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THE RELATIONSHIP BETWEEN ANXIETY AND
PROJECTIVE DRAWINGS WITHIN GEOMETRIC SHAPES

BY
Todd Douglas Eaton

A THESIS
Submitted to
Michigan State University
in partial fulfillment for the requirements
for the degree of
MASTER OF ARTS
Department of Psychology

1992

ABSTRACT

THE RELATIONSHIP BETWEEN ANXIETY AND
PROJECTIVE DRAWINGS WITHIN GEOMETRIC SHAPES

BY
Todd Douglas Eaton

The purpose of the present study was to explore the
relationship between anxiety and Carl Jung's theory of
mandala drawings. Subjects were randomly assigned to draw
either in a circle (mandala) or a triangle with downward
pointing vertices (disturbed mandala). The drawings were
made immediately after a task (Stroop performance) used to
induce anxiety or psychic chaos.

As predicted, subjects drawing within a circle
experienced a greater reduction in anxiety than those
drawing within a triangle on the indices of heart rate,
blood volume, pulse pressure, and electrodermal responses.
However, skin conductance level and a self-report inventory
(STAI) revealed no significant differences between the
circle and triangle groups. Sex of subject and sex of
experimenter effects were also observed. Applications,
explanations, and possibilities for future research are

discussed.

ACKNOWLEDGMENTS

This research would not have been possible without the
generous help and support of several people. I would like
to give very special thanks to my chairperson, Dr. Joseph
Reyher, who offered invaluable insight and acumen into my
research endeavors. His enthusiasm for research was truly
inspirational and greatly appreciated. I would also like to
thank my other committee members: Dr. Elaine Donelson, for
her sensible guidance and interest in Jungian psychology,
and Dr. Joel Aronoff, for his constructive theoretical
contributions.

I would also like to express my deep gratitude to Mary
Colony and Neil Knox, two extremely bright undergraduates
whose help in data collection and scoring was integral in
the completion of this research.

Finally, I wish to thank my friends and family, who

have provided me with inestimable emotional support.

iii

TABLE OF CONTENTS

EASE
LIST or TABLES........................................ v
LIST OF FIGURES....................................... vi
Introduction... ..... .................................. 1
Methods............................................... 13
Results............................................... 20
Discussion............................................ 29
References............................................ 41
Appendix

A: Additional Tables and Figures............... 45

iv

LIST OF TABLES

Table 2293
1 t-tests for Paired Samples (Initial Values and

Stroop)............................................20
2 Analysis of Covariance for Heart Rate..............22
3 Analysis of Covariance for Pulse Pressure..........23
4 Analysis of Covariance for Electrodermal Responses.24
5 Analysis of Covariance for Skin Conductance Level..24
6 Analysis of Covariance for Blood Volume............25
7 Analysis of Variance for STAI......................27
8 Means and (Standard Deviations)............. ..... ..45
9 Correlations between Dependent Measures............46
10 Correlations between Dependent Measures for the

Circle Group.......................................47
11 Correlations between Dependent Measure for the

Triangle Group.0.0.I.0.0000000000000000000000.0.00.48

LIST OF FIGURES

figure Rage

1 Shape by sex of subject interaction for blood
valume ChangeO.ICO...O...OOOOOOOOOOOOOOOOOOOOOO0.0.49

2 Heart rate at baseline, Stroop, and drawing........50
3 Pulse pressure at baseline, Stroop, and drawing....51
4 Blood volume at baseline, Stroop, and drawing......52

vi

INTRODUCTION

The link between shape and emotion has been the subject
of much research and theorizing in as widely different
fields as ethology, Eastern religious practices, and
psychodynamic psychology. Although there is no consensus on
the underlying causal mechanism, these perspectives do agree
that certain shapes and lines have an important influence on
affective experience. Circular, rounded shapes and lines
are associated with more positive mental states, such as
care giving responses, increased relaxation, and order,
whereas angular lines and shapes are associated with
negative mental states such as threat, hostility, and
disequilibrium (e.g. Aronoff, Woike, & Hyman 1992; Jung,
1959; Lundholm, 1921; Osgood, 1960).

The present investigation primarily takes a Jungian
approach to the effect of shapes on anxiety. Carl Jung
studied the mandala in his work with psychotherapy,
anthropology, and religion. Mandala is a Sanskrit term for
"circle," denoting "all concentrically arranged figures,
round or square patterns with a centre, and radial or
spherical arrangements" (Jung, 1953, p. 116). According to

Jung, mandalas express balance and order (1959), often

1

2
occurring in dreams and fantasies. Jung noted the use of
mandalas in Tantric yoga, in which they are used as yangrgs,
or aids to contemplation. In Eastern religions such as
Lamaism, Tibetan Buddhism, and Hinduism, mandalas are used
to foster and maintain relaxed states of meditation (Zimmer,
1946). Jung opined the value of mandalas, and employed them
as a type of art psychotherapy. Mandalas spontaneously
produced by patients in analytic therapy, claimed Jung,
provided an ideogram of unconscious material. Jung
maintained that mandalas often occur in times of chaotic and
disoriented psychic states, serving a healthy compensatory
purpose. Mandalas bring about "a kind of new
centering...they have the purpose of reducing the confusion
to order...Patients themselves often emphasize the
beneficial or soothing effect of such pictures" (Jung, 1959,
pp. 360-361). According to Jung, drawing within the mandala
or circular form helps to elicit unconscious fantasies by
virtue of its relaxing, centering effects.

For Jung, the mandala shape may facilitate the
expression and experience of internal states. This
experience of these states may in turn contribute to psychic
integration. Jung asserted that mandalas express a process
striving toward individuation, or psychic equilibrium, as
seen in the union of the opposites (e.g. conscious and
unconscious). The pure geometric form of the circle lends
itself to its symbolic meanings of order and symmetrical

arrangement (Jung, 1964). The circle is an unbroken,

3
smooth, continuous line which creates a shape that is
perfectly balanced, representing a secure, enclosed, and
protective boundary. According to Jung, the circular line
of the mandala means, in one aspect, "the marking off of the
sacred precinct, and on the other, fixation and
concentration" (Jung, 1935, p. 101).

As Jung asserted, mandalas ameliorate psychic chaos and
arousal by the symbolically protective aspect of the circle
(1964). For Jung, the circular mandala figure is symbolic
of the totality or wholeness of the self, which is the
ultimate goal in the individuation process. Often produced
in times of psychological chaos or confusion, Jung claimed
that psychological turmoil is held together by the symbolic
security inherent in the shape of a circle. At the same
time, mandalas provoke focus and concentration, bringing
order into being by their natural balance and symmetry. ~
Taking Jung's perspective, the circular mandala figure may
serve to reduce anxiety by providing a symbolically
protective, holding, and balanced visual stimulus.

But to equate drawing within a mandala with completed
individuation is an erroneous notion. As mentioned above,
mandala drawings often appear in times of psychic chaos.
When speaking of mandala drawings in analytic psychotherapy,
Jolande Jacobi (1973) asserts, "for the most part the
mandalas...are only preliminary sketches, more or less
successful steps towards ultimate perfection and

wholeness...it would be a mistake to interpret their

4
appearance as an indication of a particularly advanced stage
of development" (p. 138). Since mandalas only provide the
preparatory stages of individuation, they are not in
themselves sufficient for psychological healing and
wholeness. The integration of unconscious material, rather
than mandalas in themselves, brings about individuation.
However, mandala drawings very well may provide the state of
relaxation and concentration needed for subjects to convey
visually critical life experiences and emotions, which in
conjunction with competent interpretation and analytic
therapy, can bring about individuation.

While complete mandalas take the form of circles,
squares, or quartered circles, Jung referred to three-sided
shapes as "disturbed" mandalas (Jung, 1959). Jung claimed
that shapes deviating from the circle or square signal
psychic fragmentation, incompletion, and a departure from
totality. In Jung's "A Study in the Process of
Individuation" (1959), this phenomenon of threeness being
linked with psychological disturbance is visually
illustrated in a case study. In the case study of ”Miss X,"
one can see that her early pictures are dominated by
triangular shapes, while her later pictures are
characterized by circular forms with increased symmetry,

balance, and differentiation.

Wren
In addition to the approach taken by Jung, there are

5
several other theories that investigate the connection
between shape and affect. For example, Aronoff, Barclay,
and Stevenson (1988) examined facial characteristics that
distinguished threatening from nonthreatening facial
displays. They found that curvilinear lines were perceived
as less threatening. Similarly, Aronoff, Woike, and Hyman
(1992), discovered that a rounded, curvilinear stimuli is
associated with "goodness;” Aronoff et al. point out that
increasing roundness accompanies increased happiness in the
facial display. Their study represents an ethological
perspective that was influenced by McArthur & Baron's (1983)
ecological approach to social perception as well as Darwin's
(1872) hypothesis that emotional expression is connected to
a common neuromuscular foundation. This perspective can be
used to explain the evolutionary value of phenomena such as
infants having rounded heads, a stimulus display that
elicits a warm, care giving response from the mother
(Lorenz, 1943). Likewise, research on the physiognomic
attractiveness has shown that adults view infants with more
rounded faces as more cute (Hildebrandt & Fitzgerald, 1979).
Cunningham (1986) has also found that subjects perceive
young women with more rounded faces as more attractive.
Finally, Lundholm (1921) conducted an experiment which
analyzed the connection between affect and different types
of lines. She found that curvilinear lines were associated
with serenity, gentleness, mildness, uniformity, and

consistency (pp. 52-53). As in the Jungian perspective,

6
curvilinear lines are associated with positive mental
states.

In contrast to the perception of curvilinear lines,
angularity and diagonality in the visual stimulus has been
shown to evoke subjective responses that conveyed the
meaning of threat, anger, and discomfort (Aronoff et al.,
1988). Moreover, Aronoff et al. (1992) found that triangles
per se are not sufficient to evoke the subjective meaning of
threat. Only a downward pointing vertex, like that seen in
angry eyebrows, produced the threatening conveyance.

Aronoff et al. (1992) have established that "badness" in a
visual stimulus is perceived in acute angles with downward
pointing vertices; these properties are similar to those
produced by a facial display of anger. Likewise, Lundholm
(1921) found that subjects associated sharp angles with
furiosity, anger, excitement, violence, and distress.

In a similar experiment with a Jungian frame of
reference, Slegelis (1987) found that drawing within circles
was more "relaxing" than drawing within squares. She
defined "relaxed" as the number of angles drawn, with a
greater number of angles indicating greater anxiety. In her
study, she used two groups. One group made drawings within a
circle and another group drew within a square. The
hypothesis was that the number of angles drawn within
circles would be fewer than the number of angles drawn
within squares. Slegelis' findings corroborated her

hypothesis. As Slegelis noted, this finding has practical

7
applications in art psychotherapy. If a person's arousal
can be manipulated by drawing within a certain shape, then a
psychotherapist may utilize the shape being drawn within as
a means to influence the client's psychological state.
However, Slegelis' conclusions were seriously undermined by
certain demand characteristics. By using the number of
angles drawn as her dependent measure of anxiety, her
experiment is open to the chance that the shape influenced
the dependent measure. In other words, the angles found in
a square (or the lack of angles in a circle) could unduly
influence the number of angles a subject draws, with
relaxation being unrelated. Also, Slegelis failed to
realize that using drawings within squares as a control
group is invalid from a Jungian perspective since Jung
(1959) asserted that squares as well as circles are complete
and balanced mandalas.

The present investigation sought to ascertain more
securely whether the connection between shape and affect is
strong enough to significantly alter subjects' anxiety
levels while drawing within geometric shapes. Reviewing
past theory and research, there seems to be a convergence of
findings that circular lines are associated with balance,
serenity, attractiveness, and overall "goodness."
Contrastingly, angularity, most notably angles with downward
pointing vertices, are commonly associated with imbalance,
disturbance, threat, violence, anger, and overall ”badness."

Based on these findings and their congruence with Jungian

8
theory, the present study compared subjects drawing within a
circle to subjects drawing within a triangle with downward
pointing vertices. Thus, the present experiment
investigated the following hypothesis: subjects drawing
within a circle will have lower anxiety than subjects
drawing within a triangle on self-report and
psychophysiological measures.

Jung's concept of anxiety does not easily lend itself
to operationalization. Descriptions such as "psychic chaos"
and "disequilibrium" are rather ambiguous, lacking concrete
corresponding measurements. Jung never exactly specified
whether the calming, centering effects of drawing within a
mandala take place exclusively on an unconscious level or
also on a conscious level. Nor did Jung specify whether
these relaxing effects are physical, psychological, or both.
These ambiguities were taken into account in the selection

of dependent measures.

Wares

Electrodermal Response. From a Jungian perspective,
the electrodermal response (EDR) is the most valid and
congruent measure of anxiety, since Jung himself used this
measure in experiments assessing unconscious activity and
arousal (Jung, 1907). Jung viewed the EDR as an objective
window that physiologically measures unconscious processes.
He noted that the greater the emotional arousal, the greater

the electrodermal response (Hassett, 1978). By using the

9
EDR as an indicant of psychic processes, Jung assumed that
what affects the psyche has a similar effect on the body.
In a general sense, Jung contended that the intensity of
psychic experience is reflected in the amount of EDRs.

Research since Jung's early work (Hassett, 1978; Stern,
Ray, 8 Davis, 1980) has shown that EDR is a reliable measure
of autonomic arousal, revealing short-term changes in
electrodermal activity. This measure is sensitive to the
arousal of the sympathetic branch of the autonomic nervous
system, and will be considered the foremost index of anxiety
given the theoretical underpinning of this experiment.
Sympathetic activity is responsible for arousal and
preparing the body for action. In contrast, parasympathetic
activity is responsible for restorative functions, being
indicative of rest. An increase in EDRs indicates
sympathetic nervous system activity. For the present
investigation, if drawing within a circular mandala causes
an increase in psychic equilibrium, there should be more
physical relaxation as indicated by less EDRs for subjects
drawing within a circle than those drawing within a
triangle.

In addition to EDR, four other measures of
psychophysiological activity were used: heart rate, blood
volume, pulse pressure, and skin conductance level. These
measures were included to provide indications of phasic and
tonic activity. Phasic activity reveals transitory changes

in autonomic arousal. This type of activity reveals short

10

duration changes (lasting only a few seconds) and
adjustments to the immediate situation. Tonic activity
indicates a temporally averaged measure of autonomic
arousal, relating to longer or extended periods of time
(Hassett, 1978). Whereas phasic activity reflects transient
responses to stimuli, tonic activity reflects relatively
long-term responses. More details concerning the specific
physiological measures are given below.

state Anxiety. In addition to psychophysiological
arousal, anxiety may be also conceptualized as occurring on
a more self-aware, conscious level. Because of the
multifaceted nature of anxiety and the ambiguity of Jung's
conception of anxiety, a self-report measure of anxiety was
included. The Spielberger State-Trait Anxiety Inventory
supplements the physiological indices by providing a self-
report measure of anxiety that may not be tapped by the
physiological measures. If changes in anxiety take place on
a conscious level, a conscious self-report measure of
anxiety is useful in assessing the psychic disequilibrium
that occurs within a person's awareness. The STAI supplies
a self-reported means for measuring the affective,
cognitive, and somatic aspects of anxiety that are
consciously experienced by the subject. In this experiment
the State form of the STAI was used. The STAI is a paper
and pencil instrument on which a subject answers questions
on a four point Likert scale concerning how he or she feels

"at this moment." A complete discussion concerning the

11
reliability, validity, and scoring procedures of the STAI

can be found in Spielberger (1983).

WW1

As mentioned above, Jung claimed that mandala drawings
often occur in times of psychic chaos and disorientation. A
revised version of the interference task of the Stroop
Color-Word Test (Stroop, 1935) was used to induce anxiety
before the drawing. This version of the Stroop was a page
of color words printed in a different color of ink (e.g. the
word "blue" printed in red ink). The subject's task was to
report the color of the ink of three columns of words,
suppressing the reading response and naming only the color.
The Stroop is usually used as a measure of attentional
resources. However, in the present experiment, the
conflicting stimuli of the word and the actual color of the
word was assumed to induce considerable confusion and
anxiety in the subject. Therefore, Stroop performance was
assumed to act as a type of prime for mandala drawing by

inducing psychic chaos.

Wigs

The design of this experiment considers three factors:
the shape being drawing within (circle or triangle), the
gender of the subject, and the gender of the experimenter.
The gender of the subject and the gender of the experimenter

were taken into account because they are potentially

12
confounding variables. Keeping with Jung's theory on the
universal effect of mandala drawings, no gender effects were
hypothesized to occur as a function of the shape being drawn
within. Although not hypothesized, gender-specific
variables have the potential to influence and interact with
the main effect of drawing within a mandala figure. The sex
of the subjects and experimenters were therefore taken into
account to explore these possibilities. There were one male
and one female experimenter. A limitation of using only one
experimenter of each sex is that the experimenter's
individual style may effect the subjects rather than more
generalized effects of the experimenter's gender. The
result is a 2 x 2 x 2 representative design in which sex of
experimenter and sex of subject are examined as samples from

their gender-specific populations (Maher, 1978).

METHOD

Subjects
After obtaining approval from UCRIHS, 110 subjects were

obtained from introductory psychology classes at Michigan
State University who had signed up to participate in an
experiment entitled "Naming and Sketching." Of the 110
subjects, 55 were male and 55 were female. The subjects
were randomly assigned to draw within a circle or draw
within a triangle. Each subject was tested individually by

one of the two experimenters.

Wt

The first room entered from the hallway contained a
computer, a desk, a straight-backed chair, and a cabinet in
which various experimental supplies were kept. In the
adjoining room was a six-channel Grass (model #5) polygraph,
a vinyl upholstered reclining chair adjacent to the
polygraph, and a table. Upon the table was a tray
containing cotton balls, alcohol, and electrolyte gel. A
straight-backed chair was situated in front of the
polygraph. The polygraph, finger electrodes, and a metal

cuff were used to monitor physiological responses.

13

l4

Booklets were constructed, which included the pre—test
STAI, the Stroop, the drawing page (with either the circle
or triangle), and the post-test STAI. These booklets were
used in order to increase standardization and keep the
experimenters blind to each subject's condition. Drawings
were made on 8.5" x 11" white unlined paper. The circles
and triangles were drawn in heavy black ink so that both
figures contained approximately the same area (43 square
inches). A lap board was used to give the subjects a firm
surface on which to write and draw. This board was painted
white in order to minimize the effect of the contours of the

paper.

BIQQEQQIQ
When the subject arrived at the appointed time, the

experimenter conducted him or her into the laboratory room.
The subject was asked to sit in the large reclining chair
and sign a consent form. After the subject signed this
form, the experimenter filled the electrodes with
electrolyte gel. The proximal phalanges of the second and
third finger of the subject's nondominant hand were cleansed
with cotton dipped in alcohol, and an electrode was attached
to each finger. The metal cuff was then attached and sealed
to the subject's thumb. The nondominant hand was used so
that the subject could have the dominant had free to write

and draw. The experimenter sat in front of the

polygraph.

15

The booklet attached to the lapboard was then given to
the subject. The cover page of this booklet read as
follows: "This booklet contains various tasks to be
completed, including brief questionnaires, a color naming
task, and a drawing. Directions for each task are included.
After you finish a task, proceed to the next page. Please
remember that your responses are completely anonymous and
are held under strict confidentiality; do not put your name
or student number on any of the pages of this booklet. The
experimenter will tell you when you can begin.” During the
first ten minutes of the session, the experimenter
calibrated the polygraph. This time also allowed the
experimenter to get a baseline reading and the subject to
get adapted to the laboratory setting.

After this initial period, the experimenter said,
"please turn to the first questionnaire and begin.” This
first questionnaire was the State form of the STAI. The
instructions for the STAI were included in the booklet. On
the opposing page, the booklet read "After you have finished
this questionnaire, please go to the next page."

The next page of the booklet contained the Stroop with
directions on the opposing page. The specific directions
for the Stroop were as follows: "This is a test of how fast
you can name the COLOR in which the words on the opposite
page are printed. Remember, name the color of the word, and
not the word itself. For example, for the first item you

would say 'blue,' for the second item (going downward), you

16
would say 'red,' etc. Go through the entire page, saying
each item aloud. If you make a mistake, correct your error
and continue without stopping. After you have completed
this task, proceed immediately to the next task." The
experimenter allowed the subject to read through the
columns.

After the Stroop performance, subjects made the
drawing. The booklet had either a circle or a triangle with
the following directions on the opposite page: "For the
next three minutes, make a drawing within the shape on the
opposite page. There is no right or wrong way to draw, and
your drawing will not be graded. Draw whatever comes to
mind. Please tell the experimenter when you begin to draw;
the experimenter will tell you when to go on the next page.“
When the subject told the experimenter that he or she had
begun to draw, the experimenter marked the point on the
polygraph print out. After 3 minutes had elapsed, the
experimenter said "Please proceed to the next task."

The last page of the booklet contained the State form
of the STAI in order to attain a self-reported measure of
the subject's anxiety level immediately after making the
drawing. Subjects were then disconnected from the polygraph
and debriefed. The debriefing consisted of an open ended
interview, which included questions inquiring how the
subject felt and what went through the subject's mind while
he or she was making his or her drawing. These questions

were asked to better understand what the subject experienced

17
while drawing. The experimenter then gave the subject more

information about the experiment.

We
The psychophysiological data was scored using the

following procedures. Equidistant ten-second sampling
periods were used to measure anxiety during the baseline,
Stroop performance, and drawing period. These sampling
periods were obtained by dividing the total condition into
equidistant sections, then using the last ten seconds of
each section as the sampling period.

Heart rate. While an increase in heart rate indicates
sympathetic nervous system (SNS) activity, a decrease in
heart rate indicates parasympathetic nervous system (PNS)
activity (Hassett, 1978). The heart rate is taken from the
phasic pulse pressure wave, which appeared as a spiked wave
on the polygraph print out. The number of heartbeats within
each ten-second sampling period was recorded, averaged, and
multiplied by six. This procedure, recommended by Hassett
(1978), yielded the number of heartbeats per minute.

Pulse Pressure. Pulse pressure refers to the pressure
wave, a phasic measure of plethysmographic response. Pulse
pressure is measured by taking the amplitude of the pressure
wave. In other words, the pulse pressure is obtained by
measuring the height, from trough to peak, of the wave. A
shorter wave amplitude indicates decreased blood flow in the

finger and a hardening of the arteriole walls, marking

18
greater SNS activity (Brown, 1967). This response increases
the return of blood to the heart, allowing more blood to be
sent to the muscles. The average amplitude of the pulse
pressure wave was obtained for each sampling period. This
average was then converted to cubic millimeters by
multiplying the overall average by ten cubic millimeters and
dividing by the amplitude of the pen deflection during
calibration. This conversion compensated for the differing
sensitivity settings from subject to subject, given that pen
deflection during calibration varied in proportion to the
sensitivity setting.

Blood Volume. Blood volume refers to the distention or
enlargement of the finger due to increased blood flow, and
provides a tonic measure of plethysmographic activity. An
increase in blood volume was interpreted as PNS activity,
while a decrease was interpreted as SNS activity. An
average baseline level of blood volume was taken before the
drawing period by obtaining the average level of the troughs
of each pressure wave. The distance from this baseline for
each sampling period was measured in millimeters. These
distances were then averaged for an overall measure of blood
volume change. This averaged distance was then converted to
cubic millimeters using the equation mentioned for pulse
pressure.

Electrodermal Responses. The number of electrodermal
responses provided a phasic measure of electrodermal

activity. As recommended by Stern, Ray, and Davis (1980), a

19
criteria was established before the outset of data
collection. The criterion for determining an EDR was set at
500 ohms, which allowed recording of EDRs with smaller
amplitudes as well as larger EDRs. Thus, the EDR measure
was a count of the number of electrodermal skin responses
above the criterion of 500 ohms.

Skin Conductance Level. Skin conductance level
provides a tonic measure of electrodermal activity. A
greater conductance level signifies increased SNS activity.
This measure was an average of the reciprocal of the skin
resistance at the beginning of each sampling period. A
conductance score is often preferred to a resistance score
since skin conductance gives a directly proportional
representation of the number of sweat glands coming into
play (Hassett, 1978). Hassett contends that more intense
experiences yield more intense sweat-gland responses (for
both EDR and SCL), being under the control of the
sympathetic nervous system.

STAI. The State form of the STAI was given before and
after the drawing. The possible scores for the STAI range
from 20 to 80, with a higher score indicating higher self-
reported anxiety. The difference between these two test
scores was used to assess the degree of change in self-

reported anxiety.

RESULTS

uaninulatien_9heek

A paired samples two tailed t-test was used to check
the manipulation of "chaos" during Stroop performance. Each
subjects' heart rate, blood volume, and pulse volume during
Stroop performance was compared to initial values obtained
at baseline on the assumption that anxiety would increase
during Stroop performance (see Table 1). Omega squared was
used to determine effect size. This formula takes the
difference between sum of squares for the factor under
consideration and mean square within. This difference is

then divided by the sum of SS total and MS within.

Table 1

t-tests for Paired Samples (Initial Values and Stroop)

 

figures df t 1:
Pulse Pressure 109 11.90**** .429
Blood Volume 109 5.39**** .209
Heart Rate 109 -13.06**** .604

**** p < .001

Each psychophysiological index checking the manipulation of
anxiety during the Stroop was significant beyond the .001

level of confidence in the predicted direction of increased

20

21
SNS activation. The mean baseline of subjects' pulse
pressure was 3.75 cubic mm, in contrast to the mean pulse
pressure of 2.01 cubic mm during Stroop performance (t=11.9,
p<.001), having an effect size of .429. The average initial
increase in blood volume was 1.46 cubic mm, compared to an
average decrease of 3.89 cubic mm during Stroop performance
(t=5.39, p<.001), having a treatment magnitude of .209. The
average initial heart rate was 78.33 heartbeats per minute,
which increased to 91.51 heartbeats per minute during Stroop
performance (t=-13.06, p<.001), having an effect size of
.604. All three of these indices are consistent with the
postulate that Stroop performance induced anxiety in the
subjects. Measurements of electrodermal responses and skin
conductance level were unobtainable during StrOOp
performance. Many subjects had extreme reactions, causing
the polygraph pen printing electrodermal activity to go to
and remain at the top of its limit. This ceiling effect
precluded accurate measurement of electrodermal responses

and skin conductance level.

Experimental Hypgthesis

The experimental hypothesis was evaluated by each of
the aforementioned dependent measures using the following
procedure. First, each of the distributions were examined.
Those for heart rate, pulse pressure, blood volume,
electrodermal responses, and skin conductance level were all

found to be highly skewed. Consequently, each was subjected

22
to a square root transformation. This transformation
satisfactorily removed skewness for heart rate,
electrodermal responses and pulse pressure, but not for skin
conductance level and blood volume. For these, a non-
parametric test was used. In addition, to take account of
any correlations between baseline and treatment scores (Law
of Initial Values), analyses of covariance were used so that
each subject's initial value scores could be taken into
account as covariates. An analysis of variance was applied

to the STAI.

Table 2

Analysis of Covariance for Heart Rate

 

§QQ£§§ if MS F E..
Shape 1 2.26 12.20*** .060
Sex of Subject 1 .18 .96 .009
Sex of Experimenter 1' 1.63 8.81*** .044
Sex of Exp. x Sex of Subject 1 .03 .15 .005
Sex of Experimenter X Shape 1 .09 .49 .007
Sex of Subject X Shape 1 .03 .16 .005
Sex of Exp.X Sex of Sub.X Shape 1 .18 .99 .009

*** p < .005

Heart rate. As predicted, heart rate was significantly
greater for subjects drawing within a triangle than for
those drawing within a circle (see Table 2), with an effect
size of .06. Subjects drawing with a circle had an average
heart rate of 79.90 heartbeats per minute, while subjects
drawing within a triangle had an average heart rate of 83.69
heartbeats per minute. In addition to the significance of

the shape being drawn within, the sex of experimenter was

23
also significant, having an effect size of .044. During the
experimental condition, subjects having the male
experimenter had an average heart rate of 80.82 heartbeats
per minute, while subjects having the female experimenter

had an average heart rate of 82.08 heartbeats per minute.

Table 3

Analysis of Covariance for Pulse Pressure

 

£92123 df 4M5 F W__
Shape 1 3.45 27.91**** .159
Sex of Subject 1 .25 2.05 .017
Sex of Experimenter 1 .30 2.44 .019
Sex of Exp. X Sex of Sub. 1 .22 1.79 .015
Sex of Experimenter x Shape 1 .01 .09 .006
Sex of Subject X Shape 1 1.33 .25 .001
Sex of Exp.X Sex of Sub.X Shape 1 .04 .32 .007

**** p < .001

Pulse Pressure. Shape being drawn within was
significant on the pulse pressure index as anticipated (see
Table 3), with a treatment magnitude of .109. The average
pulse pressure of those drawing within a circle was 4.60
cubic mm, as contrasted to an average pulse pressure of 3.26

cubic mm for those drawing within a triangle.

24
Table 4

Analysis of Covariance for Electrodermal Responses

5.92m at us 15' L
Shape 1 23.63 15.16**** .109

Sex of Subject 1 12.84 8.24** .062
Sex of Experimenter 1 .19 .12 .008
Sex of Exp. X Sex of Subject 1 .66 .43 .010
Sex of Experimenter X Shape 1 .01 .00 .007
Sex of Subject X Shape 1 1.67 1.07 .014
Sex of Exp.X Sex of Sub.X Shape 1 .99 .63 .011
** p < .01
**** p < .001

Electrodermal Responses. As expected, the shape being
drawn within was significant on the index of electrodermal
responses (see Table 4), resulting in an average of 15.35
electrodermal responses for subjects drawing within a
circle, 20.19 electrodermal responses for subjects drawing
within a triangle, and an effect size of .109. The sex of
the subject was also significant, with an average of 21.75
electrodermal responses for male subjects, 14.18

electrodermal responses for female subjects, and an effect

size of .062.

Table 5
Analysis of Covariance for Skin Conductance Level

figfllgfi: at MS F sJL__
Shape 1 .00 .11 .001
Sex of Subject 1 .03 .97 .002
Sex of Experimenter 1 .06 1.99 .003
Sex of Exp. X Sex of Subject 1 .00 .04 .001
Sex of Experimenter X Shape 1 .39 .39 .002
Sex of Subject X Shape 1 .00 .00 .001
Sex of Exp.X Sex of Sub.X Shape 1 .03 1.03 .003

Skin Conductance Level. Because of the skewed

25
distribution, the Mann Whitney U was applied to skin
conductance level. This test was not significant (U=1490,
p>.05). There were also no significant effects for the
index of skin conductance level when the ANCOVA was applied

(see Table 5).

Table 6

Analysis of Covariance for Blood Volume

 

5921233 df MS F W__
Shape 1 1582.36 10.77*** .065
Sex Of Subject 1 2513.18 17.10**** .106
Sex of Experimenter 1 474.16 3.22 .014
Sex of Exp. X Sex of Subject 1 61.96 .42 .000
Sex of Experimenter X Shape 1 42.25 .29 .000
Sex of Subject X Shape 1 798.40 5.43* .028
Sex of Exp.X Sex of Sub.X Shape 1 145.14 .99 .000

* p < .05
*** p < .005
**** p < .001
Blood Volume. The Mann-Whitney U test (for skewed

distribution) for blood volume was significant in the
predicted direction (U=954.5, p<.005). Equivalent results
were reached using the ANCOVA (see Table 6). The shape
being drawn within was significant, resulting in an effect
size of .065, an average blood volume increase of 8.12 cubic
mm for those drawing within a circle, and an average
increase of 1.12 cubic mm for those drawing within a
triangle. The sex of subject was also significant, showing
an average increase of 9.55 mm for male subjects, an average
decrease of .81 mm for female subjects, and an effect size

of .106. Finally, the shape by sex of subject interaction

26
was significant (see Figure 1 in Appendix A), having an
effect size of .028. Males drawing within a circle had an
average blood volume increase of 15.51 cubic mm, while males
drawing within a triangle had an average blood increase of
only 4.20 cubic mm. The difference was less dramatic for
female subjects, who had an average blood volume increase of
.44 cubic mm while drawing within a circle, and a decrease
of -1.85 cubic mm while drawing within a triangle. When
this interaction was probed for simple effects, the
difference between males and females drawing within a circle
(t-3.3, p<.005), the difference between males and females
drawing within a triangle (t=2.67, p<.05), and the
difference between males drawing with a circle and males
drawing within a triangle (t=2.41, p<.05) were found to be
responsible for the interaction. The difference between
females drawing within a circle and those drawing within a
triangle was not significant (t=1.70, p>.05).

The means for blood volume reveal that subjects drawing
within a circle had greater parasympathetic activation than
subjects drawing within a triangle. Additionally, female
subjects had greater sympathetic activation than male
subjects. Finally, male subjects showed a significantly
greater difference than female subjects when drawing within

the two shapes.

27

Table 7 - Analysis of Variance for STAI

 

$992227 df MS F W__
Shape 1 111.72 1.92 .008
Sex of Subject 1 141.89 2.44 .013
Sex of Experimenter 1 27.10 .47 .000
Sex of Exp. X Sex of Subject 1 38.09 .66 .000
Sex of Experimenter X Shape 1 10.94 .19 .000
Sex of Subject X Shape 1 1.69 .03 .000
Sex of Exp.X Sex of Sub.X Shape 1 4.58 .08 .000

STAI. When an ANOVA was applied to the STAI, there
were no significant effects (see Table 7).

Summary. Examining the general findings of this study,
a uniform and significant effect for the shape within which
the subjects drew was shown with the exceptions of skin
conductance level and STAI. The results revealed that, as
predicted, subjects drawing within a circle showed
significantly less anxiety (electrodermal responses, pulse
pressure) and more parasympathetic effects (blood volume,
heart rate) than subjects drawing within a triangle. As for
experimenter effects, subjects having the female
experimenter showed greater anxiety on the heart rate index
than subjects having the male experimenter. Considering the
effects of the sex of subject, the results are less uniform.
Male subjects showed greater anxiety than female subjects on
electrodermal responses, while females showed greater
anxiety than males on blood volume. Furthermore, the main
effects of shape and sex of subject found on the blood
volume index cannot be interpreted alone because of the
significant interaction between shape and sex of subject

(see Figure 1). Upon examining the heart rate, blood volume

28
change, and pulse pressure indices, the following trend was
observed: increased anxiety during Stroop performance
followed by a significantly greater decrease in anxiety in
the circle group than in the triangle group (see Figures 2,
3, 4 in Appendix A). Tables of correlations, means, and
standard deviations were included for further information

(see Appendix A).

DISCUSSION

One of the potential shortcomings in this experiment
was the assumption the anxiety or psychic "chaos" that the
Stroop performance induced was maintained during the drawing
period. Although one may be confident in asserting that
Stroop performance did in fact induce anxiety, the question
of whether this anxiety was carried over across the entire
drawing period is uncertain.

Another potential limitation of this study is that only
one male and female experimenter were used. Even though
experimenter effects were not prominent, the heart rate
index did yield a significant difference. Subjects having
the female had a significantly greater heart rate than those
having the male experimenter. Because of the shortcoming of
having only one experimenter of each gender, one cannot be
sure if the sex of experimenter effect was due to the
general sex effects of the experimenters or the non-gender,
idiosyncratic effects that the experimenters may have had on
the subjects. Such factors as the physical attractiveness
or personality of the experimenters may have been
responsible for producing this difference. Despite this

shortcoming, taking sex of experimenter into account was

29

 

30
informative, as it identified a source of variance (in HR),
thereby increasing the power and efficiency of the design.
Future research could more accurately study the sex of
experimenter by using more than one experimenter of each
gender. Finally, one should be cautious in interpreting
the results of this study. One may safely say that drawing
within a circle resulted in a greater reduction in anxiety
or SNS activity than drawing within a triangle (with the
exception of skin conductance level). However, it is
unwarranted to assert that relaxation or PNS activity was
experienced for those drawing in a circle while increased
anxiety was experienced for those drawing within a triangle.
Only the blood volume index gave a distinct indication of
PNS dominance in addition to reduced anxiety for those
drawing within a circle. Future research could investigate
the questions of whether circular mandala drawings induce
PNS dominance and triangle drawings induce SNS
dominance.

Stroop performance induced a significant increase in
anxiety for heart rate, pulse pressure, and blood volume.
This effect is noteworthy. In a recent review (MacLeod,
1992), no mention was made of the anxiety inducing
properties of Stroop performance. In the past and present,
the Stroop has been viewed mainly as a measure of
attentional resources and not as a test with the ability to
produce general arousal (Thackray 8 Jones, 1971). In the

manual for clinical and experimental uses of the Stroop,

m '.

31

Golden (1978) observed that most studies have "failed in
attempts to show autonomic changes during the administration
of the Stroop." Golden cited Houston (1969), who did not
find any differences in pulse rate when using two different
versions of the Stroop (one with easily distinguishable
colors, the other without easily distinguishable colors).
Similarly, Thackray and Jones (1971) found no evidence of
Stroop performance affecting heart rate and respiration.
However, the results of this study strongly suggest that
Stroop performance does in fact have the ability to induce
sympathetic nervous system arousal in subjects. Likewise,
Frankenhaeuser et al. (1967) found an increase in skin
conductance during Stroop performance. Taken together,
these results suggest that the anxiety-inducing properties
of Stroop performance, being inconsistent with the frame of
reference of cognitive processing, may have been overlooked.

When taken together, the physiological measures yielded
varying results. None of the main effects or the
interaction effects were significant or consistent across
all five measures. For instance, the sex of experimenter
effect was significant for heart rate, but not for the other
indices. And as mentioned above, the effects for sex of
subject were logically inconsistent, revealing contradictory
results for blood volume and electrodermal responses. These
inconsistencies suggest that each measure may be tapping a
unique physiological process, and that these processes are

not necessarily related or convergent. For example, Moore 8

 

32

Baron (1983) and Kilpatrick (1972) have proposed that
electrodermal responses may reveal a motivation process
associated with threat or stress, while skin conductance
level reveals cognitive processing. Applied to the findings
of this study, these suggestions show that drawing within a
triangle is more likely associated with threat or stress
rather than cognitive processing.

However, other research (Bundy, 1978; Edelberg 8 E
Muller, 1978) has suggested that EDR and SCL may be the ;

result of one effector system, which would make unlikely the

 

possibility that EDR and SCL operate individualistically.
Yet the differing results obtained for EDR and SCL in this
study are in need of explanation. Adams (1982) states that
sweat glands receive nerves from only the sympathetic
nervous system; water remains in the outer layers of the
skin, reflecting both current and past sweating secretions.
Thus, a high concentration of water in the skin due to
sweating bursts in the recent past can influence the skin
conductance level. On this basis, Leigh (1983) explains the
reason electrodermal responses may appear to more
sensitively measure autonomic activity than skin conductance
level: "since SCL reflects not only immediate but also
recent past SNS activity, the SCL data of a particular
experimental treatment is likely to reflect not only
responses to that treatment but also to the prior treatment.
Consequently these findings necessitate caution in

interpreting the SCL data" (p. 20). Applied to this study,

33
Stroop performance may have unduly distorted the SCL index
during the drawing period. Stroop performance, present in
all conditions, could have overshadowed SCL treatment
effects the shapes may have had. In conclusion, the notion
that different indices of autonomic activity measure the
same underlying psychological and physiological states is
likely to be erroneous, given the results of this study.
Further studies are needed to sort out the inconsistencies
observed on the psychophysiological indices.

The fact that the main effect for shape was significant
on four of the autonomic measures but not on the self-report
measure is noteworthy. This finding suggests that the
effect of drawing within a circle or a triangle is more
likely to be experienced on a physiological level rather
than a conscious level. In other words, the effects of
perceiving and drawing with a mandala figure may be largely
unconscious. This idea seems to fit well into Jung's
theory, given the emphasis he places on the personal and
collective unconscious. According to Jung, the mandala
figure, whether complete or disturbed, is a symbol of the
self archetype, stemming from unconscious origins.
Likewise, the results from this study suggest that
differential effects of drawing within a circle or a
triangle do take place, but on a level beyond conscious
awareness. The results of this study, as well as others
(e.g. Murray, 1963), suggest that self-reported anxiety may

not be sensitive to or correlated with psychophysiological

34
anxiety. From a psychodynamic frame of reference, these
findings should serve as a caution not to use the STAI as an
exclusive measure of anxiety.

Jung's theory of mandalas and the ethological theory of
facial expressions, as discussed above, certainly apply well
to this study's findings. But other theories can offer
substantial explanations for the observed findings also. A
Freudian analysis of the results might also help to explain
the findings of this study. Freud, in his discussion on
femininity (1933), proposed that libido is originally
masculine in both males and females: "a boy's mother is the
first object of his love...For a girl too her first object
must be her mother. The first object-cathexes occur in
attachment to the satisfaction of the major and simple vital
needs” (p. 118). Later in development, as a result of the
female child's "inevitable disappointments from her father,
she is driven to regress into her early masculinity complex"
(p. 130). Freud believed that the pre-Oedipal attachment
and attraction to the mother is "left over for the future”
and is not "adequately surmounted in the course of
development" (p. 134). Additionally, a rounded shape such
as circle would be more symbolic of a female (Freud, 1920).
Because sexual arousal is primarily a parasympathetic
response (Hassett, 1978), psychoanalytic theory might
therefore suggest that both males and females would show a
decrease in anxiety while drawing within the female-symbolic

circle.

 

35

Psychoanalytic theory can also offer an explanation of
the interaction between shape and sex of subject for blood
volume (see Figure 1). Blood volume has been proposed as
analogous to distention of the genitalia (Reyher, 1987;
Gaines, in progress). And because there is not as much
erectile tissue in the clitoris as there is in the penis,
Freudian theory would predict a greater parasympathetic
blood volume response for males. Consistent with this
explanation, a remarkable increase in blood volume was
observed in males who drew within a circle, which could be
interpreted as a parasympathetic sexual response to a
symbolically female shape. Employing Freudian symbolism,
the pencil with which the subjects drew could have
symbolized the penis, while the circle within which they
drew could have been symbolic of the vagina.

Moreover, Jung's theory of typology also provides an
explanation of the shape by sex of subject interaction found
on the blood volume index. Jung believed that the introvert
is characterized by a greater interest in the subject (self)
than in objects (others), revealing a tendency to turn
inward. For the introvert, the subject is the prime
motivating factor, and the object is only of secondary
importance. In contrast, the extravert has greater interest
in others than in the self, with a tendency to think, feel,
and act in relation to the object (Jung, 1971).

Introversion accompanies an inward turning of libido while

extraversion is characterized by an outward turning of

36
libido. Moreover, femininity is linked to introversion,
fostering introspection and subjectivity. Masculinity, on
the other hand, is in closer relation to extraversion,
signifying interest in objective structure (Jung, 1964).
Given this sex difference and the implication that males
have greater external, object-oriented libido while females
have more accumulated or dammed up libido in the self, one
might expect a sex difference on the blood volume index. In
addition to the anxiety reducing effect of the circular
mandala, Jungian theory might predict greater PNS activity
in males than in females, given that males have greater
libidinal investment in external objects (in this case, the
mandala figure) than females. The only shortcoming of this
explanation is that unlike Freud's definition of libido as
primarily sexual energy, Jung regarded libido as general
psychic energy. Nonetheless, sexual energy is included as
an important component in Jung's theory of libido, thereby
making the connection between blood volume and greater
parasympathetic activity in males plausible.

A sex of subject difference was also found for
electrodermal responses, with males having a greater number
of EDRs than females. In a comparable experiment
investigating anxiety and projective drawings, Hamernik
(1985) also found this trend. These results suggest that
the completion of projective drawing tasks appears to arouse
greater phasic electrodermal anxiety in males than in

females. Reyher (1959) has proposed that the clinical

37
significance of projective drawings may be due to the
intrapsychic conflict arouse and reveal. Given the similar
findings of Hamernik and the present study, males may be
more responsive or susceptible to this intrapsychic conflict
provoked by projective drawings on the EDR index.

Lacey's (1967) intake-rejection theory of heart rate
seems to fit well with Jungian theory and the findings of
this study. Lacey has argued that while environmental
intake, or attention to external events, may lead to a
decrease in heart rate, environmental rejection may lead to
an increase in heart rate. Additionally, Lacey has
suggested that deceleration in heart rate may trigger an
increase in cortical processing of environmental
information, while an acceleration in heart rate may trigger
a decrease in such processing. Likewise, Jung argued that
the mandala figure fosters concentration and focusing
conducive to meditational states. According to Tantric
Buddhism, the religious sect that influenced Jung's emphasis
on the mandala, the mandala can assist in developing "the
inner relationship of the external world and the world of
the spirit" (Kapleau, 1989). Using Lacey's terminology,
mandala figures may elevate environmental intake (or
focusing), thereby stimulating cortical processing of these
figures. Hence the meditational value of the mandala may
lie in its ability to foster concentration and subsequent
psychic processing of environmental stimuli, providing a

meaningful link between external and internal realities.

, E's-9mg,

v.14
gun-L; . a.

38

Despite the heuristic value of these interpretations,
they must be viewed as ex_pgg§_fggtg hypotheses in need of
further testing and empirical backing. Ex_pgst_fag§g
explanations, unable to be falsified, require subsequent
research to empirically substantiate their claims.

The results of this study suggest that autonomic
arousal can be altered by the perception of and drawing
within certain shapes. As Jung and others have noted, this
finding has applications for art psychotherapy. An by
giving a subject a circle or a triangle within which to
draw, his or her psychophysiological state may be
significantly altered. A circular, mandala-like figure may
be used when a reduction in anxiety is desired while making
a drawing. Furthermore, this reduction in anxiety may be
conducive to greater expression of emotional material. With
an decrease in anxiety or lessened SNS activity a person may
feel more comfortable in expressing himself or herself
openly. This feeling of comfort and acceptance could
clearly be beneficial for the elicitation of significant
clinical material and subsequent attainment of insight into
the person's emotional concerns. As Jung maintained,
mandala drawings enable the therapist to appreciate the full
significance of the client's concerns and his or her
progress toward conscious realization. Conversely, a
triangle with downward pointing vertices may be used to
induce greater SNS activity while drawing. From a Jungian

perspective, having a person draw within a triangle may very

 

39
well be contraindicated. One might consider what Jung says
about anxiety states: "in psychopathology there are many
such cases [e.g. anxiety states] where a given stimulus is
followed by a definite and relatively disproportionate
reaction comparable to an instinctive reaction" (p. 131,
1960). This "disproportionate reaction" could include an
irruption of an unconscious complex; ”when excited by an
external stimulus, complexes can produce sudden confusions,
or violent affects, depressions, etc." (p. 313, 1960).
While a violent reaction to drawing within a triangle does
seem extreme and unlikely, the fact that the process could
lead to greater psychological turmoil and imbalance seems
plausible.

The possibilities for further research in this area are
abundant. The paucity of well researched studies in both
Jungian psychology and art psychotherapy has diminished
their potential impact. Critical aspects in both of these
fields are in need of empirical corroboration or refutation.
For a Jungian study, one might consider race, geographical
region, and other demographic variables; this procedure
could be used to test the archetypal universality of drawing
within a mandala figure. Furthermore, the psychological and
physiological effects of self-generated mandalas may be
quite different than the experience of drawing within a pre-
made mandala figure; future studies could examine this
difference. Additionally, one could alter the shapes given

to a subject to draw within; Jung claimed that square

40
figures are also symbolic of balance and wholeness. Using a
blank page with no shape to compare the effects of drawing
within a mandala figure to drawing in an open field might
also prove to be enlightening.

Although Slegelis' (1987) findings were supported in
the present investigation, the validity of the dependent
measure that she used is still in question. Future research
could seek to determine if the number of angles drawn is a
valid index of anxiety. Finally, a researcher could use
different and more enduring manipulations of psychic chaos.
As mentioned above, using Stroop performance to induce
anxiety assumes that this effect will persevere through the
drawing period. But by inducing anxiety while the subject
actually makes the drawing (e.g. embarrassing the subject),
a researcher could be more assured of maintaining psychic
chaos during the drawing period. The synthesis of Jungian
psychology and art psychotherapy, while rich in theory, is
lacking in empirical support. Studies such as the ones
mentioned might provide a scientific foundation to their

theory and application.

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APPENDIX

APPENDIX A

ADDITIONAL TABLES AND FIGURES

 

 

Table 8
Means and (Standard Deviations)
Drauins
Baseline SLIQQP Qirele. Triangle
HR 78.33 (11.92) 91.51 (12.02) 79.90 (10.49) 83.69 (10.98)
PP 3.75 (1.95) 2.01 (1.21) 4.60 (2.13) 3.26 (1.42)
3v 1.46 (4.11) -3.89 (8.77) 8.12 (17.83) 1.12 (9.13)
EDR 15.55 (11.99) ----------- 15.35 (10.08) 20.19 (12.35)
SCL 2.11 (1.62) ----------- 2.56 (2.02) 2.43 (1.55)
STAI 33.91 (8.60) ----------- 32.71 (8.11) 32.78 (9.10)
=Heart Rate

PPsPulse Pressure

BV=Blood Volume Change
EDR=Electrodermal Responses
SCL=Skin Conductance Level
STAIsState Trait Anxiety Inventory

45

46

Table 9

Correlations between dependent measures

HR PP BV EDR
HR ---- .08 .01 .14
PP ---- .43** .04
BV ---- -.13
EDR ----
SCL
STAI
**p<.01

HR=Heart Rate

PP=Pulse Pressure

BV=Blood Volume

EDR=Electrodermal Responses
SCL=Skin Conductance Level
STAI=State Trait Anxiety Inventory

SCL

.10

-.03

.03

.29**

STAI

-.12

.09

.03

-e09

“e05

47

Table 10

Correlations between dependent measures for

HR PP BV EDR
HR ---- -.13 -.10 -.01
PP ---- .44** .10
BV ---- -.l7
EDR ----
SCL
STAI
**p<.01

HR=Heart Rate

PP=Pulse Pressure

BVeBlood Volume

EDR=Electrodermal Responses
SCL=Skin Conductance Level
STAI=State Trait Anxiety Inventory

the circle group

SCL STAI
.11 -.08
.07 .06
.07 -.05
.11 -.19

---- -.13

48

Table 11

Correlations between dependent measures for the triangle
group

HR PP BV EDR SCL STAI
HR ---- .20 .07 .19 .11 -.19
PP ---- .23 -.21 -.16 .04
BV ---- -.26 .02 .07
EDR ---- .48** -.09
SCL ---- -.03
STAI ---—
**p<.01

HR=Heart Rate

PP=Pulse Pressure

BV=Blood Volume

EDR=Electrodermal Responses
SCL=Skin Conductance Level
STAI=State Trait Anxiety Inventory

 

 

 

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