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1
Sitton, R. "Flexibility in young children's human figure drawings." Thesis, University of Southampton, 1988. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.382878.
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Hsu, Chen-Yu Ph D. Massachusetts Institute of Technology. "Capturing the human figure through a wall." Thesis, Massachusetts Institute of Technology, 2017. http://hdl.handle.net/1721.1/108978.
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Thesis: S.M. in Computer Science and Engineering, Massachusetts Institute of Technology, Department of Electrical Engineering and Computer Science, 2017.Cataloged from PDF version of thesis.
Includes bibliographical references (pages 49-53).
We present RF-Capture, a system that captures the human figure - i.e., a coarse skeleton - through a wall. RF-Capture tracks the 3D positions of a person's limbs and body parts even when the person is fully occluded from its sensor, and does so without placing any markers on the subject's body. In designing RF-Capture, we built on recent advances in wireless research, which have shown that certain radio frequency (RF) signals can traverse walls and reflect off the human body, allowing for the detection of human motion through walls. In contrast to these past systems which abstract the entire human body as a single point and find the overall location of that point through walls, we show how we can reconstruct various human body parts and stitch them together to capture the human figure. We built a prototype of RF-Capture and tested it on 15 subjects. Our results show that the system can capture a representative human figure through walls and use it to distinguish between various users.
by Chen-Yu Hsu.
S.M. in Computer Science and Engineering
3
Papazoglou, Iouliaa. "Strategies of contrast in children's human figure drawings." Thesis, University of Surrey, 2010. http://epubs.surrey.ac.uk/804653/.
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Fredholm, Tilde. "Digital Figurations : The Human Figure as Cinematic Concept." Thesis, Stockholms universitet, Filmvetenskap, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-131474.
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Mainstream cinema is to an ever-increasing degree deploying digital imaging technologies to work with the human form; expanding on it, morphing its features, or providing new ways of presenting it. This has prompted theories of simulation and virtualisation to explore the cultural and aesthetic implications, anxieties, and possibilities of a loss of the ‘real’ – in turn often defined in terms of the photographic trace. This thesis wants to provide another perspective. Following instead some recent imperatives in art-theory, this study looks to introduce and expand on the notion of the human figure, as pertaining to processes of figuration rather than (only) representation. The notion of the figure and figuration have an extended history in the fields of hermeneutics, aesthetics, and philosophy, through which they have come to stand for particular theories and methodologies with regards to images and their communication of meaning. This objective of this study is to appropriate these for film-theory, culminating in two case-studies to demonstrate how formal parameters present and organise ideas of the body and the human. The aim is to develop a material approach to contemporary digital practices, where bodies have not ceased to matter but are framed in new ways by new technologies.
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Larkin, Pamela Marie. "A universal and personal art through tradition and invention /." Online version of thesis, 1990. http://hdl.handle.net/1850/10883.
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Densley, Daniel Joseph. "Methods towards achieving emotional figure animation." Thesis, University of Bath, 1998. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.268207.
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Johnes, Jonathan R. "Human movement the transition of people through space and time /." Muncie, Ind. : Ball State University, 2008. http://cardinalscholar.bsu.edu/378.
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Jasek, Megan Cathleen. "Building an interactive occupant packaging model with human figure." Thesis, Massachusetts Institute of Technology, 1995. http://hdl.handle.net/1721.1/37778.
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Thesis (M. Eng.)--Massachusetts Institute of Technology, Dept. of Electrical Engineering and Computer Science, 1995.Includes bibliographical references (p. 91-93).
by Megan Cathleen Jasek.
M.Eng.
9
Singh, Karansher. "Realistic Human Figure Synthesis and Animation for VR Applications /." The Ohio State University, 1995. http://rave.ohiolink.edu/etdc/view?acc_num=osu148793151261895.
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Souza, Borges Raquel. "Human figure as automaton : directing as gesture as painting." Thesis, University of Reading, 2016. http://centaur.reading.ac.uk/69931/.
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Talevski, Lubo. "The mind's eye /." Online version of thesis, 1993. http://hdl.handle.net/1850/11774.
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Miller, Julie M. J. "Relationship of human figure drawing with executive functioning and achievement /." Online version of thesis, 2007. http://hdl.handle.net/1850/5404.
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Coelho, Ricardo [UNESP]. "Entre o corpo da obra e o corpo do observador." Universidade Estadual Paulista (UNESP), 2015. http://hdl.handle.net/11449/132181.
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000853009.pdf: 85764603 bytes, checksum: defa6687684bd8e63b3bcc325361ca7b (MD5)O corpo humano no Ocidente é, sem dúvida alguma, desde as primeiras manifestações expressivas da humanidade, o tema mais recorrente na história das representações, inclusive no campo privilegiado das artes visuais, no lapso que vai da Grécia no século VI a.C. até a Arte Contemporânea, período abordado de modo sincrônico no presente estudo. Nosso objetivo principal foi a analise das relações que se estabelecem entre o corpo da obra (sempre tomada como representação) e o corpo do observador no momento da fruição estética. Essa relação, inerente ao fenômeno artístico, altera-se a cada contexto em função de uma complexa rede de significações, as quais não se restringem às especificidades das linguagens expressivas. Por isso, foi determinante considerar o fato de que o espaço entre o corpo da obra e o corpo do observador - assim como o espaço que separa o leitor (observador) e o presente texto (obra) nesse momento - também é preenchido virtualmente por suas experiências pessoais e pelas diversas representações que se fazem do corpo no complexo cenário sociocultural. Em outras palavras, além das representações específicas ao campo das artes visuais, foi necessário considerar e abordar algumas das múltiplas dimensões da cultura expressas nas representação sociais, políticas, religiosas, jurídicas, médicas, científicas e sexuais do corpo. Essa decisão se deve ao fato de considerarmos que entre o observador e qualquer obra há um espaço virtual povoado por suas experiências pessoais e pelas demais representações produzidas no universo da cultura. O corpo através de seus sentidos, a obra em sua autonomia e esse espaço carregado de significações deslizantes formam uma orgânica e complexa rede, como se estivéssemos no centro de uma cidade onde interações locais podem levar a uma ordem global mais complexa
Since the first expressive demonstrations of humanity, the human body is certainly the most recurrent subject in the history of representations in the West, from the 6th century B.C in Greece to Contemporary Art, period approached of synchronous mode in this study. Our main objective was to analyze the relations established between the body of the work (always taken as a representation) and the body of the observer at the time of the aesthetic fruition. This relationship inherent to the artistic phenomenon, changes in each context, depending of a complex network of meanings, which are not restricted to the specificities of expressive languages. Therefore, it was important to consider the fact that the space between the body of the work and the body of the observer - as well as the space that separate the reader (observer) and this text (work) at the moment - is also virtually filled by their personal experiences and the several representations, which make the body in the complex sociocultural setting. In other words, more than specific representations of visual arts field, it was necessary to consider and to approach some of the multiple dimensions of culture, expressed in social, political, religious, legal, medical, scientific and sexual representation of the body. This decision is due to our consideration that there is a virtual space inhabited by their personal experiences and by other representations produced in the cultural universe between the observer and any work. The body through its feelings, the work on its autonomy and the space, full of sliding meaning, form an organic and complex network, as if we were the center of a city where local interactions can lead to a more complex global order
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Coelho, Ricardo. "Entre o corpo da obra e o corpo do observador /." São Paulo, 2015. http://hdl.handle.net/11449/132181.
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Orientador: Milton Terumitsu SogabeBanca: José Leonardo do Nascimento
Banca: José Paiani Spaniol
Banca: Jorge Sidney Coli Júnior
Banca: Sérgio Niculitcheff
Resumo: O corpo humano no Ocidente é, sem dúvida alguma, desde as primeiras manifestações expressivas da humanidade, o tema mais recorrente na história das representações, inclusive no campo privilegiado das artes visuais, no lapso que vai da Grécia no século VI a.C. até a Arte Contemporânea, período abordado de modo sincrônico no presente estudo. Nosso objetivo principal foi a analise das relações que se estabelecem entre o corpo da obra (sempre tomada como representação) e o corpo do observador no momento da fruição estética. Essa relação, inerente ao fenômeno artístico, altera-se a cada contexto em função de uma complexa rede de significações, as quais não se restringem às especificidades das linguagens expressivas. Por isso, foi determinante considerar o fato de que o espaço entre o corpo da obra e o corpo do observador - assim como o espaço que separa o leitor (observador) e o presente texto (obra) nesse momento - também é preenchido virtualmente por suas experiências pessoais e pelas diversas representações que se fazem do corpo no complexo cenário sociocultural. Em outras palavras, além das representações específicas ao campo das artes visuais, foi necessário considerar e abordar algumas das múltiplas dimensões da cultura expressas nas representação sociais, políticas, religiosas, jurídicas, médicas, científicas e sexuais do corpo. Essa decisão se deve ao fato de considerarmos que entre o observador e qualquer obra há um espaço virtual povoado por suas experiências pessoais e pelas demais representações produzidas no universo da cultura. O corpo através de seus sentidos, a obra em sua autonomia e esse espaço carregado de significações deslizantes formam uma orgânica e complexa rede, como se estivéssemos no centro de uma cidade onde interações locais podem levar a uma ordem global mais complexa
Abstract: Since the first expressive demonstrations of humanity, the human body is certainly the most recurrent subject in the history of representations in the West, from the 6th century B.C in Greece to Contemporary Art, period approached of synchronous mode in this study. Our main objective was to analyze the relations established between the body of the work (always taken as a representation) and the body of the observer at the time of the aesthetic fruition. This relationship inherent to the artistic phenomenon, changes in each context, depending of a complex network of meanings, which are not restricted to the specificities of expressive languages. Therefore, it was important to consider the fact that the space between the body of the work and the body of the observer - as well as the space that separate the reader (observer) and this text (work) at the moment - is also virtually filled by their personal experiences and the several representations, which make the body in the complex sociocultural setting. In other words, more than specific representations of visual arts field, it was necessary to consider and to approach some of the multiple dimensions of culture, expressed in social, political, religious, legal, medical, scientific and sexual representation of the body. This decision is due to our consideration that there is a virtual space inhabited by their personal experiences and by other representations produced in the cultural universe between the observer and any work. The body through its feelings, the work on its autonomy and the space, full of sliding meaning, form an organic and complex network, as if we were the center of a city where local interactions can lead to a more complex global order
Doutor
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Grace, Mauree Art College of Fine Arts UNSW. "Expression of human emotion as an aspect of timelessness in single figure painting." Publisher:University of New South Wales. Art, 2009. http://handle.unsw.edu.au/1959.4/43657.
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This MFA project aims to express a particular range of emotions in an attempt to convey a sense of timelessness through a series of single figure paintings done from life. This project derives from an interest in exploring the concept of timelessness. Jean Baptiste Simeon Chardin's Little Girl with Shuttlecock, 1737, gave me the idea to convey timelessness figuratively. The project has employed some of the strategies established by both Chardin and Johannes Vermeer's single figure paintings in relation to composition and design, colour and tone, the brush mark and the narrative. Nevertheless, the expression of stillness is vital in conveying a sense of timelessness.
16
Chou, Pei-Yung. "Striking visual contrasts /." Online version of thesis, 1990. http://hdl.handle.net/1850/10961.
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Patrick, Hugh Alton Jr. "An Empirical Evaluation of Human Figure Tracking Using Switching Linear Models." Thesis, Georgia Institute of Technology, 2004. http://hdl.handle.net/1853/4838.
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One of the difficulties of human figure tracking is that humans move their bodies in complex, non-linear ways. An effective computational model of human motion could therefore be of great benefit in figure tracking. We are interested in the use of a class of dynamic models called switching linear dynamic systems for figure tracking.
This thesis makes two contributions. First, we present an empirical analysis of some of the technical issues involved with applying linear dynamic systems to figure tracking. The lack of high-level theory in this area makes this type of empirical study valuable and necessary. We show that sensitivity of these models to perturbations in input is a central issue in their application to figure tracking. We also compare different types of LDS models and identification algorithms.
Second, we describe 2-DAFT, a flexible software framework we have created for figure tracking. 2-DAFT encapsulates data and code involved in different parts of the tracking problem in a number of modules. This architecture leads to flexibility and makes it easy to implement new tracking algorithms.
18
Casanueva, Luis. "Minimal motion capture with inverse kinematics for articulated human figure animation." Thesis, Rhodes University, 2000. http://hdl.handle.net/10962/d1006485.
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Animating an articulated figure usually requires expensive hardware in terms of motion capture equipment, processing power and rendering power. This implies a high cost system and thus eliminates the use of personal computers to drive avatars in virtual environments. We propose a system to animate an articulated human upper body in real-time, using minimal motion capture trackers to provide position and orientation for the limbs. The system has to drive an avatar in a virtual environment on a low-end computer. The cost of the motion capture equipment must be relatively low (hence the use of minimal trackers). We discuss the various types of motion capture equipment and decide to use electromagnetic trackers which are adequate for our requirements while being reasonably priced. We also discuss the use of inverse kinematics to solve for the articulated chains making up the topology of the articulated figure. Furthermore, we offer a method to describe articulated chains as well as a process to specify the reach of up to four link chains with various levels of redundancy for use in articulated figures. We then provide various types of constraints to reduce the redundancy of non-defined articulated chains, specifically for chains found in an articulated human upper body. Such methods include a way to solve for the redundancy in the orientation of the neck link, as well as three different methods to solve the redundancy of the articulated human arm. The first method involves eliminating a degree of freedom from the chain, thus reducing its redundancy. The second method calculates the elevation angle of the elbow position from the elevation angle of the hand. The third method determines the actual position of the elbow from an average of previous positions of the elbow according to the position and orientation of the hand. The previous positions of the elbow are captured during the calibration process. The redundancy of the neck is easily solved due to the small amount of redundancy in the chain. When solving the arm, the first method which should give a perfect result in theory, gives a poor result in practice due to the limitations of both the motion capture equipment and the design. The second method provides an adequate result for the position of the redundant elbow in most cases although fails in some cases. Still it benefits from a simple approach as well as very little need for calibration. The third method provides the most accurate method of the three for the position of the redundant elbow although it also fails in some cases. This method however requires a long calibration session for each user. The last two methods allow for the calibration data to be used in latter session, thus reducing considerably the calibration required. In combination with a virtual reality system, these processes allow for the real-time animation of an articulated figure to drive avatars in virtual environments or for low quality animation on a low-end computer.
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Barros, Maria de Fatima Estelita. "Canto como expressão de uma individualidade." [s.n.], 2005. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284392.
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Orientador: Sara Pereira LopesTese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Este trabalho busca refletir sobre a questão da percepção corporal na formação do cantor e na construção da expressividade na prática do canto. Apoia-se na ideia de que cada corpo carrega sua história e que o canto se faz na materialidade da voz moldada pelos movimentos desse corpo. Procurando resgatar a conexão entre corpo e emoção/pensamento/sentimento, num processo de ampliação da sensibilidade, da motilidade, da escuta do corpo, são associadas práticas em Educação Somática, em particular a Técnica Klauss Vianna, como possível metodologia para "dar um corpo" ao cantor. Busca-se ainda refletir sobre como essa associação pode contribuir para o desenvolvimento de aspectos específicos do trabalho do cantor, como a melhora da técnica, a saúde vocal e o desenvolvimento das capacidades expressivas adotando uma abordagem somática para o trabalho do cantor
Abstract: The objective of this work is to discuss the body awareness in the singer development and the expressivity building in singing. It is based on the idea that each body has its own history and that the act of singing is constructed in the voice materiality shaped by the movements of the body. Some practices in Somatic Education are combined, especially Klauss Vianna Technic, as a methodology to "give a body" to the singer. It aims to rescue the connection between the body and the emotion/thoughts/feelings, in a process that broads the sensibility, the motility and the "body hearing". Additionally, this thesis intends to discuss how this combination of some practices in Somatic Education can contribute to the development of specific aspects of the singer work, such as the improvement of the technic, vocal health and development of expressive capabilities
Doutorado
Artes Cenicas
Doutor em Artes
20
Júnior, Edson Pereira da Costa. "A figura humana no cinema: matéria, desejo e comunidade." Universidade de São Paulo, 2018. http://www.teses.usp.br/teses/disponiveis/27/27161/tde-11092018-164717/.
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O corpo no cinema está associado a uma ausência. A imagem apresenta um ser humano filmado em outro espaço, outro tempo. O contraste evidente é com o teatro, a dança e a performance, artes nas quais o espectador geralmente está diante de um corpo físico. Surge, então, um questionamento: seria possível, e em que termos, falar de uma materialidade da figura humana cinematográfica? A tese esboça uma resposta ao investigar os modos de presença do corpo, com ênfase em sua forma plástica, seu desejo e sua dimensão coletiva. O debate tem como eixo filmes de Philippe Grandrieux, Tsai Ming-liang, João Pedro Rodrigues, Claire Denis e Pedro Costa. A obra destes realizadores é discutida em cotejo com um heterogêneo repertório iconográfico, sobretudo fílmico e pictórico. A hipótese defendida é a de que a gênese, o significado e a pregnância da figura humana são dependentes de um tipo de circularidade manifesta na imagem cinematográfica, seja por sua natureza plástica, seja pela rede de interação entre corpos, seres inanimados e espaços.The body in cinema refers to an absence. The image presents a human being filmed in another time, another place. The difference is remarkable in the face of theater, dance and performance, arts in which the spectator is usually in the presence of a physical body. The question that arises is: how it would be possible to speak of a materiality of the cinematographic human figure? In order to answer this question, the thesis investigates modes of body\'s presence, highlighting its plastic shape, desires and collective dimension. The debate is made from films of Philippe Grandrieux, Tsai Ming-liang, João Pedro Rodrigues, Claire Denis and Pedro Costa. The work of these directors is discussed in comparison with an iconographic repertory, especially film and pictorial. The hypothesis defended is that the genesis, meaning and impregnation of the human figure are dependent on a kind of circularity manifest in the cinematographic image by the plasticity or by the interaction between bodies, inanimate beings and spaces.
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Drake, Scott, and n/a. "A well-composed body: anthropomorphism in architecture." University of Canberra. Design & Architecture, 2003. http://erl.canberra.edu.au./public/adt-AUC20060713.101839.
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Since the writings of Vitruvius in the first century AD, the use of the human body as a
metaphorical and symbolic referent has provided what is perhaps the most prolific trope for
architectural theory. The image of �Vitruvian Man,� with limbs outstretched to touch the
circle drawn from its navel, took on particular significance during the Renaissance, as
architects such as Alberti, Filarete, di Giorgio, Colonna, and Serlio published their own
interpretations of Vitruvius� Ten Books. For these writers, the body, as microcosm, was
the best available means for representing the order of the cosmos, the world as a whole.
Yet just as the idea of the body as architectural referent was being reinterpreted, the body
itself was being transformed by Renaissance anatomy. The unity and integrity of the body
was jeopardised as anatomists studied the body through the dissection of corpses. The
published results of these studies, the most notable being Vesalius� De Humani Corporis
Fabrica, were highly influential, with the anatomical methods of observation and partition
emerging as the fundamental tenets of modern science. Several centuries later, the
transformation of the body from a symbol of the world to an object amenable to scientific
observation and control was all but fully realised, as the discoveries of Pasteur were put to
use in the conquest of disease. These changing medical conceptions of the body led to
concomitant transformations of the sense of self, as the body as object was increasingly
divorced from the operations of the mind, in both its conscious and unconscious forms.
This thesis will examine how these changing conceptions of the human body have been
interpreted within architectural theory since Vitruvius. Beginning with the idea of ornament
as trope of sacrifice, it will examine how interpretations of the relation between the body as
whole and as part have affected ideas of architectural composition. Further, it will examine
the ethical implications of the trope of building as body, such that a building which reflects
the proportions of a �well-composed� body (Francesco di Giorgio), is itself an injunction to
�composure,� or appropriate behaviour. It will argue that modern architecture, while
rejecting classical anthropomorphism, was nonetheless influenced by ideas and practices
arising from anatomy. Then, in contrast to the object-body of anatomy, the thesis will
examine phenomenological and hermeneutical conceptions of the body, which interpret the
body as lived. From Merleau-Ponty�s study of perception to Scarry�s reading of the
significance of pain, the contribution of the body to the sense of self will be explored, giving
rise to a renewed conception of anthropomorphism as the manifestation not only of human
form, but of human sentience. Further, to the modern fragmentation of both the body and
architecture will be opposed integrative strategies of selfhood, such as the formation of
narrative identity (Ricoeur), the engagement with a community through practice (MacIntyre),
and the idea of the �monstrous� body (Frascari). These strategies will be used to explore
ways in which the form of the body can be understood other than in purely material terms,
and how this is translated into architecture.
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Burger, Reinhart. "Human figure drawings and the general mental development of South African children." Thesis, Nelson Mandela Metropolitan University, 2011. http://hdl.handle.net/10948/d1008068.
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This quantitative exploratory-descriptive study investigated the value of human figure drawing (HFD) tests for developmental testing in the South African context. Due to their characteristics such tests may be particularly suitable to screen for developmental delays in the local South African context. The objectives of the research were to explore and describe the standardized HFD scores and Griffiths Mental Development Scales – Extended Revised (GMDS-ER) general quotients (GQ) of the sample; to investigate whether a relationship exists between the standardized HFD scores and GQs; and to investigate the strength and directionality of this relationship if it was found to exist in the sample. Relevant literature was discussed and an integration of key constructs was provided. The research sample consisted of 30 GMDS-ER protocols collected at a University Psychology Clinic in the Nelson Mandela metropol, Eastern Cape, South Africa. The HFDs of the Draw-a-person items of the GMDS-ER protocols were scored according to the scoring criteria of the Draw-a-Person Intellectual Ability Test for Children, Adolescents, and Adults (DAP: IQ). Key findings included the following: a statistically significant large positive correlation indicative of a marked relationship existed between standardized HFD scores and GQs. The DAP: IQ might provide a better indication of mental development than intellectual ability. A statistically significant medium positive correlation indicative of a small but definite relationship existed between chronological age and HFD raw scores. In conclusion, the findings suggest that HFDs follow a developmental progression and that HFD tests may be useful in developmental testing.
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Favier, Anne. "Reconvocations, effacements, résistances de la figure." Phd thesis, Université Jean Monnet - Saint-Etienne, 2013. http://tel.archives-ouvertes.fr/tel-01011402.
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Cette thèse propose une réflexion sur la représentation de la figure humaine au-delà de la " ressemblance cadavérique " présumée par Maurice Blanchot. Nous interrogeons les appels à figurer la figure humaine dans diverses formulations et configurations iconoplastiques, par les moyens associés de la peinture et de la photographie, à partir d'un corpus de postures plastiques contemporaines. Comment la figure humaine se donne-t-elle à figurer pour déborder la seule figuration ? Il est aussi question de reconvocation puisque les œuvres étudiées procèdent de reprises, transferts, reconductions, revenances.Les êtres blanchis peints par Jean Marc Cerino, les portraits flous et dérobés de Gerhard Richter, un ensemble d'autoportraits photographiques assourdis de Jacques Damez, les Faces grimaçantes et les Masques Mortuaires rehaussés d'Arnulf Rainer, les défunts dévoilés et photographiés en gros plan par Andres Serrano et les faces surfacées peintes par Anthony Vérot ouvrent des analyses poïétiques et esthétiques qui nous amènent à distinguer deux voies de l'effacement : l'affaiblissement et tout autant la surenchère. Visibilités défectives ou exacerbées ? Deux pôles se succèdent et articulent la tension dialectique de la donation et du retrait : " figures affaiblies " / " figures excessives ". Figurer c'est opérer par distanciation, retrait, passage, dissimulation, déplacement. Ce travail de recherche relève des rapports de force qui travaillent les figures résistantes à leurs oblitérations mais aussi à toutes tentatives de dévoilement. Ces détours étudiés signalent les infigurables qui se désistent : le visage, l'être, l'autre, soi-même, la mort.
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Fernández, Dávila Percy, and Daniel Ávila. "lndicators of homosexuality in the Human Figure Test: comparison between homosexual and heterosexual men." Pontificia Universidad Católica del Perú, 2013. http://repositorio.pucp.edu.pe/index/handle/123456789/100939.
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This study reviews graphic indicators (GI) of homosexuality in the Human Figure Drawing Test (HFDT) which have been described in various texts on projective tests. 36 homosexual and 30 heterosexual men were enrolled, all middle-class and aged 18-50. Each participan! drew three figures (man, woman and themselves). Information from the literature, the Gis from the study, and the expertise of a group of psychologists concerning which Gis describe homosexuality in HFDTs were analyzed. Results show that large differences do not exist between Gis of drawings by homosexual men and heterosexual men. However, three characteristic indicators were found in the drawings of homosexual men (Semi-Nude Female and Self Figures, Female Figure with Cupid Arch Mouth, and Self Figure with Large/ Emphasized Eyes) and one indicator in those by heterosexual males (Male Figure with Empty Eyes). Almost al! of the Gis found in the literature fail to describe homosexuality and that clinicians continue to be influenced by stereotypic conceptions of homosexuality.El estudio revisa los indicadores gráficos (IG) sobre homosexualidad en el Dibujo de la Figura Humana descritos en diversos textos sobre pruebas proyectivas. Participaron 36 hombres homosexuales y 30 hombres heterosexuales de clase media (18-50 años), quienes realizaron tres dibujos (hombre, mujer y sí mismo). Se analizaron los IG resultantes del estudio, la información de la literatura y lo que señalan un grupo de psicólogos sobre los IG que describen homosexualidad. Los resultados revelan que no existen mayores diferencias entre los IG de los dibujos de los hombres homosexuales y de los heterosexuales; sólo se encontraron tres indicadores característicos en los hombres homosexuales (Boca Arco de Cupido en la Figura Femenina, Ojos Grandes/Remarcados en la Figura Sí Mismo y Figura Semidesnuda en las figuras Femenina y Sí Mismo) y un indicador en los hombres heterosexuales (Ojos Vacíos en la Figura Masculina). Casi todos los IG que señala la literatura no resultan válidos para describir las homosexualidades y los clínicos manejan concepciones estereotipadas sobre la homosexualidad.
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Peres, Carolina [UNESP]. "Fonte: corpo, água e luz." Universidade Estadual Paulista (UNESP), 2015. http://hdl.handle.net/11449/132018.
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Esta pesquisa surge da reflexão sobre uma experiência pessoal em fotografia baseada no uso de duas câmeras fotográficas diferentes. As características destes aparatos, impressas na imagem, gerou um questionamento o qual serviu de motivação ao aprofundamento no tema do dispositivo fotográfico e da poética da imagem. A pesquisa se desenvolve pela via teórico-prática, sendo que é neste contexto que ocorre a criação do trabalho fotográfico Fonte. As questões referentes ao dispositivo fotográfico, analisadas sob a perspectiva de Vilém Flusser e Gilbert Simondon, servem como fio condutor para uma reflexão do processo criativo, onde se evidenciam elementos como a poética, a relação corporal entre fotógrafo e câmera e a construção de narrativas
This research arises from a reflection on a personal photography experience based on using two different cameras. The characteristics of these devices, printed on image, generated a questioning which served as motivation to deepen the theme of the photographic device and poetic of image. The research develops through theoretical and practical way, and it is in this context that takes place the creation of the photographic work Fonte. The issues related to the photographic device, analyzed from the perspective of Vilém Flusser and Gilbert Simondon, serve as a guide to reflect the creative process, to make evident elements like poetic, body relationship between photographer and camera and the construction of narratives
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Peres, Carolina 1977. "Fonte : corpo, água e luz /." São Paulo, 2015. http://hdl.handle.net/11449/132018.
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Orientador: Milton Terumitsu SogabeBanca: Antonio José Saggese
Banca: Cecília Almeida Salles
Resumo: Esta pesquisa surge da reflexão sobre uma experiência pessoal em fotografia baseada no uso de duas câmeras fotográficas diferentes. As características destes aparatos, impressas na imagem, gerou um questionamento o qual serviu de motivação ao aprofundamento no tema do dispositivo fotográfico e da poética da imagem. A pesquisa se desenvolve pela via teórico-prática, sendo que é neste contexto que ocorre a criação do trabalho fotográfico "Fonte". As questões referentes ao dispositivo fotográfico, analisadas sob a perspectiva de Vilém Flusser e Gilbert Simondon, servem como fio condutor para uma reflexão do processo criativo, onde se evidenciam elementos como a poética, a relação corporal entre fotógrafo e câmera e a construção de narrativas
Abstract: This research arises from a reflection on a personal photography experience based on using two different cameras. The characteristics of these devices, printed on image, generated a questioning which served as motivation to deepen the theme of the photographic device and poetic of image. The research develops through theoretical and practical way, and it is in this context that takes place the creation of the photographic work "Fonte". The issues related to the photographic device, analyzed from the perspective of Vilém Flusser and Gilbert Simondon, serve as a guide to reflect the creative process, to make evident elements like poetic, body relationship between photographer and camera and the construction of narratives
Mestre
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Connor, Tenielle. "The body as a canvas : a non-permanent form of body art inspired by body adornment practices." Thesis, Cape Peninsula University of Technology, 2010. http://hdl.handle.net/20.500.11838/1439.
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Thesis (BTech (Surface Design))--Cape Peninsula University of Technology, 2010Forms of body adornment and scarification practices have been around since the origin of mankind. Many forms of traditional body adornment have evolved overtime and still exist within our mainstream society today, however examples of recent body adornments, show that although still very much in practice, in many cases the meaning has been lost. The motivational routes of western adornments are today based on what looks good as apposed to a ritual or right of passage that marks one's body for life. Therefore, the aim of this dissertation is to share the value of representation with the viewer - as representation has played, and continues to play, such an important role within the social aspect of mankind. Bycreating a link between traditional practices of African body adornmentl scarification and connecting these with body expression and representation within my own sub-cultural context, I hope to create awareness of body adornment throughout time. Finally the practical component of this research will consist of a portfolio of different photographs and videos documenting the process and completion of adorning different female bodies. These works of art will be traditionally inspired, nonpermanent three-dimensional body art that will also undoubtedly represent selfexpression and comment on 'trendv' sub-cultural society. As Idocument my progress and work it is hoped that I portray in a conceptual framework, a life cycle that comments on the evolution of culture from rural to urban, and from traditional to Western, and how Western lifestyle is diluting our social being with trends rather than using the method of body adornment as a cultural conversation.
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Wood, Becca. "Foreign body this exegesis is submitted to Auckland University of Technology for the degree of Bachelor in Art and Design, Honours (Spatial Design) , October 2008 /." Abstract. Full exegesis, 2008.
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Exegesis (BA--Art and Design) -- AUT University, 2008.Includes bibliographical references. Also held in print (59 leaves : ill. ; 29 cm + 1 DVD (4 3/4 in.)) in City Campus Theses Collection (T 791.436561 WOO)
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Lim, Hui Keow. "Comparison of human figure drawings by children with Asperger's syndrome and typically developing children /." [St. Lucia, Qld.], 2006. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe19383.pdf.
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Sanguinetti, Joseph LaCoste. "The Dynamics Of Perceptual Organization In The Human Visual System; Competition In Time." Diss., The University of Arizona, 2014. http://hdl.handle.net/10150/333347.
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The visual system receives a series of fluctuating light patterns on the retina, yet visual perception is strikingly different from this unorganized and ambiguous input. Thus visual processes must organize the input into coherent units, or objects, and segregate them from others. These processes, collectively called perceptual organization, are fundamental to our ability to perceive and interact with objects in the world. Nevertheless, they are not yet understood, perhaps because serial, hierarchical assumptions that were long held impeded progress. In a series of experiments, this dissertation investigated the mechanisms that contribute to perceptual organization and ultimately to our ability to perceive objects. A new hypothesis is that during the course of object assignment potential objects on either side of a border are accessed on a fast pass of processing and engage in inhibitory competition for object status; the winner is perceived as the object and the loser is suppressed, leading that region to be seen as part of the shapeless background. Previous research suggested that at least shape level representations are accessed on the fast pass of processing before object assignment. In the first series of experiments (Chapter 1), we found that meaning (semantics) is also accessed on the fast pass of processing for regions that are ultimately perceived as shapeless grounds. This finding contradicts traditional feed-forward theories of perception that assumed that meaning is accessed only for figures after object assignment. The experiments in Chapter 2 examine activity in the alpha band of the EEG, which has been used as an index of inhibition. More alpha activity was observed when participants viewed stimuli designed such that there was more competition for figural status from the region ultimately perceived as the ground. The results support the proposal that inhibitory competition occurs during the course of object perception, and these results are the first online measure of competition during figure assignment. The final series of experiments (Chapter 3) investigated how quickly saccadic behaviors that required perceptual organization can be initiated. The experiments show that participants can initiate saccades that are based on perceptual organization approximately 200 ms after stimulus onset, much faster than was assumed on feed-forward models of perception. Collectively, these experiment support models of object perception that involve the mutual interaction and competition of objects properties via feedforward and iterative feedback processing, and the eventual suppression of the losing ground regions before object assignment.
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Spiegl, Ondrej. "The effects of different figure skating boots on the human body during the landing impact. : A comparison between two figure skating boots, Edea and Graf." Thesis, Gymnastik- och idrottshögskolan, GIH, Institutionen för idrotts- och hälsovetenskap, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:gih:diva-4586.
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Aim: The purpose of this research was to investigate the effects of different figure skating boots on kinetic and kinematic properties of the landing impact. The focus was on the vertical ground reaction force (VGRF) and kinematic differences between the examined boots duringthe landing impact as well as the material and construction design differences between the boots. The hypothesis was that different figure skating boots (Graf Edmonton and Edea Concerto) differently affect the VGRF and kinematics during the landing impact so some figure skating boots may reduce the impact at landing and could therefore possibly prevent injuries. Method: Six subjects each simulated figure skating landings wearing two different types ofskates from two different heights, on artificial ice. Differences were investigated between the boots in angular position of individual body segments and in the VGRF that acts between the skate and a force platform underneath a plastic ice surface, as well as the force which acts between the skate and the foot. The landings were examined with a Pedar-X in-shoe pressure measuring system, a Kistler force plate and a Qualysis motion capture system. The obtained values of each variable were statistically compared between the boots using SPSS. Results: Statistically significant (p≤0.05) differences between the boots were seen in the degree of right ankle and knee joint flexion during the initial landing impact, in the degree of right ankle joint peak flexion, as well as in the force magnitude experienced by the right foot during the landing impacts as well as for the area under the max force-time curve. Furthermore, differences were seen in the construction design, materials, sizes of the outsole and in the stiffness. Conclusions: This research suggests there are differences in lower extremity VGRF and kinematic effects of landing impact when using different boots. It also suggests that some figure skating boots reduce the loading on the human body during the landing impacts more than others and therefore could help in preventing injuries.
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Tsingarida, Athéna. "Anatomy and poses of the human figure in Attic art from the last quarter of the sixth to the first quarter of the fifth centuries B.C." Thesis, University of Oxford, 1997. http://ora.ox.ac.uk/objects/uuid:f3d9cb4a-3f9d-49f4-947d-58127044691f.
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This thesis examines the extent to which a more accurate representation of the human body is developed from the last decades of the sixth century, and the reasons for this development. A sound knowledge of clinical anatomy is used to analyse closely the rendering of features and trace the way the Greek artist looked at his model. The study covers different media found in Attica (vases, sculpture in marble or in poros, bronzes, and terracottas) and shows that artists try to render the human body accurately in all, although the pace of development varies according to the cost, subject and technique used (painting, carving, casting, modelling). This move away from the conventional representation reflects a close observation of the life model even though the human figure is still rendered according to idealized proportions and features. In order to explain this change, literary evidence is gathered to reconstruct the knowledge of human anatomy and body at the time. A rich anatomical vocabulary is already developed in the Iliad and the Odyssey but is used in descriptions which combine imagination and reality, whereas, from the last decades of the sixth century, the extant philosophical and (slightly later) medical texts reflect a growing concern with anatomical features and internal organs in order to distinguish the human from the animal. This new approach may have influenced the way contemporary artists looked at, and represented the human figure, since it is probable that they knew these theories either from lay-texts, which often reproduce passages of philosophical or medical treatises, or from public lectures and readings.
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Musarra, Fábio Luiz Livramento Barretto. "A concepção e criação do caractere tridimensional: metodologia da criação e desenvolvimento de personagens tridimensionais para games." Pontifícia Universidade Católica de São Paulo, 2011. https://tede2.pucsp.br/handle/handle/18078.
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Previous issue date: 2011-06-15This research investigates the artistic-ontological fundaments of the Human Figure conception, choosing its history and describing the thematically evolution which tangents the human being image conception. Analyzing the evolution process in the paintings and Greek sculpture, discusses its influences in works from the Masters of the Renaissance, who are considered as the source of current concepts in the tridimensional modeling area of the human figure. From this context, the ontological properties are organized and they regulate the modeling of the human figure inside the digital environment of the tridimensional modeling software, based in a derivative pragmatic of a tophilosophical position. Inside this perspective introduces and defines the concept of the character, establishing it to the methodological process of the tridimensional modeling of the human figure. As the object of this research, it is dedicated the sequential and normative exposition of a character modeling, structuring its steps and its ontological organization from its conceptual properties, showing its connection and fundament in the tradition of the Renaissance Masters. It is accomplished the application of the concept of tridimensional modeling of characters in the presentation of digital artists innovation in the current representation of the human figure, which suits as a base to the tridimensional to the composition of games and metaverses characters. It concludes with the exposition and proposal of a pragmatic that can guide the character modeling to the Digital Design of Interactive Environments
A pesquisa investiga os fundamentos ontológico-artísticos da concepção da Figura Humana, elencando seu histórico e descrevendo a evolução temática no que tange à concepção da imagem do ser humano. Analisando o processo evolutivo nas pintura e escultura gregas, discute sua influência em trabalhos dos Mestres do Renascimento, os quais são considerados como as fontes dos atuais conceitos na área de modelagem tridimensional da Figura Humana. A partir deste contexto, organiza as propriedades ontológicas que regulam o trabalhos de modelagem da figura humana dentro do ambiente digital do software de modelagem tridimensional, com base em uma pragmática derivada de uma posição topofilosófica. Dentro dessa perspectiva introduz e define o conceito de caractere, estabelecendo-o para o processo metodológico da modelagem tridimensional da Figura Humana. Como objeto modelo da pesquisa, dedica-se a exposição sequencial e normativa da modelagem de um caractere, estruturando seus passos e a sua organização ontológica de suas propriedades conceituais, mostrando seu vínculo e fundamento na tradição dos Mestres do Renascimento. Realiza a aplicação do conceito de modelagem tridimensional de caracteres na apresentação das inovações de artistas digitais na representação atual da figura humana, as quais servem de base para as modelagens tridimensionais para a composição de personagens nos games e metaversos. Finaliza com a exposição e proposta de uma pragmática que possa nortear a modelagem de caracteres para o Design Digital de Ambientes Interativos
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Lucindo, Débora Patrícia da Graça. "Alquimia corporal: A feminilidade nos sujeitos transexuais female-to-male." Master's thesis, ISPA - Instituto Universitário, 2013. http://hdl.handle.net/10400.12/2829.
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Dissertação de Mestrado em Psicologia Clínica apresentada ao ISPA - Instituto UniversitárioNo momento do nascimento de uma criança é declarado o seu sexo, que acarreta consigo um rótulo – uma posição de género – que inevitavelmente ditará os seus mecanismos interiores, o seu papel social e a sua aparência exterior na vida adulta. No entanto, o que é que acontece quando a criança, mais tarde, não corresponde às espectativas parentais que se foram desenvolvendo ao longo dos anos? O que ocorre quando a "menina" que nasceu se identifica com o masculino e aparentemente rejeita o feminino? O presente estudo debruça-se precisamente sobre estas questões – tendo como ponto de partida três participantes, autodesignadostransexuaisfemale-to-male, com idades compreendidas entre os vinte e um e os quarenta anos de idade – utilizando os testes projectivos Desenho da Figura Humanae Rorschach.
ABSTRACT: At the moment of a child’s birth, its sex is immediately declared, carrying with it a label – a gender position – that will inevitably dictate their inner workings, social role and outward appearance in adulthood. However, what occurs when the child, later in life, does not correspond to the parental expectations that have been developed over the years? What happens when the "girl" who was born identifies with the masculine and apparently rejects the feminine? The present study focuses precisely on these issues – possessing as a starting point three participants, self-designated female-to-male transsexuals, aged between twenty-one and forty years of age – utilizingthe projective tests of the Human Figure Drawing and Rorschach.
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Usta, Umit Y. "Comparison of quaternion and euler angle methods for joint angle animation of human figure models." Thesis, Monterey, Calif. : Springfield, Va. : Naval Postgraduate School ; Available from National Technical Information Service, 1999. http://handle.dtic.mil/100.2/ADA361544.
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Thesis (M.S. in Computer Science) Naval Postgraduate School, March 1999.Thesis advisor(s): Robert B. McGhee, Michael J. Zyda. "March 1999". Includes bibliographical references (p. 201-203). Also available online.
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Catte, Michelle. "Emotional indicators in children's human figure drawings : an evaluation of the draw-a-person test." Thesis, University of York, 1999. http://etheses.whiterose.ac.uk/2464/.
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McKenna, Michael Allen. "A physically based human figure model with a complex floot and low level behavior control." Thesis, Massachusetts Institute of Technology, 1994. http://hdl.handle.net/1721.1/29078.
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Thesis (Ph. D.)--Massachusetts Institute of Technology, Program in Media Arts & Sciences, 1994.Vita.
Includes bibliographical references (leaves 183-194) and indexes.
by Michael Allen McKenna.
Ph.D.
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Contini, Angelee Joy. "Between Time and Eternity: Reimagining Spiritual Complexity through Musical Meaning and the Cinematic Human Figure." Thesis, The University of Sydney, 2018. http://hdl.handle.net/2123/18760.
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In a time defined as both an age of abundant atheism which triumphs in the wake of the death of God, and an age of post-secularism which returns to religion, the discrete forms of music and cinema remain germane sites for theorising the relation between belief and the nature of existence. Taking up the particular relation between the cinematic human figure and musical meaning, how might Marcel Cobussen’s musical-spiritual concept of the threshold problematise the difference between Christian and atheistic belief, so as to reimagine the boundaries of spiritual identity, faith, truth, ethics, choice and possibility? As an original contribution to knowledge, this thesis engages a series of liminal aesthetic modes—the ineffable, the uncanny, utopian desire and absurd feeling—to bring spiritual theories of music and film philosophy into a dynamic dialogue with one another, not only to develop a circuit of reciprocity between the two disciplines that affirms the significance of one to the other, but to work toward a more complex understanding of the spiritual significance of the cinematic human figure and musical meaning than discrete theories of cinema, music or film music have traditionally accommodated alone. Drawing from a range of continental thinkers such as Friedrich Nietzsche, Søren Kierkegaard, Vladimir Jankélévitch, Edgar Morin, Gilles Deleuze and Marcel Cobussen, this thesis argues that liminal modes of musical meaning and the cinematic human figure inhabit a dynamic, indeterminate space between a belief in eternity and a belief in time, becoming conduits and catalysts for a mode of possibility I call spiritual complexity. Spiritual complexity affirms the paradox, ambiguity and irony of liminal modes of existence in our post-religious and post-secular time, where the ontological and ethical possibilities of human identity may be reimagined in the thresholds of archaic, Platonic, Christian and atheistic belief.
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Luccia, Mariana de. "Comparação do nível intelectual de crianças abrigadas e não abrigadas." Universidade Presbiteriana Mackenzie, 2010. http://tede.mackenzie.br/jspui/handle/tede/1544.
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Previous issue date: 2010-08-03Fundo Mackenzie de Pesquisa
This research aimed to compare the intellectual level of institutionalized and non-institutionalized children. 20 children, aged 8 to 11 years old (9 female and 11 male), being 10 institutionalized and 10 living with their families were assessed, using Human Figure Drawing, Sisto Scale, who adapted the test selecting 30 items present in drawings, to assess children‟s intellectual development. Results showed lower percentiles in institutionalized children compared to those non-institutionalized, regardless of sex, that reveals the child's position in relation to development, that is, how much is still needed for the child to achieve expected levels for his/her age. (9,201; p≤ 0,008), (9,201; p≤ 0,008). From 20 children, all non-institutionalized rank over percentile 60; on the other hand, only 4 of the institutionalized ones are over percentile 60. As a conclusion, it may be noticed that there is a possible negative influence on institutionalization in the children's intellectual development, although those results could be altered if favorable environmental conditions were allowed for those children‟s development.
Esta pesquisa teve como objetivo comparar o nível intelectual de crianças abrigadas e crianças não abrigadas. Foram avaliadas vinte crianças, na faixa etária de 8 a 11 anos, nove do sexo feminino e onze do sexo masculino, dez abrigadas e dez vivendo com as famílias de origem. O instrumento utilizado foi o Desenho da Figura Humana Escala Sisto, que adaptou o teste selecionando trinta itens para compor sua escala, a partir destes itens presentes no desenho pode-se fazer uma avaliação do desenvolvimento intelectual da criança. Os resultados evidenciaram um percentil menor nas crianças abrigadas em relação àquelas não abrigadas independentemente do sexo, o que revela a posição da criança em relação ao desenvolvimento, isto é, quanto falta para criança atingir o nível esperado para sua idade (9,201; p≤ 0,008). Das vinte crianças, todas as não abrigadas encontram-se acima do percentil 60, ao passo que dentre as abrigadas, apenas quatro estão acima do percentil 60, considerando-se 50 como a média. Concluindo-se, pode-se perceber que há possibilidade da existência de influência negativa do abrigamento no desenvolvimento intelectual das crianças, embora tais resultados provavelmente possam ser modificados, caso sejam permitidas condições ambientais mais favoráveis para o desenvolvimento destas crianças.
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Jubran, Alexandre. "Elementos para a compreensão do desenho anatômico: uma metodologia do ensino do desenho dinâmico da figura humana para estudantes de artes visuais." Universidade Presbiteriana Mackenzie, 2013. http://tede.mackenzie.br/jspui/handle/tede/1859.
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Previous issue date: 2013-02-25The present work discusses the learning process of free hand drawing and particularly of the human figure drawing and languages and methodologies of that form of expression, and design models aimed at visual arts students. The reading texts related to the design and its meaning, the cognitive aspect and philosophies applied to the study of the figure gives the basis for reading lines of human object, offering a contemporary look to this as a learning experience, coupled with possible references to understanding of general forms of learning design, as well as its pedagogy. Besides the introduction and endnotes, the dissertation has five parts, dealing with topics such as drawing lines and their historical and contemporary models coexisting, learning through the assimilation of these, and the possible place of technique and proportions of the design considerations with design pedagogy, the teacher as mediator and systematization of the development process of the author as a teacher of classes drawing freehand.
O presente trabalho discute o processo de aprendizagem do desenho à mão livre e particularmente do desenho da figura humana e as linguagens e metodologias nessa forma de expressão; e modelos de desenho dirigidas a estudantes de artes visuais. A leitura de textos relacionados ao desenho e a seu significado, o aspecto cognitivo e filosofias aplicadas ao estudo da figura dão a base para linhas de leitura do objeto humano, que propõem um olhar contemporâneo para esse aprendizado como experiência pessoal, somada a possíveis referências para a compreensão das formas gerais de aprendizado do desenho, bem como de sua pedagogia. Além da introdução e das notas finais, a dissertação é estruturada em cinco partes, tratando de temas como linhas de desenho e seus modelos históricos e contemporâneos coexistentes; o aprendizado por meio da assimilação destes; e o lugar possível da técnica e das proporções do desenho com considerações sobre a pedagogia do desenho, o professor como mediador e a sistematização do processo de desenvolvimento do autor como professor de turmas de desenho à mão livre.
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Albornoz, Ana Celina Garcia. "Desenho da figura humana : indicadores de abandono, abuso sexual e abuso físico em crianças." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2011. http://hdl.handle.net/10183/61752.
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O abandono e os abusos vivenciados podem interferir no desenvolvimento psicológico das crianças. O presente estudo teve como objetivo descrever o perfil das crianças vitimizadas do ponto de vista dos dados sociodemográficos e verificar os itens mais frequentes em Desenhos de Figura Humana (DFH) de crianças abandonadas, negligenciadas, sexualmente abusadas e fisicamente abusadas a partir da comparação com os DFHs de crianças que não tiveram essas vivências. Participaram deste estudo 378 crianças e adolescentes, com idades entre 6 anos e 12 anos, 11 meses e 29 dias de idade e nível sócio-econômico baixo ou médio-baixo. Os participantes foram divididos em dois grupos: grupo clínico (281) e grupo de comparação (97). O grupo clínico, para fins de análise, foi agrupado com base nas diferentes tipologias de vitimização sofridas. A idade média para o primeiro ingresso no acolhimento institucional é de 6,8 anos para meninas e 7,5 anos para meninos, sendo que 35,6% dos participantes do grupo clínico vivem em um abrigo por um a três anos. As vivências de vitimização faziam parte da vida da maioria das crianças e adolescentes do grupo clínico há mais de um ano e 56,2% das vítimas de abuso sexual e de abuso físico sofriam violação sistemática. O DFH refletiu indicadores dessas vivências. A identificação dos Indicadores Emocionais do DFH que diferenciam (p < 0,1) o grupo clínico do grupo de comparação, por tipologia e sexo, resultaram na construção de cinco escalas avaliativas: duas escalas para abuso sexual (uma para meninas, outra para meninos), uma escala para abuso físico em meninos, duas escalas para abandono e negligência (uma para meninas e outra para meninos). Os achados se refletem em avanço para a área da avaliação psicológica, pois os critérios para a avaliação das crianças vitimizadas estão adaptados a sua realidade.Abandonment and abuse experienced by children can interfere in their psychological development. The present study aimed at describing the profile of victimized children in terms of demographic data and checking the most frequent items in Human Figure Drawings (HFD) of neglected, abandoned, sexually and physically abused children in comparison of HFDs of children who have not had those experiences. Participated in this study 378 children and adolescents, aged from 6 to 12 years old, low and middle-low SES. They were divided into two groups: clinic (281) and comparison (97) groups. The clinic group was split based on the different types of victimization. As results, the mean age of first violence experience was 6.8 years old for girls and 7.5 years old for boys, and 35.6% of the clinic group lives in a shelter from one to three years. The majority of children and adolescents have been victimized for more than a year and 56.2% of them who were sexually and physically abused suffered systematic violence. HFD indicators reflected the experience of victimization. The emotional indicators of HFD which differentiate (p < 0,1) the clinic group from the comparison group, by typology and sex, resulted in the construction of five assessment scales: two for sexual abuse (one for girls and one for boys), one for boys physical abuse and two for abandonment and negligence (one for girls and one for boys). Results reflect advances to the psychological assessment area since the criteria for the evaluation of victimized children are adapted to their reality.
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Fok, Oi-ming, and 霍靄明. "Representation of effects of social exclusion in children's house-tree-person and human figure drawing tests." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2010. http://hub.hku.hk/bib/B45589021.
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Møller, Maria Louise Odgaard [Verfasser]. "The True Human Being : The Figure of Jesus in K.E. Løgstrup’s Thought / Maria Louise Odgaard Møller." Göttingen : Vandenhoeck & Ruprecht, 2019. http://www.v-r.de/.
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Fuller, Michele. "Reviewing medium: paint as flesh." Thesis, Nelson Mandela Metropolitan University, 2011. http://hdl.handle.net/10948/d1008590.
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The research question explored in this exhibition and dissertation was to review the conventional notions of craftsmanship and the use of the specific medium of oil paint with reference to the art of Rembrandt and Damien Hirst. The subject matter is flesh. This study foregrounds the involvement and acknowledgment of the corporeal body, the hand of the artist, and of the organic material reality of our existence and the objects that surround us. The paintings reflect a series of interventions that resulted in abstracted images based on photographs of meat. Once a detail had emerged that emphasised the fleshiness of the selected image, it was printed by a professional printing company. These details were then translated into oil paintings. What is explored is the specific material qualities of the binding mediums traditionally associated with the use of oil painting to create expressive paintings. In the creation of the series of paintings, I prepared binding mediums consisting of wax, stand oil, damar varnish, zel-ken liquin and acrylic paste medium mixed with manufactured readymade oil paints. Consequently the choice and exploration of the material possibilities of a specific medium becomes content, using art to explore the idea of art. Paint becomes flesh-like, having congealed over the surface of the technical support. These paintings propose an internal and an external reality simultaneously referenced through the flesh-like surface, pierced and cut to reveal multiple layers created on the supporting structure (wood and canvas) with the use of a specific medium, oil paint, combined with a variety of other binding mediums. The edges of the unframed paintings play an important role assuming a specific physical presence, enabling them to define themselves as boundaries, both of the paintings particular field of forces and of the viewer’s aesthetic experience. They are no longer edges or frames in the conventional sense, but become other surfaces that are of equal significance in the reading or viewing of the work. Finally, the notion of an exhibition site being neutral or given is contested and, as a result, the contemporary artist needs to be mindful of site specificity in relation to the exhibition of the artworks. This series of paintings is intended to communicate as a body of work, reflecting an individual vision: a recurring, introspective process that is always unfolding. The body is constantly recreated by each individual viewer, and the context or site of display. The artist’s intention is to activate the viewer’s heightened awareness and response to the conscious arrangement of the collection of canvases, as each one represents a fragment or detail of a flayed carcass.
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Fowler, Vernon Keith. "An analysis of the uses of the various forms of the human figure in the Shang script." Thesis, University of British Columbia, 1989. http://hdl.handle.net/2429/29103.
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The present thesis is a study of the design of the script of the Shang dynasty oracle bones of China. These are the earliest known examples of the Chinese script, and may be dated roughly to 1200-1051 B.C. The creators of the Shang script basically had two
approaches to the representation of words: one was to represent the word indirectly, via the concept (i.e. draw the concept or refer to it graphically in some way), and the other was to represent the word directly (i.e. its phonetic shape-this was only possible after the first approach had been used, thus providing a source of graphs that could be used for their sound). In one type of graph, the so-called xingsheng or xi6sheng. both approaches are combined. In this thesis, I am primarily concerned with the type of graph in which either the whole graph or some part of it is designed with reference to the concept. In order to set reasonable bounds on the topic, I limit myself to an examination of graphs containing human figure elements. There are three basic human figure elements in the Shang script: [See thesis for symbols], and a small number of variations. The question I address in this thesis is: What determines their distribution? At first glance they appear simply to indicate different postures: a standing figure seen from the side, a standing figure seen from the front, and a kneeling figure seen from the side. One can readily understand why there should be a standing figure and a kneeling figure, but why should there be two standing figures seen from different angles? Taking as my corpus all the graphs in Shima Kunio's Inkyo bokuji sorui containing the above mentioned human figure elements (approximately 850 graphs, or about one seventh of the total number of bone graphs distinguished to date), I systematically investigated all of them, in order to determine the relationship between the human figure elements in them and the concepts that they represent. I then sorted out about 200 of those graphs for which I felt I had been able to arrive at a correct analysis. Finally, I compared the factors determining the usage of the human figure elements in each graph to see if any consistency could be detected. I then categorized these uses, and sorted the graphs into these various categories. The body of the thesis is structured according to these various categories. The conclusions of the thesis are:
1. The element [See thesis for symbol], although as an independent graph is the modern character da , did not signify 'big,' but was chiefly used instead of [See thesis for symbol] when the concept was felt
to be most easily or most naturally depicted from the front, i.e. where the involvement of both arms and/or both legs was felt to be particularly important to expressing the concept.
2. The [See thesis for symbol] element was used in graphs to do with (a) kneeling; (b) actions typically performed in a kneeling position; (c) concepts in which kneeling could be used as a sign of inferiority, yielding, submission, subjection, etc.
3 [See thesis for symbols], the commonest form of the human figure, could be used in any graph denoting any concept that was felt to have anything to do with human beings, and restrictions on its usage were determined by whether the other two elements were felt to be more appropriate.Arts, Faculty of
Asian Studies, Department of
Graduate
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LaPerrière, Maureen C. "The evolution of mothering : images and impact of the mother-figure in feminist utopian science-fiction." Thesis, McGill University, 1994. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=68114.
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Within the latitude of a science-fictional elsewhere and elsewhen, women can establish their own social norms and accepted praxis. The modification encountered in alternate feminist spacetimes specifically incorporate many new ideologies concerning motherhood. Central to this discussion is the means by which feminist authors regard the influences of patriarchal institutions and the subsequent changes in society because of, or in spite of, these changes. The male-dominated fields of technological patriarchy (reproduction and fertility "specialists") and the military, for example, are areas upon which feminist authors speculate. Three feminist strategies for coping with a patriarchal social order, as seen in the works of science-fiction, are entrance into the male world and attempts to change it, competition in the patriarchal world on its own terms and total retreat from an oppressive society, accompanied by the creation of a feminist utopian otherworld. These feminist spacetimes share a number of convictions. Most important, conception is never an unwilled experience. The "maternal instinct", is redefined as a calling which, in some cases, extends to males and non-biological mothers. Traits that are salient in the childraisers are those which are mirrored by these alternate feminist spacetimes as a whole and which contribute to the definition of these societies as utopias. The treatment and/or possession of children as property is frowned upon in the novels. Some points of dissent amongst feminist SF authors include the existence of technology in an utopian or dystopian future for motherhood, and whether or not males are permitted and/or encouraged to participate in society as a whole and more precisely in the experience of mothering. The dystopia, for its part, can thus be regarded as a warning against the encroachment of rampant patriarchal enterprises through their representation of the extrapolation of male-centred value systems. (Abstract shortened by UMI.)
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MACEDO, VALÉRIA GOUVEIA DE. "CARACTERÍSTICAS PSICOSSOCIAIS E DE PERSONALIDADE DE ADOLESCENTES INFRATORES EM CUMPRIMENTO DE MEDIDA SOCIOEDUCATIVA." Universidade Metodista de Sao Paulo, 2016. http://tede.metodista.br/jspui/handle/tede/1467.
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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
To achieve the proposed objectives, ie up and describe sociocultural indicators of a sample of adolescents in compliance with socio-educational measures, and describe psychological characteristics and personality of juvenile offenders, the study surveyed 47 adolescents in compliance with socio-educational measures. There were two stages of work: first, the 47 teens participated in a semistructured interview; in the second, ten of these adolescents were selected and submitted to a projective tool to research aspects of personality: the "Drawing the Human Figure" of Machower, adapted by Van Kolck (1956; 1984). The theoretical discussion of the results was based on a post-Freudian psychoanalytic approach to understanding both adolescence as a phase of human development as the antisocial behavior. The study results confirmed the arising theory of psychological literature that addresses common patterns during adolescence, a phase in which there is a complex of individual factors of biological maturity associated with social / cultural environment and, in turn, establish relations with the psychological or mental bodies of the subject along with the specific characteristics of each individual. In search of understanding of these common sample of adolescent offenders used in this study patterns, psychosocial, cultural and demographic data were collected; psychosocial aspects and psychodynamic aspects and personality characteristics. In conclusion, the study highlighted the adolescent problematic in conflict with the law, associated with social, mental health, and the psychic development, signaling the need for focused Psychoprophylactic actions for child population, young family groups and the community representing its surroundings
Para atingir os objetivos propostos, ou seja, levantar e descrever indicadores socioculturais de uma amostra de adolescentes em cumprimento de medida socioeducativa, e descrever características psicológicas e de personalidade dos adolescentes infratores, num estudo que pesquisou adolescentes em cumprimento de medida socioeducativa. O trabalho foi realizado em duas as etapas: na primeira, os 47 adolescentes participaram de uma entrevista semidirigida; na segunda, dez desses adolescentes foram selecionados e submetidos a um instrumento projetivo para investigação de aspectos da personalidade: o “desenho da Figura Humana” de Machower, adaptado por Van Kolck (1956; 1984). A discussão teórica dos resultados baseou-se numa abordagem psicanalítica pós-freudiana para a compreensão da adolescência tanto como fase do desenvolvimento humano como dos comportamentos antissociais. Os resultados do estudo corroboraram a teoria advinda da literatura psicológica que aborda padrões comuns no período da adolescência, fase em que ocorre um complexo de fatores individuais da maturidade biológica associados ao meio social/cultural e que, por sua vez, estabelecem relações com as instâncias psicológicas ou psíquicas do sujeito junto com as características específicas de cada indivíduo. Na busca da compreensão desses padrões comuns da amostra dos adolescentes infratores utilizados no presente estudo, foram levantados dados do perfil psicossocial, cultural e demográfico; dos aspectos psicossociais e aspectos psicodinâmicos e de características de personalidade. A título de conclusão, o estudo destacou a problemática do adolescente em conflito com a lei, associada às questões sociais, de saúde mental, além do desenvolvimento psíquico, sinalizando a necessidade de ações psicoprofiláticas voltadas para população infantil, jovem, agrupamentos familiares e para a comunidade que representa seu entorno.
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Lomitola, Lisa M. "Ritual Use of the Human Form: A Contextual Analysis of the "Charlie Chaplin" Figure in the Maya Lowlands." Master's thesis, University of Central Florida, 2012. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/5407.
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Small anthropomorphic figures, most often referred to as “Charlie Chaplins,” appear in ritual deposits throughout the ancient Maya sites of Belize during the late Preclassic and Early Classic Periods and later, throughout the Peten region of Guatemala. Often these figures appear within similar cache assemblages and are carved from “exotic” materials such as shell or jade. This thesis examines the contexts in which these figures appear and considers the wider implications for commonly held ritual practices throughout the Maya lowlands during the Classic Period and the similarities between “Charlie Chaplin” figures and anthropomorphic figures found in ritual contexts outside of the Maya area.ID: 031001362; System requirements: World Wide Web browser and PDF reader.; Mode of access: World Wide Web.; Advisers: Arlen Chase, Diane Chase.; Title from PDF title page (viewed May 8, 2013).; Thesis (M.A.)--University of Central Florida, 2012.; Includes bibliographical references (p. 169-176).
M.A.
Masters
Anthropology
Sciences
Anthropology
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Meredith, Michael J. "Adapting and reconfiguring human figure motion capture data through the application of inverse kinematics and biomechanics-based optimisation." Thesis, University of Sheffield, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.427182.
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McNeish, Timothy Jay. "Reliability and validity of a human figure drawing screening measure to identify emotional or behavioral disorders in children." The Ohio State University, 1989. http://rave.ohiolink.edu/etdc/view?acc_num=osu1341945621.
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