LATERAL REFLECTIVE EYE MOVEMENTS AND _

CREAflVlTY

Thesis for The Degree of M. A. I ,
MICHIGAN STATE UNIVERSITY

JONATHAN c. SMITH '
19.72

' ' tv‘ ‘flfifi

 

1'14”“ E I
I

IUIIIIHIIlllllllllllllllllllIlllIIIIIIIIIIIIIIIllllllllllllfl . 1
3 1293 10402 1989 , MfngARY 1"

“‘w

 

 

 

ABSTRACT
LATERAL REFLECTIVE EYE MOVEMENTS AND CREATIVITY

BY

Jonathan C. Smith

Day (1964, 1967) observed a lateral eye movement
response accompanying shift from external to internal
direction of attention. If S is looking at E, and E asks
a series of questions requiring thought, S will either
shift his eyes consistently to his right, to his left, or
shift in no consistent direction. Such 85 can be labeled
right, left, or bidirectional movers respectively.

A number of traits have been found to characterize
the left mover, many of which have also been found to
characterize the creative person. Both the left mover
and the creative person tend to have a passive subjective
orientation, tend to be adept at producing visual imagery,
and tend to have interests in the humanities. This leads
to the hypothesis that left movers will be more creative
than right movers. Indeed Stephen Harnad (Paul Bakan,
1971) offers preliminary evidence that creative mathe-
maticians may also be left movers.

This is the first study in which the bidirectional,
the person inconsistent in his eye movements, has been
studied. Two types of arguments can be made supporting

the hypothesis that the bidirectional will be more creative

Jonathan C. Smith

than the left mover or the right mover. First, if one
assumes the bidirectional has characteristics of both the
left mover and the right mover, one can speculate that
these combined characteristics will facilitate creative
fluency and the creative processes of inspiration and
evaluation. Second, Paul Bakan (1969) speculates that
directionality is an index of which cerebral hemisphere is
dominant for certain cognitive and perceptual functions.
Specifically, for the left mover, the right hemisphere is
presumably dominant, and for the right mover, the left
hemisphere is presumably dominant. One can speculate that
for the bidirectional neither hemisphere is particularly
dominant, so that the bidirectional possibly has available
content and functions related to both hemispheres. Such
availability could plausibly facilitate creative fluency.

Finally Scholastic Aptitude Test (SAT) scores were
checked for all 85. Previously (Bakan, 1969), left movers
have been found to do better on the Verbal and right
movers on the Mathematical portion of the SAT. If bidir-
ectional movers indeed have access to both cerebral hemis—
pheres, one might expect that they would excell in both
the verbal and mathematical portions of the SAT.

Three major creativity tests were given to left, right,
and bidirectional movers; the Remote Associates Test, the
Torrance Verbal and Figural tests, and the Welsh Figure

Preference Test. Our first hypothesis was not confirmed:

Jonathan C. Smith

left movers did not significantly differ from right movers
on any of the creativity measures. However, the bidirec-
tional movers scored significantly higher than left and
right movers on the Remote Associates Test and on the
Fluency scale of the Torrance Figural Test. Interestingly,
these two measures are unique among the measures used in
that they are intimately affected by fluency. This leads
to the interpretation that the bidirectional, more than
the left or right mover, excells in fluency.

Female bidirectionals scored significantly higher
than female left movers and female right movers on all
SAT items, on Verbal SAT items, and tended to score higher
on the Mathematical SAT items. There is neurological
evidence (Landsdell, 1968) that the cerebral hemispheres
of females are more integrated than those of males. If
bidirectionality also implies greater hemispheral inte-
gration, then the combined integrative effects of the bi-
directional female could account for her superior per-

formance on the SAT.

Approved:
Date:
Thesis Committee:
Paul Bakan, Chairman

Elaine Donelson
David Wessel

LATERAL REFLECTIVE EYE MOVEMENTS AND CREATIVITY

By

Jonathan C. Smith

A THESIS

Submitted to
Michigan State University
in partial fulfillment of the requirements
for the degree of

MASTER OF ARTS

Department of Psychology

1972

To Han Smith

ii

ACKNOWLEDGMENTS

Credit must go to those who offered help in completing
this thesis.

I wish to thank Dr. Paul Bakan, my thesis chairman
and advisor, for his patience and creative assistance.

His enthusiastic dedication to research helped make this
thesis an exciting and enjoyable undertaking.

I wish to thank my good friend, Ruben Gur, for his
statistical advice, and for undertaking the enormous task
of computing the hundreds of correlation coefficients
used in my thesis.

Dr. Elaine Donelson deserves much credit for sharing
her considerable background in creativity.

Finally, special thanks goes to Dr. David Wessel, who
spent the first 15 minutes of my oral's examination in
the shower, and was able to dry and drive to campus in
only seven minutes. Dr. Wessel's speed, agility, and

cleanliness was indeed an inspiration.

iii

TABLE OF CONTENTS

INTRODUCTION

Eye Directionality and Its Correlates
Eye Directionality and Creativity
Eye Directionality and Performance on
Creativity Tests . . . . . . . . . . . . .
First Hypothesis: Left Movers and Creativity
Second Hypothesis: Bidirectional Movers and
Creativity
BidirectionaIity and Creative Inspiration
and Evaluation
Bidirectionality and Fluency
Neurological Speculations
Scholastic Aptitude Test Scores and Eye
Directionality . . . . .

METHOD

Subjects
Tests
Procedure

RESULTS
RAT .
Torrance Tests
Revised Art Scale . .
Scholastic Aptitude Test
Correlations . .
Tables

DISCUSSION

BIBLIOGRAPHY .

APPENDIX: TESTS USED

iv

Page

NH

£000“

14
16
16
16
17
19
19
20
21
21
21
23
45
49

52

Table

10

Analysis
Female
Movers

Analysis
Female
Movers

LIST OF TABLES

of Variance for Scores of Male and
Left, Bidirectional and Right
on the Remote Associates Test

of Variance for Scores of Male and
Left, Bidirectional and Right
on the Remote Associates Test,

High Availability Items

Analysis
Female
Movers

of Variance for Scores of Male and
Left, Bidirectional and Right
on the Remote Associates Test,

Low Availability Items

Analysis

of Variance for Scores of Male

and Female Left, Bidirectional and Right

Movers
Medium

Analysis
Female
Movers

Analysis

on the Remote Associates Test,
Availability Items

of Variance for Scores of Male and
Left, Bidirectional and Right
on the Revised Art Scale

of Variance for Torrance Figural

Fluency Scores of Male and Female Left,
Bidirectional and Right Movers . . .

Analysis

of Variance for Torrance Figural

Flexibility Scores of Male and Female
Left, Bidirectional and Right Movers

Analysis

of Variance for Torrance Figural

Originality Scores of Male and Female
Left, Bidirectional and Right Movers

Analysis

of Variance for Torrance Figural

Elaboration Scores of Male and Female
Left, Bidirectional and Right Movers

Analysis

of Variance for Torrance Verbal

Fluency Scores of Male and Female Left,
Bidirectional and Right Movers

Page

23

24

25

26

27

28

29

30

31

32

Table Page

11 Analysis of Variance for Torrance Verbal
Flexibility Scores of Male and Female
Left, Bidirectional and Right Movers . . . . . 33

12 Analysis of Variance for Torrance Verbal
Originality Scores of Male and Female
Left, Bidirectional and Right Movers . . . . . 34

13 Analysis of Variance and Comparisons of
Means for Total Scholastic Aptitude Test
Scores of Male and Female Left, Bidirectional
and Right Movers . . . . . . . . . . . . . . . 35

14 Analysis of Variance and Comparisons of Means
for Verbal Scholastic Aptitude Test Scores
of Male and Female Left, Bidirectional
and Right Movers . . . . . . . . . . . . . . . 36

15 Analysis of Variance and Comparisons of
Means for Mathematics Scholastic Aptitude
Test Scores of Male and Female Left,
Bidirectional and Right Movers . . . . . . . . 37

16 Product-Moment Correlation Coefficients
Between Remote Associates Test (RAT),
Revised Art Scale (RA) and Torrance Test
(TT) Scores for Females . . . . . . . . . . . 38

17 Product-Moment Correlation Coefficients
Between Torrance Verbal (TV) and Torrance
Figural (TF) Subscale Scores for Females . . . 39

18 Product-Moment Correlation Coefficients
Between Remote Associates Test (RAT),
Revised Art Scale (RA) and Torrance Test
(TT) Scores for Males . . . . . . . . . . . . 40

19 Product—Moment Correlation Coefficients
Between Torrance Verbal (TV) and Torrance
Figural (TF) Subscale Scores for Males . . . . 41

20 Product-Moment Correlation Coefficients
Between Remote Associates Test (RAT),
Revised Art Scale (RA) and Torrance Test
(TT) Scores for Males and Females Combined . . 42

21 Product-Moment Correlation Coefficients
Between Torrance Verbal (TV) and Torrance
Figural (TF) Subscale Scores for Males
and Females Combined . . . . . . . . . . . . . 43

vi

Table

22 Product-Moment Correlation Coefficients
Between Verbal and Mathematical Scholastic
Aptitude Test Scores and Remote Associates
Test and Torrance Figural Fluency Subscale
Scores for Males

23 Product-Moment Correlation Coefficients
Between Verbal and Mathematical Scholastic
Aptitude Test Scores and Remote Associates
Test and Torrance Figural Fluency Subscale
Scores for Females

vii

Page

44

44

INTRODUCTION

Eye Directionality and Its Correlates

 

Day (1964, 1967) observed a lateral eye movement
response accompanying shift from external to internal
direction of attention. If S is looking at E and E asks
a question requiring thought, S will shift his eyes to his
right or left as he begins to reflect on an answer. Further—
more, Ss on the average tend to make their eye movements in
the same direction, allowing classification as left movers
or right movers (Duke, 1968).

Directionality has been found to be related to a number
of perceptual, cognitive, and physiological variables in
right handed Ss (in left handed $5 the relationship is
still being explored). In general the left mover is more
likely to be passively aware of subjective phenomena. That
is, he is more likely to passively attend to internal
subjective experience and be more reactive to subjective
visceral experiences. Similarly, left movers tend to use
language that is more feeling oriented (Day, 1964, 1967).
The right mover is more likely to attend actively to
external phenomena. In fact, right movers, compared with

left movers, perform better on certain tasks requiring a

2
high degree of undistracted attention to external stimuli
(Bakan and Shotland, 1969).

In addition left movers are more hypnotizable, are
more likely to display waking alpha, when in college are
more likely to choose majors in the humanities and social
sciences, have relatively better verbal scores on the
Scholastic Aptitude Test, are more verbally fluent, and
have clearer imagery. Right movers are less likely to
display waking alpha, are more likely to choose college
majors in the sciences, have better mathematical scores
on the SAT, tend not to have clear imagery, and tend not

to be verbally fluent (Bakan, 1969, 1971).

Eye Directionality and Creativity

 

Characteristics of people acknowledged to be creative
resemble certain of the characteristics of the left mover,
specifically his passive subjective orientation, his
capacity for visual imagery, and his tendency to have
interests in the humanities.

Creatives tend to be interested in the "subjective
world to ideas and feelings" (MacKinnon, 1961). They
tend to be more Open to unconscious impulses (Barron,
1969). All of these characteristics involve openness to
some type of internal experience, and such openness, as
mentioned earlier, seems to characterize the left mover.

Creatives also score higher on scales of femininity on the

3
MMPI (MacKinnon, 1963), which suggests that they, like the
left mover, may be characterized by a degree of passivity.

Furthermore creatives, like left movers, tend to have
strong interests in areas of the humanities. MacKinnon
(1961) found that creative Ss characteristically have
aesthetic interests. And Barron (1969) found that crea-
tives often characteristically have deep existential or
metaphysical philosophical concerns.

Finally there is some evidence that creatives, like
left movers, may be more proficient in producing visual
images. Walkup (1967) on the basis of clinical experience,
suggests "creative individuals appear to have stumbled
onto and developed to a high degree of perfection an
unusual ability to visualize mentally--almost hallucinate--

in areas in which they are creative."

Eye Directionality and Performance on Creativity Tests

 

In summary, people acknowledged to be creative appear
to have some of the major characteristics of the left
mover. To some extent this relationship appears to hold
for 85 who score high on tests correlated with creativity:
specifically, the Remote Associates Test (Mednick and
Mednick, 1967), the Torrance Verbal and Figural Tests of
Creativity (Torrance, 1966), and the Revised Art Scale of
the Welsh Figure Preference Test (Welsh, 1959).

Subjects who scOre high on the Remote Associates Test

(RAT) tend to be more verbally proficient. Mednick 33 a1.

4
(1964) found that high scorers produce more verbal associa-
tions to a stimulus word than do low scorers. This is
reminiscent of Bakan's (1971) finding that left movers
produce written material with greater fluency than do right
movers. In addition, high RAT scorers tend to be more
familiar with cultural idioms and colloquialisms than are
low scorers (Hood and Ginsburg, 1969), suggesting a greater
verbal proficiency among high scorers. Left movers, as
mentioned earlier, score higher than right movers on the
Verbal portion of the SAT.

Bone (1968) suggests that high scorers on the RAT are
more open to unconscious impulses, a characteristic resemb-
ling the left mover's openness to internal experience.

In addition, high RAT scorers, like left movers, tend to
be more open to incidental stimuli. Mendelsohn and
Griswold (1966) conducted an experiment in which 85 were
given anagrams to solve. Prior to solving the anagrams,
the Ss memorized 25 words under interference conditions

in which another 25 words were played on a tape recorder.
Unknown to the Ss, 10 anagram solutions had been in the
list memorized and 10 in the interference list. High RAT
scores, particularly males, utilized both sets of cues
more than low scorers. Subjects who perform well on tests
of incidental learning tend also to be more open to inter-
ference on the Stroop Color-Word Interference Test (Amster,

1965). Here, left movers indirectly resemble high RAT

5

scorers in that left movers tend to be more distracted on
the Stroop test (Bakan and Shotland, 1964) and high RAT
scorers tend to do well on tests of incidental learning.

Recent research on the characteristics of specific
items within the RAT suggest that the relationship between
high scorers on the RAT and left movers may be complex.
Ginsburg and Hood (1970) found that the 30 RAT items can
be divided into three equal groups of items: items whose
answers are highly available as verbal associations to
test stimuli, items whose answers are of medium availa-
bility, and items whose answers are of low availability.
85 who typically do well on the high availability items
appear to be more susceptible to confusion or interference
from incidental stimuli (Ginsburg and Hood, 1970) when
working on the Water Jar Test. Left movers, as mentioned
earlier, also appear to be more open to confusion or inter-
ference from incidental stimuli.

A few similarities exist between characteristics of
85 who perform well on the Torrance Tests and left movers.
Haven (1965) found a slight correlation, r=.23, between
originality on the verbal tests and high scores on the
Allport Vernon Lindzey Aesthetic Scale. In addition,
Weisberg and Springer (1961) found that 85 who perform
well on the Torrance tests, both verbal and figural, have
greater self-awareness, and are more aware of unconscious

conflicts. Finally, Torrance found a positive correlation

6

between IQ and performance on verbal tests of creativity,
such as the Torrance Verbal Tests.

The relationship between characteristics of left
movers and those of 85 who score high on the Revised
Art Scale is ambiguous. Those who score high on the
Revised Art Scale, unlike those who score high on the
RAT, do not tend to utilize more incidental cues
(Mendelsohn and Griswold, 1966). However, similar to left
movers, 85 who perform well on the Revised Art Scale do
tend to be more open to experience and unconscious impulses

(Barron, 1969).

First Hypothesis: Left Movers and Creativity

 

To summarize, creative people in general seem to have
characteristics similar to those of the left looker. This
suggests that left lookers may be more creative than right
lookers. There is some preliminary evidence which seems
to support this possibility. Stephen Harnad, a graduate
student at Princeton University, divided thirty-four
mathematics professors and graduate students at Princeton
into two groups: 85 whose directionalty was in the same
direction as their handedness and 85 whose directionality
was in the opposite direction of their handedness. Since
most of Harnad's 85 were right handed, he essentially
divided his 85 into groups of left movers and right
movers. Harnad found that left mover mathematicians were

more creative than right mover mathematicians.

7

Harnad's finding, the similarities between left movers
and those acknowledged to be creative, and the similarities
between left movers and those who score high on certain
creativity tests suggests this hypothesis: Left movers
will score higher than right movers on the Remote Associates
Test, particularly on the high availability items, the
Torrance Verbal and Figural Tests of Creativity, and the

Revised Art Scale of the Welsh Figure Preference Tests.

Second Hypothesis: Bidirectional Movers and Creativity

 

A second hypothesis can be made on the basis of argu-
ments based on certain processes involved in creativity.
Creativity is often divided into the processes of inspira-
tion and evaluation (Barron, 1969). That is, the creative
act involves both an intuitive generative stage in which the
initial insight or inspiration is produced, and a more
rational evaluational stage in which the insight is worked
on, perfected, and communicated. In addition, both pro-
cesses can be said to be affected by fluency, or the rate

of producing ideas useful in inspiration and evaluation.

Bidirectionality and Creative Inspiration and Evaluation

 

All studies of directionality, including the Princeton
study on directionality and creativity, have investigated
only left movers and right movers. They have ignored the S
who is inconsistent in his eye movements, the bidirectional

S. A case can be made that the bidirectional S may be more

8
creative than either the left or the right mover.
Specifically, he may be more adept at both inspiration
and evaluation, and he may be more fluent. However, it
is necessary to make one assumption: the bidirectional
mover, to some extent, possesses both the characteristics
of the left mover and the right mover. Left movers, as
mentioned earlier, are more subjective and intuitive:
they have relatively lower mathematics SAT scores, major
in "soft” areas such as the humanities, have more vivid
visual imagery, are more hypnotizable, and exhibit waking
alpha. Right movers appear to be more objective and
rational. They tend to score higher on the quantitative
portion of the SAT, tend in college to major in "hard"
areas such as the physical sciences, tend to report less
vivid visual imagery, are less readily hypnotizable, and
do not tend to display waking alpha. Left lookers, being
subjective and intuitive, would be expected to excell in
the inspirational phase of creativity; while the more
objective and rational right looker would be expected to
excell in the evaluational phase. Bidirectional 85, if
they possess some of the characteristics of the left and
the right mover, would be expected to excell in both the

inspirational and evaluational phases of creativity.

Bidirectionality and Fluency

 

The bidirectional also may be more fluent in creative

tasks than either the left mover or the right mover. The

9
left mover is subjectively oriented, so one would expect
that he would have available experiences and memories
that are subjective in nature, that is, he may have more
subjective experiences to draw from as well as greater
access to these experiences. The right mover is more
oriented to the external, objective world, and one would
expect that he would have available memories and experi-
ences related to the objective world. The bidirectional,
if he indeed has characteristics of both the left and
right mover, may have available memories and experiences
related to both the subjective and objective world. Thus,
when generating ideas, he may have available a greater
amount of information, perhaps facilitating his creative

fluency.

Neurological Speculations

 

A second line of reasoning, neurological in nature,
also suggests that the bidirectional may be especially
creative. To elaborate, Bakan (1969) hypothesizes that
the directionality of one's eye movements is an index of
which cerebral hemisphere is relatively more dominant for
certain cognitive and perceptual processes. Left or right
eye movements associated with the reflective process may
be symptomatic of easier triggering of activity in the
hemisphere contralateral to the direction of eye movement.

Cognitive or personality variables associated with one's

10
dominant hemisphere will tend to characterize the person
as a whole. Thus one's directionality implies the presence
of certain characteristics, characteristics related to
the hemisphere contralateral to the direction of one's
eye movements. Extending this line of reasoning, it is
possible that bidirectionality is symptomatic of relative
ease of triggering of both hemispheres. As a result,
bidirectionality would imply the presence of character-
istics associated with both hemispheres. Neuorological
characteristics of both hemispheres, when considered
together, could contribute to creative fluency. Certain
verbal and nonverbal learning and memory factors have
been associated with the left and right hemispheres. For
example, Milner (1958, 1962) and Meyer (1959) have demon-
strated that nonaphasic patients with left temporal lobe
lesions show more severe deficit in verbal learning and
verbal memory than do patients with lesions of the right
temporal lobe. Furthermore, Benton (1965) reports that
nonaphasic patients with left hemisphere lesions do poorer
on a test of verbal fluency than do patients with right
hemisphere lesions. Similarly, Cohen 33 31. (1968) report
that unilateral electroshock of the left hemisphere is
likely to produce verbal memory decrement while electro-
shock of the right hemisphere is not likely to produce

such a decrement.

11

Patients with right hemisphere lesions tend to show
impairment in spatial recognition and memory (Benton,
1965) as expressed in difficulty in following or remember-
ing routes, inability to locate places on a map, and poor
reproduction of designs from memory. Furthermore, such
patients often display defects in visual perception and
memory for non-verbal material such as scenic representa-
tions, faces, and abstract figures (Hecaen and Angergues,
1962; Milner, 1962). Finally Cohen E£.El- (1968) report
that unilateral electroshock to the right hemisphere pro-
duces memory decrement in a task requiring non-verbal
recall based on visual imagery.

Fluency could be related to learning and memory
factors associated with the left and right hemispheres.
It seems reasonable to suggest that the amount one has
learned and retained and is able to recall will influence
his fluency in generating ideas. The left mover and right
mover perhaps have more information and greater access
to information stored in the right and left hemispheres
respectively. And one can speculate that the bidirec-
tional S may have greater access to and more information
stored in both hemispheres, facilitating fluency on tests
of creativity.

Differences in specialized functions of the hemis-

pheres may affect more than fluency. Bogen (1969)

12
hypothesizes that the major differences between the cerebral
hemispheres are that the left hemisphere has developed a

capacity for propositional thought, thought that is analy-

 

tical and subject to the rules of syntax, sematic, and
mathematical logic; the right hemisphere has a highly

developed apppsitional capacity, a capacity for apposing

 

or comparing perceptions, non-verbal schemas, engrams, etc.
Studies involving electroshock, dichotic listening, brain
damage, brain lesions, and commisurotomies lend support to
Bogen's hypotheses. As mentioned earlier, Cohen 23 31.
(1968) found that electroshock to the right hemisphere
produces memory decrement on a task requiring non-verbal
recall based on visual imagery, whereas shock to the left
hemisphere is more likely to produce a memory decrement in
a verbal task. That the right hemisphere is associated
with non-verbal and the left hemisphere with verbal pro-
cesses is further supported by studies in dichotic listening
in which the right ear was found to be selective for verbal
stimuli and the left ear for non-verbal stimuli (Kimura,
1961; Curry, 1968). Left hemisphere damage seems to lead
to impairment of functions involving the verbal encoding

of non-verbal material (Benton, 1965). Right hemisphere
lesions, more often than left hemisphere lesions, result

in impairment of spacial perception and memory and in
visuoconstructive activities such as assembling blocks

into two or three dimensional patterns. In general,

13
lesions of the right hemisphere are more likely to interfere
with general non-verbal perceptual and cognitive functions
than are lesions of the left hemisphere (Hecaen and
Ajuriaguerra, 1964).

Perhaps the most convincing evidence for Bogen's
hypothesis comes from studies in which the hemispheres
have actually been separated and tested individually.

These studies consistently show that the right hemisphere
is specialized for gestalt synthesizing perception. The
left hemisphere, in contrast, seems to operate on a more
logical fashion (Levy-Agresti and Sperry, 1968). In fact,
if both hemispheres are presented with problems, the left
hemisphere seems to be restricted to using verbal-symbolic
analytical methods while the right hemisphere seems
restricted to using visualization and nonanalytic methods
(Sperry and Levy, 1970). It is as if, as Sperry suggests,
”there are two modes of information processing, each
specific to a given hemisphere . . . ."

In addition to Bogen's proposed appositional and
propositional specializations of the hemispheres, one
critical point needs to be made: the hemispheres are
interconnected, allowing for considerable intercommunication.
Bakan (1971) suggests that this may lead to "a variety of
integrative possibilities. It seems very likely that the
highest level of mental functioning at both the cognitive

and emotional level involves hemisphere integration."

14
Creativity is certainly one of these higher level mental
functions, and indeed Bogen suggests that creative behavior
results from the utilization of both hemispheres.
Specifically, the appositional functions of the right
hemisphere are associated with the inspirational phase of
creativity, while the propositional functions of the left
hemisphere are associated with evaluation and communica-
tion. Creativity involves utilization of both appositional
and propositional functions, both inspiration and elabora-
tion and communication. To return to directionality,
appositional functions seem to characterize the left mover
while propositional functions seem to characterize the
right mover (Bakan, 1971). The bidirectional may perform
better on certain tests of creativity because he may make
greater utilization of both hemispheres, and has available

both appositional and propositional functions.

Scholastic Aptitude Test Scores and Eye Directionality

 

Finally, Mathematics and Verbal Scholastic Aptitude
Scores will be available for most of the 85 used in this
study. The relationship between directionality and per-
formance on these tests will be tested. Past research
(Bakan, 1969) has found that left movers tend to score
higher on the verbal and right movers higher on the mathe-

matical portion of the SAT. If the bidirectional S has

characteristics of both left movers and right movers, and

15
if he is more integrated as suggested above, then one would
predict that he would score higher than left movers and
right movers on both the Verbal and the Mathematical
portions of the SAT, assuming that superior performance
on these tests requires utilization of a wide variety of

functions found in both hemispheres.

METHOD

Subjects
Fifty—five right handed male and 60 right handed

female introductory psychology student volunteers were
given the Remote Associates Test. Sixty of the males were
given the Revised Art Scale, 44 the Torrance Test of
Creativity, Figural A, and 43 the Torrance Test of
Creativity, Verbal A. Fifty-eight of the females were
given the Revised Art Scale, 42 the Torrance Figural Test,

and 41 the Torrance Verbal Test.

Tests

 

The RAT and the Torrance Tests were designed to
measure the creative process. The design of the RAT is
relatively simple: 85 are presented with 30 groups of
three words and for each group are asked to find a fourth
word related to all three. For example, one group of words
might be "cookies, sixteen, and heart." The task of S
is to think of a related fourth word, in this case "sweet."
AnS's score is the number of correct associations he finds.

The Torrance Test consists of two portions: a written

or verbal portion, and a figural or non-verbal portion.

16

17
In the verbal portion the S is asked to list possible
causes and consequences of certain events, list unusual
uses for an object such as a brick, and list unusual
questions one could ask. In the figural portion he is
asked to produce drawings incorporating various lines and
shapes. For the verbal portion there are three scores
computed: fluency, the total number of responses;
flexibility, the total number of different categories of
responses given; and originality, the statistical improba-
bility of his responses. For the figural portion fluency,
flexibility, and originality scores are computed as well
as an elaboration score, which is an index of how elaborate
or complicated an S's drawings are.

The Revised Art Scale is not a direct test of crea-
tivity, but a test of a cognitive preference that is
relatively consistently correlated with creativity,
preference for complexity and asymmetry. In the Revised
Art Scale the S is given 85 drawings and is asked to
indicate which ones he likes and dislikes. One point is
given for each symmetrical simple drawing he dislikes and
one point for each asymmetrical complex drawing he likes.

An S's score is the total number of points he makes.

Procedure

 

Groups of 44 and 45 85 (males and females mixed) were

given the RAT. One week later 86 of these Ss were divided

18
into two mixed groups and were given the Torrance verbal
tests followed by the Torrance figural tests. Of the
tests completed, there were 84 usable verbal forms and 86
usable figural forms. Two weeks later 82 85 returned,
were divided into four mixed groups and were given the
Revised Art Scale. Later eight additional males and 18
additional females were given the RAT and the Revised Art
Scale.

Each S was tested individually for directionality
using an eye directionality test developed by Paul Bakan.
In this test each S was asked to interpret a series of
little known proverbs read to him by E. The E noted the
direction of the first eye movement S made after each
proverb. The E continued reading proverbs and testing
eye movements until 10 clear eye movements were recorded.
An S's directionality score was the number of left eye
movements made.

Care was taken to make the testing conditions as
relaxed and nonstressful as possible, and to prevent 85
from detecting that their eye movements were being re-
corded. Furthermore each S was seated behind a desk
(which prevented him from crossing his legs) in a
symmetrical room, that is, a room in which the left half
of the S's visual field was the same as the right half.
This precaution was taken in order to reduce the number
of distracting stimuli that might influence an S's eye

movement 5 .

RESULTS

Subjects were divided into three groups on the basis
of their directionality scores: 85 who emitted 0-3 left
eye movements were designated right movers, 4-6 were bi-
directional movers, and 7-10 were left movers. Responses
of these groups were compared on the RAT, the Revised Art

Scale, the Torrance Tests, and on the SAT.

RAT (Tables l-4)

 

Differences between mean group scores on the RAT
items were significant only when male and female 85 were
pooled. The mean scores for left, bidirectional, and
right movers were 13.6, 17.4, and 15.9 respectively. Only
one comparison was significant; bidirectional movers
scored higher than left movers (t=2.69, p<.01 df=67).
Bidirectional movers tended to score higher than right
movers (t=l.50, p<.2 df=76) and right movers scored
significantly higher than left movers (t=l.69, p<.l df = 80).

For the 10 high availability RAT items mean scores
for left, bidirectional, and right movers were 6.4, 8.1,
and 6.7 respectively. As was the case with the total RAT

scores, bidirectional Ss scored significantly higher than

19

20

left movers (t=3.62, p<.002 df=67). In addition, bidirec-
tional SS also scored significantly higher than right
movers (t=3.33, p<.002 df=77). The differences between
the mean scores for left movers and right movers was
negligible. For females the means of left movers, bi-
directional movers, and right movers were 6.4, 8.3, and
6.7 respectively, significant at the .025 level (F=4.28).

Group means for the 10 low availability RAT items
were similar to the means for the total RAT. Means for
left, bidirectional, and right movers were 3.06, 4.06,
and 3.89 respectively. Bidirectional Ss scored signifi-
cantly higher than left movers (t=2.06, p<.05 df=67).
Right movers tended to score higher than left movers
(t=l.66, p<.2 df=80). The difference between the mean
scores of bidirectional and right movers was negligible.

Means for left, bidirectional, and right movers on
the medium availability items were 4.81, 5.15, and 5.08

respectively. These means do not differ significantly.

Torrance Tests (Tables 6-12)

 

All differences between groups, males and females
pooled and unpooled, on the Torrance Verbal tests were
insignificant. On the Torrance Figural Test, Fluency
Scale, with males and females pooled, means for left,
bidirectional, and right movers were 19.84, 21.14, and

19.21 respectively. Bidirectionals scored significantly

21
higher than right movers (t=2.58, p<.02 df=59) and tended

to score higher than left movers (t=l.51, p<.2 df=51).

Revised Art Scale (Table 5)

 

All differences between groups, males and females
pooled and unpooled, on the Revised Art Scale were insig-

nificant.

Scholastic Aptitude Test (Tables 13-15)

 

Female bidirectionals scored significantly higher
than female left movers and right movers on all SAT items
(F=2.40, p<.10) and on Verbal SAT items (F=2.76, p<.10)
and tended to score higher on the Mathematical SAT items
(F=1.20, p<.20). Male right movers scored significantly

higher on the Mathematical SAT items (F=2.45, p<.10).

Correlations (Tables 16-21)

 

For females significant positive correlations were
found between Revised Art Scale and Torrance Verbal
Originality Scores (r=.26, p<.05), and Torrance Figural
Originality scores (r=.24, p<.06). Significant negative
correlations were found between RAT and Torrance Verbal
Fluency Scores (r=-.29, p<.07), Torrance Verbal Flexi-
bility scores (r=-.27, p<.05), Torrance Verbal Originality
scores (r=-.33, p<.01), and Torrance Figural Flexibility
scores (r=-.25, p<.05). Other negative correlations were

found between RAT high availability items and Torrance

22
Verbal Fluency scores (r=—.33, p<.02), Torrance Verbal
Originality scores (r=-.24, p<.05), Torrance Figural
Fluency Scores (r=-.22, p<.05), and Torrance Figural
Flexibility scores (r=-.34, p<.01). RAT scores correlated
positively with Verbal SAT scores (r=.38, p<.02) as well
as with Mathematical SAT scores (r=.48, p<.002).

For males a significant negative correlation (r=-.24,
p<.04) was found between Revised Art Scale and RAT low
availability scores. Significant positive correlations
were found between Revised Art Scale and Torrance Figural
Elaboration scores (r=.22, p<.07); RAT high availability
items and Torrance Verbal Fluency scores (r=.21, p<.08),
and Torrance Verbal Flexibility scores (r=.25, p<.05).
RAT scores correlated positively with Verbal SAT scores
(r=.38, p<.02) as well as with Mathematical SAT scores
(r=.40, p<.02).

For males and females pooled, significant positive
correlations were found between Revised Art Scale and
Torrance Verbal Originality Scores (r=.15, p<.07) and
Torrance Figural Elaboration scores (r=.l6, p<.07). In
addition a significant negative correlation (r=-.l6,
p<.06) was found between RAT high availability items and

Torrance Figural Flexibility scores.

23

Tables

TABLE 1

Analysis of Variance for Scores of Male and Female Left,
Bidirectional and Right Movers on the Remote Associates
Test

 

 

Analysis of Variance

_S.OU.I‘C.e .89. if. A18. E 2
Females 89 2 43.5 1.37 -
Error 1805 57 31.66

Males 124.77 2 62.38 1.82 -

Error 1785.42 52 34.34

Females and
Males 264.77 2 132.38 3.98 .025

Means, Standard Deviations, and Ns

 

 

 

 

Left Movers Bidirectional Right Movers
Females
Means 13.94 17.7 16.08
S.D. 7.57 4.58 5.01
N l6 18 26
Males
Means 13.3 17.07 15.7
S.D. 5.96 4.97 5.90
N 20 15 20
Females and Males
Means 13.6 17.42 15.89
S.D. 6.70 4.75 6.32

N 36 33 46

 

24

TABLE 2

Analysis of Variance for Scores of Male and Female Left,
Bidirectional and Right Movers on the Remote Associates
Test, High Availability Items

 

 

Analysis of Variance

Source SS Si MS S p
Females 34.84 2 17.42 4.28 .025
Error 232.08 57 4.07

Males 22.77 2 11.38 2.27

Error 260.76 52 5.01

Females and
Males 60 l 2 30.05 6.81 .01

 

 

 

 

Error 492:89 112 4.40

Means, Standard Deviations, and Ns

Left Movers Bidirectional Right Movers

Females
Means 6.44 8.3 6.66
S.D. 2.47 1.18 1.98
N 16 18 26
Males
Means 6.30 7.87 6.60
S.D. 2.51 1.49 2.22
N 20 15 20
Females and Males
Means 6.36 8.09 6.69
S.D. 2.50 1.45 6.69
N 36 33 46

 

25

TABLE 3

Analysis of Variance for Scores of Male and Female Left,
Bidirectional and Right Movers on the Remote Associates
Test, Low Availability Items

 

 

Analysis of Variance

Source SS Sf MS S p
Females 11.92 2 5.96 1.15 -
Error 296.66 57 5.20
Males 16.45 2 8.22 1.78 -
Error 240.93 52 4.63
Females and

Males 35.5 2 17.8 3.71 .05
Error 537.59 112 4.80

Means, Standard Deviations, and Ns

 

 

 

 

 

Left Movers Bidirectional Right Movers
Females
Means 3.25 3.89 4.34
S.D. 2.66 2.10 2.01
N l6 18 26
Males
Means 2.9 4.27 3.30
S.D. 1.81 1.64 2.59
N 20 15 20
Females and Males
Means 3.06 4.06 3.89
S.D. 2.23 1.92 2.33
N 36 33 46

 

26

TABLE 4

Analysis of Variance for Scores of Male and Female Left,
Bidirectional and Right Movers on the Remote Associates
Test, Medium Availability Items

 

 

Analysis of Variance

Source SS Sf MS_ S p
Females 2.33 2 1.17 .19 -
Error 348.60 57 6.12
Males 3.12 2 1.56 .22 -
Error 364.88 52 7.02
Males and

Females 5.49 2 2.74 43 -
Error 713.48 112 6.37

Means, Standard Deviations, and Ns

 

 

 

 

 

Left Movers Bidirectional Right Movers
Females
Means 4.88 5.33 4.92
S.D. 2.19 3.07 1.99
N 16 18 26
Males
Means 4.75 4.9 5.31
S.D. 2.86 2.61 2.28
N 20 15 20
Males and Females
Means 4.8 5.15 5.08
S.D. 2.69 2.84 2.14
N 36 33 46

 

27

TABLE 5

Analysis of Variance for Scores of Male and Female Left,
Bidirectional and Right Movers on the Revised Art Scale

 

 

Analysis of Variance

Source SS Si MS 5 p
Females 347.58 2 173.79 .97 -
Error 9810.1 55 178.36
Males 467.23 2 233.61 1.165 —
Error 9421.75 47 200.46
Females and

Males 271.00 2 135.51 .72 -
Error 19575.90 105 186.43

Means, Standard Deviations, and Ns

 

 

 

 

 

Left Movers Bidirectional Right Movers
Females
Means 33.80 37.77 28.03
S.D. 12.86 14.21 12.27
N 15 17 26
Males
Means 32.56 26.14 33.28
S.D. 16.31 15.03 10.44
N 18 14 18
Females and Males
Means 33.12 29.22 30.18
S.D. 14.90 14.05 11.83

N 33 31 44

 

28

TABLE 6

Analysis of Variance for Torrance Figural Fluency Scores of
Male and Female Left, Bidirectional and Right Movers

 

 

Analysis of Variance

Source SS Sf MS S p
Females 56.00 2 28.00 .78 -
Error 1400.00 49 35.90
Males 40.54 2 20.27 .46 —
Error 1795.46 41 43.75
Females and

Males 41.15 2 20.58 .53 -
Error 3250.85 83 39.17

Means, Standard Deviations, and Ns

 

 

 

 

 

Left Movers Bidirectional Right Movers
Females
Means 18.77 21.07 20.1
S.D. 5.72 6.64 5.25
N 9 14 19
Males
Means 20.04 21.21 18.86
S.D. 7.34 6.09 6.98
N 16 14 14
Females and Males
Means 19.84 21.14 19.9
S.D. 6.04 6.37 6.05

N 25 28 33

 

29

TABLE 7

Analysis of Variance for Torrance Figural Flexibility Scores
of Male and Female Left, Bidirectional and Right Movers

 

 

Analysis of Variance

Source SS if MS S p
Females 5.69 2 2.84 .147 -
Error 752.78 39 19.30
Males 39.11 2 18.5 .50 -
Error 1518 41 37.92
Males and

Females .44 2 .22 .01 -

Error 1800.27 83 21.69

Means, Standard Deviations, and Ns

 

 

 

 

Left Movers Bidirectional Right Movers
Females
Means 16.55 16.43 17.21
S.D. 3.59 3.86 4.75
N 9 14 19
Males
Means 16.62 17.00 15.64
S.D. 5.19 4.12 5.09
N 16 14 14
Females and Males
Means 16.60 16.71 16.55
S.D. 4.66 4.01 4.95

N 25 28 33

 

30

TABLE 8

Analysis of Variance for Torrance Figural Originality Scores
of Male and Female Left, Bidirectional and Right Movers

 

 

Analysis of Variance

8. u 99 935 ME 5 E
Females 87 2 43.5 .419 -
Error 4050 39 103.85
Males 174.00 2 87 .44 -
Error 8017 41 195.54
Females and

Males 88.06 2 44.03 .2429 -
Error 15042.8 83 181.24

Means, Standard Deviations, and Ns

 

 

 

 

Left Movers Bidirectionals Right Movers
Females
Means 29.37 30.00 27.33
S.D. 7.85 16.20 18.68
N 19 14 9
Males
Means 35.43 33.9 30.68
S.D. 15.27 13.67 16.94
N 14 14 16
Males and Females
Means 31.92 33.26 30.68
S.D. 12.03 11.97 18.68

N 33 28 25

 

31

TABLE 9

Analysis of Variance for Torrance Figural Elaboration Scores
of Male and Female Left, Bidirectional and Right Movers

 

 

Analysis of Variance

 

 

 

 

 

Source SS SS MS S p
Females 2733.5 2 1366.7 .9273 -
Error 57462.7 39 1473.4
Males 319 2 108.5 .615 -
Error 27543 41 671.78
Females and

Males 558 2 279 .31 -
Error 75347 83 907.80

Means, Standard Deviations, and Ns
Left Movers Bidirectionals Right Movers

Females
Means 79.88 87.64 99.73
S.D. 24.89 40.81 38.68
N 9 14 19
Males
Means 76.75 83.14 80.64
S.D. 21.70 27.87 25.34
N 16 14 14
Females and Males
Means 77.80 85.39 91.64
S.D. 23.21 35.01 34.97

N 25 28 3S

 

32

TABLE 10

Analysis of Variance for Torrance Verbal Fluency Scores of
Male and Female Left, Bidirectional and Right Movers

 

 

Analysis of Variance

 

 

 

 

 

Source SS ‘Sf MS S_ p
Females 1685 2 842.5 1.53 -
Error 20912 38 550.32
Males 966 2 483 .62 -
Error 31123 40 788.08
Females and

Males 2401.6 2 1201 1.56 -
Error 62333.7 81 769.55

Means, Standard Deviations, and N5
Left Movers Bidirectionals Right Movers

Females
Means 78.89 63.93 75.44
S.D. 24.04 26.89 28.61
N 9 14 18
Males
Means 85.20 75.36 75.14
S.D. 21.34 23.42 34.77
N 15 14 14
Females and Males
Means 83.25 69.64 75.28
S.D. 21.01 25.71 31.24

N 24 28 37

 

33

TABLE 11

Analysis of Variance for Torrance Verbal Flexibility Scores
of Male and Female Left, Bidirectional and Right Movers

 

 

Analysis of Variance

__SO_u.rce ES. 9: 1:49 E 2
Females 165 2 82.5 1.02 -
Error 3078 38 81
Males 139.38 2 69.7 .60 -
Error 4626.06 40 115.65
Females and

Males 334.29 2 167.14 1 74 -
Error 7759.66 81 95.80

Means, Standard Deviations, and Ns

 

 

 

 

Left Movers Bidirectionals Right Movers
Females
Means 42.00 36.21 38.56
S.D. 8.87 6.08 11.29
N 9 14 18
Males
Means 43.13 39.29 39.43
S.D. 8.66 9.24 12.83
N 15 14 14
Females and Males
Means 42.71 37.75 39.13
S.D. 8 75 7.97 11.38

N 24' 28 32

 

34

TABLE 12

Analysis of Variance for Torrance Verbal Originality Scores
of Male and Female Left, Bidirectional and Right Movers

 

 

Analysis of Variance

Source SS_ df_ MS S p
Females 688.57 2 344.29 .66 -
Error 19937.43 38 524.67
Males 706 2 353 .56 -
Error 25075 40 626.88
Females and

Males 1226.34 2 613.14 .9653 -

Error 51463.60 61 635.80

Means, Standard Deviations, and Ns

 

 

 

 

Left Movers Bidirectionals Right Movers
Females
Means 60.68 51.43 59.72
S.D. 20.48 16.16 26.36
N 9 14 18
Males
Means 67.07 58.42 58.71
S.D. 17.15 25.20 31.26
N 15 14 14
Females and Males
Means 64.67 54.93 59.28
S.D. 18.73 24.53 28.61

N 24 28 32

 

35

TABLE 13

Analysis of Variance and Comparisons of Means for Total
Scholastic Aptitude Test Scores of Male and
Female Left, Bidirectional and Right Movers

 

 

Analysis of Variance

Source SS MS MS S p
Females 92204 2 46102 2.40 .10
Error 803820 42 19138

Males 106358 2 53179 1.30 -

Error 1464213 36 40672

Comparison of Means

Males Females
Left Movers 977.93 1052.69
Bidirectionals 1035.91 1111.67
t .74 .97
p -_ --
Bidirectionals 1035.91 1111.67
Right Movers 1118.86 1004.12
t .94 2.56
p —- .05
Left Movers 977.93 1052.69
Right Movers 1118.86 1004.12
t 1.56 .89

P

 

 

36

TABLE 14

Analysis of Variance and Comparisons of Means for Verbal
Scholastic Aptitude Test Scores of Male and Female
Left, Bidirectional and Right Movers

 

 

Analysis of Variance

Source SS df MS E p

Females 23703 2 11851 2.76 .10
Error 180233 42 4291

Males 22279.6 2 11139.8 .84 -

Error 477073.4 36 13252

Comparison of Means

 

Males Females
Left Movers 486.79 509.10
Bidirectionals 480.36 546.8
t -- 1.12
p __ _—
Bidirectionals 480.36 546.8
Right Movers 533.50 481.18
t -— 2.00
p _— --
Right Movers 533.50 481.18
Left Movers 486.79 509.10'
t -- .794

P

 

Analysis of Variance and Comparisons of Means for Mathematics

37

TABLE 15

Scholastic Aptitude Test Scores of Male and Female

Left, Bidirectional and Right Movers

 

 

Source SS
Females 23679
Error 400131
Males 38975
Error 286105

Left Movers
Bidirectionals
t

P

Bidirectionals
Right Movers
‘t

P

Left Movers
Right Movers
t

P

Analysis of Variance

if.

2
42

99

11839
11839

19487
7947

F

1.24

Comparisons of Means

Males

 

511.14
555.55
1.35

555.55
585.36
.16

511.14
585.36
1.98

Females

543.62
564.84
.63

564.84
510.94
2.08

543.62
510.94
1.01

[*6

 

Product-Moment Correlation Coefficients

TABLE 16

38

Between Remote
Associates Test (RAT), Revised Art Scale (RA) and
Torrance Test (TT) Scores for Females

 

 

RAT HIGH

RAT LOW

TT

TT

TT

TT

TT

TT

TT

VERBAL FLUENCY

VERBAL FLEXIBILITY

VERBAL ORIGINALITY

FIGURAL FLUENCY

FIGURAL FLEXIBILITY

FIGURAL ORIGINALITY

FIGURAL ELABORATION

’03"! '65”! ”did"! "GUI-i “dd"! “OD“! ”6:3"! "C523": ”C323“:

13"!

"d

.04
60

.64
62
.00

.68
62
.00

.29
42
.026

.27
42
.03

.33
42
.01

.05
42

.25
42
.05

.13
42
.19

.06
42

.00
60

.02
60

.16
40
.159

.19
40
.11

.26
40
.05

.09
40

.01
4O

.24
40
.06

.14
40
.18

RAT

HIGH

.51
62
.00

.33
42
.015

.09
42

.24
42
.05

.22
42

.34
42
.01

.01
42

.04
42

RAT
LOW

.18
42
.118

.16
42
.15

.17
42
.13

.13
42

.26
42
.04

.10
42

.07
42

 

39
TABLE 17
Product-Moment Correlation Coefficients Between Torrance

Verbal (TV) and Torrance Figural (TF) Subscale
Scores for Females

 

 

TV

FLUENCY FLEXI-

TV

TV
ORIGIN-
BILITY ALITY

TF

TF
FLUENCY FLEXI-

TF
ORIGIN-
BILITY ALITY

TV FLUENCY
r
n
P
TV FLEXIBILITY
r .79
n 42
p 0.00
TV ORIGINALITY
r .76 .77
n 42 42
p 0.00 0.00
TF FLUENCY
r .10 .05 .11
n 41 41 41
p -_ __ --
TF FLEXIBILITY
r .09 .01 .09 .87
n 41 41 41 42
p -- 0.00 -- 0.00
TF ORIGINALITY
r .10 .15 .23 .73 .56
n 41 41 41 42 42
p -- .16 .06 0.00 .00
TF ELABORATION
r .23 .35 .33 .46 .26 .45
n 41 41 41 42 42 42
p .06 .01 .01 .001 .04 .001

 

40
TABLE 18
Product-Moment Correlation Coefficients Between Remote

Associates Test (RAT), Revised Art Scale (RA)
and Torrance Test (TT) Scores for Males

 

 

RAT RA RAT RAT
__ HIGH LOW
RA r -.17
n 49
p .12
RAT HIGH r .87 -.11
n 51 50
p .001 --
RAT LOW r .81 -.24 .57
n 51 50 52
p .001 .04 .001
TT VERBAL FLUENCY r .07 .05 .21 .06
n 42 41 43 43
p -- -- .08 --
TT VERBAL FLEXIBILITY r .14 -.01 .25 .18
n 42 41 43 43
p .17 -- .05 .12
TT VERBAL ORIGINALITY r .08 .05 .17 .10
n 42 41 43 43
p -- -- .12 --
TT FIGURAL FLUENCY r -.09 -.05 —.05 .05
n 43 42 44 44
p __ __ .._ __
TT FIGURAL FLEXIBILITY r .00 -.02 -.02 .08
n 43 42 44 44
p __ ._ __ _—
TT FIGURAL ORIGINALITY r -.01 .00 .03 .07
n 43 42 44 44
p .. __ _.. -—
TT FIGURAL ELABORATION r -.01 .22 .09 .09
n 43 42 44 44

 

41

TABLE 19

Product-Moment Correlation Coefficients Between Torrance
Verbal (TV) and Torrance Figural (TF) Subscale
Scores for Males

 

 

TV

TV

TV

TF

TF

TF

TF

TV TV TV TF TF TF
FLUENCY FLEXI- ORIGIN- FLUENCY FLEXI- ORIGIN-
BILITY ALITY BILITY ALITY

FLUENCY

r

n

P
FLEXIBILITY

r .85

n 43

p .001
ORIGINALITY

r .81 .85

n 43 43

p .001 .001
FLUENCY

r .27 .20 .33

n 43 43 43

p .03 .09 .01
FLEXIBILITY

r .25 .17 .26 .90

n 43 43 43 44

p .05 -- .04 .001
ORIGINALITY

r .28 .28 .37 .70 .56

n 43 43 43 44 44

p .03 .03 .006 .001 .00
ELABORATION

r .32 .37 .36 .20 .13 .35
n 43 43 43 44 44 44

p .01 .006 .008 .09 .18 .009

 

42
TABLE 20

Product-Moment Correlation Coefficients Between Remote
Associates Test (RAT), Revised Art Scale (RA) and
Torrance Test (TT) Scores for
Males and Females Combined

 

 

RAT RA RAT RAT
__ HIGH LOW
RA r -.05
n 109
p __
RAT HIGH r .75 -.05
n 113 110
p .001 --
RAT LOW r .73 -.09 .53
n 113 110 114
p .001 .17 .001
TT VERBAL FLUENCY r -.09 .100 -.01 -.07
n 84 81 85 85
p .20 .18 -- --
TT VERBAL FLEXIBILITY r -.05 .09 .09 .00
n 84 81 85 85
-- -- .19 --
TT VERBAL ORIGINALITY r -.12 .15 -.02 —.05
n 84 81 85 85
p .12 .07 -— --
TT FIGURAL FLUENCY r -.07 .01 —.12 -.04
n 85 82 86 86
p -- -- .12 ~—
TT FIGURAL FLEXIBILITY r -.11 -.01 -.16 -.09
n 85 82 86 86
p .14 -- .06 --
TT FIGURAL ORIGINALITY r -.07 .10 .00 -.02
n 85 82 86 86
p -- .16 -— --
TT FIGURAL ELABORATION r .05 .16 .07 .10
n 85 82 86 86

p -- .07 -- .16

 

43

TABLE 21

Product-Moment Correlation Coefficients Between Torrance
Verbal (TV) and Torrance Figural (TF) Subscale
Scores for Males and Females Combined

 

 

TV

TV

TV

TF

TF

TF

TF

TV TV TV TF TF TF
FLUENCY FLEXI— ORIGIN- FLUENCY FLEXI- ORIGIN-
BILITY ALITY BILITY ALITY
FLUENCY
r
n
P
FLEXIBILITY
r .83
n 85
p .001
ORIGINALITY
r .78 .81
n 85 85
p .001 .001
FLUENCY
r .20 .13 .23
n 84 84 84
p .03 .10 .01
FLEXIBILITY
r .19 .10 .19 .88
n 84 84 84 84
p .04 .17 .04 .001
ORIGINALITY
r .23 .24 .32 .70 .55
n 84 84 84 86 86
p .01 .01 .001 .001 .001
ELABORATION
r .24 .33 .32 .33 .20 .35
n 84 84 84 86 86 86

p .01 .001 .001 .001 .03 .001

 

44
TABLE 22

Product-Moment Correlation Coefficients Between Verbal and
Mathematical Scholastic Aptitude Test Scores and Remote
Associates Test and Torrance Figural Fluency Subscale
Scores for Males

 

 

 

 

RAT Torrance Figural Fluency
SAT Verbal r .38 .06
n 37 32
p .02 --
SAT Mathematical r .40 .09
n 35 30
p .02 --
TABLE 23

Product-Moment Correlation Coefficients Between Verbal and
Mathematical Scholastic Aptitude Test Scores and
Remote Associates Test and Torrance Figural
Fluency Subscale Scores for Females

 

 

 

RAT Torrance Figural Fluengy
SAT Verbal r .38 -.21
n 42 25
p .02 --
SAT Mathematical r .48 -.26
n 46 28

p .002 --

 

DISCUSSION

Our first hypothesis was not confirmed. Left movers
did not score higher than right movers on any of the
measures of creativity. The most important finding was
with respect to the bidirectional mover. Not only did
bidirectionals form a significant minority of the sample
(29%) but they seem to possess characteristics different
from those of the right mover or left mover. Bidirectional
movers scored highest on the RAT, particularly on the high
availability items, and on the fluency scale of the Torrance
Figural Test.

This appears to support the hypothesis that the bi-
directional S is particularly fluent when performing
certain creative tasks. To elaborate, both the RAT and the
Torrance Figural Fluency scale are unique in that they
appear to be directly affected by fluency. The Torrance
Figural Fluency scale is a simple direct measure of
fluency; it is simply a measure of the number of figural
responses an S can generate in a set period of time. Per-
formance on the RAT appears to be influenced by fluency.
Mednick, the originator of the RAT, states (1962) that an

integral part of the creative process is fluency, or the

45

46
ability to generate a large number of associations to a
stimulus. Mednick 33 3;. (1964) suggest that the "sheer
number of associations" given to a problem on the RAT is
directly related to the probability of attaining a creative
solution. In fact, these investigators found that high
RAT scorers give a greater number of associations to word-
association stimuli than do low scorers. One might object
that the RAT and the Torrance Figural Fluency tests are not
the only tests in this study measuring fluency. The
Torrance Verbal Fluency scale would also, from its title,
appear to be a test of fluency. Close examination reveals
that this probably is not the case. Unlike the Torrance
Figural tests, the Torrance Verbal tests require the S
to perform a wide variety of highly specific operations,
operations demanding more than fluency. The verbal tests
require the S to speculate as to the consequences of an
event, guess causes of an event, invent original plausible
uses for an object, and generate unusual questions about
an object. In contrast the task required in the Torrance
Figural tests is simple and open-ended; the S merely has
to make unusual drawings. In a more general sense the
Torrance Verbal Fluency scale seems to be virtually a
measure of general intellectual ability. Indeed this
study found that it is significantly correlated with both
the Verbal and Mathematical portions of the SAT, while

the Torrance Figural Fluency scale is not. (The RAT, it

47
should be mentioned, is also significantly correlated with
Verbal and Mathematical SAT scores. However, unlike the
Torrance Verbal Fluency scale, the RAT, as mentioned
earlier, has been found to be affected by fluency.)

Recent research on the RAT offers support for the
proposal that the bidirectional mover's fluency partly
results from greater access to and availability of infor-
mation. Mendelsohn and Griswold (1964) as mentioned
earlier, reported that high scorers on the RAT utilize more
incidental stimuli in incidental learning tasks. They
offer this explanation for their results:

High creatives retain in usable form more of
their prior stimulus experiences. Two by no

means mutually exclusive, processes may underlie

such a capacity. First, high creatives may deploy

their attention more widely and thus receive a

broader range of information with sufficient strength

to influence their subsequent responses. Second,

in dealing with present problems, high creatives

may screen out less of their "irrelevant" past

experience, i.e., memory traces, which are remote

and thus isolated by low creatives during problem

solving, remain available to high creatives. In

both explanations we assume that relative to the

high creatives, the low creatives focus more nar-

rowly on present, environmental, and self-produced

stimulus configurations.

Mendelsohn and Griswold's description of the S who
scores high on the RAT corresponds to the hypothesized
characteristics enhancing fluency of the bidirectional,
i.e., a wide deployment of attention including more present,
past, environmental, and self-produced information.

In addition Ginsburg and Hood (1970) report that 85

who perform well on the RAT, particularly on high

48
availability items, characteristically have loose over-
lapping association clusters. That is, when asked to
generate associations to a stimulus word, high RAT
scorers, more than low rat scorers, tend to generate
loose clusters of associations that are not clearly
separate from each other in time. Ginsburg and Hood
offer a description of the S who performs well on the
high availability items, a description quite similar to
Mendelsohn and Griswold's description of the high creative:
It may be that loose cluster people are more

perceptually receptive to nonfocal events and

thereby either build up a greater store of

cognitive elements or form wider, less dis-

criminating patterns of associations among

cognitive or perceptual elements than tight

cluster people.
The 8 who performs well on the high availability RAT items
seems to resemble the characterized bidirectional S, in

that both presumably have a greater store of available

information, perhaps influencing fluency.

The performance of females on the SAT is consistent
with the speculation that bidirectionality is an index of
integration of hemisphere functions. There is neurological
evidence (Lansdell, 1968) that cerebral hemispheres of
females are more integrated than those of males. If
bidirectionality also implies hemisphereal integration,
then the combined integration effects of the bidirectional

female could account for her superior performance on the SAT.

BIBLIOGRAPHY

Amster, H. The relation between intentional and incidental
concept learning as a function of type of multiple
stimulation and cognitive style. Journal of
Personality and Social Psychology, 1965, 1, 217-223.

 

 

Bakan, P. Hypnotizability, laterality of eye movements,
and functional brain asymmetry. Perceptual and
Motor Skills, 1969, 28, 927-932.

 

 

Personal communication, December 5, 1970.

The eyes have it. Psychology Today, 1971, 4,

 

"WT-69.

Bakan, P. and Shotland, L. Lateral eye movement, reading
speed, and visual attention. Psychonomic Science,
1969, 15, 93-94.

 

Barron, F. Creative person and creative process. New
York: Holt, Rinehart and Winston, Inc., 1969.

 

Benton, A. The problem of cerebral dominance. The
Canadian Psychologist, 6, 1965. 512'3*%

 

Bogen, J. The other side of the brain, II: an appositional
mind. Bulletin of the Los Angeles Neurological Society,
34, 1969.

 

Bone, R. Brief report: frequency of dream recall, crea-
tivity, and a control for anxiety. Psychological
Reports, 1968, 22, 1355-1356.

 

Cohen B.; Noblin, C.; Silverman, A. and Penick, S.

fiunctional asymmetry of the human brain. Science,
1968, 162, 475- 477.

Curry, E. A comparison of the performances of right
hemispherectomized subjects and 25 normals on four
dichotic listening tasks. Cortex, 1968, 2, 133-153.

Day, M. An eye-movement phenomenon relating to attention,
thought, and anxiety. Perceptual and Motor Skills,
1964, 19, 443-446.

 

49

50

Day, M. An eye-movement indicator of individual differences
in the physiological organization of attentional
processes and anxiety. Journal of Psychology, 1967,
66, 51-62.

 

Duke, J. Lateral eye movement behavior. Journal of
General Psychology, 1968, 78, 189-195.

 

 

Ginsburg, G. and Hood, R. Associative clustering and
performance on the Remote Associates Test. Journal
of Experimental Research in Personalipy, 1970, 4.

 

Haven, G. Creative thought, productivity, and self-COncept.
Psychological Reports, 1965, 16, 750-752.

 

Hecaen, H. and Angelergues. Agnosia for faces. Neuro-
logical Archives, 1962, 7, 92-100.

 

 

Left handedness. New York: Grune and
Stratton, 1964.

 

 

Hood, R. and Ginsburg, G. Cultural availability: an
associative characteristic of Remote Associates Test
items. Psychological Reports, 1969, 25, 443-446.

 

Kimura, D. Cerebral dominance and the perception of verbal
stimuli. Canadian Journal of Psychology, 1961, 15,
166-171.

 

Lansdell, H. The use of factor scores from the Wechsler-
Bellebue Scale of Intelligence in assessing patients
with temporal lobe removals. Cortex, 1968, 4, 457-
468.

Levy-Agresti, J. and Sperry, R. Differential perceptual
capacities in major and minor hemispheres. Pro-

ceedings of the National Academy of Sciences, 1968,
61, 1151.

MacKinnon, D. W. The study of creativity and creativity
in architects. In Conference on the creative person.
Berkeley: University of CaIIfornia, Institute of
Personality Assessment and Research, 1961.

 

MacKinnon, D. W. The creativity of architects. In C. W.
Taylor (Ed.) Widening_horizons in creativity. New
York: Wiley, 1964.

 

Mednick, S. The associative basis of the creative process.
Psychological Review, 1962, 69, 221-232.

 

51

Mednick, S.; Mednick, M. and Jung, C. Continual associations
as a function of level of creativity and type of verbal
stimulus. Journal of Abnormal and Social Psychology,
1964, 69, SIT-515.

 

Mednick, S. and Mednick, M. Remote Associates Test.
Boston: Houghton Mifflin Company, 1967.

 

Mendelsohn, G. and Griswold, B. Assessed creative poten-
tial, vocabulary level, and sex as predictors of the
use of incidental cues in problem solving. Journal
of Personality and Social Psychology, 1966, 4, 423-431.

 

Meyer, V. Cognitive changes following temporal lobectomy
for relief of temporal lobe epilepsy. Arch. Neurol.
Psychiat., 1959, 81, 299-309.

 

Milner, B. Psychological defects produced by temporal
lobe excisions. Nervous and Mental Disorders, 1958,
36, 244-253.

 

Laterality effects in audition. In Mountcastle,
V. (Ed.) Interhemispheric relations and cerebral
dominance. Balfimore: Johns Hopkins Press, 1962.

 

 

 

Sperry, R. and Levy, J. Mental capacities of the discon-
nected minor hemisphere following commissurotomy.
Paper presented at the symposium on asymmetrical
function of the human brain, Miami: American Psycho-
logical Association, 1970.

Torrance, E. Torrance Tests of Creative Thinking,
Princeton: Personell Press, Inc., 1966.

 

Walkup, L. Creativity in science through visualization.
Journal of Creative Behavior, 1968, 2, 119-127.

 

Weisberg, P. and Springer, K. Environmental factors in
creative function. Archives of General Psychiatry,
1961, 5, 554-564.

 

Welsh, G. Welsh Figure Preference Test. Palo Alto,

California: Consulting Psychologists Press, Inc.,
1959.

 

APPENDIX

REMOTE ASSOCIATES TEST
TORRANCE TESTS OF CREATIVITY

REVISED ART SCALE OF THE WELSH FIGURE PREFERENCE TEST

REMOTE ASS OCIATIONS TEST

f' __,nll
- I (' EN... ) r’ 5'; ; If,»
‘ c." \ ‘ a- I ’Q‘ ' ' E
. I ) ' 4’
n L; ' l l ' l i J r a: *lm‘~"w:‘ll"."-.' rztflfixru. -.~ . -cs‘.‘ :11 -:'t"'.'.- r.~.v-.-'r. " “3".“— r 7" ‘u—r‘. W l—r/ J a

.....g_,_ _,
i'..."'\.‘ 1 If.
I.
.“’~ D

TESTRCC1ZO"S: In this test you are presented with three words and
spied to fin< a fourth word which is re elet ed to all three. Write this
re soace to the right.

‘ I
H
L1:
H-
:3
fr

For example, what word do you think is related to these three?

tZ—A»..au._ IkFH-a-‘m- 2:

is ”sweet. ” Coekies are sweet: sweet is part
xteen" and part of the word “sweetheart.“

s
A; the phrase "sweet 5
iszns is another example:

take 90 molasses .. .,..............A..._.~...

:cuz should have written "slow” in the space proveded. "slow poke."

‘gc> slow." and ”slow as molasses.n3 As you can see, the fourth word may
use:related to the other three for var mo -s reasons.

Fr)? these next two:

A. surprise line birthday

 

”In-rm

3. base snow dance

 

Ar.ee an swers are at the bottom of the page.

9:3: TLRN TO T} TE NEXT PAGE AND TRY Trlrifi GROAPS OF‘WORDS ON THE INSIDE.
fifififl: OF TEASE TTEFIS ARE NOT EASY AND TUU'WILL HAVE TO THINK ABOUT SOME
ETAA.A WHILE. IF YOU HAVE TROUBLE WTTH SOME GROUPS OF THREE GO ON TO THE
QEJQP AND COME BACK TO THEM LATER. GIVE ONLY 0233 AIESAAAR To EACH QUESTION.
TKHB‘WILL HAVE 40 MINUTES. '

Answers: A. party; B. ball.

N H
a

stop ystcy sneak «
elephant 7 fl I
lick sgngkle miner
shopping A‘ ‘ f 31

stalk t._;.s: Ring

|)
4
(d
C
rlc
ml:
to N H
O

r‘
f" f
‘0

'J

as

o

<_'._._~ _v‘ .'-: .L‘wdw -uu ‘mnx'

. .. ,. .. ..-....=-..~r..-:.'.t'.‘._v.n-x:‘.‘

U743.“
a

U1

4. .—z.. _JJ‘--"41. ma: -'~.'.u .
- (an I;'- Q. I»- .3... ' . "I
t : . u." \,.~ a .1. . , :5 LC:._ 4'_:‘,¢._.‘ll-) ‘ _
A __-=—. ,.. .__~. ‘Lrjc--:krA.-.M-
q ”A O Y . V, o A
I. v , - -- -.‘.'-w‘ 2"
I o WEAK» a. 't' .'.'.. -- . .. .L o

.g -“--"'-x - ....._....—.-¢‘..-.P

E

h '
AA'
A.
A:
m<nk¢os
0

p:
o.

’\

‘w‘ . KEOU S *3 ~
9 ° envy ‘ "z: 3' If {A}
10. board 3.: c death

u. ; -_ ~.- 3,‘5.l.‘.4. 545-4.].U.“ ‘4‘
. .4..- -._ . -‘L-;K'AJKMWM'

.1 .14; F "mu" 3“ ‘J‘JJH‘A‘ \Q

11. atheletes rgibit 11.

‘t'C-‘b Hm .L,_.- ‘411'.~'.J‘K-'—2. “A.
313. pot kmfl;=fi:lii 3 para __-__”mflmwmum.12-

:3‘ H1

13. bald eabiem i3.

.1. (3
_ \,

‘-7 iD r9
A

- .. - ._ d.» ““33-“ ,1J.Ll¢’.h-II-Jo>
4. note ch31: h_h_w‘hakhfidmh14-

”Dari!
.nd
w

smeil

[-1.
-1
(D

15. cherry

1 6 . 5 out :7 1%: 3? 3.7 (30139331.? .-_: $3 ‘3; 13,32"; A... .,.-E...-...A....r.-.=...1 {5 .
17. Chocolate fartane tin Mg% memngM 17.
18. bass cauglex frEcp «fl _"“_dm{““18.
19. wickeé bustle Eli1her 29.
.
.

a ' I
‘50. Ek‘lTflC ICI.R~TI7S «DI-A

21w habit povch 3136 :1.
, ..__'_ ‘4 :._'.v. .J“:-r_.".-.'. ';" 3: .€:¢ -:.4..
. -. A 1.1 In ' 'Hgf)
22. sea—.10 tame ':-, ”Ar-.3 (m.
L - ~u A--_-. “Luna‘s—'4.
1 O ~ ~ ‘ ’ "t‘
23. hlood muzro ¢;E-Eg 24.
‘ r -_ L r A ' I T: _‘ ”fig-«5‘ - '—
9 . 0.. C o. a .- .... 9“
A41 roca . SQAAAEEA rglts - /4.
u 7.4. .s. -.. L.._.,\r-.I‘.AL"‘.J..
n fi-I- v. ‘ 1 . ~'I-' .E.‘ A ”-
.JS. Window Date Eua ET a5.

r}.

m

tn
1
a

— 7'?” ’1 mum's-3:1 £4:*3.—'k’x - a.

a

'. ‘1 _.~'. .27, *7_'_:.;‘-. -L":2'J;'; ..‘-.: 1“

.01 U)

’I)

:3}

H P”?!
3 PT!

{‘1'

{\J [\3

“I

_..-__..‘~__. ..-— w“- .

g...- 1.11.

:72“ U}
H (1'
.fi 0

.
MAJ
'K‘.

D
L 3
3."

N
w
o
m LJ- ’1; H- n
:31
L)
"V‘
:«1
l
5)
M N
‘EA@
0

Q [.3
' B
I.)

. 1

i";
i I}
U:
.5)"
Q
d
s!
3:
rq C.
\
1")
LI)
C.)
o

.I_
'wd— .41 a n

x.“ ’
”D ‘3
am

.1;-
1
gm
:9
-1 “K.”
J)
z ._.___.=..\
'8
‘1
3 4
\
nr‘

f
4':
J

 

TORRANCE TEST OF CREATIVITY

VERBAL A

firilVlLLefi xn34 AfifikfifibwaESS

Ike fang? threw ae£1v1txea will be basad an fihé flzayung below,
'[bfifia activitie@ will giVé yam a thatca Ts-aee haw gmod yam are
at aaking qméétzemfi To fin: ant things tFaE yam dan“t7knaw

and in making gua¢59a abaufi paaaihla tuusaa-aflfl aanaaqueneea
ef’hapaeninga. Lgak at the picturei Whafi iahappening? 'What
'can ya: tell fax $U¥£? What 60 yam need ta'knnw to undetstand
-wham 19 hagfgning; What aauaeé it t0 hapggn and what wtll be
the resalfi?

 

 

 

”8"?“ up", ,_ viay‘w t-X‘Q'mw‘“ '3’"
t' w"

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

- . I t-l’ ' ' ' - . ~ .. . _- v .2 v . X . 4 . r
-. .- y . - - ,. .‘ ' ‘.~._ . . .' 'V-. .. . ' . V ~ , -_. , a ._ K_
r" ‘ ,,_'3“._..;~' " -~"\ "it )"' l“;z~ "'P. '6‘ ~. 1“.’-4.-' :4" 0.“.1,‘ '- "'-'x [I r1 ‘ " .i .‘f. "'-'. ' ‘ ' -" I r ~.‘ r N ' "~.\~~-’
km; K.L“-j «c! 11..-"; :.T.‘_‘...l;‘_;;3 '.4 L4-)..-- 1.2.3. .v‘v .'- '.Ll.a': 113;: I.) -“~-‘.. ‘~'~-'..... '. .,."'.} q “-1 -.‘ “.. .,.% ". «’U, inlaniu
.9‘. ,‘_..l .t_ . ‘ ‘1‘. .2. - 1’..,\‘.\__. f(""‘ ““"1'lfg -.-;,-~."-?. I?” 1,. ";"'\'n '1 ,‘fl. ‘3“ t‘t' .t ""3." a V? \f“-’ .. ‘.,-<. 1 '2. .' ~.‘}‘
a . :13 i but L .' -.*..:‘.J.’l “‘5. v.1... Q v u .LLJ L: '- ’ag'vixJ 2 L; ) .1} , t film. A 4;» 1.; Jun. de :1“: 1 bit.)
‘ , - '1 _ ’5 .‘ \ '. .1.= ". ..v-.' T. .. . - ’ g 1 V'-. ' - ‘ .: 3.}
u... ‘. .\ '_-‘.-f'“ f... - ’0’? -‘-o ,.~'— 4..., l ‘(y 3- . A-‘an I) - .. _‘.~‘r . 1"; ‘ s. ‘ ,v. -O I.‘.rs n-u lu‘ 9... v ‘ p .5“. E, V I; ' gfi ' , “
L..‘. KhL;J .‘3.».’\..«~.L v.4.)b U57 .v‘.‘-.L -"_‘ in“: 1:413 chi. \3‘4: .lLT.)-L J.” . ,,L'.,_! w» _..,-«..;.g10 'ub .L'x. v.3- ~"wl&& cab UL.”
. -..- x
«I;- .~‘- 1-1 mm '1 (1‘ - ‘1“ I“. '1 r' 1‘4‘1‘ 7 H1 w-z- ‘r r.
p4. -r--<-‘..1;:, («a 1:331a’21 ’w‘-’ '3' V k1 ‘.'-—~.=J u . I;
1 ‘1 .‘f- —- — —— it“ mu-mn-t “'Ai'knl u-l-v'n-g maqu-u ru-zu n in E£.l‘o‘-ll_m“J-.w‘.\o“n“u m.u.u-I-—.-tt.ua-n n—‘-—fla 9
2
‘ V" our! ;- x- ~—.--.~ - -—- -—..-r.>m—.n a
‘7’.
j .‘) m van .m‘“—.-- a
4 w.
' nm“ - - - mm-n—n-M _— Uta—“mm.
E
s) “ -. . .- .u—s—n—a-s—mr—smmnm-
" ——- w *u‘omfl—un
H
I 0
o
8
1n- - 9
S 0
--Iu“-- ——--—-— -mm—flt
4
.L .4 0
In uh.-.- —.—v. I
1 i
.9
-6 -
I"
.
‘i "
.1
.5», _(, _
1"
.~ g
.

 

 

 

['4
— __ __ “waves-a .

 

 

 

 

 

 

 

 

 

 

 

179.
- a

16‘1“
-

Q .-

.L‘QJ; ______ ".w—fi- .

"r;
.,_.._—._. _-.. __ =.--—-— -

2,1;
— “ti-w" —-9
-
2?}. ..

 

GO ON TO NEXT IT'S?

 

 

 

 

   

     

   

 

 

 

 

 

 

 

   

 

 

 

 

 

 

 

 

 

 

  

   

 

 

 

 

 

‘ ‘ , A o . 1‘ , ' .’ ’
\
< - ; ‘ . . ~ ~ -. .
u l v 1 ‘ '\ e - a I ‘
u' .‘ . I , A 4 ~ . ' ‘
_ .
' , . . .
- Q ‘ V ‘ 4 v ‘ ‘ '
’ ‘ . '. '
. L . ' v I ‘
. 7 . . ~ . ~ ‘. ' \ l - \ ' I 2
— .. , "V 4.: - ' x . , . ‘ ‘ . ~ 7' ‘ . . , .1
. ~
‘. A ‘ ‘ , v. (t ‘ ‘ " ;-.‘ ‘ . ,
.~ .. . \ - a ‘
T , ‘ J ‘ . -‘ ,~ \ ’> ‘ ' ‘ -
‘ . V,‘ . - ._ I _ , ., 1 , ‘ _ ,
.-~.. —-_._. .. .. _ _.... -. .. -.w..—.-. n..- ~—---- -—--~ . «m—..._vy --..A.—.—-.-‘~v 7" a... n-
' 9': "4.» A A . -..- u“ H. . a- - m w -A . .-u -‘v- v. .... i. w .- -- -— g 4-0.“. - - -- - . --.—.—.-1.. -- ...--. .0 -.
F O '- "1\ ~8" 7“, - 0 r r l 4 - v t- r W -. ‘- ‘BI‘-’ “'1‘ " - ‘h—("nP’I Q“ lab .A-g“ 0 4 .
._-» ~wo .3- ..r. \ V ,‘ “__.MV.._.. . ,,.._.““.. , -‘.‘ .~ r...“ vn .7 -..-r <«-n
' Q.» 1‘.- ‘_‘ Au ‘_ ~-.c 1‘. 'r.o -. {1' -r1"‘ '9» u” 'il (‘1 mm. .. ‘.--t‘w .-'(n r.-: ‘Vf-l -. 4N
‘- m , , .‘,. d'.,-., _.. Y... 4‘ , ,‘,_v,,.,. - _.. 2.. ,- >tv ' . "‘I)A—"""'.M a...‘-. cvm‘" fa"
‘ ¢i&.vn&uu¢a .m‘: ' ":.'7-r‘.- . -‘ v- "v .'- xtov 40' wllutdb.1-l Vs run
. u..- . .m......——. ..p -v .. «-Hy- - .. -— 1.... W...——._._.. a“... .-. a- L-..” .__~_-~— _ -*.—~-.w-_-.._._.-
‘ g‘ 3‘. , .35 4‘- T—r x». - n p“ s ~ldc-‘ —' -vnn a ta pw a. n .J-- .—.~..-'---M-<-—ya-v-d - :-
‘O’s ‘Uhk uA-n —.4-; r .. ‘... ,. y— ,. - ..,~- .~ -.-..s-v-—-
_..n..~--.vo~ ——---¢u--~.-.» u. ‘r-ql4 .—H h..‘. V-‘). .- u— o .m-c—c.. ‘— rnfi‘ .. '“— -.. guy—u...- ft!
m.
t“ ’8 -Qfl' 'D- ‘flr ,- I 54’ r . VH ‘- m.- " .‘ub "‘0‘...‘ "n’. .-.‘x .t’. I Cr ._.9 - Ag- 3.. ADO-I—...- -- .1'4- fll-I -;k .4.‘ H...
" nvv‘.A.-o-.s -1— .san - : 'x -v . fi'lAfi-IAI— .— ' ,..- ~:77. « x‘a .-n ‘u-u-- ”In osunu. you
- :‘ q I j ' v,” -- - 4 . .v. - .—- .-. w< - - ‘v - ~..-,-v/.—¢. ..... ‘. -._, “—9.9: .w..-v"~\- on..— d -4r‘fi’.‘ ~ -- O.‘ 4' u I" ’Q
.
—/ r . a , v- - ..-g . A ’3 .-\-..-.q.,.- .. - . ... fl... . -‘J .a—umwn--. .— a.‘ 9., -~-..a-~
_4
' x
— -C‘ -- -fi- . 1.0-- --" u M m". D‘ l-V I9 ; a -’-"-v4--- CO”. H.’"‘ I ~ I' ‘- v..._a“‘." I ' “‘~A'-:I'” .‘ w‘ I.-
~.‘ .2;
.
.. _ _ _.__,., _._ fi‘ .... __ ._. a”... .« _- m.-w.w ~- g...- — I- ”w; . -—u. p‘. rd us u.” -'..« .a ‘ 4 I." . L:
L_- 'n' km. u «~ .‘I ’p a- «I - .- .v- ~ 4* -.-—-x due. '.r---r w --’-;L7p‘ ,- H-u— ~v-l5uAJ xx «min-O». an.
’ 1
-.
" um -‘ I '1‘ nu. J'v-‘p. .., m - -' -—x..1a"v" —- ~- nw-aJ-VM. .n-u -‘ 4. —-~- --5 r '1'- ~ y ---~~
r1
‘v .a— -,. r, “a9- “ .. 7 -)~ --v-,~r-‘-. _—,, m --.w- . .. "—.—p.--. -—--‘--u a 0- ~.-,.
-,.-— fiMv—m ”.w-...M . ——~ -~. .. .. an... “I“...,—.........-—-.—.~.——...~_-M_—.—H~——m_—. -«.-~--~._

   

"‘

f
pr--J~"‘ ”-u - “ 4~.P- ‘- 0’ n -- no- -h'~"-‘B *— r-a. ‘r‘v ‘- .<-—..-! ‘4— ' “-’"l"‘\

- .

a
' - 7 T. 1'- -.,4,..¢ u... “I. v-. I, ,n1n---.T r» inn-1., .-
. .i A -,

   

.. .n “7-.

 

 

 

 

   

 

 

 

 

 

, ‘ V’ .N r— v . . ‘ ‘
)- '~ '
« , _ T, ~ ~ I
,...._..,-- h. .. . ,. . ‘ “
_-- .....-.. ... -....- ._.- .
.- T......-.n.. .. .. .- .‘
. -u g.A<-. - - -. . A.- “ I. . . ‘z
- . A ...'._‘.-§a .- I— » -.- . I“ . T _ n _ ,
ya. -r---—- mu ‘— .m n. 1., . r. .wa. .A
., ._1_ ‘.-v_r- . .., .4- ,‘(. .. «‘7‘ | . ,- -. ‘J p-.
.._...‘_.A.._._.._. .. .-... w...» .- .. .. -
.“flfi- ‘fi‘mv‘. " ’ .n O \I' "' ' ‘V ‘ In
. . r_.,--# ..—- .7..._.-_ .. -..A ., -
-' ‘t‘ ‘ ’r-IV> fi‘ ,_-. - —. —'-L 0' "‘~ - ' O ‘-
7.“ - m a. -. ......, .. . ..-~ ... ... - --. n.
\-.v'.,n‘ o.‘ ‘\ w- 3 A- I '» "’ 7‘ f
Mr" _- ..~. .,‘.. _ . v L T .. = w ,
n. x . --»-— n~ II"’ - r7 nu - - rux-L r-
,. ...,..,..,,. .. m... .‘ - - ‘ a. .- . ...T «
~'Jr---\"n " in . n w.;\\ww .7 -,7x. V- >‘
H... v-rgvr-w' - u. .- .. Lr, - u .7 .. .n. I
w ,-. ..- .. .. . 7 . _ - ,
_.-—..- -_ ”‘7‘. .. .. ‘ _ - .
__.. .H , -. .- . . y -...
* Mum" .. . g M . - -, ‘
-,.., ».- -. . r - ‘ . u ,. . T ,
1‘
k.

 

 

‘9'-

..- .

rule

 

a—o.

v v-ny c:

.. ‘-.‘~-*I

.ao~‘ we

 

 

 

 

nun-w uu -'
h- .u , .m
- r- r. .7
H w- .
__-,..._.. .o-
u . ‘
f-‘x'._ .
‘ —v-~no .0
» A-~.- .ri
~ .‘.y‘,;
‘u n o
.- o v
-.‘.. . r.
-. ._..— ..
v.1 — a. u
. - t

 

 

‘ . . A .4- .
7‘ . -A ‘ _, ,
. .. - u _ .-,~—.
._ . n :- ‘_—.,-‘
.‘ .—,. . -.:- 1.—
, v ‘u 6..
— r- - ,_.,
, — ,, -- v r.4-.
,A ~ ... ‘ AI'!‘
7 , — 1“

   

     

         

   

 

 

 

 

 

   

 

 

 

 

 

 

 

 

   

   

           

   

 

 

 

 

 

   

 

         

   

. , , '. . |' . ; » A =
~ ' A . 3 . . V k - ' J .' ‘ . - .. 2
a — . . . ,- . 1 .. - I
u . . 1 . . »- A . H v i “ . ..' '
‘ , ~ ~ ' , . ' A A ,~ .5 «A.
A , I O ._ _ -~ .~ . ~ ....J .4;
‘ . A . ~ . V ' . . M A V'
, _ . . . V. « . . , - .. I c- ‘ 4 f3 3 C'
v A 4 . - .w (
~ . , , » 3 .7 ' ,. g t . I , ..~ by
_ ’ ' A\ ' _ ‘ A
. ‘ . . .. ~ . I. . ' , ..
7 . A, .. ‘ , ~ A _ . _. .- ‘- .-, .... s. - . - ~ if‘ A.” ‘u-‘.§
. . _ —~ , , . ‘
‘ - . : . . i- z.."..l A-_ A - «U
o I V 7 \ .
V . .
. I w ~ . , . , ._. . ,. .. . ‘
A ‘ - ~ A _
A , i . ' A ( A -. \ .- I n
-.
.
-
C I‘xJ.-. 04.SA--‘I « -‘ :- . .- - _‘-.A ;_ A - . —. . . . . ¢.~-w-- k. - ,..—.—.. ~‘va—~-wn--~-~m-fl- -wur-nA—A ‘rw— . ¢_——‘~'—”'—.
1‘
-
n--n ~g v..-unr\.- .. - ,_ .. y _. m -. - A - -., r - . . I. ~ ~ . -1" awn ~----'~ ~_- ‘I ‘FI"‘ILI'J"-I”K tut-t W. -.~v-1:.V-fll'vu!r «at “run. “fl
,
1’ a - .,.. -.. . ~~. . v: --. "w-v - ' .. - . - ~- . . .._ any-r Irv. -"~o-I~-_- -nz-u-u-u—n “ov-ou-u-c-v w-’~r-finu.‘.I-D ~¢-----—_
a
~||
“ Uwam-fio—Jo—-— - — - ., _-. . . . .. ~ . . 77 --. -- -----_n—-u-_-—— ———<—~—--— -..—v.-—-.-.--.—-.¢—-. v———-.-—.-- .-.
I...
\-
" -i-iV-o'... ‘1»-.. 1‘ v. V. - » . r-- ; ' - .. , < - ~o.wex‘<v-up 00'“ --.-.~ -— .nrv‘r - *. -
. )
m. *\'~.-\II_J. 0" ‘. - 51., “.- o b .'v u - I fl - - I—i-m‘- ‘0'“ '1‘-—M‘A‘-I—
,.
' --- ‘Qg -. , - _ .A - ‘- .7 . v . .. . . - . ~ A..- — ‘-— -fi-"h _-~———-— —— - .w ._.-~ -— ————~---—---
_ \
"uefio‘ul’u-A . - . - », — 4. ,. » A . », A A- .m- -=. - .n-‘ra-u-o o..— --—_—-w..-~--..-.w-—-v..ovu<w-.-—.-—_u--ov-._.—s—‘-
,1 '
H- -_-“—'—~~‘I" ' '5' ‘ 'I ' 1' »- ' II ' ' r O ‘ r.-st- V'—- ”It. .---—‘ ...- O---c~.—1-—‘ -—
11 ‘A
.. .
cv- "‘1'. -~- \-- .-- .~ . . -7 A. , -.- . , , , .avn- - a...” .p.--—'v.--l~“'~ s...” ..,, ._
a
L- .. ‘
—.- u"- mwwuo-un up! - a v (I. ~... ,_ . , . , . ~ I r , 4 . . ‘-. A,, “~--c~‘—A‘- “(my-u- vac-u u-.v.---.--n.-r—u-'--~o—.-‘
l
.
.1 ‘ -'I"':'t“‘ mm. .1 n- , IA '11. r g , A . . A ‘ n ' . vs- . m.-—o—.—v win-v.u- ~~ -- v m;-——uu-nmnp--u~-.-u—-‘ —.——-—-¢
} ’\
0 ‘ ‘
--
, --, n ‘cvrq ....‘ .A A‘ v. r‘ .. .‘ ‘... ‘ .7 - . A. 7- . .. .. ‘N- -v—_. y".....-~.--—-~ -.--.-oo —---—~w_-w"ucm-_r.-—-a—v'—-- ~--
(‘
s, a
- -n-v—-- ._.- .---...~.. ~ - .— _—» -‘_.-._ .. .. A .4 — .. A‘ _- ..¥ _ 4 .. .... _.._ _-.—._..—..__._..—._-.._..-A_..-__._ __ ._._____-_____......_. 4... __
2‘ 'l
u it Yv .V'JW' ! ‘1 v-7 u . u w .. --r- -e .7. ‘ . A , . _. . . -~. . --.,.. 7...... unfit-.‘w'. '47:.-.” "x. m..¢~. .F-_.'n"-'1_~‘—"_M1
. f
4
‘-
n .v; ‘mu-~ .-‘>u--_ "I" -v .- D-v-‘ h.~- ” _~ 1"11 A‘ ~ '— .- l I -o ‘ IW»-v‘ 7v- In“"m-"l -w‘VWII" .0“. II b. n 'V‘I"'"-'. “"* Inl‘-'IC
‘ o.
l ' ,
‘ c~u‘u.v—o-v—A——- --.—.. . no ,Huwu ,.‘r, - 0 ~. A . . q - ’ -. ~ - u.-» -—~_‘-p-—-MF_H-‘ w-m.-——.u‘--o-“ _.______,,-,___-___—_—‘_,__.
3
. .
V. A
--.'-—"r.-l-—.—.~-_ .— .- - .— ,,__A ”—_--.. -..._ . .. . . K _. » . — . ‘_~ ..___..f......-_._ ”—_.— —.— — _ __ - _-___-__._‘._,..__-A_.._.__—._- ._.._.___.
“\
r‘ A .
Wu'”—.——-M-v~.r _ 7...--. --.(-, . . \- , _, --,,___A_.,. . .-_.-_,_-. ___.... ._ ._.—_7_-_7.
A.
...-.- -““~.-‘- .u. ~-v.- .. -.~ .~..4..-. 7. . .. 7 v , .7 , . ‘ - , --.,.-_.-—.—.-.- __-____., vrr..y.-...-._..._.v.———-- u'w— ~-r.-o--—-~—-—-c-~
]
.
,. .
-w--v ”nu-n... ,_ A . ,-_ I4..- A-.. ..A. . _ -. . . - .-. , , .q-_ -.. w.-.-.—-_-._fl__‘, - k7 --, -mgH4A--~_._--._.-_.- -._.._.- - ..
"I. -’§"4 I' v V r ‘ ' Y ‘ I v t I. I ' ,. '1. .7 1 *1 ‘7' '7 I " 1']! .V '"I‘. . ';> ' l'lilln‘l -‘l 1" g-Ofl' .. --¢'x‘.
‘ I
“v‘vnv‘.r\-v-o- .A w—-‘ ‘ .,, . . ..q, ,- - r - .r J . «.—-.;u. 1-.-n_....r:--‘-r. a- ~» ,- t1---"..' 7 v;.e'-v‘4rv- -—-‘-‘vn04"‘
4- -v .nv~.'.---u-\-~_ A ~- v. -- ~-‘~ v . - n Y.--.-. W‘.'-r'r"' .rnm‘rr-‘r -‘,r~-v' »v.—. ‘l' -.-~v ti- ‘1‘!

 

 

-.-cA .r - . .M , . v — . ,, ‘ . . - auL- ,- Ann—1 _ .1. lI—‘u “v.13. -‘W--|~’- ,. —.- --‘o <-- v mpg-nv‘vr v-u. .v-a-trrn ‘I ‘1'

. I
.
F1
.1
T 1-
.. .
r
I...

A . 1.11

 

 

J I_P~l-u ‘3”

 

AL

 

 

yr

1/

 

 

 

 

 

9,..-

 

 

 

.a.. - ‘ °
A ,V ..-~ -’ '“'
-‘ . . A.-
_.v-1’- » ' *
. -I
, _ . . ,
A r -
n ‘ ‘ ‘
_- A; '

, ‘ .. _- -
i» , pJgi~
..._. - - ‘ - '

- ,,.-‘.— h" “ -
_- ‘- ‘ " M

.‘ __-A-

~
.___,,
.. ‘

.m. -,

 

 

 

_ . _ v .
‘ “-14— O .‘ -
n .’ ‘ >
, _ . . . . ‘1‘ ‘
-- "y ‘ - ‘
_ ~
, ‘ .
“.7 a '
. , - .4,“ ,
’_ . o-a. A-
. .
‘_ ._,..m
_A ‘ , .. .. -'—" “ ‘ -
, .. pan- .-._.— ' v"
_ . -,.—.— —- ‘
A”. __ .. .y—‘.—'-w -"
-._A, 4 ..-- _. —- ‘ '
w.

 

 

-rw‘

u"

. .a—v

 

 

 

 

 

   

   

 

   

 

 

 

 

 

 

 

 

 

   

 

7 v 4 v 7' 7 ~ 5.
. I, A ) A l .. ' \_ .. Q ,1“ i I I? ‘11‘ . Afl... ‘
7 . _’ A 7 _ y 7,, - A A 1 -» ' A - \IA . - - -
A. ‘
. ~ . R J '
Y .
I >Mr run-..— 7 -. - . 7. ~ .- ~_ ..‘ 7 -.1 - . . .— _ - - - 4 7 .- ‘—r- .—-—--—7'-4—- .— --.7 7-—« — .. A- .r-g—uu ' ‘ i "‘ "Vfin'V‘fl’
.2 ...- -—~ - -7 - . . ~ A _ 7 7— 7.. . . .. ..- ,7 - . _. - .-- . - - v—m -7 _.. --.7 7... ;‘ 7 ---- ‘7.. _,..A-_. 7, .. ... I.” . .7 ~..-—-—-—-x
A . A . - - A- “-_.-v ..~
"~""‘!‘Vl. ., .7 - .7g_ . .- :n p. - . A . LA', ‘» .- -- ch .7 ‘s—-_~ ...« '11- x |>-\ up~ au- Covw‘s~-v-_¢ .r‘- tn» “fir 1.. any .-
n-r .l-I .__ ...- -.7 ' .; — A- ‘ .r.. 7 7— . A 7. a.-. . - . . .... ‘ . , .7 7.A" ._7 -7 ..7 ‘- —- -- M. p-nv-Lmoa- M¢~~ ‘dC-v‘fll-nl7‘v_"-- . 'v—H‘.\V~ I
. --77~.. ~- — .— ---—_7 -A 77 -...7 A .7 . A 7 A .... -' .. A .-. 1 m . . ~-.-—-. -..-A- .- v-v . ... ._~.H7~——..—---I~w—_‘~ iI--u-o-_ ~—.~-—~.—- _V»
“b 7.“ 'o - A a 7 -—-~ - . I... 79 -'-v~-~ a.-- — 7- A» - 7 ->A ~ -' ' :#- rL7-A- 7 -vv\ v '- n p-- n.- Q... -~_ ‘ —- ~ :- -‘m-Ln-II-a- a-u--.‘. "-_‘I‘p-fl Ian—rm;-
' 7.“...- ——---—....._.- -.— __.. .. ...... ...- 7. . .._ - -77 7. . - 7. .- - . .__ 7 .... _—-— ..—v A— .— ...... -__ .0 77 “—_.- --- —-.-.—.- -—..-‘— . ~—.....-——-._- -‘. .m‘~———
7 —-.----77.7 ..u---—...-— n ..-..--~a_..— .-_74_r77 . 7 I 7..- ~.- M A.—-— ,q—.*77.A7 , .4.- \ -. - v ..‘A -—--__ “-_- —_.7¢.. u-v. run—nun .__-.."a—g7-7—u-n.
ac ---— u-—-—— _v“ - ~--- .- ..v-o ...- ~— -..—7 7v- .-. ‘— -.7‘.-.7~ _ mun-n -7 1 w— 'n-- - 7.. A A “v - 7 «- U—I-o— 7‘7—uuo c—.-_—.pov r->---77o_.-_--.—nn-—‘
,
‘ \
..A— “n‘ru q .—-.‘- 77-....- 5.. ...w 7....~\ »- 7—. . AJ . ..Ap—rgmun- -.-. ... 7--— —. -.7_—..—.. .... .nmm“ AA- Mr #1 ......—.W-
I
I
7— 7- 7 7 i 77.. .7. ._ .__—.__...77-7-A_ ._7A- 7 - -.~- _~.-- .. -__ --- —_.__A_.._ —-_._* _ .--—._- _-7. .__ ‘_ - _ _. ...A . .-777‘7 _ u — A-7 _ , .7...- -77...- .—
7 7-...-- -7—7 - - -— "--.--. 7 .7 .—.- ... -7. _-__. ...---. -... .7.-._ — ... 7... - ......———..7 A— ‘*— -‘_7»A.. 7.- -—.- —- —7---. “a 77-77-7----7—-.—. — o- 5-4-: ...-4. 7..»7 ...-.7...
77, - -w- 7 7 .-A . . ..7 7
- —-- -««—-—7—————-.—-A._7 —-.A«--77- A 7.7. --V_-_..-...—.7 7... -.-—h 7-._-_._A—. .. _ -n‘rv .- ...-- .7. ~.-—-—_ ._-—.7..-.-—- 77-.-._--. -.-u—7——.»-
l
_..7_ ...-7 7- 7..-." .7- -7. -7 7- --A-~ 7... 77.77 77..-7---..--. .----....7r-.- -- "—_. ._ -‘ ..- ...- ..- _._-7.__..---. A -7. _ _ .7_ _.__#
7 7‘ ,, 7 ._ 7-7 _ - . ... .- ..7._ .7- -7 m— ——-—-—.- .— ...-.7. .- 7.A-— -.7 A.——-.._-.-_ 77 ....- 7-.7-7777.7.— ——.7- -- -.-. -_ _—7_.- ......u
. _--_ .7. -. A - 7‘ ..— -. . ...-¢ 7- - 7-..7_ . ~ 7 77 .7. 77 7...- .——_7--A7. 77 ...- .77..-.-_. ..- . *m. 7.. A. .- ... 7_____.- 7 7 .. 7. . A-“ 7. 7.- 77’”
77 7 7 7 7. ._ - 7777- 7 ‘- ..---A 7 .7- - fl .7 .. A... ...-.... 79...- v.-7__u-v-. 7 '— _— - .u.—.—..— m.- ..- -.—--.-— - ._ A ..- 7 7 u .7 w-.- ‘-
-—_.a A_. A. ...-..A- __A_ .. V - -- _. 7 _ - AA ... .__ .__ -_-.. _ . -.77 7—7, _ ._ -..— ...—......-
' v-‘->‘-'- 7-» - -v 7 ~ - -: -A-- ~¢c A,“ -A7—. . A p . ... .m. _A A4... .-.- -..-7 --,--'--~ --A. A. -.- A . -r’..A- .-«.m .7— 7‘ .77. .7 .. .. 7 A - a“
- H--—— - -- -‘ 7~ [-7- -7------‘.- - v..-—--~- -- ._~- .. -..F_-1- -—~-—-u.7- -_ .. —.-—.-A. o...- ..a—o “_'l*‘"‘— -, ...-n... 1,- .Av-- --—_7-----——-a‘
...-.__. 7- _ 77 . - 7-77- 7 7_7_.7-A ...—.— —...-_ -..—<7“ ,.— ._7—7 ~-—-7 7.-.. ~— - ..-- A“- 7- 7.. 7 7 ...- _. ... -_..-..7.A - ... ---» - - ...-FF .
77-7—7...v .7.- _ ... A- .... - .7. . .77 .7 7 -7 .. - ., -.- 7—.. . 7- .A— . ...—7-7 -- q —-a . 7 -.- -..-... . -.. . ._. ~~Q~~ .. ......«77 - -—7 7 “-7- - —:
7 . 7 .. 7 7 A .-- - -. . _ .-. , 7 ,7 .- __ ... .__-7.. -. - - -.. 7- . .,..-.7—..,-.-. 7.. ._ .... ..-A A . - .

 

 

 

 

 

 

 

 

 

 

     

 

   

.77-. 77 ..
7.7.-..A-A (.__A.~ < . -
. --_ - 7- .. A . A . 7 . ‘.
‘ _- .- .7. v -- - 7 _«. ‘ - v11?“ *V v A ’
V A.‘.._... ”-7-- «.-.‘-A- ,a-‘ ‘- 17 7- 7-‘7 -
..
I A
77.7.7-7--. 7.7-77.7 -7 7 7.. ...7 7..777
’. ‘ . ...A__
7. 7‘77LA..( A . 77 - b A J , _,
b-
‘ t 7‘ ‘ A ’ 7 - u’ u : ""1v\ A" ~ - .. .
l
. -_ -—, - - 77.. 7 A . - A -. - --7
" . n n s . 7‘ L "‘7. L .7 -7 L -7 , 7 . I * .A
..
‘ I
J} . _ .~ 7A,.
It k‘ u A- 7'- '! O'. 4 .(7 '7 7 AA A 7 u ,
...A,....7-.-A7- 7. . -7‘. .A .7._ ....
9 I
, 7
r7} ‘ 7. ‘r -. :1 - v~.~-—x up 77 ~ ‘ 7 - . A ~
‘\
_ I
1’ .c... -..-..-7... .n- q 77.-— -. -... A '5).- 7.
‘«
4AM -f‘lfi" ‘-:p7 7 7t uuv _- A s‘...," .-,.
.7)
A
" 1‘. J JcAv-n-7-fl A * .Ar. -03.:- 7—'.-—-77-— - M
.,
X .
u
7.17,. “7' ...,_,___.____. .A- . -.‘7. .7’.7 . 7 7- ..
A
)
‘ .
.57.- .7. w“xr_m‘-u~- 7.... ......»7m A . AA. A . . .....-77.
A‘ 7‘
p?
7- ,
V or
7" 41‘H-munwmiu7‘nvI--uvr——nwm- 7 — ...-wo— M~7 nmvi “-17-..—
“""|""‘—'i 7"t 7‘71. " ug-u' v~ .-fu",
7
x I,
-"'iww”I-l--_b"‘lii" .73—“fl 'd—--—" “Oi ~Qr-fi—nv >7:7.-.v’
n A
1' ~-
.‘.‘~ “.
. .
_ A
'u -‘r""fl""fiv‘--JJW7'. —. .... . _-.._,. A... ws-..‘,.._ m. ‘._, 7...
. 'A
7“
.: ‘\
71m”.-‘-v'—‘~ --‘V K "-'I ‘P. On' 0-1 Ntl-P-‘h'vfl ‘2 ....

 

 

-- 'vr‘A-o—‘fi— -_r-v. .7'-—-v~- v -- 7..-o .._.,_-..'... .--‘—-._

 

. - -. . .n.-_._-- 7“_..-.-—.—u-— ’n'~——.v._~-- v... m1.v¢’lvo

 

s.v—nsec~7v__rm-_--.7$xxxouv-a- -- .:-1» xaA-v‘~ cv-n-u—n .9 ‘

 

 

 

 

   

 

 

 

   

nan-r. w—rn run..ur¢.u.7—

 

       

 

     

D---l‘tm~~ann'n¢-O 0‘“- v-v-- — 7.- n. ...v “,7x 4....“ ~-,...,.-7

 

 

 

w».

'u

 

 

 

       
 

 

         

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

. u l.
1 . .. , . » ... -....V-, ., x. - . 3F"I_ .
‘ I 1 ‘ . . ', V y ~ I | ‘
. - ‘ ,v . - V . ‘ .4 '4: - '1': .~:':«'
A
.7 ‘ .
< , ‘ .. . . - - , , -, A . . - ' 0 4 . ~ 0 . ~
. H ... | '. .-.':'\ ,1 .vk_,.., -. 3“
. - .1 . . .I . .1»: ..- a! >..-x \' v~ ..- .L-o
- ‘
.1 .3 . . ‘ - . . ‘ :n' ‘ -
._ V v‘ v . -‘_ ~ . vo- . I1.q~- f.“ ‘ g4, . v ‘
t . 'é ' - . 0* l . § , ‘ ' .' l -I 1 fl -_ -.
« . , . v . A... .1 ...; .. .-. .1u .
. ‘ . ‘ 1 . \
, . . . _ _ ., 1 - ‘4 . - .. .
‘ ‘ r u ‘ . ‘w-w. ‘1: .‘a r:‘-- !‘=. “i
s A -J \L-..’- i‘ _, \. J ....‘ A ‘,
A » _ .. —_ . - -‘- -..- J . . FA- - _. .... -.. ...—p-‘-n.r—‘V-p~ ‘ -1".--._-'~ 1» 2*.” _. uan“na--‘~W‘CV"“’_Oi—i- —nr --——ty-tv~ ”aw-"W‘- _‘-Iw~ V
-. . .- -.. v -.,..-, _—.u--—-‘- - b—Q-‘U «mam-w - -._‘ -c ‘n. up... ‘ -,—.‘- ...-«“anme
"
A _ - w“..- - ran-no a‘ ‘,.-I: u *1. iii-...“ ‘ln':«.."~'“-- w"~'1.\4_~ w —— : ‘J_“‘J
;
--- v-u-nv ‘ 4-..‘ w ' -‘.‘a-. —- c—u m-\ ...a... w.— . «- “.__—
w
u
‘ a v I"- . a“._ ”vat".- ...- ~—
y --—.x—— -, .-o_.-—-:1a-~'~-r‘v:v-.— V‘tww --4~.M ’9. 314”" ‘ i”.- 5-01.0}.m—c— "
>
f
n . ~~1Mu m W§--«~MHWOMW1--‘Amc _—-v
. -.v -...-u— .... ...-- ——~v
\
1
' ---- ---u ..-..“ '1” ”-_-—u .W-mg—m- ".__..—
l
l
»_--.—r . —:n.- .-AInu---—”w“-VL"-
A
”--u-q-v . w"-
‘w—fi—vwv ----—-~vm—~r~v-—u- ~~~~Wumw-u ~~~
l
n «A. _‘---s nan-Q.“ -— _.. ..—
. .- A' -. 1'- .- ‘4 OvtF- - v. L.. ..--...y.._\ .....-” .w—v ,7
—~‘¢7. _-__..w_.‘ .T.‘ ..- ._ m
F
/, ~- .- .L‘.- ,, ~‘-, --< w... .w-.. u‘
_ _ _ . - _A -u v w... ...—.7
. 4 , . .7 n. .-..... .... -. w ”mo-7.»..—
-- ‘- . , v 'vv---- -u» '-.—--—_. ... 7...". —..-_—. ~~_, _
,. .r . . ,_ ‘ , . . w ,_ 1 .--. ,. ,—- p. .---~—-r an“- ~hN-,-. ,.
7-7 . . ...~... ..-~.._7 ..,c~.—.~ nv,-=-u-—-~-.-.. .VH-..‘—>--
» . .. _, ... » .— -. -n,.-+ . \"‘b\ -.»v ~-q\_-«~“._- \ ~ovu..~.u..-w—n—*'
V .- 7 u , - -A -. >‘ r . q'.fl-_—¢--pa‘i- h

\ \

2

,a
, I . ~.’ £1~J1} A.

   

     

     

 

           

 

 

 

 

 

 

 

 

 

 

 

 

 

     

 

 

 

 

     

     

     

 

 

 

---7- ‘- .,, «yr ~~~ . v '7‘ —-.-‘- o- 7 “— -v— 5' — . . --- _ , . -r** . - -r ' , V‘ ‘ - >
9
'77? I .— .H.. 7 __., ._..-.. 7r -,_,_ Vr. -¢—v- . .‘ ,_, 1' - iv ‘ , V ,_v—-. *.~rr ~ -... . .- : , -‘ < -' 'o *q‘
' V _ . ... . _. 7‘ . . ‘ — .v _ -n
..~ ‘ :»‘,-~‘ .~-. -. , -.. , .v vv».e'-m-,q-.u ‘vu‘ ,‘_‘_...._ “,143 . . 3-. , A.,-., ‘.-— - -..llx1.. F‘s-v" —s. 1~ . . u.v--v- __,
- nn‘v- -. . — _.-‘—._ ...... .‘m‘m ...... unuv-«uF-u. ...-w "a -..v-‘r—M—x‘p-V ‘.r’~fl'_ - ‘n‘~!-O. -- cvvu :w r» > ‘ r».L'- :u-v- «. 4 .-- -_cfiq . ‘. -4--V'.V\
N
’ .‘Q. "A‘ :V . I L’Rfl‘.hm1' _' '4'“' mn..._-‘ —.l ‘Q-I A'."' “’4‘! ‘- ’t' I'OI-" - l‘ ._C‘M m”.‘,-.“m“ L':¢'m~.‘. 4“-“ 1' .' “I ‘ fl..- . "‘ ‘I I m‘
‘ , .. . .-‘ - . ... -—_. - . --—~—.u——-¢—--—-.— ~—-._ _ ‘5.‘-._‘_‘-—".-— ~ . -—,.\q~_ ‘9‘.~~’~ .- -~ I'II- ‘14-:- vcv-v 0. '- 46- .5.‘ 10‘ "v '7 ' O- ‘ ”A“ '7 - '712‘ 0"
‘»
r . _. . .
.8.- -m- w H—m-m-*-.qag_ V u-‘a .- u '7 a, A-_,-.......« , - ,uL‘. *H~.—.-m—-wn ...: . 1 I A. a — -... .w ..4- - -,'s . , t In
' I.— ~ -Mh .m—ppu.sl- nil-.0 “v »‘ ~nuganvww- ,vavgm was”- «an-.U’wvor .1 ..r flvmwamnfll M‘ u. I_.‘.>‘ ~s->..-_:
?
I‘ I
Vb-” -_-- ?.-- ,— 3. a... ‘u ...-..-...- . —‘v—.--wn-—vs——; u. H‘—t-v-\.-‘—-' ’g-fiA— —-‘—-MV§ .1.-
‘ ) 7‘
' n. "r. ......- 4—9 -— --- ...»: :—- ...-ma..-» n,‘l_flm.‘u“~~n ”VF. z’,q.w.«. v . .-- —-— _._ r .u-‘ --_ 1.41.” c "0‘ m‘ m---— m‘
r
. 1‘
' "7-..“m‘”- ... --‘-"”=l.“ ‘4 ”12“— ‘-~_—~ --O' -—.I V' ' Wu “C— ' 7—”"~I.H "' Hr"" ' *r"J'-I'l .'— 4 I" “F -5 ‘ A l l
o\
Lm‘.’ M- “...-b ‘flu‘lfih‘m' "O M “m gran. m”.—-““- ‘ 4!. - "‘1' ”V“ "‘5. A. ‘<‘ 5.8-. 3‘ "u‘l. I'n“.** J L» -"'- l“-'w" , '. W b?! . ‘ '. ."V fl‘i ~.~"~‘I ‘w ‘. 4 "a
. O
».')- ‘fl- -.."..-~.a—. -...- —-n. x, -.- — a—un—w. ~-,—- A- .- .r: . _ .-...." a..- .3 ”—3“— -rm-’ -rv-r ., -, v - I; ~ ‘» .- r‘n.‘ ~ : .r.- “
' “...—v.— “W‘-ri_"-— sun-.-. < .— ; '1‘ , ‘ . .- hxny- 'o- - —--.- a- ’ ...n-.—. - -~- , rrnnw1,r. . -... a: .. r .r'I no.”
. ,
~ I
‘ w. ' A”_”' ‘m' f u.‘ “i w.-- .1.““._._ :‘O‘ll" 'W» ' I' ~¢ 9' ‘. -_' ‘ _ I a _. "a 1,]; . T .‘v ('1?! . , ' ’ . ‘ I ‘ ' - '
v" «nan-4‘" .-- u—r- .-~.- v -. ,.. 1.. my. ~.~‘M~'—aum-.‘I_’nv m. ‘ .. .-... ~..~ 1 ... . - . .~ m u A . . .,~. , ': W
4.- . .v‘. p .-- ._ .‘Hfi‘n‘i—w '\‘lk'1m~h4w ~ -4 I .c‘-',- u . -v-v .- < , ‘ , . . , .7 -. , .J' «Lu . ...-. . '
-_.h-OI- -’_-im_*\—‘-_Mm— .9— ‘ml‘.’- ),- '. F“ ‘ , < k ‘ < , -- --- ‘1‘-" a I. ' F- I, 1*w ‘-1> : l J . ~
't
‘ . I
r f I
‘ *‘c ——' —— ,‘_-~.-v~"_."1'~"4- 4 g'vx'fi' ‘ 'A r:‘-.ppv‘ ; - (\vu-H ..‘qu t’w- ‘_—- r 0 .~ r -> . ‘H’ .. - -~ , {7 b7.
‘ ' ”M‘H‘v .~'~fif’""l¢—"‘D~‘ m_-~"“-I_. u Ar AM” ‘3’. w ’ “U. ‘I'.." 4"- A» A— ..A .. ‘H .. v van. —_~Q _' - II

   

 

   

 

it - ~n ._ ~ run-ta - w nV-"aa n- .- “AU-uw—v-v *m—m . . ‘ _ ‘ : a. ,7 - 7 , ,A ‘r-tv-' v.- _ -- - 7‘ s— -‘
- «, - . -m— -,. ... “an-una- v ,,-- -.-.-:~ ‘- ,, - , - A --'~ . ,, A
V — ~-~ ‘—r._.- .» m «a. aunt—..-..—o‘i-..~ -~-- nr~ w. -7 -- fl , . , ,
-n - . _. -w‘ .,-~......~u-v~an. ‘o—~_-_s , .r-un .‘7 _‘-r' ' ‘
. ‘ .. -.A- p rpx— — u I .- . ¢‘- «r now-v -- Y- I. n ‘ n -
‘- '2‘ -~e”— ---L 7.3.1 -—.1Ir-A- .m-.~u‘, _, , - , r ‘ , A - , .-

     

,4 00 . 0 u‘

d 0 h i. -.. ea
.. y l .‘
.341 tml J L . g A >
.44.. .‘. .1...“ C... sit.» ~ an... . W
..x
\

 

‘4 ".- It. i I... .l u
#5,. . I. r N. A
.1 . O
. J ._ . . . - flu?! - .l
‘ .. 9 )s» 1‘ l.
h . . .V ( r
on . . .1 ulhf ’
. .3 . cl 1 . l . \
. L 1 n \\ $ -
4. . . x -
AI 0 (.I _ h a
n . — .
... , . v
. u
8 v ... §
‘ a 1 {III I.
... I! ‘. ... f. « Q In M
(. A ; .‘V n In u
‘ v
V »\ a ‘IA ...! r w. w * f
. - . . u . c
I; Lu .\. h . .7 . . n . .r f
u Iv t ‘ ‘ i D .
.5 . _ . . , 4 w ..
‘Wu I. a; \n.. h if 'L\ ‘1
« , . . ( . V.
V. I
v v n. d . .1 .4 o
x . . 2.. ._ ‘ i. 3..
O! . V. .. II
. a; Y. 1
... .39.. 1 .. ‘ ..«I. 1 .¢. . .
. , . 4 .. 2 V ..J (4.1 is. 5a.. .1
. h- . x C .. . ,.. u
. . w... AL .) ‘ Q. In /'
I .... . J. / o
. J ...-b ‘5 a ’
. x -1 I . . r
t. v
. v. s. . I1. I . J L 1
t ‘14 - A .w ‘
. 1‘ IV, . (k. b . . fl
.. Q .r.. - .. 1
pt. UT u u u {9 \
u t a I-
, a... k . . .
. .. .. w
...-v... v . ‘g .. A.
‘ s Irrl ‘
o. . N
w m .s . ...4 .f ullths If
. r.
. .L. . ... .. ., . m
V. . ‘ \Illbrtl v
. . I... ..h? . . n . .VI . ...... . iv
e , .
a 0. . u .. . 1
. I! {0.1 in. I.
. . v x; --z . . ..1 s s. t I . I
a o n .\ II ‘ . r r
I I t I ~ A . ..J .
. . 1“ l .1 ’

«.-...- )3!

a
a
...: . Z . 00) x ‘ \‘Iu.
‘ ». . . ‘ w A m r. .
2!. u \ .m . x \ 6. ’ u. a
-. . l

. u

..

I

i

n.

n

_ ., _. u . J a A; ... » .... I
z . . a ‘ . .. I:Ji--s$i-7 .7 .z. in.-- . J
\ _ . H ... . J .
” ... r .m«. a
| I. V . u. c .
u a. up I A" L .k I .
1.. .\ r- _ t \1 u. I L ‘ ...“ v, . J
.y u a. u . A. x.
H!» .a m V“... Q J J .y . .s .v v.
- . ... . . M 4 . o e M . .
... « .1 » . .. .. r . _
_ - . A .. a ,., .u m .
i . v _ .
..l i\ . . . w. . . . . .I m. s nuns“. 5. lluulllil n r n
.. .v.. _ . ‘ y H y In 1.0 | ‘ fl . _
Vy ,0 a t . J7. A. . . .
I A}. on . ... h, J .‘o‘ / W «
\ t ‘ .I 1: fl v
. u 4.. a: 00.: 1.? v
., ¢ .4 v? _ ‘
_
y
_
w
4
.
m

w u.
..
n.

'53-.

W
~ .
fl.

1, -
'u 3
f l"
: .
:6,
, .
r“-
|
i
L
F
‘

.
. 1:. A. n c .
1 .
1 3 .
. Ito .. .Q I-
»\ . .
u ; .. é. ._ ~
9 .V a a . ‘ I.
I vl . ‘
u I . u t ,, n
.V I z
1 I; I . ‘
a O
1 _ ml 1 4 .
v a . . us J It
I
0.. .1 s...
. .
. . . .t. X. , s.
l a ,. ... . . ,
o - .1. x I.. . .
1 ... Z. . ‘3. .. .
.2 7.. 9r .. r. IV. . .y
A . ,1 .. J . L
9 . «. .4‘ ... u
. . p . A K. I
.o. v7. ‘ v . .
I u x \
, _ . w J l2 MO . l.

 

 

 

 

 

‘ ,
‘14—.- “ n-..‘ v.r_‘~~—__L _n.~-. _;. "a x11“. ‘l'-'*." n _.-;- tc-a.--vv~ L. '2- ‘39 r 3-1.”.‘r- 4‘
I
“d \
- “.__-A ...-Blunt“ v “a... -..-'-— 0-,“l1. ......- 4‘ -. -“nm‘J-‘A 1r. 'n... n. I‘MJI-D‘ I? ' Y. O‘ I - u‘ OOI'Q‘J' -blii‘
‘.
a) .._._..-_ -——- “A... _-« ...-1le.- :_v—-: run “04""- rl -\ .12" 35“. a 1‘ a ‘- O.m—.~ "u
'-—n-. -— “*‘I_Q-h —._—-.-u-ang u..- 1.: fin— ~g4-A-‘— ...-4.-.-..- aa tho—amtn;nmma*.5. .IA A.-‘.14m‘
w
(a?
I ‘J _A wu‘Q-n -..-.1 ‘—a--.——---«".‘ an- "mu--..‘on-nm- -w ‘ "cu- “in“;

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

63 _ .. -__-.. __._...___,,
7» mu...”
8 ) —— —. -...
9) _.

:20. _____ ..

11 ___

12¢ __ __

13..., w __

1m __ _ _‘ ”.__“
13.1 _ __ _- --

16 .1 __ _. _

 

 

 

 

 

 

 

 

 

 

 

 

19 .2

20 ,L

2‘1 9

2:2 0

21, _.

2:55 __

2 3 __ -__ -__”-..-...._......
25 _ ,._. .. a
27 u -__ ....

2 >3, __ ,-,..,-...___

 

TORRANCE TEST OF CREATIVITY

FIGURAL A

1,"

W :0
.1 \JJ 5.

1‘~'

L.\— L ..

 

 

m ‘1‘- nlflfi—W.“"H1T’,'Ar‘ .1: (' :Wv.-‘m’,g§u>v—‘l Knit '1', i)" L31 9" ~-H.} "m

m rug-i1 ‘Mt-‘v-I—

" W. «FN- ;’7~I ‘~'a-M'r.s l." “fr...“ tw‘*_‘m;c"7“‘ H-’ m m

 

 

 

 

 

 

1
.w
, w
“
1 k.
. p "
I ‘ a '
:n .
, ',
fiv———"

 

yin") _

.D' I. [.77. vl;rr.h,.. mQ-u

-.-' ”5..."...—

\“2

I: I

IV}.

wan-n.

\.‘ I

 

 

 

   

 

 

 

.I. ‘ . .
_ .. .- -< . -- .| .- ' . . .' . 'J '- ” . ‘ .
c v. s 1 . ~ I _~ I
- _ I . v ‘ . . . - . - - , . I -~
L . .~ ' I 1,} , ‘ j 1.: ‘5‘ ' '-‘ '. - I- . - .'
. ..‘ I . " . . x M , . "I
| , ‘ ~ .-~. I -_ 3 . _ ._ v ‘ . ' .I . - - . .
.. . ,. {12; _ .. . . . _ I. I I . f. I; , ' .. -.v j
I! j I ‘ I
— . - . ‘ - . f~ .- ‘ qr -'V .1 A . 1 v —' I .' i i" . y. . . _ 4 ‘ ~ I ul ‘ .. ’ I V \
I.’ . _ ’va- - I ‘ . .J .4 ‘_ ' , I L _~ L , 0 _. , l
i . O ‘ _‘
I - u I - - 4‘. J, 'l
r . ‘ (I :n -‘ \.I ‘I ‘ v- *y- \ " 7 “ v~ ‘ 'I f ‘A .'~ I‘ ‘ -’\.‘-'-‘-‘ - ' d -
, é I. , . a 2 L... , '- -- -_ t. 1 .. T ‘ .— .. t. I
‘ I . ’ I ' y I n '5 ‘
_, ._ ‘ _ .. .‘ '. . .- ...” I -1 . . .. . .' "".
9. - L ‘1- I-(\ ‘ .I . "\.' I . \. ’ “I I I ‘, ‘ - '.~ I... «V ‘ I ‘ ‘ U
.r .. -—- m—u‘ --..‘ ..A.-_ -n- —-.- .-- - .-.-n; c ...,‘ww ~- :- ...... .- 1 “a-“ -¢ 4: 4. - «o’ r ~r~fi —~
2 I’
r
4‘ E
I a
1 n
J 5
I?
i :
n
I k
f.
I ..
, h
‘ ‘.
‘ l
I r
‘ . I.
' i
5 ',
5 f
1 I
‘ l
' (
J I
' f
I
‘ X
0‘ '4
.‘ i
i t
, I
i 'I
- E
‘ ‘.
4. I
I
I
'I
.‘ I
' i
I "5
II
I I .5, r.
: p "
I
i A ‘1.”33‘ * L r i 1" LJ‘ :‘ r'_-x‘. I; 9...".1'd‘ ..- w“ ,- Iv... J . I
f
I "»-.u..m ..1- A-vt. a... an: Kr",lh .a-- k’v’“ :I ..I. -_4 .1 3.:-‘ I - use. a.) issvo.‘_'—--A'-Ow, 1“..- "Tu- - ‘9.
! i
I' I
2
I K
I a
‘ U
|
E E
E
I
I
l
I
i b
i l
1
I
'l
3 b,
a 3 r‘vr‘." "r: fia.“..:xlfll:-v_-__-._~u_r_u .1 431:1“: 2"er gird p.- 7; N~ifiz *3 Jw-..‘ Q ..‘r.:... ‘ "
1 I
I '.

 

4,...II—smc.-- _-I-m- —-

-.I '0 --M|.‘_4'|"-.C n's.‘—‘ '- -z‘v‘?.l\”zW‘ altvc'

‘u‘ , J- \ K; .1 ‘~' ‘
5. v '
' , ‘3
- ',

,-r;'..--—.\r(w. (.n‘ M-IIJ- ~— “I 47’ myr-fi -v-_’xAr:

('IM :7: tlf=w1t A Kw. .18.; .1x,_ .2.‘ ELK- LnJJJ~ 7"

 

\ \\
n:

J“ I.
.
‘V

‘ ‘fl

«3-~_uruu.z:m-r4.e:=vv :4 LML' z ‘:

'3‘),th “I ”wt—awn" .'.-.-—v' 3 J

  

., f,- D‘
. I x: I
w
r
«I .‘
. u '
. I .
. -‘ ‘l .

 

-1 ":vm‘ 2‘1 tr;

 

." “ (w
*1 1‘. '-.

 

.M- -.-f‘m'lil wnnuz—n—n-‘cugwrrcm - r IrIn Y. ‘I‘L , W'AA-nnAa‘muxw . l—v .'r. .’ 'T‘ls"‘

. ',’:.All...‘.fl.

.11.“ 1: 'nrv I" D

w -n£- x"

 

.mJ-“u'j‘

‘1'..- _

“unfian 44-1M4‘

. H

“'1' "'ml"~’“blw’uru~ 413' I- 7.

 

-; “r L‘ «ii-urn). so“. A-..“ t"u-’h"\mm.m- M‘-

- «a .21-raw

 

.1:‘ v .! Inut.‘ 14114 xv n

 

W
..

D
,4

 

Q

I

u~
J41“: .

x ‘

 

r.
.J
.;.

3 .

.Io

. . 1“

‘4.

‘1‘;

fr...

 

 

erV.

J

i... I .
.
.. 9r}.
.

.5

In

‘xl I J4: Sh .ll‘ulvnllllfiludu l1 3 ‘I ‘1.

1’

...Cr
I,

 

V.‘ .|'|‘l .1! '4’ .IP.’ MI. .H, “5’1.

 

iul" I‘ll.

f

y

is

2..va .u—7

*4“), rar‘...

:1A7..-

. .- n-‘hm ~«..>..

_ u”

r cu..—.

.;.-‘ :7: w*-_vn.

; «'_ ‘*« -3 '-_v._. 14“ ‘J" . . - :7-
a
...—r'-'I.v~-~ ,

\i:‘.

,Ilhal 44'.“

O upu 1,

2311

 

...?! 1‘ I|I 13

J .11, 1. . I “Maia.“uql.

 

M' n - :: -t‘l‘:

j(} 3) mm... run—u...- ---—--.-~n ....uunA v

1’7:-

”:73

I ‘fiv- ‘mi

Th 1"

-i-'7

.un rum-

. A"

I.

Q/

‘0 r n“.

2" w..vu. L

4-3‘ '1 “fl-vn-“va—u-n u A-‘-n ..v

:94 ml.- gm.” l-II- CH.“

 

.an-m».nav-‘n

‘.ll" wtu.-‘

-.v-1.-.

 

 

5:

.p!

 

 

flk

 

Q
. .
I l
...:
..
«'9
z ‘
.../h.
3.
x
.t
v.
_
.
1
x .
v 1
§

w.
1..

A;

I 9

.’n

"C
.1

 

 

 

 

 

 

.t.+.. .

a. l- ., 7.: HI.
‘l‘llrl‘l. ‘ r1..t.-'
3 a . .. .Vofl.

-v" a... 0 km” -‘lmkaafh ..Lr.

F'NQD

“l; ”VI.

a.

1‘- .c-n

ma

A 1“

‘

a“ n

,o Irv-0' a.‘.lo

urr ..ulu A. ‘1 g

.a F! 1;--l‘o

n.‘ .l

“a.” u ..a»

'4‘ I. u.

“NJ;-

a.

a!” 1! ”8|.

. ULIHL L .l \JNG hi; it.

(“V34 U‘n» MI‘JHI AHIHWIJI‘MHH ..t'
n A . .4 .I
I C I ; Ill. . . y .
rut... ‘ lfllnb 1y ‘7 , ‘ .2va uw

wt"

u-c';

‘w.’ -r-;xra,

VA. 4v!

3473.5»; ‘fi‘pi 41' A v

[gublfli‘flgf ‘rulf. l.ll.ll.§ .

.A‘ L:
‘ ‘ . [dd . ‘ llw u. ‘n‘ H nW(.fi1.!
0 . “it.
. V J. 1 r. .- .Vv 4) T ,.
. t. . .

.p
1.
.v,
A 4

....
l\..

‘

V 'Vx-‘cw

....‘I'.’ a": I '

a \ruunl“

a. .’

v,flv‘.‘.’.o .41.) IM¥~.““

L'wbn. v. n1f!.’fl7a¥

-. nvua

"orp 5'

‘ .

‘

K,

- m,.\-r1rvn '

y ‘

WELSH FIGURE PREFERENCE TEST

REVISED ART SCALE

HICHIGQN STRTE UNIV. LIBRRRIES

31293104021989