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Rorschach > Coding Cheat Handout > Flashcards

Coding Cheat Handout Flashcards

1
Q

What is a prop and do you code it

A

Props are not coded. A prop provides rationale for a response but is not seen in the blot. Ex. the amoeba looks big because you are looking through a microscope (don’t code microscope)

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2
Q

What codes are required to have

A

Location

Content code

FQ

Determinants

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3
Q

Card orientation options and how you code

A

< card is interpreted turned to the left

> card is interpreted turned to the right

V card is interpreted turned upside down

@ card is rotated around before responding, but response was given in the upright position

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4
Q

R-Optimized

A

Promps

Pull

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5
Q

Location codes options

A

W, D, Dd

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6
Q

How many location codes can you give? What if there are multiple objects?

A

1!

If there are multiple objects used that do not together form a W, list all the location codes that appl (both the D5 and D6 areas are used in a response, code D and “5,6”)

  • 2,3: crab holding a leaf VERSUS 2+4: crab and his claw
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7
Q

Location codes: Do you code up or code down

A

*Codes mutually exclusive, give one. Code down (Dd)

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8
Q

W

A

Whole

Response uses the entire inkblot; if multiple objects are seen that use the whole inkblot, still code W

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9
Q

D

A

Common Detail Area

Response uses frequently used details; if multiple objects are seen that do not use the whole, but come from 2+ D areas, code D and then list the numbered areas, separated by a comma. Code D for symmetrically paired objects. Numbered 1-15.

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10
Q

Dd

A

Uncommon Detail Area

Response uses infrequently used details; Dd99 is given if response doesn’t fit into any D or Dd area. Numbered 21-35.

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11
Q

Space codes (and how many can you code)

A

SR and SI

Can code both
(ex. SR and SI: mask and white eyes) VERSUS SI: mask with eye wholes)

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12
Q

SR

A

White Space Reversal

Using the white space as the main image, rather than the blot; rarer than SI

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13
Q

SI

A

White Space Integration

Using the white space in addition to the inked area

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14
Q

Object Qualitifes

Characterize the quality of the objects

A

Sy, Vg, Pair (2)

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15
Q

Are Sy and Vg mutually exclusive?

A

No can have both

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16
Q

Examples of Sy and Vg

A

Both: fire on a green field, two clouds coming together

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17
Q

Sy

A

Synthesis

distinct and separate objects in a relationship; requires 2+ objects and interaction

two people looking at e/o, a bear climbing a mountain, dogs touching noses, touching, person casting shadow. (NOT underwater scene…there’s fish, rocks, plants)

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18
Q

Vg

A

Vauge

objects with a vague or indistinct outline or boundary; objects that do not have a specific form and the respondent does not communicate any particular form

Ex. blood, water, clouds (NOT when vg associated with form, like fire on tree)

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19
Q

Form quality options

A

o, u, -, n

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20
Q

Is FQ required? Are they mutually exclusie?

A

Yes, required

Mutually exclusive, only code one (When multiple objects are included and they are important to a response, the examiner should “code down.” E.g., if one of the objects would be coded o and the other u, the correct FQ coding for the response would be “u”

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21
Q

o

A

Ordinary

form fit that is relatively frequent and accurate

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22
Q

u

A

Unusual

form fit that is of intermediate frequency, accuracy, or both

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23
Q

-

A

Minus

Form fir that is infrequent and inaccurate

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24
Q

n

A

None

response does not contain an object with a definitive form or outline; impressions based on the color or shading of the ink (common with Vg)

Ex. coal, it’s just black and there’s no particular shape; blood, it’s all red there, shape doesn’t matter; a party, excitement, all the colors and movement all over; just some hunk of fur; some kind of greenish ooze

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25
Q

3 principles of extrapolation

A
  1. Systematic extrapolation from the FQ tables is preferable to independent coder judgement
  2. All FQ extrapolations must share shape and spatial orientation
  3. Extrapolate using the response in its entirety

(if the tables are useless, ask “can I see it quickly and easily”; yes = u, no = -)

26
Q

Content codes: what are they, do you need one, are they mutually exclusive

A
  • They describe “what” is seen in the card.

*Code all the categories that apply but only code each category once per response

  • Must have content code
27
Q

H

A

Human

Whole human, including realistically described religious or historical figures Also code figures described as humans but with non-human parts

Ex.person, baby, fetus, Buddha, man with wings

28
Q

(H)

A

Imaginary, fictional, quasi-, or supernatural whole human

Ex. ghost, giant, human-like monster, demon, fairy, God, clown, angel

29
Q

Hd

A

Human detail, for an incomplete human form but not those percepts better captured as Anatomy

Ex. face, head, leg, mustache

30
Q

(Hd)

A

Imaginary or fictional human detail

Ex. face of the devil, angel’s wings, human-like mask, carved pumpkin face/jack-o-lantern

31
Q

A

A

Whole Animal

butterfly, elephant, bat, insect, pterodactyl, amoeba, a bat with hands

32
Q

(A)

A

Imaginary, fictional, or cartoon whole animal

Ex unicorn, King Kong, Nemo, teddy bear, dragon, animal-like monsters

33
Q

(Ad)

A

(Ad) Imaginary or fictional animal detail

Ex. wings of a dragon, animal mask

34
Q

An

A

Anatomy, for internal body parts and structures that are not visible from the outside; Also for perceptions of anatomy from medical imaging devices, including MRI, PET scan, X-ray, or ultrasound technology; Internal human or animal body parts that are coded An are not also coded Hd or Ad unless external body parts are also included

Ex. pelvis bone, intestines, brain cross-section, lungs, cells, cross section of an organ

35
Q

Art

A

Art, for objects of art or for objects that are, or described as being decorative or ornamental

Ex. paintings, crest, jewelry, ceremonial feathers, a fancy and delicate table

36
Q

Ay

A

Anthropology, for references to a specific historical or cultural context

Ex. Indian arrowhead, Napoleon’s hat, Mongolian yurt, totem pole

37
Q

Bl

A

Blood

38
Q

Cg

A

Clothing

bowtie, dress, boots, hat

39
Q

Ex

A

Explosion

Ex. bomb blast, volcanic eruption, fireworks

40
Q

Fi

A

Fire

Flames, embers, hot lava, smoke

41
Q

Sx

A

Sexual organs

Penis, vagina, see-through dress

42
Q

NC

A

objects and contents that are not classified in other categories, including abstractions like depression and sensory experiences

Ex. cloud, landscape, lamp

43
Q

Popular

A

Look in books, mark P if popular

44
Q

Determinants – and are they required

A

How are you seeing it that way

45
Q

Determinants – Movement

A

Movement has to be in the moment, not past

Can;t be positional (ex. looking at eacother), has to have TENSION

46
Q

M

A

Human Movement

human activity, experience, sensation, and emotion; any experience, activity, or motion that is distinctly human f

Ex. fighting, talking, resting, standing, dreaming, feeling sad, thinking, holding his arms up; bears playing cards

47
Q

FM

A

Animal Movement

animal activity and experience; animal in motion

NOT an animal doing a human movement (not a bear doing the jig)

Ex. bears climbing, fish swimming, a snake stretching, an angry wolf growling, a happy dog wagging its tail

48
Q

m

A

Inanimate Movement mechanical or inorganic movement, including natural forces

Ex. a picture hanging, a rock falling, bleeding, a rocket firing, a hide being stretched, hair sticking up

49
Q

Type of movement

A

Active (anything more active than talking)
- Ex. explosion, fighting, spinning, a person lifting a heavy weight, bird flying; two people sitting at a table debating politics

Passive:
- talking, sitting, resting, gliding, a soft breeze, murmur

Both active and passive: a-p
- multiple objects, some move, and some don’t
- Ex. one person looking on as this person dances

50
Q

FC

A

Form Color

color contributes to a response, but form is dominant

Ex, an inverted carrot, it’s long and tapered with the orange

51
Q

CF

A

Color Form

form contributes to a response, but color is dominant

Ex. an orange carrot, it’ss the right color and it’s kinda shaped like one

52
Q

C

A

color

determines a response without form playing a part

it’s like abstract art that represents the taste of a carrot, just an orange color

53
Q

C’

A

Achromatic Color

black, grey, or white color of the ink contributes to the response

Ex. a white ghost, a grey bug, an eclipse b/c the sun is black with a white edge

54
Q

Color – what if multiple objects?

A

only one chromatic
code, code the least
form dominant

55
Q

Shading – how communicated

A

Shading com. by touch or
verbal.

56
Q

Shading – how many can you code

A

*can code multiple

57
Q

Does shading for countor count

A

*shading
to contour
doesn’t count

58
Q

T

A

Texture

light and dark ink gradations contribute to a response and contribute to a tactile quality

Ex. a soft blanket, a furry pelt

59
Q

V

A

Vista

light and dark ink gradations contribute to a response and contribute to a perception of depth or dimensionality

Ex. a canyon in the darkness there, the shading makes it look like you are seeing through a fog

60
Q

Y

A

Diffuse Shading

light and dark ink gradations contribute to a response but do not contribute to a tactile impression or sense of depth

Ex. an X-ray because of the different shades of gray

61
Q

Shading: V vs Y vs T

A

Rorschach (12 decks)

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