Esther Burkitt

Aneurysmal SAH: cognitive outcome and structural damage after clipping or coiling.

Background: Aneurysmal subarachnoid hemorrhage (SAH) and surgical clipping of intracranial aneurysms are associated with substantial morbidity and mortality. Objective: To compare cognitive outcome and structural damage in patients with aneurysmal SAH treated with surgical clipping or endovascular coiling. Methods: Forty case-matched pairs of patients with aneurysmal SAH treated by surgical clipping or endovascular coiling were prospectively assessed by use of a battery of cognitive tests. Twenty-three case-matched pairs underwent MRI 1 year after the procedure. Matching was based on grade of SAH on admission, location of aneurysm, age, and premorbid IQ. Results: Both groups were impaired in all cognitive domains when compared with age-matched healthy control subjects. Comparison of cognitive outcome between the two groups indicated an overall trend toward a poorer cognitive outcome in the surgical group, which achieved significance in four tests. MRI showed focal encephalomalacia exclusively in the surgical group. This group also had a significantly higher incidence of single or multiple small infarcts within the vascular territory of the aneurysm, but both groups had similar incidence of large infarcts and global ischemic damage. Conclusion: Endovascular treatment may cause less structural brain damage than surgery and have a more favorable cognitive outcome. However, cognitive outcome appears to be dictated primarily by the complications of SAH.

Children's colour choices for completing drawings of affectively characterised topics

BACKGROUNDnThis study was designed to explore whether or not children systematically use particular colours when completing drawings of affectively characterised topics.nnnMETHODnThree hundred and thirty 4-11-year-old children were subdivided into three conditions, colouring in a drawing of a man, a dog, or a tree, respectively. The children completed two test sessions in counterbalanced order. In one session, children rated and ranked ten colours in order of preference. In the other session, children completed three colouring tasks in which they had to colour in three identical figures but which had been given different affective characterisations: a neutrally characterised figure, a figure characterised as nasty, and a figure characterised as nice.nnnRESULTSnIt was found that, in all age groups and for all topics, the children used their more preferred colours for the nice figures, their least preferred colours for the nasty figures, and colours rated intermediately for the neutral figures. It was also found that, in all age groups and for all topics, black tended to be the most frequently chosen colour for colouring in the drawings of the negatively characterised figures. By contrast, primary colours were predominantly selected for the neutral figure, while a wide range of mainly primary and secondary colours were chosen for colouring in the nice figure.nnnCONCLUSIONSnThese results suggest that children are able to alter systematically their use of colour during picture completion tasks in response to differential affective topic characterisations, and that even very young children are able to use colours symbolically.

The effect of affective characterizations on the size of children's drawings

Previous research has yielded conflicting findings about the existence and the direction of the size changes which occur in childrens drawings when they are asked to draw topics which have been given an affective characterisation. The present study was designed to investigate whether children scale up the size of drawings of topics which have been given a positive characterisation, and scale down the size of drawings of topics which have been given a negative characterisation. Two hundred and fifty-eight children aged between 4 and 11 years completed three drawings of either a man, a dog or a tree. Each child drew a baseline drawing of a neutrally characterised figure, and two further drawings of a positively and a negatively characterised version of the same figure. It was found that the children drew the positively characterised topics larger than the neutrally characterised topics, and reduced the size of the negatively characterised topics relative to the baseline drawings. These patterns occurred at all ages and with all three drawing topics. Two possible explanations of the findings are discussed: the operation of an appetitive-defensive mechanism in children, and the acquisition of pictorial conventions.

The effect of affective characterizations on the use of size and colour in drawings produced by children in the absence of a model

Previous studies have revealed that children increase the size of drawings of topics about which they feel positively and use their most preferred colours for colouring in these drawings, and decrease the size of drawings of topics about which they feel negatively and use their least preferred colours for colouring in these drawings. However, these previous findings have been obtained in studies employing drawing tasks where planning and production difficulties have been minimized by asking the children either to copy or to colour in an outline stimulus of a figure provided by the experimenter. The present experiment was designed to examine whether children also alter the use of size and colour in their drawings in response to emotional characterizations when they are not constrained by the presence of a model. In all 253 children aged between four and 11 years were asked to produce drawings of a neutrally, a positively and a negatively characterized topic (either a man, a dog or a tree). It was found that the children consistently increased the size of the positively characterized figures, did not consistently decrease the size of the negatively characterized figures, used their most preferred colours for the positive figures, and used their least preferred colours for the negative figures. These findings are discussed in relation to the operation of an appetitive‐defensive mechanism and pictorial conventions.

Finnish and English Children's Color Use to Depict Affectively Characterized Figures.

Recent research has shown that children use colors systematically in relation to how they feel about certain colors and the figures that they draw. This study explored cultural differences between Finnish and English childrens use of color to represent figures with contrasting emotional characters. One hundred and eight children (54 Finnish, 54 English) were divided into two age groups (5–7 years and 7–9 years). All children colored three emotionally characterized drawings and rated their affect towards the 10 colors provided and the three differentially characterized figures. It was found that Finnish and English children differed in their use of color for drawings of neutral and nasty figures. The findings are discussed in terms of the need to explore the role of culture in mediating childrens use of color when drawing figures they feel negatively and positively towards.

The Effects of Brief and Elaborate Mood Induction Procedures on the Size of Young Children’s Drawings

It has been claimed that children’s drawings following brief mood induction procedures differ in size depending on positive or negative mood. However there are conflicting findings in the field regarding the existence and direction of scaling changes. Such inconsistencies may be the result of methodological differences or may indicate that this phenomenon is unreliable. This study was designed to investigate the size of young children’s (n = 80, median age 6 years 1 month) human figure drawings. The focus was on both the surface area and height of drawings elicited in a clinical context using brief or elaborate mood induction procedures. Children drew larger pictures under both negative and positive affect conditions, relative to a prior baseline condition. Positive mood elicited slightly larger drawings than negative mood. However, such mood effects were only significant when the affect inductions were brief, and were not found when the affect inductions were elaborated. It is suggested that brief mood inductions can alter the young child’s drawing response in predictable ways. The importance of considering the type of emotion‐eliciting procedure when interpreting children’s drawings is discussed.

Effects of human figure type on children's use of colour to depict sadness and happiness

Abstract This study was designed to assess the impact of drawing topic on childrens colour use when drawing affectively salient topics. 82 children (42 boys, 40 girls) aged between 6 year 1 month and 8 year 11month (Xu200a=u200a7 year, 6 month) participated in counterbalanced colour preference rating and drawing sessions. In line with past research, results indicated that children selected colours in relation to their colour preferences and the emotional character of the figure, and they systematically used specific colours when depicting sad figures more cohesively than when depicting happy figures. The use of specific colours varied by topic type. Colour choice was not wholly determined by realism which that the precise topic needs to be accounted for when claims are made about how children feel about the topics they draw on the basis of colour use.

Children’s colour use to portray themselves and others with happy, sad and mixed emotion

The present study investigated children’s colour use in drawing tasks specifying single and mixed emotions. One hundred and eighty children (90 girls and 90 boys) between 4u2009years 11u2009months and 8u2009years 1u2009month (Xu2009=u20096u2009years 6u2009month) participated. All children completed two test sessions in counterbalanced order. Session A measured emotional understanding and colour use in relation to a brief story. Children’s colour preferences were measured in Session B. Children used colours differentially across the drawing types and varied colour use in relation to depictions of other people and themselves using red and blue when depicting a protagonist with mixed emotions and red when depicting their own experiences of mixed emotion. The findings are discussed in terms of the need for caution when interpreting multiple and singular colour–affect associations in children’s drawings and the need to further investigate children’s understanding and non-verbal expression of mixed emotion.

Effects of different emotion terms on the size and colour of children's drawings

Abstract Recent studies have shown that, when an affective characterisation is given to a topic, children adjust the size and colour of those topics in their drawings: children increase the size of drawings of topics characterised as “nice”, do not always decrease the size of topics characterised as “nasty”, and use differential colouring systematically to distinguish between “nice” and “nasty” topics in their drawings (Burkitt et al., 2003a, b, 2004). The present experiment was designed to examine whether these specific effects only occur with the terms “nice” and “nasty”, or whether they also occur with another pair of positive and negative terms, “happy” and “sad”. One hundred and two 4–7 year olds were divided into two groups and asked to draw either a baseline, “nice” and “nasty” man, or a baseline, “happy” and “sad” man. It was found that the valence of the characterisation (positive vs. negative), as well as the specific pair of words which was used, systematically influenced both the size and the colour of the childrens drawings. These results show the importance of understanding the exact emotions in question when interpreting childrens drawings on the basis of size and colour.

The impact of audience age and familiarity on children’s drawings of themselves in contrasting affective states

The present study was designed to investigate the impact of familiarity and audience age on children’s self-presentation in self-drawings of happy, sad and neutral figures. Two hundred children (100 girls and 100 boys) with the average age of 8 years 2 months, ranging from 6 years 3 months to 10 years 1 month, formed two age groups and five conditions (n = 20). All children completed two counterbalanced sessions. Session 1 consisted of drawing a neutral figure followed by a sad and happy figure in counterbalanced order. The drawing instructions specified the age of the audience (adult vs. child) and familiarity (familiar vs. unfamiliar) differently for each condition. Measures of colour preference were taken in session 2. Certain drawing strategies, such as waving and smiling, varied as a function of audience age and familiarity whilst others, such as colour use, did not. The results are discussed in terms of cue dependency and framework theories of children’s drawings and the need to be aware of specific characteristics of who children are drawing for.