatlonal level;
these Interpretations, however, focused within both the
movement and Internal conflict groups. There was a
i
tendenoy for the non-set group responses to be related
i
(
directly to the conflict group and the intensity of feel-
!
lng and movement group on the connotatlonal level. When
the form responses focused within the object group rather
than the event group, the objects which were denoted
tended to move away from the sub-group, human forms and
sport performers to all sub-groups of animal forms,
natural forms, supernatural forms, and mythological forms.
This trend was apparent mainly for the non-set group.
The smallest number of responses on the denotatlonal
level were evident in the pattern group and?Indicated no
direct relationships with specific groups on the connota
tlonal level. These relationships between the focus of
the denotatlonal meanings and analysis otf the oonnotational
level would seem to substantiate the role which focus of
attention plays In peroeption and In the formulation of
conoepts.
i
The sohema may be Interpreted further on the oon-
155 j
notatlonal level by Indicating some relationships which
appeared among the groups. It was indicated previously !
that the movement group responses seemed to be related
i
most directly to the denotatlonal level responses within
the event group. When all groups on the denotatlonal level
were considered, the extent of relationship became less j
direct from the center of the schema to the periphery. It ;
! i
i
should be noted further that the supplication, abstraction, |
and emergence groups appear In positions Inferior to the |
i
other groups on the connotatlonal level. These groups
|
were related less directly to the denotatlonal level re- j
sponses and were less fluent than other groups on the con-
notational level. The supplication group was related
i
directly to the Internal conflict responses, both indicat-
!
ing similar connotations; while the emergence group was
related directly to the achievement responses, both I
indicating similar connotations. The abstraction group
assumed a center position on the schema since there were
no apparent relationships with other groups on the con- :
notatlonal level. The supplication and emergence groups
indicated some further relationships with feeling re
sponses, while the abstraction group showed little
relationship with the feeling responses. The movement
group was related directly with feeling responses within
the clarity and continuity of movement groups, while the
conflict groups and the Intensity of feeling and movement
groups appeared to be related directly. There were no
indications of direct relationships among the groups for
j
i
feeling responses. j
The oonoepts denoted by the subjects may be said
to have described the patterns of movement which were
depicted in the transparency as dynamic processes which
|
embrace body movements and speolfic sport movements of
both a locomotor and non-locomotor nature; patterns of
movement proceeded in a direction from the center of the
I
i
performer to the periphery; they were continued by a
human performer.
The concepts on the connotatlonal level may be said
to have been analyses of patterns of movement, symbolically
connoting movement, motion and action which embraced con
notations of speed, sequence, direction, and levelB. The
ooncepts further connoted feelings about the smooth and
awkward continuity of the movement, the confused state of
the movement, and the appearance of the movement which
extended on a continuum from ugly to beautiful; and the
excited, elated, angry, and emotional intensity of the
feelings about the movement patterns.
The patterns of movement were analyzed further by
the subjects on the connotatlonal level of symbolic mean
ing, and may be said to have connoted the forces of
Internal conflict— conceptualized as failure, indecision,
restraint, agony, anger, fear, and escape; the forces of
external conflict-aggreesion— conceptualized as force,
violence, resistance, and aggression; and the idea of
achievement— conceptualized as unity, freedom, individual
ism, aspirations, skill, and accomplishment. The nature
of the concepts within the conflict, achievement, and
intensity of feeling and movement groups seemed to indi
cate that the subjeots were able to project themselves into
the visual forms of movement patterns and to Identify them
selves personally with their experiences as they observed
the transparencies.
CHAPTER V
SUMMARY, CONCLUSIONS, AND IMPLICATIONS
The purpose of the present study was to Investigate
the representation and expression of meaning associated
with movement patterns in order to understand more clearly
t
i
possible relationships between meaning and movement. The
i
; problem was to investigate the possibility that responses j
can be made to observed movement patterns when such |
patterns are represented in visual forms, and that these
responses can be described and interpreted. More sped- 1
flcally, the problem was to describe and interpret
relationships among the responses when two groups of sub- i
i
jeots observed the visual forms when they were presented
i
in different orders; to describe and interpret relation- j
ships among the responses when such responses were made to j
the same visual forms during two separate response
sessions; to describe and Interpret relationships among
the responses when such responses were made to literal and
more abstract retiresentations of the same movement pat
terns; and to synthesize relationships among the responses ;
into a schematic representation of meanings.
The following hypotheses were made:
1. Structured movement, when abstracted and
represented in visual forms, results in patterns which may
159
be Interpreted to have meaning beyond that of the move
ment performance itself.
2. Such meanings may be expressed verbally on the
denotatlonal and connotatlonal levels of meaning.
3. The responses to the observed visual forms may
change with a change in the representation and presenta
tion of the visual forms.
The visual forms were black and white trans
parencies of ten sport and gymnastic movements whloh were
produced by two time photography techniques: continuous
stage lighting and stroboscopic lighting. The data con
sisted of written responses which were made to the
observed visual forms. The data were collected in group
sessions from 107 women students enrolled in six sections
of the course Fundamentals of Physical Efficiency classes
at the University of Southern California during the
Spring semester, 19^7* These classes were randomly
designated as "set" or "non-set". The "set" group ob
served and responded to the Series I transparencies prior
to Series II; the "non-set" group observed and responded
to the Series II transparencies prior to Series I.
By a method of free association, the subjects were
asked to respond to each of the twenty transparencies by
writing the concepts suggested by them. They were alBo
asked to indicate their reaction to each, checking this
in each case in a favorable, unfavorable, or neutral
column*
The responses were treated descriptively with
respect to both their quantitative and qualitative j
characteristics and with respeot to their relationships*
i
i
Findings !
1. No statistically significant differences were I
found in the level, fluency, or focus of responses be- ,
tween groups or between sessions* j
2. No statistically significant differences in j
level, fluency, or focus of responses were found between
I
Series I and SerleB II transparencies* !
3. Responses embraced three levels (form, idea, j
feeling) which were designated as denotatlonal and con
notatlonal elements of meaning* !
4. Direct relationships were found between event
i
and objeot group responses on the denotatlonal level and j
groups on the connotatlonal level.
5* Responses on the denotatlonal level indicated
that patterns of movement are dynamic processes whloh
embrace body movements and specific sport movements of
both a locomotor and non-locomotor nature; these were con-
I
tinued by a human performer and proceeded in a direotion
from the center of the performer to the periphery*
6. Responses on the connotatlonal level indicated
that patterns of movement connoted ideas of movement, '
161
internal conflict, external conflict-aggression, and
achievement; and oonnoted feelings about continuity of
movement, olarity of movement, intensity of feelings, and
appearance of movements.
i
ConolusIon !
On the basis of this study, it was concluded that: |
1
(1) Movement patterns, when abstracted and represented in !
i
visual forms, have meaning in addition to that of the
movement performance Itself but this meaning varies
I
greatly among individuals. (2) Such meaning can be ex
pressed, described and Interpreted within groups of con
cepts on the denotatlonal and connotatlonal levels of
meaning. (3) The nature of the visual forms and the j
i
order of their observation does not significantly affect
the nature of the meanings which may be associated with
the movement patterns.
Implications
The following discussion which is ooncemed with
the nature of man's relationships to patterns of movement
is not a conclusion of this study but rather a philo
sophical speculation which reaches beyond the data and
i
limitations of this study; but at the same time, however,
it evolved from a consideration of the responses which
were recorded by subjects in this study.
162
The subjects were able to relate symbolically with
reality with regard to the dynamic processes of movement
patterns. They perceived patterns of movement In terms
of whole forms; symbolically* they conceived of their
relationships with these patterns of movement as being on |
two extremes of many continuums of relationships. The
subjects apparently perceived of themselveB as both movers j
and performers of movement, and as being moved by external,;
i
i
natural foroeB, and by the forces of other performers j
(pushing and pulling forces). In their relationships to
movement patterns, the subjects conceived of themselves j
as achievers and non-achievers. Achievement was indicated
i
as the unification of self and as the mastery of skills,
and non-achievement as indecisiveness and failure to j
achieve mastery of skills. The subjects apparently con
ceived of themselves as possessing the capacity to as
pire and to fear the restraints of their own Inabilities,
to extend and withdraw, to be confident and fearful.
i
They both strived and yielded, contracted and extended,
conformed and protested, attacked and retreated, and con
ceived of unity and disunity. The form of their feelings
toward their experiencing of movement patterns assumed j
the shape of depression and exhilaration, tension and j
release, attenuation and abruptness, confusion and
clarity, anger and elation, beauty and ugliness, and
masculinity and femininity. These subjects apparently
163
had the capacity for and assumed an emotional relation
ship with patterns of movement.
Implications for Further Study
As a result of this study, the following sug
gestions for further study evolved:
1, It may be feasible and Important to Investi
gate the phenomenon of movement, as defined In this
study, throughout the full spectrum of concept develop
ment and movement experiences from early developmental
stages to maturity In order to understand more dearly
the development of the child's relationships with
reference to his movement experiences. Piaget's develop
mental stages might serve as a basis for such an Investi
gation.
2. The conceptual structure of specific sports
or groups of sports through similar free association
methods and visual forms as used In this study could be
studied profitably. Is It possible to distinguish sport
forms on the basis of their conceptual structure of mean
ing as well as on the total form of the sport? Is there
a conceptual model which can be devised for specific sport
forms?
3* Phenlx (30) In his book Realms of Meaning has
suggested that within every discipline there are "repre
sentative Ideas" which are characteristic of the
164
i
I discipline. It seems Imperative to Identify and under-
! stand the "representative Ideas" which characterize the
discipline of human movement. Conceptual analysis of
movement patterns might assist In this Identification of
representative Ideas. |
4. Some of the responses within this study were |
found to he related to mythological and historical person
ages. It might prove Interesting and fruitful to lnvestl-
gate the Images which people associate with the movement
and/or specific sport form.
5. Since visual forms Beem to lend themselves to
further Investigation within the channels of projective
techniques, a cooperative study with trained psychologists !
i
might prove extremely provocative.
!
6. Rugg (39) has suggested that when the mind Is j
freed of inhibitions and blockages, the process of "free j
association1 ' can and does take place, and that free
association "provides an important cue to freedom to
create" (39:218). It seems possible to use the tools of
free association and visual representation of movement
patterns for the purpose of learning more about the
relationship of creativity, meaning and movement patterns. |
Could Buch methods and tools be developed to explore the j
creative nature of Individuals and to Increase creativity
i
In movement?
j
7. What an infinity of comprehension is required
165
when a student Is asked to strike the hall, smash the
shuttle. or turn a cartwheel1 Bach of these movement
patterns may he associated with meanings which may he as
varied as the number of students in a class. What does
it mean to strike or to smash? Perhaps striking and
smashing are associated with concepts of anger* force* and
violence; a given student may not conceive of himself as
possessing capacity for anger* force* or violence. The
resulting problem revolves around relationships between
selfrimage and meanings in movement as well as around
relationships between cultural expectations and meanings
in movement. Are there differences in meanings between
people of Eastern and Western cultures and between sub
cultures? As the educational setting becomes more and
more culturally diversified* what will this cultural
diversification mean for teachers of human movement as
they attempt to make the act of striking the ball or
smashing the shuttle* or turning a cartwheel meaningful?
BIBLIOGRAPHY
BIBLIOGRAPHY
A. BOOKS
1. Allport, Floyd H. Theories of Perception and the
Concept of Structure. New York: John Wiley and
Sons, 1955.
2. Anderson, Harold H. (ed.). Creativity and Its
Cultivation. New York: Harper & Row, Publishers,
1959.
3* Anderson, Richard C. and David P. Ausubel. Readings
In the Psychology of Cognition. New York:
Holt, Rinehart and Winston, Inc., 1964.
4. Araheim, Rudolf. Art and Visual Perception.
Berkeley, California: University of California
Press, 1966.
5. Bartlett, Frederic C. Remembering. Cambridge:
Cambridge University PreBs, 1932.
6. Berelson, Bernard, and Gary A. Steiner. Human Be-
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7. Bigge, Morris L. Learning Theories for Teachers.
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8. Bruner, Jerome, Jacqueline J. Goodnow, and George A.
Austin. A Study of Thinking. New York:
Science Editions, Inc., 1902.
9. Cassirer, Ernst. An Essay On Man. New Haven, Con
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10. Creelman, Marjorie B. Experimental Investigation of
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11. Frank, Lawrence K. "The World as a Communication
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(ed.). New York: George Brazlller, 1966, pp.
1-14.
168
12. Gendlin, Eugene. Experiencing and the Creation of
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13. Harper, R. J., et al. The Cognitive Process:
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Inc., 1964.
14. Hunt, Earl B. Concept Learning. New York: John
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15. Ittelaon, William H. and Hadley Cantrll. Percep
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16. Johnson, Donald M. The Psychology of Thought and
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Publishers, 1955*
17* Kepes, Gyorgy (ed.). The Man-Made Object. New York:
George Braziller, 1966.
18. _______• The Nature and Art of Motion. New York:
George Braziller, 1965.
19. . The Visual Arts Today. Oonneoticut:
Wesleyan University Press, i960.
20. . Sign. Image. Symbol. New York: George
braziller, 19o6•
21. Kohler, Wolfgang. GeBtalt Psychology. New York:
Llveright Publishing Oorp., 1947.
22. Danger, Susanne. Feeling and Form. New York:
Charles Scribner'b Sons, 1953*
23. . Philosophy in a New Key. New York:
Mentor Books, 19^1.
24. MacLeod, R. B, "The Place of Phenomenological
Analysis In Sooial Psychological Theory," in
Social Psychology at the Crossroads. J. J.
Rohrer and M. Sherlf (eds.). New York: Harper
and Brothers, 1951, PP« 215-241.
25. Metheny, Eleanor. Connotations of Movement In Sport
and Dance. Dubuque, Iowa: Wm. C. Brown Co.,
19S5I
169
26. Murphy, Gardner and Charles Solley. Development of
the Peroeptual World. New York: Basic Books,
Inc., i$6o.
27* Osgood, Charles E. "Comments on Professor's Bous-
fleld's Paper," In Verbal Learning and Verbal
Behavior. C. N. Oofer (ed.). New York:
Kcffraw=Hlll, 1961, p. 91.
28. Panofsky, Erwin. Meaning In the VlBual Arts. New
York: Doubleday and Co., Inc.,
29. Parnes, Sidney J. and Harold F. Harding (eds.). A
Source Book for Creative Thinking. New York:
anaries scribner's hons, 1902.
30. Phenlz, Philip H. Realms of Meaning. New York:
MoGraw-Hlll Book Co., 1904.
31. Piaget, Jean. The Construction of Reality In the
Child. New York: Basic Books, Inc., 1954.
32. Piaget, Jean and Barbell Inhelder. The Growth of
Logical Thinking. London: Routledge, 1958.
33. Read, Herbert. Education Through Art. Revised
Edition. New York: Pantheon Books, 1956.
34. . Icon and Idea. New York: Schocken Books,
19^5 •
35. . The PormB of Things Unknown. New York:
Meridian nooks, ±9o;>.
36. Reeves, Joan W. Thinking About Thinking. New York:
George Braziller, i9o£.
37. Reid, Louis A. Ways of Knowledge and Experience.
London: George Allen and Unwin, Ltd., 1^61.
38. Ruesch, Jurgen and Weldon Kees. Nonverbal Communi
cation. Berkeley: University of California
Press, 1961.
39. Bugg, Harold. Imagination. New York: Harper and
Row, Publishers, 1963.
40. Scheerer, Constance (ed.). Cognition: Theory.
Research. Promise. New York: Harper and Row
Publishers, 1964.
170
41• Shahn, Ben# The Shape of Content. New York:
Vintage Books, 1957*
42# Sheets, Marine• Phenomenology of Dance. Madison:
University of Wisconsin Press, 19f>5.
43. Thomson, Robert. The Psychology of Thinking.
Baltimore: Penguin Books, 1959•
44. Vernon, M. D. The Psychology of Perception.
Baltimore: penguin Books, l9b2.
45. Vlnaoke, W. E. The Psychology of Thinking. New
York: McGraw-Hill Book Co., 1952.
46. Walter, W. Grey. The Living Brain. New York: W. W.
Norton and Co., Inc., 1963.
47. Whyte, Lancelot L. Aspects of Porm. Bloomington,
Indiana: Indiana University Press, 1951*
48. Yolton, John W. Theory of Knowledge. New York:
The Macmillan Co., 1965.
49. Thinking and Perce lying* LaSalle,
Illinois: Open Court Publishing Co., 1962.
B. PERIODICALS
50. Haber, Ralph N. "Nature of the Effect of Set on
Perception," Psychological Review. LXXIII (1966),
pp. 335-351.
51. Heldbreder, Edna. "The Attainment of Concepts III:
The Process," Journal of Psychology. XXIV
(1947), PP. 93-135^
52. Hevner, Kate. "Experimental Studies of the Elements
of Expression in Music," American Journal of
Psychology. XLVIII (1936), pp. 246-2^8.
53. • "Experimental Studies of the Affective
Value of Sounds In Poetry," American Journal of
Psychology. XLIX (1937), pp."419-434.
54. Johnson, Donald M. "Problem-Solving and Symbolic
Processes," Annual Review of Psychology. I (1950),
PP. 297-310.
171
55* Karwoski, T. P., et al. “Psychological Studies In
Semantics: I. Pree Association Reactions to
Words, Drawings, and Objects." Journal of Social
Psychology. XX (November, 1944), pp. 233-^47.
56. Karwoski, T. P. and P. Berthold, Jr., "Psychological
Studies in Semantics: II. Reliability of Pree
Association Tests." Journal of Social Psychology.
XXII (1945), PP. 87-132^
C. PUBLICATIONS OP THE GOVERNMENT, LEARNED
SOCIETIES, AND OTHER ORGANIZATIONS
57* Kleselbach, Alfred G. "An Experimental Study in the
Development of an Instrument to Measure
Aesthetic Perception," Research In Art Edu
cation. 7th Yearbook, National Art Education
Association, 1956, pp. 62-73*
58. Hunt, Valerie. "Movement Behavior, A Model for
Action,” Quest. II. The National Association
for Physical Education of College Women and The
National College Physical Education Association
for Men, April, 1964, pp. 69-71.
D. UNPUBLISHED MATERIAL
59. Allen, Dorothy J. "Responses to Abstracted Move
ment Patterns Represented in Visual Forms."
Unpublished study, University of Southern
California, 1967*
1
APPENDIX
INSTRUCTIONS TO INSTRUCTORS AND SUBJECTS
RESPONSE FORM
174
INSTRUCTIONS TO INSTRUCTOR AND SUBJECTS
Dear :
A reminder that on _________ April _______and on
__________April _______ your __________________ 101*
class(es) has (have) been asked to act as subjects for
my dissertation study. They should report to Room _____
at the same time as their regular lOlw class. Please
read the following instructions to your olass(es) during
the olass meeting just prior to the first of the re
sponse sessions. No other instructions or information
concerning the nature of the study should be given prior
to either of the response sessions. I appreciate your
cooperation.
Instructions to the Subjects: You have been
asked to be subjects in a research study as
part of the dissertation for the doctor of
philosophy degree. At the time of your next
lOlw class do not change clothes and report
direotly to Room . At this time you will
be asked to respond* in written form, to a
series of transparencies. Purther instruc
tions will be given at that time. You will
in no way be identified by name. Please ar
rive in the designated room on time. Your
assistance 1b greatly appreciated.
Thank you
175
RESPONSE FORM
INSTRUCTIONS TO THE SUBJECTS: You have been selected to
take part in a research study as part of the dissertation
for the Doctor of Philosophy degree. The nature of the
research involves your responses to a series of trans
parencies with respect to FORMS, IDEAS, AND/OR FEELINGS
which each may suggest to you. The categories of FORMS,
IDEAS, AND/OR FEELINGS are given only as a guide and
should in no way limit your responses. Respond with
single words or short phrases whenever poBBible. If you
have no response, indioate this. There are no predeter
mined correct or incorrect responses, nor are there any
limits to the number or the nature of responses. Your
responses should be what YOU associate with the trans
parency. This study is concerned with how one does re
spond rather than how one should respond. The only means
of identification is the number at the top of the re
sponse sheet— there is no association with your name.
Each transparency will be projected on the screen for 10
seconds, after which time you will have 60 seconds to
write your responses in the appropriately numbered space
as designated by the experimenter.
As you view each transparency, consider your response
with respect to a FAVORABLE (F), UNFAVORABLE (UNF), or
NEUTRAL (N) reaction. Attempt to make a definite de
cision, avoiding a neutral (N) response whenever possible.
Check the appropriate column (F), (N), (UNF).
You will be asked to repeat a similar response session one
week from today during the same class time. I will appre
ciate your efforts and cooperation during both of these
sessions. PLEASE REFRAIN FROM DISCUSSING THE TRANS
PARENCIES AND/OR YOUR RESPONSES WITH ANYONE.
Are there any questions?
NUMBER ________
TRANSPARENCY
NUMBER_______F N UNF RESPONSES
1
176
RESPONSE FORK (continued)
TRANSPARENCY
NUMBER N UNF RESPONSES
3
4
5
6
7
8
177
RESPONSE FORM (continued)
TRANSPARENCY
NUMBER F N UNF RESPONSES
9
*
10
11
12
13
14
15
i
178
RESPONSE FORM (continued)
TRANSPARENCY
NUMBER_______P N UNP RESPONSES
16
.
17
.
•
18
■
19
20
i

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Asset Metadata

Creator Allen, Dorothy Jean (author)

Core Title Concepts Derived From Observed Movement Patterns Represented By Visual Forms

Degree Doctor of Philosophy

Degree Program Physical Education

Publisher University of Southern California (original), University of Southern California. Libraries (digital)

Tag Education, Physical,OAI-PMH Harvest

Language English

Contributor Digitized by ProQuest (provenance)

Advisor Lockhart, Aileene (committee chair), Lersten, Kenneth C. (committee member), Metheny, Eleanor (committee member), Morris, Royce (committee member)

Permanent Link (DOI) https://doi.org/10.25549/usctheses-c18-599670

Unique identifier UC11360151

Identifier 6807173.pdf (filename),usctheses-c18-599670 (legacy record id)

Legacy Identifier 6807173.pdf

Dmrecord 599670

Document Type Dissertation

Rights Allen, Dorothy Jean

Type texts

Source University of Southern California (contributing entity), University of Southern California Dissertations and Theses (collection)

Access Conditions The author retains rights to his/her dissertation, thesis or other graduate work according to U.S. copyright law. Electronic access is being provided by the USC Libraries in agreement with the au...

Repository Name University of Southern California Digital Library

Repository Location USC Digital Library, University of Southern California, University Park Campus, Los Angeles, California 90089, USA