Academic literature on the topic 'Body representation in art'
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Journal articles on the topic "Body representation in art"
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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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Han, Eunjung, Chee-Onn Wong, Keechul Jung, and Kyung Ho Lee. "Emotion Gesture Art." Leonardo 43, no. 3 (June 2010): 308–9. http://dx.doi.org/10.1162/leon.2010.43.3.308.
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Emotion gesture art is a new type of user modeling and representation in a form of aesthetic art. It consists of a unique combination of color, sound and animation (shape) that in itself creates the same emotional feeling for spectators. Emotion gesture art takes the body posture expression and remaps the communication of emotions into an aesthetic representation. This paper also presents an emotion gesture art installation (eG-art), a system prototype for affective computing. This installation will allow a smart blend of a system for affective computing with aesthetic art representation.
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홍지석. "The Face and Body of Communist: Body-Representation in Contemporary North Korean Art." Journal of Korean Studies ll, no. 54 (September 2015): 233–54. http://dx.doi.org/10.17790/kors.2015..54.233.
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Cleveland, Kimberly. "Appropriation and the Body: Representation in Contemporary Black Brazilian Art." Journal of Black Studies 41, no. 2 (November 23, 2009): 301–19. http://dx.doi.org/10.1177/0021934709349458.
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Waldrep, Shelton. "The Body of Art." Corpus Mundi 1, no. 2 (July 13, 2020): 62–87. http://dx.doi.org/10.46539/cmj.v1i2.21.
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As part of a larger study on the mainstreaming of pornography in contemporary film and television, this essay attempts to examine and extend our vocabulary for discussing visual representations of the human body by revisiting Kenneth Clark’s important study The Nude from 1972. Clark’s book provides a history of the male and female nude in two- and three-dimensional art from Ancient Egypt and Greece to the Renaissance and beyond. This essay focuses on places within his analysis that are especially generative for understanding pornography such as the importance of placing the nude form within a narrative (Venus is emerging from her bath, for example) or attempts by artists to suggest movement within static forms. The essay places Clark’s rich typology in conversation with other thinkers, such as Fredric Jameson, Erwin Panofsky, E. H. Gombrich, and Michel Foucault. The piece ends with a discussion of androgyny and hermaphroditism as they relate to the expression of gender in plastic art, especially the notion that all representations of the body necessarily include a gender spectrum within one figure. Artists whose work is looked at in some detail include Da Vinci, Michelangelo, and Donatello.
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Roper, Emily A., and José A. Santiago. "Representation of Athletic Girls on Young Adult Sport Fiction Cover Art." Women in Sport and Physical Activity Journal 29, no. 1 (April 1, 2021): 12–19. http://dx.doi.org/10.1123/wspaj.2020-0027.
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The purpose of this study was to examine how and how often athletic girls were represented on the cover art of young adult (YA) sport fiction. In this research, 154 YA sport fiction books were analyzed using quantitative content analysis. Using existing sport research and theory focused on women’s representation in sport media, the researchers developed a coding scheme to assess cover art for each of the following categories: (a) presence and racial representation of female character/s on cover; (b) portrayal of female body on cover (whole body, partial body/with head, or partial body/without head); (c) portrayal of female character as active or passive; (d) portrayal of female character in or out of athletic uniform; (e) portrayal of female character in or out of the sport setting; (f) presence of sport equipment; and (g) type of cover. Findings revealed that 81% of the book covers had a female character in which 29% of the covers displayed the whole body, 47% displayed partial body/with head, and 23% displayed partial body/with no head of the female character. Only 0.06% of the book covers had a female character of color. Approximately 31% of the female characters were displayed in active positioning, 58% in athletic attire, and 44% in the sport setting. Of the books reviewed, 55% displayed equipment on the cover. The findings indicate that athletic girls have few images on YA sport fiction cover art that accurately represent their athleticism, and there is a clear absence of diverse representation. It is critical that those responsible for the design and layout of book covers clearly represent active females in action, in uniform, and in the sport context.
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Kesić, Saša. "Theory of Queer Identities: Representation in Contemporary East-European Art and Culture." AM Journal of Art and Media Studies, no. 14 (October 15, 2017): 123. http://dx.doi.org/10.25038/am.v0i14.211.
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Starting from the general theory of identity, gender theory, queer theory and theory of bio/necropolitics, as theoretical platforms, in a few case studies I will analyze the Pride Parade as a form of manifestation of gender body and queer body representations in visual arts, and gender and queer body representations in mass media. My hypothesis is that the key for understanding the chosen case studies is in understanding the relation between their aesthetics, political and social interventions. This will consider political involvement, social injustice, alienation, stereotypes on which ideological manipulations are based etc., as well as the creative strategies used for moving the borders of visual art in searching for authentically-performed creative expressions and engagements. In the time we live it is necessary for the politicization of art to use queer tactics, which work as political strategies of subversion of every stable structure of power. Queer tactics, in my opinion, are weapons in disturbance of the stable social mechanisms, which every power tries to establish and perform over any ‘mass’, in order to transform it to race, gender, tribe, nation or class. Article received: June 6, 2017; Article accepted: June 20, 2017; Published online: October 15, 2017; Original scholarly paperHow to cite this article: Kesić, Saša. "Theory of Queer Identities: Representation in Contemporary East-European Art and Culture." AM Journal of Art and Media Studies 14 (2017): 123-131. doi: 10.25038/am.v0i14.211
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FFRENCH, PATRICK. "Belief in the Body: Philippe Garrel's Le Révélateur and Deleuze." Paragraph 31, no. 2 (July 2008): 159–72. http://dx.doi.org/10.3366/e0264833408000175.
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In Cinema II Deleuze proposes, via early film theorists, that cinema can realise the potential inherent in art to act directly on the nervous system. Cinema had the ‘sublime’ capacity to shock thought into activity, and awaken the ‘spiritual automaton’ in us through vibrations and affects, rather than representations. Deleuze finds a variant of this argument in the writings of Artaud on cinema, in which film forces the realisation of an impotence at the heart of thought. Deleuze then proposes that the only response to this impotence is belief in the connection between man and the world, as expressed and realised in a corporeal cinema of gestures, the prime example of which, in his view, is the work of Philippe Garrel. I will address Garrel's film Le Révélateur in relation to these propositions, focussing also on how the film works primarily at the level of sensory and gestural dynamics, rather than narrative or representation.
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Sardenberg, Trajano, Gilberto José Cação Pereira, Cleide Santos Costa Biancardi, Sergio Swain Müller, and Hamilton da Rosa Pereira. "Evolution of representation of the hands in plastic arts." Acta Ortopédica Brasileira 10, no. 3 (September 2002): 15–24. http://dx.doi.org/10.1590/s1413-78522002000300003.
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The interaction between art and science was high during the Renaissance and it declined later to return significantly in the 20th century, mainly with the use of identification techniques, dating of art works and the development of new materials. The relationship between plastic arts and hand surgery is intense and artistic reproductions of hands are frequent in the illustration of scientific texts. With the objective of understanding the role of the hand in plastic arts, reproductions of works of art (sculptures and paintings) representative of several periods or styles in the history of art were analyzed emphasizing the study of the hands. Anatomical details, relationship with other structures of the human body, role in the composition and symbolic aspects of the hands were studied in historical and artistic contexts of art works in the Paleolithic period (pre-history) until the 20th century. The representation of the hands in plastic arts is directly related to the style or period of the work and to the individual ability of interpretation and execution by the artist.
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Longo, Matthew R. "Implicit and Explicit Body Representations." European Psychologist 20, no. 1 (January 1, 2015): 6–15. http://dx.doi.org/10.1027/1016-9040/a000198.
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Several forms of perception require that sensory information be referenced to representations of the size and shape of the body. This requirement is especially acute in somatosensation in which the main receptor surface (i.e., the skin) is itself coextensive with the body. This paper reviews recent research investigating the body representations underlying somatosensory information processing, including abilities such as tactile localization, tactile size perception, and position sense. These representations show remarkably large and stereotyped distortions of represented body size and shape. Intriguingly, these distortions appear to mirror distortions characteristic of somatosensory maps, though in attenuated form. In contrast, when asked to make overt judgments about perceived body form, participants are generally quite accurate. This pattern of results suggests that higher-level somatosensory processing relies on a class of implicit body representation, distinct from the conscious body image. I discuss the implications of these results for understanding the nature of body representation and the factors that influence it.
Dissertations / Theses on the topic "Body representation in art"
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Kama, Lunga. "Imaginative acts of photographic of self-representation as a critical response to representations of the black male body in South African photography." Thesis, Stellenbosch : Stellenbosch University, 2014. http://hdl.handle.net/10019.1/86412.
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Thesis(MA)--Stellenbosch University, 2014.ENGLISH ABSTRACT: The first part of this thesis discusses some of the problematic photographic practices that form part of the modern visual discourse employed in defining the representation of the black man in South African photography. The aim of this thesis is to critically investigate the visual discourse in contemporary South African photography and to outline the inherent flaws whereby the black male subject is represented according to racial stereotypes inherited from the photographic conventions of colonial discourse. The purpose of this is to investigate my own photographic practice by drawing a critical comparison with the works of German photographer Gustav Theodor Fritsch (b.1834-1927), South African photographers Alfred Martin Duggan-Cronin (b.1874-1954), the Caney brothers (1844-1899), Steve Hilton-Barber (b.1962-2002), Pieter Hugo (b.1976-), Zanele Muholi (b.1972-) and Zwelethu Mthethwa (b.1960-), and Nigerian-born British photographer Rotimi Fani-Kayode (b.1955-1989). My argument is centred around the discussion of these photographer’s works and the visual impact on the manner in which the black subject is portrayed as a ‘noble savage’. The predominant visual representation of the black body in South African photography perpetuates the kinds of discourse that rely on anthropological photographic methods of representation. I argue that where the depiction of the black male body is concerned, a number of contemporary South African photographers mentioned in this thesis continue to unconsciously appropriate a colonial discourse wherein the body of the black man is cast in the exotic role of ‘noble savage’ with extreme attributes regarding sex and gender, either as extremely ‘effeminate’ or, alternatively, as ‘hyper-masculine’ and exuding a ‘raw’ sexual prowess (Read, 1996:64). The work that I create and my photographic practices utilise some of the abovementioned artists’ problematical visual devices in order to subvert them but also to create an alternate perception of black representation. In the second chapter of this thesis, I critically evaluate the work of Rotimi Fani-Kayode as a strategy to employ alternate means of visual representation of the black body in order to critically re-evaluate the work of contemporary South African artists in their depiction of the black male body through either studio photography or documentary photography. The aim is to point out imaginative forms of representation as an alternative to either of the two modes of photography mentioned above. The argument then aims to put emphasis on acts of imaginative self-representation, a contemporary mode in photographic art practice made popular by Rotimi Fani-Kayode. Imaginative self-representation involves “the ritualistic transformation of the colonial imagery into creations of our own” as black artists in order to subvert the dominant discourses on representations of the black body (Fani-Kayode, 1997:6). This is just one of the important strategies used by the artists mentioned in this thesis to critique black sexuality. My works and practices draw their influence from the discourses that dominate the contemporary discourse on the representation of the black body. My argument looks at stereotypical forms of photographic practice and critiques the problematical construct of such representations of black male sexuality. The purpose is to expose some of the Western principles that seek to regulate and control the black body. My own practice focuses on creating works of art that form part of my cultural and historical background. Sexuality and gender are discussed in the third part of this thesis as a means to outline my own photographic practice and its influences. The third chapter investigates the masculinity of the black subject through a discussion of sexuality and gender performativity. In this chapter, gender proves to be a performative, unlike some of the essentialist assumptions made about how sexuality and gender are unchanging. A visual mechanism that seeks to critically question racist representations of black sexuality such as drag and performativity is applied in the construction of affirmative imagery of black masculinity. The final chapter of the thesis focuses on my own work as an example of imaginative forms of self-representation. The first, second and third parts of the argument serve to provide a theoretical framework in which to situate my own practice.
AFRIKAANSE OPSOMMING: Hierdie tesis bespreek van die problematiese fotografiepraktyke wat deel uitmaak van die visuele diskoers waarvolgens die swart man in Suid-Afrikaanse fotografie uitgebeeld word. Die doel van die tesis is die kritiese ondersoek van die visuele diskoers in kontemporêre Suid-Afrikaanse fotografie, en die blootlegging van die inherente leemtes waarin die swart manlike subjek uitgebeeld word volgens rassestereotipes wat uit fotografie gebruike van die koloniale diskoers spruit. Die oogmerk is om my eie fotografiese praktyk te verken deur ’n kritiese vergelyking te tref met die werk van die Duitse fotograaf Gustav Theodor Fritsch (b.1834–1927); die Suid-Afrikaners Alfred Martin Duggan-Cronin (b.1874-1954), die Caneybroers (1844-1899), Steve Hilton-Barber (b.1962-2002), Pieter Hugo(b.1976-), Zanele Muholi (b.1972-) en Zwelethu Mthethwa (b.1960-), en die Britse fotograaf Rotimi Fani- Kayode (1955-1989), ’n Nigeriër van geboorte. ). My argument is gesentreer rondom die bespreking van hierdie fotograaf se werke en die visuele impak op die wyse waarop die swart onderwerp word uitgebeeld as 'n 'edel barbaar ". Die visuele voorstelling van die swart liggaam in Suid-Afrikaanse fotografie is hoofsaaklik ’n voortsetting van die soort diskoerse wat op antropologiese fotografiese uitbeeldingsmetodes berus. Ek voer aan dat, wat die uitbeelding van die swart manlike liggaam betref, ’n paar kontemporêre Suid-Afrikaanse fotograwe wat in hierdie tesis ter sprake kom, steeds onbewustelik ’n koloniale diskoers handhaaf wat die eksotiese rol van ‘edel barbaar’ met uiterste geslags- en genderkenmerke – hetsy uiters ‘vroulik’ of ‘hipermanlik’ met ’n ‘rou’ seksuele manhaftigheid (Read, 1996:64) – aan die swart man toeken. In my eie werk en fotografiepraktyke het ek van bogenoemde kunstenaars se problematiese visuele middele gebruik gemaak, nie net om dit bloot te lê nie, maar ook om ’n alternatiewe opvatting van ‘swart’ uitbeelding te skep. In die tweede hoofstuk van die tesis gebruik ek alternatiewe metodes om die swart liggaam visueel uit te beeld in ’n kritiese herbeoordeling van die werk van kontemporêre Suid- Afrikaanse kunstenaars wat die swart manlike liggaam deur hetsy ateljeefotografie of dokumentêre fotografie voorstel. Sodoende verskuif die klem na verbeeldingryke vorme van uitbeelding as alternatief vir bogenoemde twee vorme van fotografie. Daarná val die soeklig op handelinge van verbeeldingryke selfvoorstelling – ’n kontemporêre metode in fotografiese kunspraktyk wat deur Rotimi Fani-Kayode gewild gemaak is. Verbeeldingryke selfvoorstelling behels “die rituele transformasie van koloniale beelde tot ons eie skeppings” as swart kunstenaars, ten einde die oorheersende diskoerse oor die uitbeelding van die swart liggaam omver te werp (Fani-Kayode, 1997:6). Dít is bloot een van die belangrike strategieë wat die kunstenaars in hierdie tesis gebruik om op swart seksualiteit kritiek te lewer. My werk en praktyk word beïnvloed deur die oorheersende kontemporêre diskoerse oor die voorstelling van die swart liggaam. In my argument bestudeer ek stereotiepe vorme van fotografiese praktyk, en lewer ek kritiek op die problematiese konstruk van sodanige voorstellings van swart manlike seksualiteit. Sodoende word sommige van die Westerse beginsels wat die swart liggaam wil reguleer en beheer aan die lig gebring. My eie praktyk konsentreer op die produksie van kunswerke wat deel uitmaak van my kulturele en historiese agtergrond. Deel 3 van die tesis ondersoek seksualiteit en gender ten einde my eie fotografiepraktyk, én die faktore wat dit beïnvloed, te omskryf. Die derde hoofstuk ondersoek die manlikheid van die swart subjek deur ’n bespreking van seksualiteit en gender performatiwiteit. Uit hierdie hoofstuk blyk dit dat gender as performatief verskil van die essensialistiese aannames oor die onveranderlike aard van seksualiteit en gender. Visuele meganismes om rassistiese voorstellings van swart seksualiteit te bevraagteken, soos fopdossery en performatiwiteit, word toegepas in die konstruksie van bevestigende beelde van swart manlikheid. Die laaste hoofstuk van die tesis konsentreer op my eie werk as voorbeeld van verbeeldingryke vorme van selfvoorstelling. Gesamentlik dien die drie dele van die argument as teoretiese raamwerk waarin my eie praktyk geplaas kan word.
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McLaren, Rosemary. "Rethinking the body-spaces for change : a qualitative analysis of textual and visual representations of menopause." Curtin University of Technology, School of Art, 1999. http://espace.library.curtin.edu.au:80/R/?func=dbin-jump-full&object_id=9940.
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The focus of this study is the exploration and interpretation of women's visual and textual experiences of menopause. It is a conversational mapping of embodied space and time as they re-imagine memories and actual experiences which have informed their changing sense of self during the transitional stages of menopause. The research examines the ways in which artwork, visual diaries, journals, creative writing and poetry make visible a fresh perception of their female sense of the lived body. The project examines the contemporary cultural meanings of femininity, sexuality and identity which have informed women's understanding of their bodies and gender during the transformative years of menopause, and it explores the ways in which these forms of knowledge have influenced their artistic modes of self-representation.In the first chapter I acquaint the reader with the context of the research, and outline my understandings of the human body and social theories. I direct the exploration of texts towards a range of feminist theoretical perspectives which suggest women's biological and reproductive bodies provide spaces for re-visioning personal and social change.The next two chapters explain how I develop theoretical and methodological arts-based approaches enabling an innovative and appropriate investigation of the phenomenon in question. I explain how I have blended various textual expressive genres with interpretive research methodologies and philosophical viewpoints. In these chapters I recount the imaginative strategies and techniques used to portray the ontological, phenomenological and epistemological perspectives of the lived experience of menopause.Following this, I present seven stories. Each story portrays how artistic genres grasp particular experiences and transform them into imaginative expressive inter-textual representations.The stories also demonstrate how this type of research is done, and how the meaning-making processes of collaborative research draw out resonances towards real and imagined, and internal and external sites of personal and political significance.Accompanying the stories is a fourth chapter entitled Menopause Perspecta X 5. In writing this section, I adopt a different narrational approach and voice as I move from the realm of storyteller to that of art curator presenting a series of visual images and the poetic writings of five women. As well as portraying different voices speaking at different levels, each presentation continues the task of opening spaces for translation between word and image.The thesis concludes with a reflective overview of the menopausal body, image and text. In the coda, Notes Towards A Work In Progress, I express my thoughts on creating alternative spatial practices, and tell another story. Through its poetic and lyrical content, I attempt to offer possibilities for restoring a sense of menopausal self, love, hope, and a meaningful relationship with the world.
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Ploeger, Daniël. "Sonified freaks and sounding prostheses : sonic representation of bodies in performance art." Thesis, University of Sussex, 2012. http://sro.sussex.ac.uk/id/eprint/43348/.
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This study is concerned with the role of sound in the presentation and representation of bodies in performance art that incorporates digital technologies. It consists of a written thesis accompanied by a portfolio with documentation of original artwork. Since the 1960s, performance artists have explored the use of sensor technologies to register signals generated by the body and synthesize or control sound. However, both practical and theoretical approaches to biosignal sonification in this field have almost entirely focused on musical (formalist) perspectives, technological innovation, or heightening the performer's and spectator's awareness of their body's physiology. Little attention has been paid to the usually conspicuous interaction between body and technological equipment and the role of the generated sound in the context of cultural critical debates regarding the performing body. The present study responds to this observation in two ways: Firstly, the written part of the study examines existing biosignal performance practices. It seeks to demonstrate that artists' decisions on the design of sensor technology and sound synthesis or manipulation methods are often complicit in the representation of normative body types and behaviour. Drawing from a concept of the sonified body as a transgressive or ‘freak' body, three critical perspectives on biosignal sonification in digital performance are proposed: A reading of body sonification methods from a gender-critical perspective, an inquiry in the context of Mikhail Bakhtin's concepts of the grotesque and the classical body, and a conceptualization of the sonified body as a posthuman prosthetisized body. This part of the study serves as a framework for its second objective: the development of practical performance strategies to address and challenge cultural conventions concerning ‘the' body's form and role in society. This aspect of the thesis is developed in conjunction with, and further explored in, the artwork documented in the portfolio. The practical part of the study consists of three digital performance works. ELECTRODE (2011) involves an anal electrode that registers the activity of my sphincter muscle and uses this data to synthesize sound. For this work, I modified a commercially available muscle tension sensor device designed for people with faecal incontinence problems. Feedback (2010) encompasses components of a commercially available fetal Doppler sensor intended to listen to the heartbeat of unborn babies. SUIT (2009-2010) encompasses several performances that feature a PVC overall equipped with a loudspeaker, sensor interface and Doppler and humidity sensors.
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Langerman, Fritha. "The dissection: An examination of the printmaking tradition as a means to reconsider the relationship between the human body and its representation." Master's thesis, University of Cape Town, 1995. http://hdl.handle.net/11427/18315.
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My work is informed by the identification of the body as a site of anxiety. Computer technologies have led to increased disembodiment, while AIDS has reinforced awareness of the body as physically vulnerable. The basic premise governing my dissertation is that the body of the individual has become a collection of parts - fragmented by its representation. More specifically, I have referred to medical illustration and its role in the objectification and abstraction of the body. In revisualising the image of the body I have chosen to work within a formally fragmented framework. My title, The Dissection, refers to an intrusion into the body, that has as its aim the extraction of knowledge: it is about revealing the unseen. It also relates directly to my working method, which isolates, cuts and sews images. My source materials are medical engravings derived from eighteenth, nineteenth and twentieth century medical atlases. As these references form part of the history and technology of printing, my project has been to recontextualise these images within the tradition of printmaking. This has resulted in technical innovations becoming a significant part of the work's content. The first part of this paper deals with the assertion that medical illustration constructs the body as an .object. I refer to Barthes in assessing the notion of authorship, and discuss alternative theories of the subjective construction of the body. Having established the body as object, I consider the influence of illustration on the perception of the body. I then examine the influence of illustration on theories of biological determinism, and identify the implications of these theoretical concerns for the body as art object. The second part of the paper situates my work within the context of printmaking. I draw parallels between the printed body and collage, and mention my use of format and the multiple in an interpretation of the body. The final section makes specific reference to my body of work.
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Rheeder, Elle-Sandrah. "Pathologies of vision : representations of deviant women and the cyborg body." Thesis, Rhodes University, 2015. http://hdl.handle.net/10962/d1020319.
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This thesis investigates the figure of the cyborg as conceptualised by Donna Haraway in The Cyborg Manifesto (1991). The figure of the cyborg, as a transgressive figure in the late twentieth century within socialist feminist discourse, is problematized with regard to its efficacy as a creature that challenges the constructed nature of gender and contests the boundary between human and machine through its ambiguous nature. Haraway’s notions of the cyborg, which she bases partly on cyborg characters from Science Fiction literature, deny the ocularcentric traditions that have structured gender and the body. Similarly, Haraway does not engage adequately with the figure of the cyborg with regard to situating it historically. This thesis unpacks both the visual and the historical aspects that have structured the cyborg body. By engaging with these concepts, the cyborg emerges as a figure that is identified through visual signifiers of female deviance and pathology. By reading female deviance and pathology on the body of the nineteenth-century hysteric, similarities can be drawn between the hysteric and the cyborg. Through a reading of Alien (1979); Blade Runner (1982); and Star Trek: First Contact (1996) key cyborg texts of the late twentieth century, the figure of the cyborg, and its relation to the deviant pathologised female can be understood when read against the body of the hysteric and how it was visually coded and communicated
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Erminaitė, Giedrė. "Tarp meilės ir priklausomybės/ Stokholmo sindromas / odi de amo." Bachelor's thesis, Lithuanian Academic Libraries Network (LABT), 2012. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2012~D_20120629_122857-19895.
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Tapybos darbų kolekcijoje nagrinėjama socialinė, psichologinė problematika, kur formų, spalvų, dėmių ir kitų detalių visuma virsta tam tikra ženklų sankaupa, paveiki psichologinėmis formomis. Visa tai transformuojasi į trijų darbų kolekciją : " TARP MEILĖS IR PRIKLAUSOMYBĖS/STOKHOLMO SINDROMAS1/ODI DE AMO2" - tai psichologinė emocinė sąvoka reiškianti, įkaito priklausomybę nuo kito žmogaus arba tam tikras dvilypiškumo sąsajas. Personažai, turintys skirtingus vaidmenis, pvz., lyčių stereotipus,”<...> kai moteris sąmoningai tapatinasi vien su savo moteriškumu ir ignoruoja animus (t.y vyriškumo) energiją, jai sunku būti objektyviai, diferencijuoti, vertinti, atsirinkti, orientuotis pasaulyje. Visas šias funkcijas ji perleidžia vyrui ir dėl to yra priklausoma nuo jo <...>”3. Tai rodo vyro ir moters, skirtingus simbolinius opozicinius lyčių skirtumus. Vyro - dominavimą, valdžią, moters – paklusnumą. Taigi trapios, dramatiškai inscenizuotos moteriškos figūros, pasimetusios uždaroje erdvėje, apsuptos vyriškumo, parodo „<...>žmogaus izoliaciją ir kovą, o kartu nuolatinį poreikį grįžti į pradžią ir pradėti iš naujo<...>“.4 Darbų ciklui sukurti naudojamos skaitmeninės fotografijos, eskizai, tapybiniai bandymai. Remiantis sukaupta vizualine medžiaga, eskizavimu, sukurta trijų darbų kolekcija, aliejinės tapybos bei graffiti technologijomis ant medžio plokštės.In collection of paintings, topic and expression, analyses the social, psychological problems, where forms, colors, spots and other parts of a whole becomes particular aggregate of signs, influencing psychological forms. This entire are being transformed into a collection of three works " between love and addiction / STOCKHOLM SYNDROME / ODI DE AMO - this is a psychological concept of emotion which means dependence on other person or particular links of ambivalent. Personages have different roles, such as, stereotypes of gender, " ... when a woman deliberately identifies themselves only with their own femininity and ignores the animus (i.e., masculinity ) energy, it is difficult to be objective, to differentiate, evaluate, select and oriented in the world. All these functions that she gives to man and for this she is dependable on him <..>. This represents men’s and woman's different symbolical oppositions genders differences. Man's - dominance, authority, women’s - humility. So fragile, staged a dramatic female figures, lost in an enclosed space surrounded by the male, shows " ... the human isolation and fight, and together the constant need to go back to the beginning and start over ... ".4 To create a cycle of works are being used digital photography’s, sketches, and tests of paintings. Sustaining stored visual materials, sketching, was created a collection of three works, oily paintings and technologies of graphities on panel of wood.
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Engelbrecht, Larita. "Representations of excess in relation to the body in a selection of contemporary visual artworks." Thesis, Stellenbosch : Stellenbosch University, 2012. http://hdl.handle.net/10019.1/20224.
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Thesis (MA (VA))--Stellenbosch University, 2012.ENGLISH ABSTRACT: This dissertation investigates forms of excess in representations of the body in specific examples of contemporary visual art in South Africa and internationally. Representations of excess are phenomena that have gained increasing prominence in recent art practice both locally and abroad. The discussion is focused on two artworks that are examples of this increasing phenomenon of excess in contemporary art: the Swedish video artist Nathalie Djurberg’s video installation Experimentet (2009), and South African performance artist Steven Cohen’s film Golgotha (2007-9). My discussion of the two artworks revolves around the central question: what is the signifying role of excess in representations of the human body in contemporary visual art? This central question is asked throughout the dissertation with two aims in mind: firstly, to situate within a theoretical framework the phenomenon of excess in relation to depictions of the body in contemporary art; and secondly, to situate my own arts practice within this framework. The analysis of Djurberg’s Experimentet and Cohen’s Golgotha is spread over four discussions, each relating to a specific aspect of the representation of excess in relation to the body. Firstly, I investigate the grotesque body with regards to Mikhail Bakhtin’s notion of grotesque realism and Jacques Lacan’s psychological notion of the fragmented body, or corps morcelé. Secondly, I examine the ‘body spectacle’ as a cultural critique of capitalism, and make specific reference to Cohen’s use of real human skulls as shoes in Golgotha as a cultural critique of capitalism. In this discussion I also investigate George Bataille’s philosophical enquiry into the notion of expenditure as a critique of capitalism. The ‘body spectacle’ is situated in the context of late-twentieth-century theorist Frederic Jameson’s view of the postmodern and his exposition of the ‘waning of affect’. Thirdly, I investigate excess and mimesis in representations of the female body, with specific reference to Djurberg’s Experimentet. Here the discussion is situated within the context of French feminist psychoanalytical theory with Luce Irigaray’s concept of the role of excess in mimesis. The study then turns to investigating the experiences elicited in spectators by representations of excess in relation to the body. I draw from George Bataille’s writings of the function of taboo and Mikhail Bakhtin’s insistence on the ambivalence of grotesque imagery to explain my own observations on images of excess. Here I argue, in reference to both Experimentet and Golgotha, that excess is characterised by the paradoxical stance of being simultaneously attracted and repulsed. Lastly I discuss my own current art practice with reference to the theoretical framework outlined here around representations of excess in relation to the body.
AFRIKAANSE OPSOMMING: Hierdie verhandeling ondersoek die voorkoms van oordaad in die uitbeelding van die menslike liggaam in spesifieke voorbeelde van kontemporêre Suid-Afrikaanse en internasionale visuele kunswerke. Oordaadsuitbeelding is ‘n verskynsel wat opvallender voorkom in huidige plaaslike en internasionale kunspraktyke. Die verhandeling fokus primêr op twee kunswerke ter illustrasie van hierdie verskynsel: die Sweedse videokunstenaar Natalie Djurberg se video-instellasie Experimentet (2009), en Suid-Afrikaanse ‘performance’- kunstenaar Steven Cohen se film Golgotha (2007 -9). My bespreking van die twee kunswerke wentel rondom die sentrale vraag: watter aanduidende rol speel oordadigheid in uitbeeldings van die menslike liggaam in kontemporêre visuele kuns? Ter beantwoording van hierdie vraag het hierdie ondersoek ten doel om, eerstens, die verskynsel van oordaadsuitbeelding van die menslike liggaam in kontemporêre kuns binne ‘n teoretiese raamwerk te plaas. Ten tweede gaan ek my eie kunspraktyk binne hierdie raamwerk plaas. Die oorsig van Djurberg se Experimentet en Cohen se Golgotha word oor vier hoofstukke versprei. Elke hoofstuk bespreek ‘n spesifieke aspek van oordaadsuitbeelding rakende die menslike liggaam. Ten eerste bespreek ek die groteske liggaam aan die hand van Mikhail Bakhtin se idée van groteske realisme en ek verwys ook na Jacques Lacan se psigoanalitiese idée van die gefragmenteerde liggaam, of corpse morcelé. Die tweede ondersoek in die verband van oordaadsuitbeelding verwys na die ‘liggaamspektakel’ as kulturele kritiek op kapitalisme, met spesifieke verwysing na Cohen se gebruik van egte menslike skedels as skoene in Golgotha. Ek bespreek ook George Bataille se filosofiese ondersoek na die idée van ‘uitgawe’ as kritiek op kapitalisme. Die ‘liggaamspektakel’ word geplaas binne die konteks van die laat-twintigste-eeuse teoretikus Frederic Jameson se opvatting van postmodernisme en sy verduideliking van die afname in gevoelsinhoud. Ten derde ondersoek ek oordaad en nabootsing in uitbeeldings van die vroulike liggaam, met spesiefieke verwysing na Djurberg se Experimentet. Hier is die bespreking geplaas in die konteks van die Franse feministiese psigoanalitiese teorie van Luce Irigaray se konsep van die rol van oordaad in nabootsing. Die studie verander dan na die ondersoek na die ervarings wat by die gehoor ontlok word deur die uitbeeldings van oordaad rakende die menslike liggaam. Ek verduidelik my eie observasies oor oordaadsuitbeelding deur gebruik te maak van George Bataille se skrywes oor die funksie van taboe, sowel as Mikail Bakhtin se aandrang op die ambivalensie van groteske beelde. Hier argumenteer ek, met verwysing na Experimentet en Golgotha, dat oordaad gekenmerk word deur die paradoks van gelyktydige aantrekking en walging. Ten einde bespreek ek my eie kunspraktyk met verwysing na die teoretiese raamwerk uiteengesit rondom uitbeeldings van oordaad rakende die liggaam.
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Kotsis, Kriszta. ""Your body, O Empress, is a treasure of marvelous qualities" : representations of Middle Byzantine empresses (780-1081) /." Thesis, Connect to this title online; UW restricted, 2004. http://hdl.handle.net/1773/6227.
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Chance, Véronique. "Re-presenting the physical act : an exploration of the physical presence of the body through its screen representation." Thesis, Goldsmiths College (University of London), 2012. http://research.gold.ac.uk/10914/.
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This thesis considers the dynamic relation between the physical presence of the body and its presence as a screen image, through which I examine the impact of visual media technologies on our conceptions and perceptions of the body as a physical presence. The effects of these technologies on traditional notions and conditions of physicality and representation mark, I suggest, a shift in our relationship to, and understanding of the body as a physical presence as we become more used to interacting and communicating with the body through the immediacy of screen images. This has led I further suggest, to questions regarding the body as a material presence and to the technologically mediated image becoming associated with notions of disappearance and disembodiment. I understand however, the condition of the body as being very much embedded in a material world and I approach this project therefore, through the proposition of ‘the physicality of an image’ through which I argue for a reconceptualisation of the materiality of the body through its physical presence as an image. The research examines the relationship between video and performance in fine art practice, through which I consider the rhetorics of presence in relation to the politics of representation and reproduction inherent throughout the histories of their close alliance. It is my assertion that early experiments by artists using video to document performance acts during the 1960s and 1970s reveal a prescient understanding of the development of visual media technologies in ways that prefigure our contemporary moment. My understanding of this dynamic is extended through a consideration of concepts of visibility and invisibility and of formal structures of representation, to arrive at the paradoxical notion of embodied vision through an affective dimension of the body as it could be applied and conceived of as material or physical in relation to (or as a consequence of) temporal concerns in film and video works.
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Flisher, Mark Andrew. "Reflections on leaking men and abject masculinities : challenging representations of male identity in and through body-based performance art." Thesis, University of Plymouth, 2017. http://hdl.handle.net/10026.1/9290.
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Towards the end of the last century discussions on the representation of masculinity in male body-based performance art placed emphasis on the deconstruction of normative masculine identities. The focus of these investigations tended to position the image of masculinity within Lacan’s sexuation matrix, and as such, these representations were usually referred to as being phallic. That is, they reinscribed the behaviours, traits and characteristics of normative masculinity into the performance space. The central thrust of this practice-as-research thesis is that while some male artists deconstruct the performance of phallic masculinity, to challenge normative masculine ideologies, they often first reinscribe normativity onto their bodies. I argue that, while achieving a destabilisation, this approach does not take into consideration the multiplicity of masculine identities that emerge through the individual lived experiences of masculinity This thesis proposes that the performance of my personal experiences of having a masculine identity, and the exploration of these through my male body, might offer an alternative challenge to normative masculinity. Deriving from performance practices that I refer to as ’muscular masculinity’ consideration is given to how I might make space in my work to encourage a focus on the sensorial qualities of having a masculine identity. I mean this in relation to, for example, the feelings of emotions such as shame, anxiety, and vulnerability that emerge as a result of challenging my own identity, and also the different corporeal pleasures I experience as a result of having a male body. In this thesis, I refer to the practice of attending to these sensorial qualities and the gaps that emerge through an intersubjective exchange in performance, as generosity. Furthermore, I argue that generosity can challenge normative representations of masculinity because it requires the male artist to struggle; to struggle with the incoherence of their identity, to struggle with their body, and to struggle with the insecurity of meaning making.
Books on the topic "Body representation in art"
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Beauty's body: Femininity and representation in British aestheticism. Stanford, Calif: Stanford University Press, 1997.
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Enter the body: Women and representation on Shakespeare's stage. London: Routledge, 2001.
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The body, subject & subjected: The representation of the body itself, illness, injury, treatment & death in Spain and indigenous and Hispanic American art & literature. Chicago, IL: Sussex Academic Press, 2016.
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Dynamique des formes et représentation: Vers une biosymbolique de l'humain. Paris: L'Harmattan, 2002.
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Mofaʻ ha-ʻatsmi: Performans arṭ ṿe-yitsug ha-ʻatsmi = Self-performance : performance art and the representation of the self. Tel Aviv: Resling, 2014.
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Running scared: Masculinity and the representation of the male body. Philadelphia: Temple, 1993.
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Running scared: Masculinity and the representation of the male body. Detroit: Wayne State University Press, 2007.
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Running scared: Masculinity and the representation of the male body. Philadelphia: Temple University Press, 1993.
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Elder, Bruce. Body of vision: Representations of the body in recent film and poetry. Waterloo, Ont: Wilfrid Laurier University Press, 1997.
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Pietrzak-Franger, Monika. The male body and masculinity: Representations of men in British visual culture of the 1990s. Trier: WVT, Wissenschaftlicher Verlag Trier, 2007.
Find full textBook chapters on the topic "Body representation in art"
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Duffy, Michelle, Paul Atkinson, and Nichola Wood. "Thresholds of Representation: Physical Disability in Dance and Perceptions of the Moving Body." In Non-Representational Theory and the Creative Arts, 243–62. Singapore: Springer Singapore, 2019. http://dx.doi.org/10.1007/978-981-13-5749-7_16.
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Schade, Sigrid. "Body — Sign — Gender." In Body and Representation, 73–82. Wiesbaden: VS Verlag für Sozialwissenschaften, 2002. http://dx.doi.org/10.1007/978-3-663-11622-6_6.
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Summers, David. "Representation." In Critical Terms for Art History, 3–19. Berkley, California: University of California Press, 2010. http://dx.doi.org/10.2307/book5.6.
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Härtel, Insa. "Leaving Mother Behind: On the Production and Replacement of the Maternal in Space." In Body and Representation, 123–29. Wiesbaden: VS Verlag für Sozialwissenschaften, 2002. http://dx.doi.org/10.1007/978-3-663-11622-6_11.
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Amadiume, Ifi. "Bodies, Choices, Globalizing Neo-colonial Enchantments: African Matriarchs and Mammy Water." In Body and Representation, 21–34. Wiesbaden: VS Verlag für Sozialwissenschaften, 2002. http://dx.doi.org/10.1007/978-3-663-11622-6_1.
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Salecl, Renata. "The New Age of Anxiety." In Body and Representation, 107–22. Wiesbaden: VS Verlag für Sozialwissenschaften, 2002. http://dx.doi.org/10.1007/978-3-663-11622-6_10.
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Benninghoff-Lühl, Sibylle. "Living Images of “Human-Beasts”: Reflections on the “Wild” in the Media." In Body and Representation, 131–38. Wiesbaden: VS Verlag für Sozialwissenschaften, 2002. http://dx.doi.org/10.1007/978-3-663-11622-6_12.
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Klonaris, Maria, and Katerina Thomadaki. "Dissident Bodies: Freeing the Gaze from Norms." In Body and Representation, 143–57. Wiesbaden: VS Verlag für Sozialwissenschaften, 2002. http://dx.doi.org/10.1007/978-3-663-11622-6_13.
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Schwedes, Hannelore. "The Construction of Gender in Photographs of Children." In Body and Representation, 169–77. Wiesbaden: VS Verlag für Sozialwissenschaften, 2002. http://dx.doi.org/10.1007/978-3-663-11622-6_15.
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Bergermann, Ulrike. "Hollywood Reproductions: Mothers, Clones, and Aliens." In Body and Representation, 179–86. Wiesbaden: VS Verlag für Sozialwissenschaften, 2002. http://dx.doi.org/10.1007/978-3-663-11622-6_16.
Full textConference papers on the topic "Body representation in art"
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Gurgun Ozdemir, A. Asya, and Cigdem Kaya Pazarbasi. "NORMATİVE IMPOSİTİON AND PROBLEM OF BODY REPRESENTATİON İN INDUSTRİAL DESİGN PRODUCTS." In International Conference on Arts and Humanities. TIIKM, 2017. http://dx.doi.org/10.17501/icoah.2016.3104.
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Lusk, Craig P. "Quantifying Uncertainty for Planar Pseudo-Rigid Body Models." In ASME 2011 International Design Engineering Technical Conferences and Computers and Information in Engineering Conference. ASMEDC, 2011. http://dx.doi.org/10.1115/detc2011-47456.
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The Pseudo-Rigid-Body Model (PRBM) is an important technique for analyzing and synthesizing compliant mechanisms. This paper describes an approach for generalizing the PRBM and for quantifying its accuracy. The Bernoulli-Euler beam equations are solved and the solution is represented using a phase-portrait. It is shown that the slope-curvature relations for all uniform fixed free-beams can be represented on a single phase portrait. This representation allows for data about PRBM representations for each cantilever beam to be efficiently presented, and for broad conclusions to be drawn, e.g. that the relative position error associated with a simple version of the PRBM is never greater than 7%.
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Yuan, Weihao, Kaiyu Hang, Haoran Song, Danica Kragic, Michael Y. Wang, and Johannes A. Stork. "Reinforcement Learning in Topology-based Representation for Human Body Movement with Whole Arm Manipulation." In 2019 International Conference on Robotics and Automation (ICRA). IEEE, 2019. http://dx.doi.org/10.1109/icra.2019.8794160.
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Shahhosseini, Ali M., and Glen Prater. "Beam-Like Major Compliant Joint Methodology for Automotive Body Structures." In ASME 2010 International Mechanical Engineering Congress and Exposition. ASMEDC, 2010. http://dx.doi.org/10.1115/imece2010-37343.
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One of major difficulties in developing and employing a concept model of a vehicle is to develop a simple and accurate model of joints. A vehicle joint is a subassembly formed by several members that intersect together. It is a thin-walled structure formed by overlapping metal sheets fastened by spot welds. The study of the joints has been important, because they can deform locally. This flexibility can affect noise, vibration and harshness (NVH) characteristics of a vehicle plus other structural performance characteristics under different loading conditions. The main difference between various kinds of concept models is the representation of body joints. Joints are important components of the auto body because they affect significantly, and in some cases, they even dominate, the static and dynamic behavior of a model. This paper introduces a new beam-like major compliant joint methodology. Joints are simulated with different parametric representations that present the major differences among various concept models. The development procedure of the beam-like major compliant joint is explained and the benefits of using this representation are discussed.
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Padeletti, Davide, Ronan Costello, and John V. Ringwood. "A Multi-Body Algorithm for Wave Energy Converters Employing Nonlinear Joint Representation." In ASME 2014 33rd International Conference on Ocean, Offshore and Arctic Engineering. American Society of Mechanical Engineers, 2014. http://dx.doi.org/10.1115/omae2014-23864.
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When large relative displacements take place between the bodies in a multi-body Wave Energy Conversion system linearisation of the constraints on motion imposed by the joints between the bodies is no longer valid and a non-linear time-domain analysis is necessary. As a part of the Techno-Economic Optimisation of Wave Energy Conversion (TEOWEC) software, which has been developed at the Centre for Ocean Energy Research (COER), NUI Maynooth, we developed an algorithm for the dynamic simulation of Multi-Body Systems for Wave Energy Conversion (MBS4WEC) with fully non-linear representation of the body-to-body joints. The algorithm is based on the Joint-coordinate formulation, which provides a systematic procedure to transform the mixed differential-algebraic equations of motion in body coordinates, for open chain systems, to a minimal set of ODEs. When a closed-loop chain occurs, the same method can be adopted by removing one or more kinematic joints from each loop. Knowing the topology of the system, a path matrix is generated and together with the formulation of data structures representing the body-to-body joints, the Velocity Transformation Matrix is computed. The main advantage of this approach is a fast and automatic generation of the Velocity Transformation Matrix, which leads to a higher computational efficiency, especially for complex systems. This paper presents the equations underpinning the method together with results for simulation of two specimen floating multi-body systems. These two are a simple multi-body hinged barge and a device with a sliding internal reaction mass. In each case the results are contrasted to the results produced by a linearised analysis of the same system.
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Gao, Zhongpai, Junchi Yan, Guangtao Zhai, and Xiaokang Yang. "Learning Spectral Dictionary for Local Representation of Mesh." In Thirtieth International Joint Conference on Artificial Intelligence {IJCAI-21}. California: International Joint Conferences on Artificial Intelligence Organization, 2021. http://dx.doi.org/10.24963/ijcai.2021/95.
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For meshes, sharing the topology of a template is a common and practical setting in face-, hand-, and body-related applications. Meshes are irregular since each vertex's neighbors are unordered and their orientations are inconsistent with other vertices. Previous methods use isotropic filters or predefined local coordinate systems or learning weighting matrices for each vertex of the template to overcome the irregularity. Learning weighting matrices for each vertex to soft-permute the vertex's neighbors into an implicit canonical order is an effective way to capture the local structure of each vertex. However, learning weighting matrices for each vertex increases the parameter size linearly with the number of vertices and large amounts of parameters are required for high-resolution 3D shapes. In this paper, we learn spectral dictionary (i.e., bases) for the weighting matrices such that the parameter size is independent of the resolution of 3D shapes. The coefficients of the weighting matrix bases for each vertex are learned from the spectral features of the template's vertex and its neighbors in a weight-sharing manner. Comprehensive experiments demonstrate that our model produces state-of-the-art results with a much smaller model size.
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Burnap, Alexander, Ye Liu, Yanxin Pan, Honglak Lee, Richard Gonzalez, and Panos Y. Papalambros. "Estimating and Exploring the Product Form Design Space Using Deep Generative Models." In ASME 2016 International Design Engineering Technical Conferences and Computers and Information in Engineering Conference. American Society of Mechanical Engineers, 2016. http://dx.doi.org/10.1115/detc2016-60091.
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Product forms in quantitative design methods are typically expressed with a mathematical representation such as vectors, trees, graphs, and grammars. Such formal representations are restrictive in terms of realism or flexibility, and this limits their utility for human designers who typically create product forms in a design space that is restricted by the medium (e.g., free-hand sketching) and by their cognitive skills (e.g., creativity and experience). To increase the value of formal representations to human designers, this paper proposes to represent the design space as designs sampled from a statistical distribution of form and estimate a generative model of this distribution using a large set of images and design attributes of previous designs. This statistical representation approach is both flexible and realistic, and is estimated using a deep (multi-layer) generative model. The value of the representation is demonstrated in a study of two-dimensional automobile body forms. Using 180,000 form data of automobile designs over the past decade, we can morph a vehicle form into different body types and brands, thus offering human designers potential insights on realistic new design possibilities.
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Moes, Niels C. C. M., Zoltán Rusák, and Imre Horváth. "Application of Vague Geometric Representation for Shape Instance Generation of the Human Body." In ASME 2001 International Design Engineering Technical Conferences and Computers and Information in Engineering Conference. American Society of Mechanical Engineers, 2001. http://dx.doi.org/10.1115/detc2001/cie-21298.
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Abstract The objective of this research is the development of a generic model for the shape of a part of the human body. A generated instance is intended to be used in the construction of a Finite Elements model. The selected product type is a sitting support. With the help of a multiple regression model the shape of the upper leg and the buttock area are statistically described. The predictive variables for this shape generation are specific human body characteristics, which are uncertain and usually incomplete. The actual model is a vague domain defined by a set of intersection points on the distribution vectors. The measurements of the shape and specific characteristic landmarks were done with the Microscribe scanning device and the mirror box. The results include (i) a statistical analysis of the measured subject properties, (ii) the generation of the inner closure, the outer closure, and the corresponding distribution vectors, (iii) the location indices on the distribution vectors, (iv) the statistical model to generate instances.
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Hosseini-Tehrani, P., and M. Nikahd. "Two Material S-Frames Representation for Improving Crashworthiness." In ASME 8th Biennial Conference on Engineering Systems Design and Analysis. ASMEDC, 2006. http://dx.doi.org/10.1115/esda2006-95698.
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Crashworthiness analysis for a passenger car consists of car-body structural analysis and occupant behavior analysis. With raising the energy absorption of each component an improved car-body structure against crashing may be achieved. In this paper various design of a simplified front side rail is studied. Various possible model of S-frame is presented and characteristics of each model are compared and discussed. It is shown that a hybrid S-frame made of steel and aluminum shows better characteristics from the point of view of passenger safety.
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Müller, Andreas, and Offer Shai. "A Unified Concept for the Graph Representation of Constraints in Mechanisms." In ASME 2014 International Design Engineering Technical Conferences and Computers and Information in Engineering Conference. American Society of Mechanical Engineers, 2014. http://dx.doi.org/10.1115/detc2014-34713.
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There are two established approaches to represent constraints: the body-bar (BB) and the bar-joint (BJ) graph that can be used in machine theory. They are referred to as topological graphs as they describe the relation between members of a mechanism. It is known, however, that in many cases these graphs are not unique. Hence any method for kinematic analysis or mobility determination that is based on these topological graphs is prone to failures. In this paper a generalized and unified concept for the representation of constraints in mechanisms is introduced. It is first shown in which situations BB and BJ representations fail to correctly represent the mechanism. The novel constraint graph is then derived starting from the most general model of constrained rigid bodies. It is shown how BB and BJ graphs result as special cases. Therefore the new graph representation is called the ‘mixed graph’. It is further shown how this novel mixed constraint graph allows for computation of the correct generic (topological) mobility, and thus overcomes the problems of BB and BJ representations.
Reports on the topic "Body representation in art"
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Flanders, Benjamin J. An Alternative Representation of a Simulated Human Body. Fort Belvoir, VA: Defense Technical Information Center, November 2013. http://dx.doi.org/10.21236/ada591351.
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Khadan, Jeetendra, Nekeisha Spencer, Eric Strobl, and Theophiline Bose-Duker. Socioeconomic Factors Associated with Being Overweight or Obese in Suriname. Inter-American Development Bank, June 2021. http://dx.doi.org/10.18235/0003348.
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This paper applies probit regression models to a nationally representative household survey dataset collected in 2016-2017 to analyze the relationships between various socio-demographic variables and adult Body Mass Index (BMI) in Suriname. Our results indicate that women, the elderly, and couples either married and/or living together are more likely to be obese or overweight. As expected, this is also true for individuals who have chronic illnesses. The analysis also finds that individuals who engage in a sport or in other forms of exercise, even if modest, have lower odds of being overweight or obese. Interestingly, the findings indicate that individuals who benefit from government social safety net programs are less likely to be associated with being overweight or obese. The results of this study have implications for the adjustment of current Surinamese nutritional guidelines as well as the design and implementation of targeted obesity-reduction policies that recognize that being overweight is influenced by various characteristics. Although the results are country-specific, they have the potential to influence action in all countries in the Caribbean that lack policies to address obesity.
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Sloan, Steven, Shelby Peterie, Richard Miller, Julian Ivanov, J. Schwenk, and Jason McKenna. Detecting clandestine tunnels by using near-surface seismic techniques. Engineer Research and Development Center (U.S.), April 2021. http://dx.doi.org/10.21079/11681/40419.
Full textAbstract:
Geophysical detection of clandestine tunnels is a complex problem that has been met with limited success. Multiple methods have been applied spanning several decades, but a reliable solution has yet to be found. This report presents shallow seismic data collected at a tunnel test site representative of geologic settings found along the southwestern U.S. border. Results demonstrate the capability of using compressional wave diffraction and surface-wave backscatter techniques to detect a purpose-built subterranean tunnel. Near-surface seismic data were also collected at multiple sites in Afghanistan to detect and locate subsurface anomalies (e.g., data collected over an escape tunnel discovered in 2011 at the Sarposa Prison in Kandahar, Afghanistan, which allowed more than 480 prisoners to escape, and data from another shallow tunnel recently discovered at an undisclosed location). The final example from Afghanistan is the first time surface-based seismic methods have detected a tunnel whose presence and location were not previously known. Seismic results directly led to the discovery of the tunnel. Interpreted tunnel locations for all examples were less than 2 m of the actual location. Seismic surface wave backscatter and body-wave diffraction methods show promise for efficient data acquisition and processing for locating purposefully hidden tunnels within unconsolidated sediments.
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Yan, Yujie, and Jerome F. Hajjar. Automated Damage Assessment and Structural Modeling of Bridges with Visual Sensing Technology. Northeastern University, May 2021. http://dx.doi.org/10.17760/d20410114.
Full textAbstract:
Recent advances in visual sensing technology have gained much attention in the field of bridge inspection and management. Coupled with advanced robotic systems, state-of-the-art visual sensors can be used to obtain accurate documentation of bridges without the need for any special equipment or traffic closure. The captured visual sensor data can be post-processed to gather meaningful information for the bridge structures and hence to support bridge inspection and management. However, state-of-the-practice data postprocessing approaches require substantial manual operations, which can be time-consuming and expensive. The main objective of this study is to develop methods and algorithms to automate the post-processing of the visual sensor data towards the extraction of three main categories of information: 1) object information such as object identity, shapes, and spatial relationships - a novel heuristic-based method is proposed to automate the detection and recognition of main structural elements of steel girder bridges in both terrestrial and unmanned aerial vehicle (UAV)-based laser scanning data. Domain knowledge on the geometric and topological constraints of the structural elements is modeled and utilized as heuristics to guide the search as well as to reject erroneous detection results. 2) structural damage information, such as damage locations and quantities - to support the assessment of damage associated with small deformations, an advanced crack assessment method is proposed to enable automated detection and quantification of concrete cracks in critical structural elements based on UAV-based visual sensor data. In terms of damage associated with large deformations, based on the surface normal-based method proposed in Guldur et al. (2014), a new algorithm is developed to enhance the robustness of damage assessment for structural elements with curved surfaces. 3) three-dimensional volumetric models - the object information extracted from the laser scanning data is exploited to create a complete geometric representation for each structural element. In addition, mesh generation algorithms are developed to automatically convert the geometric representations into conformal all-hexahedron finite element meshes, which can be finally assembled to create a finite element model of the entire bridge. To validate the effectiveness of the developed methods and algorithms, several field data collections have been conducted to collect both the visual sensor data and the physical measurements from experimental specimens and in-service bridges. The data were collected using both terrestrial laser scanners combined with images, and laser scanners and cameras mounted to unmanned aerial vehicles.