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Edwards, Claire F. "Art Theraphy: Bridget's body image." Medical Journal of Australia 167, no. 11-12 (1997): 644. http://dx.doi.org/10.5694/j.1326-5377.1997.tb138931.x.
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Nordhofen, Eckhard. "Sacral Image-Scripture-Body-Art." CrossCurrents 63, no. 1 (2013): 9–25. http://dx.doi.org/10.1111/cros.12010.
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Tanuku, Purnima. "Body art showing poor image." Early Years Educator 12, no. 7 (2010): 8. http://dx.doi.org/10.12968/eyed.2010.12.7.78991.
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Bodart, Diane H. "Wearing images. Introduction = Imágenes portadas. Introducción." Espacio Tiempo y Forma. Serie VII, Historia del Arte, no. 6 (December 7, 2018): 15. http://dx.doi.org/10.5944/etfvii.6.2018.23087.
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In the past decades, studies on the materiality and the efficacy of images, as well as the artistic and social practices related to them, have allowed scholars to explore how much images’ making, use, handling and display contributed to the activation of their powers of presence through their interaction with the viewer. Further, the growing interest in the articulation between the history of art and the anthropology of images has brought to light the close links between the art object and the body: in fact, if the body can be the medium of the animate art object, the art object can potentially act as a substitute of the animate body. But what happens when the body is the support of a distinctive image, when it inscribes an image on its own surface, whether directly on the skin or through intermediary props such as clothing or corporeal parure? Wearing Images investigates the different modes of interaction between the image and the body that wears it in the Early-Modern period, when devotional, political, dynastic or familial images could be worn as medals, jewels, badges, embroidered garments or tattoos.En las últimas décadas, los estudios sobre la materialidad y la eficacia de las imágenes, así como de las prácticas artísticas y sociales asociadas a ellas, han permitido a los historiadores explorar hasta qué punto la fabricación de las imágenes, su uso, manejo y exhibición contribuyó a activar sus capacidades de presentarse a través de su interacción con el espectador. Además, el creciente diálogo entre la historia del arte y la antropología de las imágenes ha puesto de relieve las estrechas conexiones entre el objeto artístico y el cuerpo: en efecto, si el cuerpo puede ser el medio para el objeto artístico animado, el objeto artístico puede actuar potencialmente como sustituto del cuerpo animado. Pero ¿qué ocurre cuando el cuerpo es el soporte de una imagen distintiva, cuando inscribe una imagen en su propia superficie, ya sea directamente en la piel o a través de intermediarios como el vestido o un adorno? Wearin Images investiga las diferentes modalidades de interacción entre la imagen y el cuerpo que se viste con ella en la Edad moderna, en una época en la que imágenes devocionales, políticas, dinásticas o familiares podían vestirse como medallas, joyas, placas, prendas bordadas o tatuajes.
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Popczyk, Maria. "Body and image." Argument: Biannual Philosophical Journal 10, no. 2 (2021): 443–53. http://dx.doi.org/10.24917/20841043.10.2.9.
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 In aesthetics, as a philosophy of art, the body of the viewer is juxtaposed with the image of the painting, before which it stands still; both body and image are considered to be independent, which is a condition of a full aesthetic experience. In the present article I demonstrate how, through phenomenology, pragmatism and the idea of incarnation, post‐Kantian aesthetic is broadened. I limit myself to three theoretical perspectives; in each of them the duality of body and image is neutralised according to different rules. Phenomenology develops the relations between consciousness and body, while in pragmatism the encounter of body and image takes place in the process of the performative creation of image. The idea of incarnation, on the other hand, develops both of these currents in two divergent approaches: a theological and an anthropological one. Bringing together perspectives, which are so different methodologically reveals the existence of a profound tie between body and image.
 
 
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Popczyk, Maria. "Body and image." Argument: Biannual Philosophical Journal 10, no. 2 (2021): 443–53. http://dx.doi.org/10.24917/20841043.10.2.9.
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 In aesthetics, as a philosophy of art, the body of the viewer is juxtaposed with the image of the painting, before which it stands still; both body and image are considered to be independent, which is a condition of a full aesthetic experience. In the present article I demonstrate how, through phenomenology, pragmatism and the idea of incarnation, post‐Kantian aesthetic is broadened. I limit myself to three theoretical perspectives; in each of them the duality of body and image is neutralised according to different rules. Phenomenology develops the relations between consciousness and body, while in pragmatism the encounter of body and image takes place in the process of the performative creation of image. The idea of incarnation, on the other hand, develops both of these currents in two divergent approaches: a theological and an anthropological one. Bringing together perspectives, which are so different methodologically reveals the existence of a profound tie between body and image.
 
 
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Charlotte Graham, Charlotte Graham, Philippe Longchamps Philippe Longchamps, Michaela af Winklerfelt Michaela af Winklerfelt, et al. "A Transdisciplinary Approach to Exploring Body Image in School Projects." Convergence Education Research Institute, Korea National University of Education 10, no. 1 (2024): 111–22. http://dx.doi.org/10.69742/cer.2024.10.1.111.
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This case study introduces the integration of Mathematics and Arts within a STEAM (Science, Technology, Engineering, Art, and Mathematics) project, focusing on the exploration of human body proportions and body-image perceptions. Through a project-based learning approach, a team of Swedish teachers collaboratively designed and implemented a curriculum that not only illustrates the Maths-Art relationship but also addresses the broader social and cultural implications of body image. This paper outlines the project's methodology, emphasising hands-on activities, critical thinking, and transformative learning experiences that connect real-life and artistic perspectives. By engaging students in a comprehensive exploration of body-image through historical, cultural, and mathematical lenses, the project aimed to foster a healthier understanding of body diversity. The transdisciplinary approach adopted by the teachers at Tångvalla School in Sweden serves as a model for integrating STEAM education in addressing contemporary educational and societal challenges.
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Toledo Silva, Monica. "Body Lands: Image Performativity in Object and Shadow." Athens Journal of Humanities & Arts 10, no. 2 (2023): 123–34. http://dx.doi.org/10.30958/ajha.10-2-3.
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The epistemological investigations concerning the visual arts of sculpture and video proposed in this essay begin in a performative field of research on the Greek islands of Kos and Crete. The intentional act of creating images from my own shadow meeting archeological objects brings an insightful approach to an update of these aesthetic languages, inspired by semantic displacement and ageless nomadism phenomena. The research is based on cognition, philosophy and body studies, as well as the modern concepts of minimalist art.
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Kang, Duckbong. "A Study of the correlation between Georges Bataille’s Concept of the Formless and the Nonrepresentational the Body Image." Korean Society of Culture and Convergence 45, no. 6 (2023): 597–608. http://dx.doi.org/10.33645/cnc.2023.06.45.06.597.
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This paper aims to examine the correlation between the nonrepresentational body image in modern art and Georges Bataille’s concept of ‘the formless’. Therefore, Chapter 2 defines the concept of the nonrepresentational body image and examines cases in art history. In addition, by discussing the correlation between post structuralism and the nonrepresentational body image, the basis for the involvement of the body’s nonrepresentation in modern art is laid out. Chapter 3 discusses the analytical basis of the nonrepresentational body image by examining Georges Bataille’s concept of ‘the formless’ and its practical strategy, which provides a key element in the analysis of works. Chapter 4 analyzes the nonrepresentation of the body image in modern art based on Georges Bataille’s theory, as discussed above. Through this, the researcher presents the appearance of modern people whose nonrepresentational body image in the works of sample artists cross the boundary between the subject and the other as a sensory trace of the formless body, and it was found that behind it was the ‘Concept of Transgression’, which presupposes Georges Bataille’s negativity.
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Wang, Aishi. "Ontology of New Art and Survival of Art." SHS Web of Conferences 162 (2023): 01040. http://dx.doi.org/10.1051/shsconf/202316201040.
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Art is not an image work, but an image that people can see and an apparent result of the transcendent image presented by art; art is the ideological and spiritual product that’s processed from the high-end level of consciousness and thinking and generated by the entanglement movement of human body and cosmic materials. Also, it is an original form behind the physical image works, intended to reconcile the relationship between spiritual illusion and the material world; acting on all human life activities in accordance with the law of increasing progression under the cosmic stipulation, its ultimate task is to optimize the survival of human life while safeguarding the conservation of life; its practical task is to serve to help human beings achieve a perfect spiritual world of and construct a cultural spiritual system more in line with human society.
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Paglia, Camille. "The Cruel Mirror: Body Type and Body Image as Reflected in Art." Art Documentation: Journal of the Art Libraries Society of North America 23, no. 2 (2004): 4–7. http://dx.doi.org/10.1086/adx.23.2.27949310.
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Close, Ronnie. "Parallax Error: The Aesthetics of Image Censorshipe." Cabinet, Vol. 2, no. 2 (2017): 74–81. http://dx.doi.org/10.47659/m3.074.art.
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Parallax Error is a found photographic image collection scavenged from well-known art history publications in bookstores in Cairo between 2012 and 2014. What makes the series distinct are the forms and styles of censorship used on the original images ahead of sale and public distribution. The altered images involve some of the leading figures in the canon of Western photographic history and these respected photo works enter into a process of state censorship. This entails hand-painting each photograph, in each book edition, in order to obscure the full erotic effect of the object of desire, i.e. parts of the human body. The position of photography within Egypt and much of the Arab world is a contested one shaped by the visual formations of Orientalism created by the impact of European colonial empires in the region. This archival project examines the intersection of visual cultures embedded behind the series of photographic images that have been transformed through acts of censorship in Egypt. This frames how these doctored photographic images impose particular meanings on the original photographs and the potential merits, if any, of iconoclastic intervention. Parallax Error examines the political and aesthetic status of the image object in the transformation from the original photograph to censored image. The ink and paint marks on the surface of the photograph create a tension between the censorship act and its impact on the original. These hybrid images provide a political basis to rethink visual culture encounters in our interconnected and increasingly globalised contemporary image world. Keywords: aesthetics, censorship, iconoclasm, images, representation
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Mitrović, Slađana. "The Wound in Visual Art." Monitor ISH 17, no. 2 (2015): 73–94. http://dx.doi.org/10.33700/1580-7118.17.2.73-94(2015).
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The fine arts abound in images of the pierced, wounded, tortured, dismembered, crippled or decapitated body in all historical periods. The iconography of the wound is of long standing, and the passion for depicting open bodies can only be compared to the enthusiasm for the nude. In the history of painting and sculpture, the wounded body is most often represented in renditions of Christ’s Passion and Christian martyrs, as well as of Biblical stories about decapitation and slaughter. The topic of the wound has proved relevant to modern and contemporary art as well. In the second half of the 20th century, around 1965, when the Viennese Actionism appeared, as well as between 1968 and 1974, the two milestone dates of body art, artists engaged in performative practices, shattering the notions of the wounded or penetrable body which dominated at the time. What they exposed was the anxious image of the artist’s body. By analysing the art photos by Rudolf Schwarzkogler, the paper shows how the wound is materialised as a topic of visual art.
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Levchenko, Illia. "On image agency." Text and Image: Essential Problems in Art History, no. 1 (2023): 135–42. http://dx.doi.org/10.17721/2519-4801.2023.1.10.
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Horst Bredekamp is an art historian and representative of the science of images (Bildwissenschaft), known for his research on the image agency. In the two reviewed works, the image appears as an independent agent that operates in the political space and essentially creates this political space. In the study "Image Act. A Systematic Approach to Visual Agency" (2018), Bredekamp attempts to systematize the methods of image action. The types of acts singled out by the researcher exist outside of linear chronology and are ways of manifesting an image. The image can combine several different types of acts. First, Bredekamp considers the image as a determinant of man as a species, a manifestation of the cognitive revolution, man's ability to act of differentiation, and his ability to transform nature. Despite this, the researcher goes to the meaning of Charles Darwin's teaching "The Expression of the Emotions in Man and Animals" (1872) to develop the concept of "pathosformel" (pathosformel) of Aby Warburg. After all, Brellekamp concludes images of nature continue human images, not oppose them. The second of the analyzed works, "Leviathan: Body politic as visual strategy in the work of Thomas Hobbes" (2020), is built around the analysis of the frontispiece to Hobbes's treatise "Leviathan or The Matter, Forme and Power of a Common Wealth Ecclesiasticall and Civil" (1651). Bredekamp constructs research by involving an impressive source complex, thus demonstrating that a work of art is both an actor involved in society. Combining the analysis of these two works in one text makes it possible to see how Bredekamp's theory can be applied to the specific source material.
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Bose, Aratrika, Tanupriya, and Anuja Singh. "Artistic Representation of Gender Nonconforming Female Bodies in Social Media: A Study of Select Indian Graphic Artists on Instagram." QED: A Journal in GLBTQ Worldmaking 10, no. 2 (2023): 70–92. http://dx.doi.org/10.14321/qed.10.2.0070.
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Abstract The study critically examines gender nonconforming female identities via their sexualized representations through artistic imagination on Instagram. Instagram representation becomes a ‘political act’ where this visual subversion allows the queer to reclaim their non-binary identity and thus articulate their choices through their body. The digital graphic art taken under study is select images from the Instagram pages of Indian artists “artwhoring,” “aorists,” and “sayartic.” The research study examines the question of an ideal hegemonic femininity perpetuated by the rhetoric of Indian heteronormative patriarchal assertions. It analyses select images that defy hegemonic femininity and gender binary by embodying an amalgamation of masculinity and femininity and lesbian desire which forms an act of subversion. The methodology of critical discourse analysis is employed to study Instagram art and the critical frameworks of the fantasy female body, and the notion of heteropatriarchal femininity. In conclusion, the study discusses the treatment of female gender non-conforming bodies, their appearance, lesbian desire, and body image. Such transgressive depiction of bodies successfully situates the female body beyond the dichotomy of masculinity and femininity.
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Permatasari, Rosella Deby, and Mayang Mayang. "CITRA TUBUH PEREMPUAN SEBAGAI INSPIRASI PENCIPTAAN SENI LUKIS MIX MEDIA." Kusa Lawa 2, no. 2 (2022): 83–101. http://dx.doi.org/10.21776/ub.kusalawa.2022.002.02.07.
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Image of Women’s Body as Inspiration in Creating Mix Media Painting. Body image is a person's perception that is influenced by the mentality of one's observations and judgments about oneself in terms of appearance, ability, and personality. Perception of body shape, body weight, height, hair type, skin color, way of speaking, way of socializing, and how one wants to be the ideal type of society. This creation aims to describe positive body image concepts and ideas in the form of digital and conventional art as well as to voice how important positive body image is for a person, specifically a woman. This creation has several stages, including: 1) Exploration stage (collecting data from various sources). This data then becomes the inspiration and message content in this conventional and digital art work. This digital concept was chosen to match the theme of body image, 2) The improvisation stage (designing an image) determines the visual form to have a design style according to existing concepts such as a female object, several additional supporting objects and the creative tools. 3) The visualization stage (crafting process) choosing colorful colors in accordance with the style of a cheerful woman, and being able to convey the message contained well by the community. The results of the process of creating this art are 7 pieces of paintings using canvas media and a mix of conventional media. Presenting a painting exhibition that is packaged neatly and nicely, and presents a visual concept of women's beauty standards that are in accordance with the author's goal, namely to voice arguments about the importance of body image for women. Keywords: Body image; digital art; self acceptance
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Zatti, Alberto, and Nicoletta Riva. "EMBODIED AND EXBODIED MIND: WHAT IN BETWEEN WHEN BODY IMAGE AND BODY SCHEMA (DE)-CONNECT?" Journal of Advance Research in Social Science and Humanities (ISSN 2208-2387) 10, no. 1 (2024): 21–31. http://dx.doi.org/10.61841/76kr1q12.
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When social and clinical psychology “work together,” cultural-based disturbs, like eating disorder behaviour, can be seen in a new light. Self-image is a perception product based on icon memory, imagination, sensory stimulus, social context expectations, self-beliefs about social context adequacy, etc. Still, it is also based on self-representation, like dress, fashion, maquillage, etc. A different discourse can be done for what psychology intends for body schema. Body gesture, movement, and action result from very complex different neural systems cooperation, combining sensory and motor brain centres. Training to build neuro-motor schemas requires a very long time and effort, as in each human art like dance, sports, playing drama, art crafts competencies, etc. What if one’s body image and body schema are unbalanced? If the social body image pressure will bring one’s total mimesis with it or to an original, personal interpretation is here attributed to the “exboding” capacity, coming from a “sufficient” balance between body schema and body image. Some anorexia nervosa patients are frequently engaged in intense physical activities. In our interpretation, their conscious control of the body comes from the social colonisation of embodied images that produce a disequilibrium between body image and body schema. Thus, a sort of “body-image” liberation could be possible if a deep awareness of our body schema is reached. The central hypothesis of this work is that the embodiment processes, primarily dependent on cultural pressure, have to be seen in unstable equilibrium with exbodiment experiences, which can be considered as the expression of body schema originated by personal sensory-motor history (see References 1; 2; 3). To evaluate the possible separation between the two, a new picture questionnaire has been elaborated. Dysmorphic "confusion" is widely spreading in contemporary Western societies, particularly among adolescents (4; 5). The perception of how we are seen by others (body image) is one of the core issues in social trends, education, and psychopathology (6). On the other hand, what one implicitly knows of his/her somatic body (body schema) represents the psychological antecedent basis implied in social interaction (2). This article attempts to give a quantitative dimension to the two sides of the body, the structural, implicit one (body-schema) and the public, partly self-controlled one (body-image).
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Auchus, Mirella, Gary Kose, and Rhianon Allen. "Body-Image Distortion and Mental Imagery." Perceptual and Motor Skills 77, no. 3 (1993): 719–28. http://dx.doi.org/10.2466/pms.1993.77.3.719.
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This study explored whether body-image distortion is a function of difficulties with imagery or problems with judgment. 49 subjects were given the Modified Video Camera Technique to measure body-image distortion. Mental imagery was measured by a modified version of the Vividness of Visual Imagery Questionnaire and the Spatial Relations subtest of the Woodcock-Johnson Psycho-educational Battery. Visual recall was assessed on the Meier Art Judgment Test. Judgment bias was assessed by the Stunkard Silhouette Method and the shape and weight subscales of the Eating Disorder Examination. Subjects who distorted body-image scored significantly more poorly on mental imagery than those who did not distort. No differences were found between groups on visual memory recall or in judgment bias.
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De Preester, Helena. "To Perform the Layered Body." Janus Head 9, no. 2 (2006): 349–83. http://dx.doi.org/10.5840/jh2006926.
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The aim of this article is to focus on the body as instrument or means in performance-art. Since the body is no monolithic given, the body is approached in terms of its constitutive layers, and this may enable us to conceive of the mechanisms that make performances possible and operational, i.e. those bodily mechanisms that are implicitly or explicitly controlled or manipulated in performance. Of course, the exploitation of these bodily layers is not solely responsible for the generation of meaning in performance. Yet, it is that what fundamentally /enables/ the generation of sense and signification in performance-art. To approach the body in terms of its layers, from body image and body schema to in-depth body, may partly answer the complexity at work in art performances, since these concepts enable us to consider, on a theoretical level, the body as represented object, as subject, as motor means for being-in-the-world, as origin of subjectivity and emotions, as hidden but most intimate place of impersonal life processes, as possibly distant image, as sensitive, fragile and plastic entity, as something we own and are owned by, as our most personal and yet extremely strange body.
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Dunning, Alan, and Paul Woodrow. "Body Degree Zero: The Mediatized Body in an Interactive Performance." Canadian Theatre Review 127 (June 2006): 46–53. http://dx.doi.org/10.3138/ctr.127.009.
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Within the context of European and North American art practices, the twentieth century has witnessed a de-configuration of the image, beginning with impressionism, the Cubists and the expressionists and including a variety of abstract styles. Running parallel to artistic movements, it is also evident that de-configuration has occurred within the context of literature, as is noticeable in poetry. De-configuration comprises the break-up of surfaces – decomposition into smaller, often disjunctive fragments. Image de-configuration is also a resulting product of the twentieth-century technological inventions of television and computer screens.
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Klaser, Kerstin, Pedro Borges, Richard Shaw, et al. "A Multi-Channel Uncertainty-Aware Multi-Resolution Network for MR to CT Synthesis." Applied Sciences 11, no. 4 (2021): 1667. http://dx.doi.org/10.3390/app11041667.
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Synthesising computed tomography (CT) images from magnetic resonance images (MRI) plays an important role in the field of medical image analysis, both for quantification and diagnostic purposes. Convolutional neural networks (CNNs) have achieved state-of-the-art results in image-to-image translation for brain applications. However, synthesising whole-body images remains largely uncharted territory, involving many challenges, including large image size and limited field of view, complex spatial context, and anatomical differences between images acquired at different times. We propose the use of an uncertainty-aware multi-channel multi-resolution 3D cascade network specifically aiming for whole-body MR to CT synthesis. The Mean Absolute Error on the synthetic CT generated with the MultiResunc network (73.90 HU) is compared to multiple baseline CNNs like 3D U-Net (92.89 HU), HighRes3DNet (89.05 HU) and deep boosted regression (77.58 HU) and shows superior synthesis performance. We ultimately exploit the extrapolation properties of the MultiRes networks on sub-regions of the body.
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Mecca, Renata Caruso. "Arte e corpo: das práticas de si aos métodos de pesquisa/Art and body: from self-practices to research methods." Revista Interinstitucional Brasileira de Terapia Ocupacional - REVISBRATO 6, no. 2 (2022): 867–71. http://dx.doi.org/10.47222/2526-3544.rbto52564.
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Resumo Trata-se de uma imagem de capa que propõe as imagens estético-artísticas como formas de compreensão das interfaces da terapia ocupacional com as artes, o corpo e a cultura. Esta interface é um campo potente para a produção do conhecimento em experiência corporal envolvida em atividades que constrói o corpo pelo próprio fazer.Palavras-chave: Terapia Ocupacional. Arte. Terapias mente-corpo. Cultura Abstract It is a cover image that proposes aesthetic-artistic images as ways of understanding the interfaces of occupational therapy with the arts, the body and culture. This interface is a powerful field for the production of knowledge in bodily experience involved in activities that build the body by doing it.Keywords: Occupational Therapy. Art. Mind-body therapies. CultureResumen Es una imagen de portada que propone imágenes estético-artísticas como formas de entender las interfaces de la terapia ocupacional con las artes, el cuerpo y la cultura. Esta interfaz es un campo poderoso para la producción de conocimiento en la experiencia corporal involucrada en actividades que construyen el cuerpo em acto.Palabras clave: Terapia Ocupacional. Arte. Terapias mente-cuerpo. Cultura.
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Zylinska, Joanna. "Active Perceptual Systems." Cabinet, Vol. 2, no. 2 (2017): 95–97. http://dx.doi.org/10.47659/m3.095.art.
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The images that make up the project presented here are very much part of “the technical universe of images” Flusser has identified in his book [Into the Universe of Technical Images]. They were taken over a period of two years with an automated “intelligent” wearable camera called the Autographer. The artist wore the camera in various everyday situations: on a city walk, in a holiday resort, in an art gallery, in a lecture theatre, at home. The machinic behaviour was nevertheless influenced by the way her body moved, enacting a form of immersive, corporeal perception that broke with the linearity of perspectival vision and its representationalist ambitions, while also retaining human involvement in the multiple acts of image capture. The human element was also foregrounded in the subsequent editing activities: Zylinska was faced with over 18,000 images from which she chose several dozen. Active Perceptual Systems thus raises the question of whether the creative photographer can be seen as first and foremost an editor: a Flusserian in-former who provides structure to the imagistic flow after the images have been taken. Keywords: algorithm, Autographer, editor, surveillance, technical image
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LIANG TUNG, WON, and MD MIZANUR RAHMAN. "PERCEIVED BODY IMAGE AND ITS RELATIONSHIP WITH BODY MASS INDEX, SELF-ESTEEM, BODY CHANGE STRATEGY, AND SOCIAL NETWORK USAGE AMONG RURAL ADOLESCENTS IN SARAWAK, MALAYSIA." Malaysian Journal of Public Health Medicine 21, no. 1 (2021): 198–207. http://dx.doi.org/10.37268/mjphm/vol.21/no.1/art.781.
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Body image is a complex and multifaceted construct with multiple associated factors determining its perception among adolescents. This study aimed to determine the perceived body image and its relationship with body mass index, self-esteem, body change strategy, and social network usage among rural adolescents. This study was a cross-sectional study design using a multistage random sampling technique to select adolescents aged 10 to 19 years. A total of 318 adolescents’ data were collected using a self-administered questionnaire. Data analysis was done using SPSS version 22.0 with a p-value of <0.05 was considered statistically significant. The mean (SD) age of adolescents was 14.6 (2.7) years with a male and female ratio of 1.09:1. The mean score (SD) of perceived body image was 3.63 (0.87). Multiple linear regression analysis revealed that gender, body mass index, and strategy to increase weight could predict perceived body image among adolescents. However, self-esteem did not correlate with perceived body image. Although, the body image dissatisfaction level was low among rural adolescents compared to other studies in Malaysia. However, it can still pose a threat to adolescents’ health if not addressed accordingly.
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Joy, Phillip, and James Iain Neith. "The Queen of Hearts: Exploring the process of creating queer art and its use in dietetic research and practice." Critical Dietetics 5, no. 2 (2021): 34–40. http://dx.doi.org/10.32920/cd.v5i2.1414.
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Body image issues for gay men can shape their overall health and wellbeing. The intent of this article is to explore the personal and creative process in translating research findings to art. The article first presents a brief overview of the research that explored how social and cultural norms constitute the beliefs, values, and practices of gay men concerning their eating, body image, and health. The research findings are translated through an art piece that is disruptive to the dominant ways of knowing about the body ideals set before gay men. An art piece that is, therefore, by definition queer art. The findings, and hence, the art are interpreted through the classic tale of Alice in Wonderland - a poststructural piece of literature. The article describes the considerations and processes used to create the art, including the central character, the colors, and the the symbolism of its various components. Implications of queer art to dietetic practice are discussed. 
 
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Bell, Peter, and Leonardo Impett. "Ikonographie und Interaktion. Computergestützte Analyse von Posen in Bildern der Heilsgeschichte." Das Mittelalter 24, no. 1 (2019): 31–53. http://dx.doi.org/10.1515/mial-2019-0004.
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Abstract The last few years have seen an explosion of medieval images in digital form, chiefly as a result of photo-library and manuscript digitisation projects. An entire corpus of images, even selected solely by scene or iconography, becomes an unwieldy object of study by traditional art-historical means. This is even more the case for medieval images, where authorship and dating are often cloudy and unclear, and the image itself is in many cases the first resource for scholarly inquiry.We take the digital image – in particular, the digital image of the body – as our object of study in a wide-ranging computationally-augmented reading of an image-corpus; ours is made up of thousands of depictions of the ‘Annunciation’ and ‘Baptism’, selected not only for their primacy in Christian art but for their dialogical interaction. Our corpus of 6,564 ‘Annunciations’ and 883 ‘Baptisms’, whilst not necessarily representative in density, includes a wide range of stylistic, theological and historical tendencies.We computationally extract not only body images but poses, gestures and interactions. Such a range of gestures allows for a morphological treatment of bodily motifs, whose multi-dimensional, quantitative nature allows us to complicate and problematise iconographic taxonomies, populating the spaces between categories. Finally, our gestural manifolds provide a morphological pointer to dissecting the microtemporalities of the scenes, and their relative dynamics and inconsistencies.
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Schneider, Stanley, Shelley Ostroff, and Nancy Legow. "Enhancement of Body-Image: A Structured Art Therapy Group with Adolescents." Art Therapy 7, no. 3 (1990): 134–38. http://dx.doi.org/10.1080/07421656.1990.10758908.
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Zelinský, Miroslav, and Ivana Bulanda. "BODY PHYSICALITY AS A KEY FACTOR OF MEDIA SELF PRESENTATION – BODY IMAGE IN ADVERTISING." Zeszyty Naukowe Wyższej Szkoły Humanitas Zarządzanie 20, no. 4 (2019): 133–46. http://dx.doi.org/10.5604/01.3001.0014.0313.
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The contribution is a consideration of the role of a human body in personal, physical reflections, in the field of art and in media space. The presented text is a thought starting point for a scientific study of the role and forms of the human body in contemporary advertising. In contemporary modern society, there is an increasing interest in the appearance and presentation of the body in its female or male modality. Body image is a complex, dynamic and multidimensional aspect of an individual’s personality, determined by a number of individual and socio-cultural factors. Body image creation takes place under the influence and experience of information and it can change throughout life. The perception of body image is linked to the general ideas that the culture connects with the ideal form of the body. It is not only a mental image, but also includes an assessment component, an attitude based on cognitive schemes and emotional processing of information with which the individual is confronted
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Horváth, Géza S. "“Outer” and “Inner” Body in Mikhail Bakhtin’s Literary Theory." Dostoevsky Journal 14-15, no. 1 (2014): 1–11. http://dx.doi.org/10.1163/23752122-01401002.
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Bakhtin subordinates the experience of the body to the experience of the action, to the participation in the event of being. The world's thickening into body around the man is named as a new reality, an “aesthetic reality” by Bakhtin: “the artist and art as a whole create a completely new vision of the world, a new image of the world, a new reality of the world’s mortal flesh [реальность смертной плоти мира], unknown to any of the other clturally creative activities. [. . .] Aesthetic activity collects the world scattered in meaning and condenses it into a finished and self-contained image [образ]. This constitutes the analogy of the body and the artistic form for the creative view. The aesthetic activity gathers and thickens into a complete, sufficient- for-itself image the world dispersed from the perspective of the sense. The problem of the outer and inner body is treated in this paper in the light of Bakhtin’s philosophy of the act and being.
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Horváth, Géza S. "“Outer” and “Inner” Body in Mikhail Bakhtin’s Literary Theory." Dostoevsky Journal 14-15, no. 1 (2014): 144–54. http://dx.doi.org/10.1163/23752122-01401010.
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Bakhtin subordinates the experience of the body to the experience of the action, to the participation in the event of being. The world's thickening into body around the man is named as a new reality, an “aesthetic reality” by Bakhtin: “the artist and art as a whole create a completely new vision of the world, a new image of the world, a new reality of the world’s mortal flesh [реальность смертной плоти мира], unknown to any of the other clturally creative activities. [. . .] Aesthetic activity collects the world scattered in meaning and condenses it into a finished and self-contained image [образ]. This constitutes the analogy of the body and the artistic form for the creative view. The aesthetic activity gathers and thickens into a complete, sufficient- for-itself image the world dispersed from the perspective of the sense. The problem of the outer and inner body is treated in this paper in the light of Bakhtin’s philosophy of the act and being.
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Gordon, Anthea. "Classifying the body in Marlene Dumas' The Image as Burden." Medical Humanities 44, no. 1 (2017): 64–70. http://dx.doi.org/10.1136/medhum-2016-011061.
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Medical photography, and in particular dermatological imagery, is often assumed to provide an objective, and functional, representation of disease and that it can act as a diagnostic aid. By contrast, artistic conceptions of the images of the body tend to focus on interpretative heterogeneity and ambiguity, aiming to create or explore meaning rather than enact a particular function. In her 2015 retrospective exhibition at the Tate Modern, South African artist Marlene Dumas questions these disciplinary divides by using medical imagery (among other photographic sources) as the basis for her portraits. Her portrait ‘The White Disease’ draws on an unidentified photograph taken from a medical journal, but obscures the original image to such a degree that any representation of a particular disease is highly questionable. The title creates a new classification, which reflects on disease and on the racial politics of South Africa during apartheid. Though, on the one hand, these techniques are seemingly disparate from the methods of medical understanding, features such as reliance on classification, and attempts at dispelling ambiguity, bring Dumas’ work closer to the history of dermatological portraits than would usually be perceived to be the case. In considering the continuities and disparities between conceptualisations of skin in dermatology and Dumas’ art, this paper questions assumptions of photographic objectivity to suggest that there is greater complexity and interpretative scope in medical dermatological images than might initially be assumed.
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Hauser, Barbara, and David Hutchinson. "Clinical images: Rice body arthritis." Arthritis & Rheumatism 63, no. 4 (2011): 1158. http://dx.doi.org/10.1002/art.30189.
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Herbin, Renaud. "Between the Body, the Object and the Image: Dance and the Visual Arts in Puppet Art." Maska 31, no. 179 (2016): 34–45. http://dx.doi.org/10.1386/maska.31.179-180.34_1.
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The close connection between creation, theory, and institutions is the starting point for the author’s reflection on the kinds of spaces the latter should prepare. He emphasises that of particular interest are those spaces that are established between different approaches (or rather relationships between the body, the object, and the image). In Reprendre son soufflé by Julika Mayer, the puppet and the actor form a relationship that leaves none of the participants untouched but allows their identities to be changed. Similarly, the puppeteer-dancer in Uta Gebert’s Anubis reveals himself in order to uncover the relationship which links him and the puppet: both exist solely in motion, in the zone of exchange. Bodies and objects, assembled into body-objects, seem to meet by chance in Miet Warlop’s Springville, but in the forefront is the Image, which follows a visual logic in placing the body-objects in different configurations. On the other hand, the space occupied by the body in Yngvild Aspeli’s Signaux is undefined: the actor, his puppet-double, and his phantom limb embody a feeling of strangeness and pain. In the project Anémochore, Christophe Le Blay enables the embodiment of the environment (the wind) in the image of a recorded trace, with which a dancer then engages in dance. Space is therefore something unfinished, something open, undefinable and empty, all of which applies equally to bodies, objects, and images.
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GEMALMAYAN, Reyhan YÜKSEL. "ART AND DRAMA EDUCATION ON THE AXIS OF IMAGE." EUROASIA JOURNAL OF SOCIAL SCIENCES & HUMANITIES 9, no. 1 (2022): 34–46. http://dx.doi.org/10.38064/eurssh.289.
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In fact, all kinds of information we have acquired regarding the five senses have a personal reflection in our minds: The events we experience, the books we read, the people we meet, the image we touch, taste, smell, everything we hear is the reflection of the sound in our mind-consciousness; It is the building block of artistic expression. Images that make our emotions speak freely in art education make our dream world and world of thought creative and enrich. Everything that is the subject of our dreams also becomes the subject of art. Art makes the reader-art-receiver feel those emotions-thoughts by shaping our emotions and thoughts in a visual order. Drama is a total art discipline that is based on the acting techniques of theater -role playing, improvisation, etc.- performed and structured with body language animations: It first activates our senses, sensations, imaginations and then our thoughts in order to make art with the five senses. It consists of interdisciplinary arts and arts education; group interactive works on the development of the power of imagination by interacting emotionally with people over the dramatic, enhancing the experiences of the participants. Drama consists of interactive play processes that are constructed by arranging our emotions and thoughts within limited freedoms, enabling the participants to learn and socialize while entertaining them, and provide life experiences. However, the game provides not only emotional treatment, but also imaginative thinking, creative imagination, learning through interaction, and the participants acquire new learnings by developing cognitive-affective-motor behaviors. Drama education master's and doctorate programs have been carried out in conuntry’s higher education for 21 years; this art discipline is becoming widespread in education and training with postgraduate scientific studies. Since art education and artistic creative process require thinking with images, art educators should develop an image-based approach strategy to the drama method. In this article, on the axis of image, art education and drama education are emphasized; The subject of why art education based on the discipline of drama is necessary is explained by examining the image.
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Strehovec, Janez. "The word Image Virtual Body." Afterimage 30, no. 2 (2002): 9–10. http://dx.doi.org/10.1525/aft.2002.30.2.9.
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Hosford, Romy. "Review: Media & Body Image." Afterimage 37, no. 2 (2009): 62. http://dx.doi.org/10.1525/aft.2009.37.2.62.1.
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Clammer, John Robert. "Dialogue through the Image." International Journal of Asian Christianity 1, no. 1 (2018): 117–33. http://dx.doi.org/10.1163/25424246-00101007.
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This paper examines the relationship between the transmission of religion (specifically Christianity) and not texts but visual images, in this instance as embodied in Christian art. The paper is not an exercise in art history as such but an attempt to build a model of the multiple effects of the reception of a new visual culture on a range of cultural dimensions, and in particular the ways in which the new visual discourse transforms ideas about the self, the body, nature, and a wide range of other significant elements of culture. The paper explores the ways in which Christian art transformed subjectivities across wide areas of Asia and contributed in a major way to the establishment of what has become known as modernity. It argues that processes of religious conversion are not only cognitive but also involve the internalization of new forms of representation, ritual, clothing, and other forms of material culture. Studies of the transmission of Buddhism in Asia have suggested that this artistic and material dimension is critical, and the paper raises the question as to what extent the same can be said about the transmission and reception of Christianity. The paper also makes methodological suggestions about fresh ways of linking art history to the analysis of cultural change, especially as it relates to questions of religious transformation.
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Nyamaruze, Patrick, Richard Gregory Cowden, R. Noah Padgett, and Kaymarlin Govender. "Body image and antiretroviral therapy adherence among people living with HIV: a protocol for a systematic review and meta-analysis." BMJ Open 11, no. 7 (2021): e045700. http://dx.doi.org/10.1136/bmjopen-2020-045700.
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IntroductionAdherence to antiretroviral therapy (ART) remains a key challenge to achieving the fast-track goal of ending the HIV epidemic by 2030. To provide a more comprehensive indication of whether interventions designed to promote ART adherence might benefit from targeting body image perceptions, we aim to conduct a systematic review to synthesise existing evidence on the association between body image and ART adherence.Methods and analysisA systematic review of peer-reviewed observational studies and randomised controlled trials that have investigated the association between body image and adherence to ART will be performed. JSTOR, PsycARTICLES, PsycINFO, PubMed, ScienceDirect and Web of Science databases will be searched from 1 January 2000 to 31 March 2021. Eligible records will consider body image as either an independent variable or a mediator, whereas ART adherence will be assessed as an outcome variable. Study selection will follow the Preferred Reporting Items for Systematic Reviews and Meta-Analyses guidelines and study quality will be assessed using relevant tools developed by the National Institute of Health. If sufficient data are available, a meta-analysis will be conducted. Effect size estimates will be aggregated using a random effects meta-analysis approach. Publication bias and its impact will be evaluated through the use of a funnel plot and the trim-and-fill method. The Grading of Recommendations Assessment, Development and Evaluation approach will be used to report on the overall quality of evidence.Ethics and disseminationEthical approval is not required for a systematic review protocol. Findings of the proposed systematic review will be disseminated through conference presentations and publication in a peer-reviewed journal.PROSPERO registration numberCRD42020212597.
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Stošić, Mirjana. "How to Do Things with Pain?" AM Journal of Art and Media Studies, no. 18 (April 15, 2019): 1. http://dx.doi.org/10.25038/am.v0i18.300.
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Speaking of the monstrous or ‘foreign’ body archivally inscribed in culture, one notes a surfeit of imagery at play, a slideshow of supplementary images which both circumscribe and stultify any attempt to write or speak about the body outside of this code of foreignness. This paper argues that such an archive of etiolated body is shadowed by a similarly circumscribing archive of pain. Archives of pain, whether medical, cultural, literary, or ontogenetic, have long been conceived in terms of montage, a series of ‘signs, images, or ciphers’ belonging to the language of diagnosis. This code of diagnostic expertise constatively works to describe and inscribe pain as a supplement to inscriptions of bodihood which are themselves supplementary. This paper seeks to affectively map a shift away from constative taxonomies of pain and body image, towards an approach that ethically and aesthetically privileges the performativity of pain, the pain-act that speaks its suffering without recourse to image or inscription. Article received: December 12, 2018; Article accepted: January 23, 2019; Published online: April 15, 2019; Original scholarly paperHow to cite this article: Stošić, Mirjana. "How to Do Things with Pain?" AM Journal of Art and Media Studies 18 (2019): 1–7. doi: 10.25038/am.v0i18.300
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Kang, Ju-Hyeong. "A study on the possibility of combining the dismantlement of faciality with digital character creation: Focusing on the 'Art Brut' of Jean Dubuffet." K-Culture·Story Contents Reasearch Institute 1 (July 31, 2022): 27–46. http://dx.doi.org/10.56659/kdps.2022.7.1.27.
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This paper examines the possibility that the discourse of dismantlement of faciality can be combined with character creation in the digital age by analyzing the facial images in Jean Dubuffet's Art Brut painting focusing on Gilles Deleuze's concept of 'faciality'.
 According to Deleuze, the face is a layer of linguistic expression deterritorialized from the body, and it is the mechanism of faciality that fixes humans to signifiance and subjectification by a single code that dominates Western civilization. This paper attempts to capture the prototype of the face that the mechanism of faciality do not penetrate through the raw image of faces in Art Brut, which breaks down the classical representation system. These informel faces of Art Brut and Deleuze's undecidable faces suggest the possibility of various expressions of face and body images through the undecidability between faciality and body, and the relationship with material objects. In other words, the deconstruction of faciality as claimed in this paper can open the infinite possibilities of creating digital characters with another vitality as a new approach to face representation.
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Zou, Ding-Nan, Song-Hai Zhang, Tai-Jiang Mu, and Min Zhang. "A new dataset of dog breed images and a benchmark for finegrained classification." Computational Visual Media 6, no. 4 (2020): 477–87. http://dx.doi.org/10.1007/s41095-020-0184-6.
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AbstractIn this paper, we introduce an image dataset for fine-grained classification of dog breeds: the Tsinghua Dogs Dataset. It is currently the largest dataset for fine-grained classification of dogs, including 130 dog breeds and 70,428 real-world images. It has only one dog in each image and provides annotated bounding boxes for the whole body and head. In comparison to previous similar datasets, it contains more breeds and more carefully chosen images for each breed. The diversity within each breed is greater, with between 200 and 7000+ images for each breed. Annotation of the whole body and head makes the dataset not only suitable for the improvement of finegrained image classification models based on overall features, but also for those locating local informative parts. We show that dataset provides a tough challenge by benchmarking several state-of-the-art deep neural models. The dataset is available for academic purposes at https://cg.cs.tsinghua.edu.cn/ThuDogs/.
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Olsn, Jan Eric. "The Body Voyage as Visual Representation and Art Performance." Nuncius 26, no. 1 (2011): 222–41. http://dx.doi.org/10.1163/182539111x569838.
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AbstractThis paper looks at the notion of the body as an interior landscape that is made intelligible through visual representation. It discerns the key figure of the inner corporeal voyage, identifies its main elements and examines how contemporary artists working with performances and installations deal with it. A further aim with the paper is to discuss what kind of image of the body that is conveyed through medical visual technologies, such as endoscopy, and relate it to contemporary discussions on embodiment, embodied vision and bodily presence. The paper concludes with a recent exhibition by the French artist Christian Boltanski, which gives a somewhat different meaning to the idea of the body voyage.
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Fan, Mingrui, Wenlong Lu, Wenlong Niu, Xiaodong Peng, and Zhen Yang. "A Large-Scale Invariant Matching Method Based on DeepSpace-ScaleNet for Small Celestial Body Exploration." Remote Sensing 14, no. 24 (2022): 6339. http://dx.doi.org/10.3390/rs14246339.
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Small Celestial Body (SCB) image matching is essential for deep space exploration missions. In this paper, a large-scale invariant method is proposed to improve the matching accuracy of SCB images under large-scale variations. Specifically, we designed a novel network named DeepSpace-ScaleNet, which employs an attention mechanism for estimating the scale ratio to overcome the significant variation between two images. Firstly, the Global Attention-DenseASPP (GA-DenseASPP) module is proposed to refine feature extraction in deep space backgrounds. Secondly, the Correlation-Aware Distribution Predictor (CADP) module is built to capture the connections between correlation maps and improve the accuracy of the scale distribution estimation. To the best of our knowledge, this is the first work to explore large-scale SCB image matching using Transformer-based neural networks rather than traditional handcrafted feature descriptors. We also analysed the effects of different scale and illumination changes on SCB image matching in the experiment. To train the network and verify its effectiveness, we created a simulation dataset containing light variations and scale variations named Virtual SCB Dataset. Experimental results show that the DeepSpace-ScaleNet achieves a current state-of-the-art SCB image scale estimation performance. It also shows the best accuracy and robustness in image matching and relative pose estimation.
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Mason, Justice J., Christine Allen-Blanchette, Nicholas Zolman, Elizabeth Davison, and Naomi Ehrich Leonard. "Learning to Predict 3D Rotational Dynamics from Images of a Rigid Body with Unknown Mass Distribution." Aerospace 10, no. 11 (2023): 921. http://dx.doi.org/10.3390/aerospace10110921.
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In many real-world settings, image observations of freely rotating 3D rigid bodies may be available when low-dimensional measurements are not. However, the high-dimensionality of image data precludes the use of classical estimation techniques to learn the dynamics. The usefulness of standard deep learning methods is also limited, because an image of a rigid body reveals nothing about the distribution of mass inside the body, which, together with initial angular velocity, is what determines how the body will rotate. We present a physics-based neural network model to estimate and predict 3D rotational dynamics from image sequences. We achieve this using a multi-stage prediction pipeline that maps individual images to a latent representation homeomorphic to SO(3), computes angular velocities from latent pairs, and predicts future latent states using the Hamiltonian equations of motion. We demonstrate the efficacy of our approach on new rotating rigid-body datasets of sequences of synthetic images of rotating objects, including cubes, prisms and satellites, with unknown uniform and non-uniform mass distributions. Our model outperforms competing baselines on our datasets, producing better qualitative predictions and reducing the error observed for the state-of-the-art Hamiltonian Generative Network by a factor of 2.
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Bailiang Huang, Bailiang Huang, Yan Piao Bailiang Huang, Yanfeng Tang Yan Piao, and Baolin Tan Yanfeng Tang. "Body Correlation Network for Person Re-Identifications." 電腦學刊 34, no. 1 (2023): 187–97. http://dx.doi.org/10.53106/199115992023023401014.
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<p>Visual information accounts for approximately 80 to 85 percent of the information available daily in modern cities. As such, person re-identification, an instance-level image retrieval task, has become an important research topic in computer vision, machine learning, and other fields in recent years. Traditional person re-identification methods based on convolutional neural networks only extract the global feature information of people. Thus, when external factors such as changes in occlusion and illumination disturb people, the recognition performance of these methods substantially decreases. We therefore develop body correlation network (BC-Net), which takes full advantage of images of body parts and the correlations between them. Specifically, BC-Net uses body part feature information and correlation feature information as nodes and edges, respectively, and then uses graph convolutions to learn the overall topology of people. To improve use of crucial feature information, we also design a unique method of propagation between nodes and edges. We conduct extensive comparative experiments on the Market-1501 and DukeMTMC-reID datasets, and the results demonstrate that BC-Net outperforms other state-of-the-art techniques.</p> <p>&nbsp;</p>
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Rusin, R. M. "CORPORALITY AS AN ATTRIBUTE OF SCULPTURE(EUROPEAN CONTEXT)." UKRAINIAN CULTURAL STUDIES, no. 1 (2017): 87–93. http://dx.doi.org/10.17721/ucs.2017.1.19.
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The historical development of art is a change of paradigms. Each paradigm contains a special understanding of art, defined bothby the act of creativity itself and by the evaluation of its results. It is especially important to identify the origins of these changes, identify their stages, and determine the direction of the evolution of artistic creativity. In this context, corporeality as an artistic paradigm of European sculpture is considered in an article in the historical dimension from classics to postmodernism. Background research driven by changes that have suffered over the past century art not only in terms of formative principles, but also in terms of being a work of art. The term "art" is not given apriori; itis inseparable from the historical conditions of its own realization and filled with different content. In ancient tradition, from which theoretical understanding of artoriginates, provides an understanding of art as mimetic activity. For plastic art of the ancient Greeks man was the epitome of all things, the prototype of all creation and the created. The human body in great shape was almost the only model of art aesthetic. The Greeks thought it only as a stature completeness. For the Greeks, body language was the language of soul, although Greek plastics did not know what analysis characters the cult of the individual, which is typicalfor the art of modern times. Plasticity, the ancient body kinetics can be regarded as some elements of thesemantic structure of a particular language as a kind of mimicry. Plastic modern European sculpture shows opposite tothe ancient classics, Christian traditional relationship of mind and body. Antiquity knew dualism of mind and body, and provided perception of the gods only in the body incarnation. Christianity brought a legislateddualism and brought early naive monism attitudeinto the historically natural decay. In the art of the Renaissance in Europe, due to rethinking of ancient Christian tradition, experience acquires the tendency of forming an image of ideal body oriented on classic examples. In the mid-nineteenth century, under the influence of a new understanding of human corporeality was an appeal to antiquity qualitatively new level due to the growing trend of "naturalization" in human culture and criticism concerning the previous historical periods. In the culture of the twentieth century, there was a quite relevant anthropological stance of negativism. Justification ofindividual values has led to a lack of uniform standards, because itwas perceived as an encroachment on personality. The natural beauty in all its perfection, the image of which was the purpose and content of Antiquity plasticsand the Renaissance art lost all its worthiness and has becomea subject of neglecting within the postmodernism.
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Gawali, Sujata. "Calculating Body Mass Index From 2D Image Using Convolutional Neural Networks and Anthropometric Measurements." INTERANTIONAL JOURNAL OF SCIENTIFIC RESEARCH IN ENGINEERING AND MANAGEMENT 08, no. 04 (2024): 1–5. http://dx.doi.org/10.55041/ijsrem30800.
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Human body images encapsulate valuable biometric information. encompassing factors such as pupil color, gender, and weight. Of particular significance, body weight serves as a robust indicator of overall health. In alignment with recent health. science studies, this paper explores the viability of analyzing body weight through two- dimensional (2D) frontal-view human body images, utilizing the widely accepted Body Mass Index (BMI) as measure. To address varying levels of difficulty, three feasibility prob- lems are investigated, ranging from easy to hard. A comprehen sive framework is developed for body weight analysis, proposing the computation of five anthropometric features for precise body weight characterization. The correlation between the extracted anthropometric features and BMI values is thoroughly analyzed, affirming the usability of the selected features. For this study, a visual-body-to-BMI dataset is meticulously collected and cleaned, comprising 5900 images of 2950 subjects with corresponding labels for gender, height, and weight. findings demonstrate the feasibility of analyzing body The weight from 20 body images, with the proposed method outperforming two state-of-the-art facial image-based weight analysis approaches in most cases. Index Terms : Body weight analysis, visual analysis of body mass index (BMI), anthropometric features, visual-body-to- BMI dataset
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Williams, Kathryn. "PIXERCISE: PICCOLO PERFORMANCE PRACTICE, EXERCISE AND FEMALE BODY IMAGE." Tempo 74, no. 292 (2020): 74–79. http://dx.doi.org/10.1017/s0040298219001207.
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AbstractPIXERCISE (2017–) is an open-ended collaborative work written by Kathryn Williams and Annie Hui-Hsin Hsieh. The piece involves an ongoing process of physical training, and in performance combines specially tailored physical exercises with piccolo performance. This article describes the unusual composition, preparation, and performance of this work and is concerned with exploring the shifting collaborative relationship. It also explores some of the aesthetic and social ideas that motivated the piece and have emerged through critical reflection and have been further incorporated, including the process of self-improvement and overcoming expressed as a performance artwork; entanglements between physical transformation through exercise; attitudes to female-body image and exercise; and how this piece connects with a growing tradition of experimental musical performance practice and performance art.
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Das, Keya, and Rajesh Raman. "“Mirror, Mirror, on the Wall…Who is the Fairest of Them All?”—Body Image and Its Role in Sexual Health." Journal of Psychosexual Health 1, no. 3-4 (2019): 227–35. http://dx.doi.org/10.1177/2631831819890778.
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Changing times on a global scale have seen a paradigm shift in the perception of “idealness” of body shape and construct of beauty. This has far-reaching impacts on several spheres of life from psychological, physical, as well as sexual health. The influence of attitudes, beliefs, culture, art, geography, and technological advances has been explored with the premise of body image impacting sexual health and functioning. The role body image plays in sexual health has been studied widely from the Western perspective mostly in women, but studies in the Indian context are limited to weight, body mass index, eating disorders, body dysmorphic disorders, rather the relation between body image in sexuality or sexual functioning.
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Lu, Shufang, Funan Lu, Xufeng Shou, and Shuaiyin Zhu. "DeepProfile: Accurate Under-the-Clothes Body Profile Estimation." Applied Sciences 12, no. 4 (2022): 2220. http://dx.doi.org/10.3390/app12042220.
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Accurate human body profiles have many potential applications. Image-based human body profile estimation can be regarded as a fine-grained semantic segmentation problem, which is typically used to locate objects and boundaries in images. However, existing image segmentation methods, such as human parsing, require significant amounts of annotation and their datasets consider clothes as part of the human body profile. Therefore, the results they generate are not accurate when the human subject is dressed in loose-fitting clothing. In this paper, we created and labeled an under-the-clothes human body contour keypoint dataset; we utilized a convolutional neural network (CNN) to extract the contour keypoints, then combined them with a body profile database to generate under-the-clothes profiles. In order to improve the precision of keypoint detection, we propose a short-skip multi-scale dense (SMSD) block in the CNN to keep the details of the image and increase the information flow among different layers. Extensive experiments were conducted to show the effectiveness of our method. We demonstrate that our method achieved better results—especially when the person was dressed in loose-fitting clothes—than and competitive quantitative performance compared to state-of-the-art methods, while requiring less annotation effort. We also extended our method to the applications of 3D human model reconstruction and body size measurement.