Dissertations / Theses: 'Human body movement'

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Molloy, A. J. "Force sensing for measuring human body movement." Thesis, Aston University, 2006. http://publications.aston.ac.uk/15354/.

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The research developed in this thesis explores the sensing and inference of human movement in a dynamic way, as opposed to conventional measurement systems, that are only concerned with discrete evaluations of stimuli in sequential time. Typically, conventional approaches are used to infer the dynamic movement of the body; such as vision and motion tracking devices, with either a human diagnosis or complex image processing algorithm to classify the movement. This research is therefore the first of its kind to attempt and provide a movement classifying algorithm through the use of minimal sensing points, with the application for this novel system, to classify human movement during a golf swing. There are two main categories of force sensing. Firstly, array-type systems consisting of many sensing elements, and are the most commonly researched and commercially available. Secondly, reduced force sensing element systems (RFSES) also known as distributive systems have only been recently exploited in the academic world. The fundamental difference between these systems is that array systems handle the data captured from each sensor as unique outputs and suffer the effects of resolution. The effect of resolution, is the error in the load position measurement between sensing elements, as the output is quantized in terms of position. This can be compared to a reduced sensor element system that maximises that data received through the coupling of data from a distribution of sensing points to describe the output in discrete time. Also this can be extended to a coupling of transients in the time domain to describe an activity or dynamic movement. It is the RFSES that is to be examined and exploited in the commercial sector due to its advantages over array-based approaches such as reduced design, computational complexity and cost.

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Henriks, Olof. "Mapping physical movement parameters to auditory parameters by using human body movement." Thesis, KTH, Skolan för datavetenskap och kommunikation (CSC), 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-200831.

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This study focuses on evaluating a system containing five different mappings of physical movement parameters to auditory parameters. Physical parameter variables such as size, location, among others, were obtained by using a motion tracking system, where the two hands of the user would work as rigid bodies. Translating these variables to auditory parameter variables gave the ability to control different parameters of MIDI files. The aim of the study was to determine how well a total of five participants, all with prior musical knowledge and experience, could adapt to the system concerning both user generated data as well as overall user experience. The study showed that the participants developed a positive personal engagement with the system and this way of audio and music alteration. Exploring the initial mappings of the system established ideas for future development of the system in potential forthcoming work.

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Furtado, De Mendonca Monco Eduardo. "From head to toe : body movement for human-computer interaction." Thesis, Lancaster University, 2015. http://eprints.lancs.ac.uk/76717/.

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Our bodies are the medium through which we experience the world around us, so human-computer interaction can highly benefit from the richness of body movements and postures as an input modality. In recent years, the widespread availability of inertial measurement units and depth sensors led to the development of a plethora of applications for the body in human-computer interaction. However, the main focus of these works has been on using the upper body for explicit input. This thesis investigates the research space of full-body human-computer interaction through three propositions. The first proposition is that there is more to be inferred by natural users’ movements and postures, such as the quality of activities and psychological states. We develop this proposition in two domains. First, we explore how to support users in performing weight lifting activities. We propose a system that classifies different ways of performing the same activity; an object-oriented model-based framework for formally specifying activities; and a system that automatically extracts an activity model by demonstration. Second, we explore how to automatically capture nonverbal cues for affective computing. We developed a system that annotates motion and gaze data according to the Body Action and Posture coding system. We show that quality analysis can add another layer of information to activity recognition, and that systems that support the communication of quality information should strive to support how we implicitly communicate movement through nonverbal communication. Further, we argue that working at a higher level of abstraction, affect recognition systems can more directly translate findings from other areas into their algorithms, but also contribute new knowledge to these fields. The second proposition is that the lower limbs can provide an effective means of interacting with computers beyond assistive technology To address the problem of the dispersed literature on the topic, we conducted a comprehensive survey on the lower body in HCI, under the lenses of users, systems and interactions. To address the lack of a fundamental understanding of foot-based interactions, we conducted a series of studies that quantitatively characterises several aspects of foot-based interaction, including Fitts’s Law performance models, the effects of movement direction, foot dominance and visual feedback, and the overhead incurred by using the feet together with the hand. To enable all these studies, we developed a foot tracker based on a Kinect mounted under the desk. We show that the lower body can be used as a valuable complementary modality for computing input. Our third proposition is that by treating body movements as multiple modalities, rather than a single one, we can enable novel user experiences. We develop this proposition in the domain of 3D user interfaces, as it requires input with multiple degrees of freedom and offers a rich set of complex tasks. We propose an approach for tracking the whole body up close, by splitting the sensing of different body parts across multiple sensors. Our setup allows tracking gaze, head, mid-air gestures, multi-touch gestures, and foot movements. We investigate specific applications for multimodal combinations in the domain of 3DUI, specifically how gaze and mid-air gestures can be combined to improve selection and manipulation tasks; how the feet can support the canonical 3DUI tasks; and how a multimodal sensing platform can inspire new 3D game mechanics. We show that the combination of multiple modalities can lead to enhanced task performance, that offloading certain tasks to alternative modalities not only frees the hands, but also allows simultaneous control of multiple degrees of freedom, and that by sensing different modalities separately, we achieve a more detailed and precise full body tracking.

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Mollica, Antonina M. "Development of a media strategy to promote the size acceptance movement." Instructions for remote access. Click here to access this electronic resource. Access available to Kutztown University faculty, staff, and students only, 1996. http://www.kutztown.edu/library/services/remote_access.asp.

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Thesis (M.S.)--Kutztown University of Pennsylvania, 1996.
Source: Masters Abstracts International, Volume: 45-06, page: 2891. Typescript. Abstract precedes second title page as preliminary pages 2-3. Includes bibliographical references (leaves 28-31).

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Attias, Julia. "The effect of axial body loading – via the "SkinSuit" – on human movement." Thesis, King's College London (University of London), 2018. https://kclpure.kcl.ac.uk/portal/en/theses/the-effect-of-axial-body-loading--via-the-skinsuit--on-human-movement(ce6a19de-2e30-42d3-a534-54be59b2317f).html.

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Bodyweight (BW) loading has been shown to increase metabolic cost and neuromuscular activity during locomotion. The Mk VI ‘SkinSuit’ – initially developed as a spaceflight countermeasure – provides axial body loading (ABL) intended to be equivalent to 20% ‘BW’ via vertical elastic-material in a manner analogous to Earth’s gravity (1Gz). Thus, the aims of this thesis were to determine the influence of additional 0.2Gz ABL on physiological and biomechanical responses during exercise in ≤1Gz. Two main protocol paradigms were adopted, which evaluated the effect of additional 0.2Gz ABL during: 1) incremental exercise to voluntary exhaustion in normal gravity (thus ~1.2Gz) vs. without ABL (1Gz) and 2) simulated 0.8Gz and 0.16Gz vs. a matched equivalent during submaximal exercise. Cardiorespiratory variables and maximal aerobic capacity (V̇ O2Max) were unchanged between 1.2Gz vs. 1Gz during cycling and running, though time to exhaustion was reduced with both (by 13% and 10%, respectively; p < 0.05). A steeper breathing rate (BR)/minute ventilation (V̇ E) slope evidenced during running at 1.2Gz (p=0.044), indicative of a more rapid, shallow breathing pattern, may have contributed to this. Performing both exercises in 1.2Gz did not induce differences in electromyographic (EMG) root mean square (RMS) amplitude or median frequency (MDF) in any lower-limb muscle, though lengthened Gastrocnemius Lateralis (GL; cycling) and Soleus (SOL; running) duration (p<0.05). Both the removal (BW suspension) and addition (ABL) of 0.2Gz to 1Gz elicited reductions in ventilatory variables vs. 1Gz during submaximal running (p < 0.01) whereas EMG RMS amplitude was unchanged. Although EMG RMS amplitude was reduced in all muscles in 0.16Gz compared to 1Gz, these were not reinstated to levels equivalent to those elicited during a matched trial (MATCHED) when running with 0.2Gz ABL (016SS). GM duration was significantly greater during 016SS vs. 0.16Gz and equivalent to MATCHED. Provision of 0.2Gz ABL in addition to ≤1Gz does not induce cardiorespiratory responses or muscle activity levels equivalent to 20% BW loading, presumably due to the absence of centre of mass displacement. However, the significant effect of additional ABL on muscle activity patterns during both cycling and running in ≤1Gz, particularly in the plantarflexors, suggests strategic modulation of locomotor control governed by the central nervous system. Unloading of 0.2Gz during high or low portions of the gravity spectrum was not potent enough to reduce the activation requirement of lower-limb muscles, making “reloading” opportunities inconceivable; thus, the optimal dose of ABL is yet to be determined.

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Schiessl, Simon Karl Josef 1972. "Acoustic chase : designing an interactive audio environment to stimulate human body movement." Thesis, Massachusetts Institute of Technology, 2004. http://hdl.handle.net/1721.1/26919.

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Thesis (S.M.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2004.
Includes bibliographical references (p. 58-60).
An immersive audio environment was created that explores how humans react to commands imposed by a machine generating its acoustic stimuli on the basis of tracked body movement. In this environment, different states of human and machine action are understood as a balance of power that moves back and forth between the apparatus and the human being. This system is based on spatial sounds that are designed to stimulate body movements. The physical set-up consists of headphones with attached sensors to pick up the movements of the head. Mathematic models calculate the behavior of the sound, its virtual motion path relative to the person, and how it changes over time.
by Simon Karl Josef Schiessl.
S.M.

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Hrynczenko, Iwona. "A periodic table of movements : two reference frameworks for quantifiable emotion, a practice based investigation of human expressive movement and gesture." Thesis, University of Dundee, 2014. https://discovery.dundee.ac.uk/en/studentTheses/74fa96d6-d344-40dc-a721-94399ae71468.

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The development of sensor-based technologies has opened up avenues for a dialogue between the body and digital spaces, uncovering new possibilities for cross-disciplinary projects and engagements that demand new methods compatible with the ethos of embodied practices, which, in turn, require new approaches and tools. This research seeks to address this need by examining the quantifiability and visual properties of embodied emotion through a multi-layered study of human movement and gesture. It is an elaboration of scientific and artistic research methods, intended to answer the following principal question and related sub-questions: How can emotions, expressed via whole-body movement be visually documented and archived as a reference framework to stimulate the use and studies of expressive gesture in digital environments? As a consequence the following sub-questions become relevant for this research: The first, ontological in its nature; what is expressed emotion? And the second, methodological; how can bodily expressed emotions be visualised and quantified? To answer these questions, the research is divided into three parts. Drawing on phenomenological interpretative inquiry and heuristic methodology, whole-body emotive expressions are documented and analysed from multiple perspectives: body, expressiveness, time, space volume and their correlations. The first part contains information related to video data collection and the database design. The second part describes silhouette extractions of whole body emotive expressions and an online survey where the visual perception of visual data is measured. The third part of the research contains visual and quantitative data analysis providing the basis for visualisation of the four archetypal emotions: anger, fear, joy and sadness and their relationships. In this process, a multi-method approach was adopted combining both qualitative and quantitative methods adopted from sociology and cognitive science. The contextual review, where virtual embodiment and interactivity are explored build on the aesthetics of performance within new technology, highlighting the adaptability of the methods used in performance art to the field of game design. The results of this research and contribution to knowledge reside within both the ontological and methodological approaches used within this study. The ontological resides within the development of two reference frameworks: a correlation table defined as the Periodic Table of Movements (PTM) and a PTM database. The PTM database is a synthesis of embodied emotion data derived from multiple visual representations such as colour, shape, space, volume, time and intensity, whereas the relationship between expressions is visualised in the PTM correlation table. Within the context of an educational framework, the database also provides visual concepts of emotion as epistemic objects for analysis and experimentation. It is a starting point for future cross-disciplinary studies and research on emotions in the context of embodiment and digital technology. The novel methodology of this research contributes to a number of fields with new methods and models of enquiry, grounded within a hermeneutical interpretation driven by artistic development. This exploration opens up a holistic approach to future studies and research grounded in a multimodal attitude to knowledge acquisition.

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ROLL, FELIX. "3 : 6 SEC OF MOVEMENT." Thesis, Högskolan i Borås, Institutionen Textilhögskolan, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-18105.

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How does one approach the human body when designing and use it as a tool for investigating to develop shape-expression in dress? For this research, the movement of the human body has been chosen as the base element to generate shapes from movement, to enable a form of visible objects. This has been accomplished by carefully studying the original movement of a human body through film. Looking att balance, direction and general shape. The new human body, which has been generated from this research, provides the viewer or creator a different perspective of the body in relation to the static body, which is regularly used in fashion design from the beginning of the design process. This research has been conducted to propose the importance of the human body as an active element in the beginning of the design process and to be viewed as a new platform of innovative design and artistic development in dress. In addition, to develop a contemporary understanding of the body’s role when designing and developing fashion design. By using the human body in motion for shape and form, in contrast to the regular static dummy/body or flat sketching, the collection challenges the standard methods of designing and applying techniques.
Program: Modedesignutbildningen

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Smith, Jason Alan. "Naturalistic skeletal gesture movement and rendered gesture decoding." Diss., Online access via UMI:, 2006.

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Williams, Tamara Lynn. "Dance/movement therapy and architecture : an investigation of modern dance as an informative discipline and theories of the body in architectural design." Thesis, Georgia Institute of Technology, 2000. http://hdl.handle.net/1853/21612.

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Dodd, Graham Douglas, and mikewood@deakin edu au. "Toward a broader appreciation of human motion in education." Deakin University. School of Social and Cultural Studies in Education, 2003. http://tux.lib.deakin.edu.au./adt-VDU/public/adt-VDU20051017.115722.

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Motion is a fundamental activity for the healthy functioning human organism. Its importance, however, is increasingly de-valued in Western cultures as they speed toward adopting technologies and virtual experiences as adjuncts to, and even replacements for7 traditional educational structures and processes that involve physical activity. Organised and reflective experience of human motion is becoming increasingly marginalised in teaching methodologies and learning programs in educational institutions at all levels around the globe. This inquiry sets out to gain a greater understanding of why people and human motion become disconnected, particularly during periods of formal education. A central question and two sub-questions form the basis of the inquiry. The central question asks why human motion is not valued and more utilised in education. In particular, why do learning areas that directly represent involvement with human motion, such as physical education, continually struggle in education programs. It directs the investigation to focus on the causes rather than the symptoms of the disuse and devaluation of human motion in Australian education. The two sub-questions split the praxis of the study. The first seeks to understand how the causes of devaluation work in the educational context lo affect the lack of acknowledgement; and the second considers ways to counter the disuse of human movement in education programs. To address these questions, the research focuses on rebutting the notion of a mind-body dualism. Rather, it seeks to better understand how humans learn and function as monists - integrated beings, acquiring self-knowledge in their 'world of being' in which bodily and emotional experiences, and reasoning are inextricably intertwined. I have approached this qualitative research as an ethnographic sociologist examining the issues from a critical high modernist perspective in order to demonstrate the pervading influence in Australian education of strong beliefs and values from the era of Enlightenment. Narrative analysis of 'memoir' in the form of self-defining memories was selected to gain a sensibility of the connectedness between human emotion, motion and reasoning in the lived experiences of students in three primary and three secondary schools across Years 2-12. An opportunity for human movement to be more valued and utilised in emerging educational frameworks that have life knowledge, dispositions and capabilities at their core is identified. The inquiry proposes a conceptualisation of human motion in education for new times characterised by the need for people to develop personal resources and strong positive identities in order to cope with a world of rapid change and uncertainty.

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Purnell, Kandida Iris. "Bodies, body politics, bodies politic : the making and movement of American bodies since 9/11." Thesis, University of Aberdeen, 2016. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?pid=232621.

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Bodies - be they fleshy or other - are simultaneously made by, made of, moved by, and the makers and movers of other bodies. Driven by the questions how do bodies emerge? what makes bodies move? and what can bodies do? bodies are placed at the very centre of this book in order to explain and show, not only how such bodily making and re-making - (re)making - and movement is done, but also why awareness and understanding of the processes and practices involved in the continual and ongoing (re)making and moving of bodies - of three particular kinds in particular (bodies of power/knowledge, humanised bodies, and bodies politic) - is vital to the study of international relations, conﬂict, and security and thus to the discipline of International Relations (IR). In short, bodies - of these three kinds in particular - require foregrounding because international relations, conﬂicts, and security practices are conducted by, on, and for bodies (humanised bodies and bodies politic in particular), according to bodies (namely referred to as dominant bodies of power/ knowledge, which become ﬂeshed out as material bodies including humanised bodies and bodies politic and enact statecraft, further down the line). Moreover, as demonstrated in this book, which takes up the broad empirical case of post-9/11 American body politics and two case studies into the visual body politics of suffering and dead American soldiers since 9/11 and the 2013 Camp Delta hunger strike, there is much to be gained by taking the very particular embodiments of bodies into account, as every body is unique and it is according to distinctive bodily features, malaise/ailments, and feelings that bodies are moved to act (and in turn touch and move other bodies) and continually become other than they are.

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Twyman, Nathan W. "Automated Human Screening for Detecting Concealed Knowledge." Diss., The University of Arizona, 2012. http://hdl.handle.net/10150/222874.

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Screening individuals for concealed knowledge has traditionally been the purview of professional interrogators investigating a crime. But the ability to detect when a person is hiding important information would be of high value to many other fields and functions. This dissertation proposes design principles for and reports on an implementation and empirical evaluation of a non-invasive, automated system for human screening. The screening system design (termed an automated screening kiosk or ASK) is patterned after a standard interviewing method called the Concealed Information Test (CIT), which is built on theories explaining psychophysiological and behavioral effects of human orienting and defensive responses. As part of testing the ASK proof of concept, I propose and empirically examine alternative indicators of concealed knowledge in a CIT. Specifically, I propose kinesic rigidity as a viable cue, propose and instantiate an automated method for capturing rigidity, and test its viability using a traditional CIT experiment. I also examine oculomotor behavior using a mock security screening experiment using an ASK system design. Participants in this second experiment packed a fake improvised explosive device (IED) in a bag and were screened by an ASK system. Results indicate that the ASK design, if implemented within a highly controlled framework such as the CIT, has potential to overcome barriers to more widespread application of concealed knowledge testing in government and business settings.

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Norman, Rikard. "Intelligent Body Monitoring." Thesis, Linköpings universitet, Reglerteknik, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-72579.

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The goal of this project was to make a shirt with three embedded IMU sensors (Inertial Measurement Unit) that can measure a person’s movements throughout an entire workday. This can provide information about a person’s daily routine movements and aid in finding activities which can lead to work-related injuries in order to prevent them. The objective was hence to construct a sensor fusion framework that could retrieve the measurements from these three sensors and to create an estimate of the human body orientation and to estimate the angular movements of the arms. This was done using an extended Kalman filter which uses the accelerometer and magnetometer values to retrieve the direction of gravity and north respectively, thus providing a coordinate system that can be trusted in the long term. Since this method is sensitive to quick movements and magnetic disturbance, gyroscope measurements were used to help pick up quick movements. The gyroscope measurements need to be integrated in order to get the angle, which means that we get accumulated errors. This problem is reduced by the fact that we retrieve a correct long-term reference without accumulated errors from the accelerometer and magnetometer measurements. The Kalman filter estimates three quaternions describing the orientation of the upper body and the two arms. These quaternions were then translated into Euler angles in order to get a meaningful description of the orientations. The measurements were stored on a memory card or broadcast on both the local net and the Internet. These data were either used offline in Matlab or shown in real-time in the program Unity 3D. In the latter case the user could see that a movement gives rise to a corresponding movement on a skeleton model on the screen.

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Swartling, Widerström Katarina. "Att ha eller vara kropp? : En textanalytisk studie av skolämnet idrott och hälsa." Doctoral thesis, Örebro University, Department of Education, 2005. http://urn.kb.se/resolve?urn=urn:nbn:se:oru:diva-96.

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The overall aim of this study is to analyze how the body is understood in the compulsory school subject physical education during the period 1976-2002. With pragmatism as the point of departure the texts of curricula, syllabi and articles from the physical education teacher's specialist press are analyzed. The analytical tools used are two perspectives of the body and human movement, one based on dualistic ideas and the other on Merleau-Ponty's phenomenology of the lived body. The analysis shows that there are differences in how the embodied person is understood in three different types of text. In the curricula the dualistic ideas where the individual is seperated into body and soul prevail. The picture is more complex in the syllabi whilst in the articles from the specialist press the lived body is found more often. In the articles from the specialist press there is a pattern that shows change over time where phenomenological ideas are more prominent towards the end of the period studied. The dissertation consists of three parts. In the first part there is an introduction to the study and theoretical perspectives are introduced, the second part consists of the analysis of the texts and in the third part these are discussed and possible didactic consequences presented.

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Brozzoli, Claudio. "Peripersonal space : a multisensory interface for body-objects interactions." Phd thesis, Université Claude Bernard - Lyon I, 2009. http://tel.archives-ouvertes.fr/tel-00675247.

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Our ability to interact with the environment requires the integration of multisensory information for the construction of spatial representations. The peripersonal space (i.e., the sector of space closely surrounding one's body) and the integrative processes between visual and tactile inputs originating from this sector of space have been at the center of recent years investigations. Neurophysiological studies provided evidence for the presence in the monkey brain of bimodal neurons, which are activated by tactile as well as visual information delivered near to a specific body part (e.g., the hand). Neuropsychological studies on right brain-damaged patients who present extinction and functional neuroimaging findings suggest the presence of similar bimodal systems in the human brain. Studies on the effects of tool-use on visual-tactile interaction revealed similar dynamic properties of the peripersonal space in monkeys and humans. The functional role of the multisensory coding of peripersonal space is, in our hypothesis, that of providing the brain with a sensori-motor interface for body-objects interactions. Thus, not only it could be involved in driving involuntary defensive movements in response to objects approaching the body, but could be also dynamically maintained and updated as a function of manual voluntary actions performed towards objects in the reaching space. We tested the hypothesis of an involvement of peripersonal space in executing both voluntary and defensive actions. To these aims, we joined a well known cross-modal congruency effect between visual and tactile information to a kinematic approach to demonstrate that voluntary grasping actions induce an on-line re-weighting of multisensory interactions in the peripersonal space. We additionally show that this modulation is handcentred. We also used a motor evoked potentials approach to investigate which coordinates system is used to code the peripersonal space during motor preparation if real objects rapidly approach the body. Our findings provide direct evidence for automatic hand-centred coding of visual space and suggest that peripersonal space may also serve to represent rapidly 3 approaching and potentially noxious objects, thus enabling the rapid selection of appropriate motor responses. These results clearly show that peripersonal space is a multisensori-motor interface that might have been selected through evolution for optimising the interactions between the body and the objects in the external world.

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Silva, Emerson Almeida Silva e. "A consciência corporal que antecede a cena: aspectos anatômicos e cinesiológicos das ações físicas na preparação do ator." Escola de Teatro, 2015. http://repositorio.ufba.br/ri/handle/ri/27069.

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Esta dissertação tem por objetivo analisar e apresentar possibilidades que facilitem a consciência corporal do ator para o desempenho da cena, apoiando-se nos conceitos da anatomia e da cinesiologia. Parte-se do pressuposto de que o ator, ao conhecer a sua estrutura orgânica, estimula a sua percepção corporal e a consciência dos movimentos necessários à criação do papel. No campo das Artes Cênicas a pesquisa se apóia na ideia de proporcionar o treinamento do ator por meio de técnicas corporais que o levem a ampliar o conhecimento de si próprio para atingir prontidão necessária à encenação e tem como eixo o trabalho das ações físicas e como referências o Método das Ações Físicas de Stanislávski, o Teatro Laboratório de Grotowski e a Antropologia Teatral de Barba. Além das referências e cruzamentos teóricos a pesquisa é caracterizada como estudo de caso com enfoque descritivo, de abordagem qualitativa, uma vez que discute e questiona, por meio de relatos de atores e experiências práticas realizadas em salas de ensaio, se a inserção de conteúdo relativo ao construto orgânico do ser humano no contexto da preparação corporal, sob o ponto de vista da anatomia e da cinesiologia, com o suporte do Pilates e da Reeducação Postural Global (RPG), pode propiciar o ator a acessar a consciência corporal no intuito de facilitar o processo de composição das ações físicas na construção de um papel.
This thesis aims to analyze and present possibilities to facilitate body awareness actor for the performance of the scene, leaning on the concepts of anatomy and kinesiology. It starts from the assumption that the actor, to know its structure, stimulates your body perception and awareness of movements needed to create the role. In the Performing Arts field the research is based on the idea of providing the actor's training through body techniques that lead to increase the knowledge of himself to achieve readiness needed for staging and its axis is the work of physical actions referenced by Method of Physical Actions of Stanislavsky, Grotowski Laboratory Theatre and the Theatrical Anthropology Barba. Beyond references and theorists cross the search, characterized as a case study with a descriptive and qualitative approach, discusses and questions, through reports of actors and practical experiments carried out in rehearsal rooms, if the inclusion of content related to organic construct the human body in the context of preparation, from the point of view of anatomy and kinesiology, with the support of Pilates and Global Postural Reeducation (RPG), may provide the actor to access the body awareness in order to facilitate the composition process of physical actions over the development of a scenario.

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James, Lisa. "“To shape God, Shape Self”: The Political Manipulation of the Human Body and Reclamation of Space in Octavia E. Butler’s The Parable of the Sower." Thesis, Malmö universitet, Fakulteten för kultur och samhälle (KS), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-23673.

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This paper considers the role of the human body in Octavia E. Butler’s The Parable of theSower and the way it interacts with defined space to stage expressive forms of politicalopposition. Understanding the relationship between physical or metaphorical space and thecontradictions of the societies they encompass is crucial to deciphering Butler’s near-futuredystopia; a world where the problems of real-life Los Angeles and Southern California aredistorted into a gross carnivalesque of gender stereotypes, sociopolitical tensions, and vigilante warfare. This paper places a special emphasis on the areas of social and political stagnation found in Butler’s vision of near-future L.A., and analyses the dangers of clinging to archaic, patriarchal systems that no longer resonate with contemporary audiences. Focus is also placed on potential methods of resistance against oppressive social institutions, particularly exploring the limitations met by protagonist, Lauren Oya Olamina, in her attempts to voice concerns in a society where language is so nuanced by “traditional” gendered qualities that the female voice carries no political value. This papers also questions theories which promote violent confrontation as a means to social reform, disregarding collateral damage and victims of war in favour of insurgency. By exploring the movement of the human body away from defined space, this paper supports Butler’s notion of alternative prosocial action which celebrates the margins of society, positing a nurturing, constructive means to resist political opposition.

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Lebkuchen, Marcia de Oliveira Pasetto. "O corpo do aluno no cotidiano escolar: sentidos e significados atribuídos por um grupo de professores." Pontifícia Universidade Católica de São Paulo, 2013. https://tede2.pucsp.br/handle/handle/16094.

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The general purpose of this research is to comprehend how the student s body is meant by the teachers from the public network in São Paulo. To do so, the paper found theoretical basement in the Socio-Historical assumptions in which recommend an analysis and interpretation processes must overcome appearances and in a dialectic way, under the light of information about life history, institutional and social conditions of the subject, broadening the discussion and understanding the phenomena genesis. The main matter directs itself to make the individual, from its social environment, becomes human. The main papers on the area, concerning the project, are the research based on Lev S. Vigotski and his followers, who defend the idea of a continuous interaction between social and historical, which is mutable, and the relation with the biological basis of the human behavior. Starting from the body, elementary organic structure and depending on the social experiences to which the individual is exposed, complex mental functions appear, the so-called higher mental functions. Although there is a series of publications and papers in the Socio-Historical area, there are few researches on Education about the significance of the teacher concerning the student s body. This research tried to fill in the gap, supported by the Socio-Historical approach, broadening the debates about the importance of the body during the learning process. Besides the Socio-Historical assumptions, the project was also based on the Human Movement Science. There are many papers concerning Movement and Corporality, such as the ones presented by Sérgio (1994), Kolyniak (2001), Negrão (2008) and Melani (2006). In spite of this, only Carlini s work (1993) focused on the problem of teacher formation to constitute body conception to students, as proposed here. Thus, the project tried to make an original contribution to the study of constitutive aspects in the professional teacher formation and the educational practice in school, broadening Carlini s proposal (1993) and adding Human Movement studies. The main question proposed by the research were the following: (1) How does the teacher plan the given activities considering the student s body? And some specifics questions are: (2) What is the space available in the school environment to develop body activities? (3) Is the school environment appropriate for the development of Human Movement? It is expected that this paper contributed for Educational Psychology by showing results that indicated that the student s body is not meant effectively and considered an important learning language. The paper still presents and discusses the limitations of the research and possible future studies, besides suggestions of pedagogical approaches of its results
O objetivo geral desta pesquisa foi o de compreender como o corpo do aluno é significado pelos docentes da Rede Pública na cidade de São Paulo. Para tanto, o trabalho encontrou suporte teórico nos pressupostos da linha Sócio-Histórica por preconizar um processo de análise e interpretação dialético e profundo considerando a história de vida e as condições institucionais e sociais do sujeito de modo a ampliar a discussão e compreensão da gênese do fenômeno. Particularmente, o trabalho fundamentou-se na área de pesquisa que se estrutura por meio de uma abordagem Sócio-Histórica Aguiar (2006). A questão central dessa área se dá por entendermos que o indivíduo se tornar humano a partir do social em que está inserido, ou seja, dele se humanizar. Os trabalhos centrais da área, com relevância para o projeto, são as pesquisas baseadas em Lev S. Vigotski e seus seguidores por defenderem a ideia de contínua interação entre social e histórico, que é mutável, e a relação com a base biológica do comportamento humano. Partindo do corpo, estrutura orgânica elementar e dependendo das experiências sociais a que é exposto se formam complexas funções mentais, as chamadas funções mentais superiores. Embora haja uma série de publicações e trabalhos na área Sócio-Histórica, há poucas pesquisas em Educação sobre as significações do docente em relação ao corpo de seus alunos. Esta pesquisa buscou atender essa demanda na medida em que, apoiada na abordagem Sócio-Histórica, objetivou ampliar os debates sobre a importância do corpo no momento de aprendizagem. Além desses pressupostos, o projeto fundamentou-se na Motricidade Humana. Há vários trabalhos que lidam com a questão da Motricidade e Corporalidade, tais como os apresentados por Sérgio (1994), Kolyniak (2001), Negrão (2008) e Melani (2006). Entretanto, apenas o trabalho de Carlini (1993) enfocou o problema da formação dos educadores para constituir a concepção do corpo dos educandos, conforme proposto aqui. Dessa forma, acreditamos que este projeto tenha contribuído com os estudos sobre os aspectos constitutivos da formação profissional docente e a prática educativa do cotidiano escolar, na medida em que amplia a proposta de Carlini (1993) e acrescenta os estudos de Motricidade Humana. Nossas questões de pesquisa foram concebidas em geral e as questões específicas, são elas: A questão geral é: (1) Como o corpo do aluno é percebido no cotidiano escolar? As questões específicas são: (2) Como o professor planeja ou não as atividades realizadas com o aluno considerando seu Corpo? (3) O ambiente escolar é adequado ou não ao desenvolvimento mediado pela Motricidade Humana considerando o espaço educativo? Os dados coletados revelaram que a Corporalidade do discente não é significada de maneira efetiva pelo docente quando, nem mesmo quando esse planeja as atividades que fará com seu aluno e, ainda, que ela não é considerada como uma linguagem importante à aprendizagem. No momento de nosso trabalho não encontramos nenhum trabalho nessa área desse modo e esperamos que nosso trabalho seja uma contribuição útil è reprodução de novos estudos no futuro que superem as limitações que encontramos nesta pesquisa

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Alvares, Katia Salvany Felinto. "Rudolf Laban nas artes visuais : fatores do movimento e o ensino do desenho." Universidade de São Paulo, 2005. http://www.teses.usp.br/teses/disponiveis/27/27131/tde-11032013-153932/.

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Minha estratégia enquanto arte-educadora e pesquisadora foi a de relacionar, investigar e transpor os estudos dos Fatores do Movimento de Rudolf Laban para o ensino-aprendizagem do desenho para adultos, tendo como objetivo o exercício da expressão criadora e a aprendizagem da sintaxe da linguagem visual. Rudolf Laban (1879-1958) criou um sistema de anotação do movimento (Labanotação), assim como organizou um rico instrumental didático para a teorização e exploração das possibilidades expressivas do movimento (Eucinética) e suas possíveis organizações espaciais (Corêutica), sendo também responsável pela renovação da dança moderna conhecida como expressionista (1920-30). Os resultados alcançados apontam para uma mudança na atitude do aprendiz de desenho, de receptor para construtor e co-autor de seu conhecimento, propiciando uma melhor performance tanto de suas decisões compositivas, quanto no manuseio técnico expressivo dos instrumentos gráficos.
My approach as an art-educator and researcher has included relating, investigating and rendering Rudolf Laban´s Motion Factors into the process of teaching and learning how to draw for adults, with a view to exercising student´s creative expression and learning visual language syntax. Rudolf Laban (1879 1958) created a system of movement notation (Labanotation), and organized a rich set of educational tools aimed at theorizing and exploring the expressive potential of movement (Eukinetics) and the possibilities of its organization in space (Coreutics). He also helped to develop modern Expressionist dance (1920 30). The results suggest a shift in the art students approach to drawing, from a passive receiver to one of playing an active role in building his or her own knowledge, as well as an improvement in their performance regarding both their compositional choices and the technical and expressive use of graphic tools.

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Kuchenbecker, Emily E. "Lifetime." VCU Scholars Compass, 2019. https://scholarscompass.vcu.edu/etd/5838.

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Time is my bully. Time marks the start of something, as well as the end. We are all carrying out the inexorable passing of time as it relates to our impending mortalities. I do not fear death. The awareness of my body’s impermanence employs me to feel that much more connected to the vessel containing that of which I am. But what am I? Am I my body- or is it much deeper? Through the work executed during my graduate research, I have attempted to quantify my existence through the archiving my time and body. This document ushers you through my perception, my relationship to nature, and how it manifests through discovering answers to what I believe it means to be human.

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Taveira, Ricardo Alves. "O movimento na educa??o infantil: concep??es de pedagogos e professores de Educa??o F?sica sobre a cultura corporal de movimento e suas manifesta??es." Pontif?cia Universidade Cat?lica de Campinas, 2015. http://tede.bibliotecadigital.puc-campinas.edu.br:8080/jspui/handle/tede/865.

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This work addresses the initial training of Educators teachers and physical education teachers, with an emphasis on children movement body culture of early childhood education, aged between three and five years what the design on this body manifestation that such teachers They have and how they work with their students. It is a qualitative research, based on the cultural-historical theory of Vygotsky and authors linked to the culture of body movement and training of teachers (Children's Education and Physical Education). Used as instruments to build the empirical material research, participant observation and semi-structured interviews in two schools that have early childhood education in the city Espirito Santo do Pinhal/ SP. The choice of body culture movement is justified by the understanding that human movement is not restricted to a mechanical and insulation displacement, but in a form of body language we express and embed feelings, emotions, cultural influences, among others, contributing to overall development of children. The analysis of the material found in search field understand the investigated problems, which refers to the understanding of human movement as a necessary element and a member of the educational practice in early childhood education as a component that is linked in a timely manner in the relationship between teachers working in this cycle and the relationship between the students themselves, considering the historical and social context and promoting the use of the different aspects that interfere in Early Childhood Education (social, emotional, motor, cognitive) and also contributing in the areas of teacher training . These results indicate the need to structure the interdisciplinary work in this school stage in understanding the meanings that the body carries as a living collection of historical, social, cultural factors contributing to the development of children and the preparation of these professionals from their initial training.
Este trabalho aborda a forma??o inicial dos professores Pedagogos e dos professores de Educa??o F?sica, com ?nfase na cultura corporal de movimento de crian?as da Educa??o Infantil, com idades entre tr?s e cinco anos, ou seja, qual a concep??o sobre essa manifesta??o corporal que tais professores possuem e como trabalham com seus alunos. ? uma pesquisa qualitativa, fundamentada na teoria hist?rico-cultural de Vygotsky e em autores ligados ? cultura corporal de movimento e ? forma??o de professores (Educa??o Infantil e Educa??o F?sica). Utilizamos como procedimentos metodol?gicos para constru??o do material emp?rico da pesquisa, a observa??o participante e a entrevista semiestruturada em duas escolas que possuem a Educa??o Infantil na cidade Esp?rito Santo do Pinhal/ SP. A escolha pela cultura corporal de movimento se justifica pelo entendimento de que o movimento humano n?o se restringe apenas a um deslocamento mec?nico e isolado, mas numa forma de linguagem corporal em que expressamos e embutimos sentimentos, emo??es, influ?ncias culturais, dentre outros, contribuindo ao desenvolvimento global das crian?as. A an?lise do material encontrado em campo busca compreender a problem?tica investigada, que se refere ? compreens?o do movimento humano enquanto elemento imprescind?vel e integrante da pr?tica educativa na Educa??o Infantil, como um componente que se articula de forma pontual na rela??o entre os professores que atuam nesse ciclo, al?m das rela??es entre os pr?prios alunos, considerando-se o contexto hist?rico-social e favorecendo o aproveitamento dos diferentes aspectos que interferem na Educa??o Infantil (social, afetivo, motor, cognitivo) e, ainda, contribuindo nas ?reas de forma??o de professores. Os resultados desta pesquisa indicam a necessidade de se estruturar o trabalho interdisciplinar nesta etapa escolar, no entendimento dos significados que o corpo traz consigo, enquanto um acervo vivo de fatores hist?ricos, sociais, culturais, contribuindo com o desenvolvimento das crian?as e o preparo desses profissionais, desde suas forma??es iniciais.

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Zohou, Thomas. "Rôle des facteurs cinématiques dans la technique du tir arrêté au football." Grenoble 1, 1988. http://www.theses.fr/1988GRE10142.

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Nawayseh, Naser. "Cross-axis movements of the seated human body in response to whole-body vertical and fore-and-aft vibration." Thesis, University of Southampton, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.402241.

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Bourdin, Christophe. "Contribution à la compréhension intégrée de la saisie manuelle réalisée en condition posturale complexe : cas précis de l'escalade." Université Joseph Fourier (Grenoble ; 1971-2015), 1997. http://www.theses.fr/1997GRE10242.

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Les etudes sur les mouvements de saisie realises en position assise ont montre que la phase du mouvement libre (ou phase de transport) peut etre assimilee a un mouvement de pointage. Ainsi, la duree de cette phase serait en partie fonction de la taille de l'objet a saisir (loi de fitts). Le but de cette etude est d'analyser si ce resultat reste valide quand de nouvelles contraintes sont imposees aux sujets, comme c'est le cas en escalade. Trois experimentations (analyse cinetique, cinematique et de la charge attentionelle) ont ete menees. Les resultats montrent une nette differenciation des effets de posture et des effets de taille de la prise a saisir. Une posture complexe, representant en escalade la contrainte principale, modifie l'organisation cinetique et cinematique du geste de saisie. Les ajustements realises grace a la vision et traditionnellement decrits pour la phase de transport ne sont plus presents quand les grimpeurs experts realisent une saisie. Une preprogrammation plus complete de la phase du mouvement libre permettrait aux exeprts de realiser ce geste sans necessite de feedback. Une fois le contact realise, les informations proprioceptives deviendraient necessaires pour realiser une saisie stable et appliquer les forces fonctionnelles sur la prise. Les grimpeurs experts utiliseraient cette strategie de preprogrammation afin de faciliter le traitement des informations durant la phase instable du geste, et de controler plus efficacement leur situation posturale. Au contraire, les sujets novices utilisent toujours le feedback visuel durant la phase de transport. Durant cette phase, les novices auraient a controler la complexite posturale et les demandes en precision imposees par la tache. Ces resultats mettent en evidence la necessite d'apprehender les situations motrices dans leur complexite. Ils montrent de facon claire que l'organisation et le controle du geste sont modifies selon une organisation hierarchique des contraintes. Enfin, ils confirment que l'evolution du temps de mouvement precisement decrite par fitts (1954) est, au moins en partie, la consequence des ajustements en feedback.

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Roulet, Christophe. "Etude et réalisation de systèmes de mesures et de traitements de l'activité oculo-motrice et gestuelle chez l'homme : application à l'activité physique et sportive et à l'ergonomie." Grenoble 1, 1987. http://www.theses.fr/1987GRE10175.

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Debonne, Pascal. "Contribution à l'informatisation de l'analyse dynamomètrique du geste sportif." Poitiers, 1988. http://www.theses.fr/1988POIT2352.

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Doyle, Gary Andrew. "Determination of a total body model of efficiency applied to a rowing movement in humans." Thesis, University of East London, 2016. http://roar.uel.ac.uk/5070/.

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Efficiency represents the ratio of work done to energy expended. In human movement, it is desirable to maximise the work done or minimise the energy expenditure. Whilst research has examined the efficiency of human movement for the lower and upper body, there is a paucity of research which considers the efficiency of a total body movement. Rowing is a movement which encompasses all parts of the body to generate locomotion and is a useful modality to measure total body efficiency. It was the aim of this research to develop a total body model of efficiency and explore how skill level of participants and assumptions of the modelling process affected the efficiency estimates Three studies were used to develop and evaluate the efficiency model. Firstly, the efficiency of ten healthy males was established using rowing, cycling and arm cranking. The model included internal work from motion capture and efficiency estimates were comparable to published literature, indicating the suitability of the model to estimate efficiency. Secondly, the model was developed to include a multi-segmented trunk and twelve novice and twelve skilled participants were assessed for efficiency. Whilst the efficiency estimates were similar to published results, novice participants were assessed as more efficient. Issues such as the unique physiology of trained rowers and a lack of energy transfers in the model were considered contributing factors. Finally the model was redeveloped to account for energy transfers, where skilled participants had higher efficiency at large workloads. This work presents a novel model for estimating efficiency during a rowing motion. The specific inclusion of energy transfers expands previous knowledge of internal work and efficiency, demonstrating a need to include energy transfers in the assessment of efficiency of a total body action.

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Cavallari, Paolo. "Organisation des circuits transmettant inhibition et excitation entre les muscles antagonistes du poignet chez l'homme." Paris 6, 1988. http://www.theses.fr/1988PA066126.

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Lathan, Corinna E. (Corinna Elisabeth). "Human eye movements in response to linear optokinetic stimulation and whole-body acceleration, and the effects of spaceflight." Thesis, Massachusetts Institute of Technology, 1994. http://hdl.handle.net/1721.1/11653.

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Delay, Delphine. "Contrôle de la force lors d'un mouvement de percussion : l'exemple du putting au golf." Grenoble 1, 1997. http://www.theses.fr/1997GRE10248.

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Rares sont les travaux s'etant interesses a la facon dont les sujets controlent la force dans un mouvement de percussion tel que celui du putting au golf. C'est donc le but de ce travail qui se divise en trois sections, composees chacune d'un cadre theorique et d'une ou plusieurs experimentations. La premiere section est consacree a la programmation du mouvement de putting. De ce point de vue, les strategies mises en place par des golfeurs experts et des sujets de controle sont comparees. La production d'un meme niveau de force dans des conditions environnementales differentes permet egalement d'apporter des precisions quant a la programmation du mouvement. La deuxieme section de ce travail est destinee a evaluer le role des informations sensurielles, et particulierement des reafferences visuelles dans le controle en ligne du mouvement du putting. La comparaison des resultats obtenus en condition de vision normale et en l'absence de vision du club en cours de mouvement montre le role important de ces informations dans la production de ce mouvement sportif. Du fait de la mise en evidence d'un ocuplage etroit entre la perception et l'action, la troisieme et derniere section de ce travail est consacree a verifier dans quelle mesure les sujets controlent leur mouvement sur la base d'une variable optique prelevee en continu, pendant le deroulement de l'action. Le cadre theorique concerne l'utilisation d'une variable optique determinant le temps restant avant contact, dans la regulation des mouvements ou l'interaction entre un individu et son environnement est manifeste. Apres la constatation theorique de la non adaptation de cette variable a des mouvements soumis a une acceleration, nous proposons une alternative a la theorie initiale qui est celle du temps restant apres le depart. L'experimentation montre que les sujets utilisent la variable optique tau depart dans la regulation en ligne du mouvement du putting.

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Meunier, Sabine. "Etude des variations de l'inhibition présynaptique des fibres Ia au cours des mouvements volontaires chez l'homme." Paris 6, 1986. http://www.theses.fr/1986PA066348.

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Deux méthodes sont utilisées dans cette étude : 1) l'étude des variations du niveau de la facilitation Ia hétéronyme du reflexe h du soléaire par une stimulation du nerf crural; 2) l'étude des variations de l'inhibition vibratoire des réflexes h du soléaire et du quadriceps

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Gelat, Thierry. "Étude de l'organisation du contrôle postural en quadrupédie chez l'homme." Grenoble 1, 1996. http://www.theses.fr/1996GRE10258.

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Le but des travaux realises dans cette these etait d'etudier la finalite biomecanique des ajustements posturaux qui accompagnent le soulevement d'un membre a partir d'une posture quadrupedique chez l'homme. En quadrupedique horizontale, les resultats montraient que les variations de force des membres restant en appui precedaient le debut du mouvement, mettant en evidence la presence d'ajustements posturaux anticipateurs (apa). L'analyse biomecanique des apa montrait que l'excursion initiale du centre des pressions (cp) etait a l'origine de conditions dynamiques permettant d'ajuster la position du centre de gravite (cg) aux contraintes representees par le maintien de l'equilibre. La deuxieme partie de l'etude avait pour but de comparer les reponses posturales associees au soulevement d'une jambe a partir d'une posture, soit bipedique, soit quadrupedique verticale. A l'equilibre, il existe une difference majeure entre les deux postures: la position du cp et la projection du cg peuvent etre differentes en quadrupedie. Au cours du mouvement, des apa etaient presents dans les deux situations. Les resultats montraient que la duree et l'amplitude des phenomenes dynamiques anticipateurs etaient dependants de la difference entre les positions initiale et finale du cg. En quadrupedie, la nette diminution de la duree des apa etait due a un decalage entre les positions finales du cp et du cg, la presence de forces manuelles laterales et antero-posterieures etant alors necessaire pour maintenir l'equilibre final. Ainsi, sur l'axe lateral, l'amplitude du deplacement du cg vers le pied d'appui entre le debut et la fin du mouvement, etait considerablement reduite par rapport a celle observee dans la condition bipedique. Sur l'axe antero-posterieur, la presence d'apa destines a s'opposer a la perturbation vers l'arriere provoquee par le mouvement n'etait plus necessaire dans la condition quadrupedique parce que l'equilibre final etait assure par des forces manuelles antero-posterieures, le cg etant alors situe en arriere du cp

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Darlot, Christian. "Traitement central des informations otolithiques." Grenoble 2 : ANRT, 1987. http://catalogue.bnf.fr/ark:/12148/cb37604277g.

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Ria, Bernard. "Validation d'une méthode d'analyse biomécanique du mouvement en natation." Clermont-Ferrand 2, 1988. http://www.theses.fr/1988CLF21503.

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Gavhed, Désirée. "Human responses to cold and wind /." Stockholm, 2003. http://diss.kib.ki.se/2003/91-7045-669-0/.

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Le, Bozec Serge. "aspects et bases de la synergie des muscles agonistes chez l'Homme." Grenoble 2 : ANRT, 1986. http://catalogue.bnf.fr/ark:/12148/cb37599038x.

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TARDIEU-MARS, CHRISTINE. "Mise au point d'une nouvelle methode informatisee d'analyse tridimensionnellede la marche bipede pour l'etude des deplacements des centres de gravite du corps : application a l'homme et aux primates non humains." Paris 7, 1987. http://www.theses.fr/1987PA077263.

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Potrovic, Laura. "Ce qu'un corps peut devenir : cartographie entre danse et philosophie." Thesis, Sorbonne Paris Cité, 2017. http://www.theses.fr/2017USPCA087/document.

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Cette thèse n'explore pas ce qu'est le corps, mais ce qu'un corps peut devenir. Elle explore le corps comme un événement en train de se faire à travers les concepts tels que le Corps sans Organes (Antonin Artaud, Gilles Deleuze et Félix Guattari), le bodying (Erin Manning), le corps en train de se faire (Erin Manning) et le devenir (Gilles Deleuze et Félix Guattari). Ce que tous ces concepts ont en commun est l'état de devenir. Ici, le corps devient, et en tant que tel - c'est un verbe, une activité, une force. Cette thèse explore non seulement le corps comme une force de devenir, mais elle explore également le devenir de cette force - au niveau moléculaire, expérientiel et relationnel. Comme le dit Manning, un corps est toujours plus qu'un corps. Ici, nous essayons d'aborder les devenirs physiques, expérientiels et relationnels d'un corps en mouvement. Ce qui bouge le corps de l'état d'être vers l'état de devenir est le mouvement. Cette thèse tente de montrer comment le mouvement ne s'arrête jamais. Nous bougeons toujours, donc, il y a une continuité de devenir. Un corps n'est jamais uniquement une forme, il est une force-forme. Le mouvement est celui qui ouvre le corps vers son devenir de force(s). Un corps en mouvement n'est pas une forme d'expression, mais une force d'expressivité. Le mouvement fait le corps, par conséquent, le corps lui-même est un mouvement. Nous ne dansons pas avec le corps, nous dansons le corps lui-même. Le corps est une partition, un corps-partition, de son devenir
This thesis does not explore what body is, but what a body can become. It explores the body as event-in-making throughout the concepts such as Body without Organs (Antonin Artaud, Gilles Deleuze and Félix Guattari), bodying (Erin Manning), body-in-making (Erin Manning). What all of those concepts have in common is the same state - a state of becoming. Here, body becomes, and as such - it is a verb, an activity, a force. This thesis does not only explore the body as a force of becoming, but it also explores the becoming of that force - at the molecular, experiential and relational level. As Manning says, a body is always more-than one. Here, we are trying to approach the physical, experiential and relational becomings of a body in movement. That which moves the body from the state of being into the state of becoming is movement. This thesis is trying to show how movement never stops. We always move, therefore, there is a continuity of becoming. A body is never just a form, but a force-form. Movement is that which opens the body toward its becoming of force(s). A moving body is not a form of expression, but a force-field of expressivity. Movement makes the body, therefore, the body itself is a movement. We are not dancing with the body, we are dancing the body itself. The body is a score, a body-score, of its own becoming

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Silva, Mônica Toledo. "O Corpo no cinema: pensamento em movimento." Pontifícia Universidade Católica de São Paulo, 2005. https://tede2.pucsp.br/handle/handle/4866.

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Inspired by the philosopher Gilles Deleuze s propose that the element of cinema is the gesture and not the image, we propose the thinking- action of the body as the mode of organization of a film. Therefore, we follow the hipotesis that the body has a place not yet explored by the cinema s theory, although in pratic it presents precious exercices of different forms of representation, in the context of the organizational modes of gestures and images created in the body and from the body. Cinema presents itself as a media complex enough to discuss movement in general and, at the same time, to colaborate with the specific research for the body s place in the film. Along the text, we suggest that studying the body in movement means to recognize it as a communication processor in the cinematographic scene. We propose to conduct the modes of construction of the filmic narrative, exposing three distinct resourses of body appropriation in the creation of sense: when the place of the body is represented by the camera, when it organises itself in the character s body, and when it is presented in the film locations. Besides an historical and conceptual introduction which proposes an unique taxonomy of the representations of the body in the movies, the Monograph presents two Chapters. In the first one, it analyses one single film, where the body thinkings not only iluminate well these three places, but also seam to create and conduct the narrative, being extended to other bodies in scene that conduct our perception and determine an aesthetics and a film composition that are singular. This is the Jean-Pierre and Luc Dardenne film, Le fils ( The son , 2002). In the second chapter we develop a creative exercise of video-art, which language porposes new discussions and contributions for the understanding of the image construction of a thought in movement: Brevidade ( Brief , 2005). As a methodology, we work with specific intertheoric conexions, from the research of specialists as Jacques Aumont (1997), François Jost and André Gaudreault (1990), José Lino Grunewald, Philippe Dubois and Arlindo Machado (2004), and from the investigations of a few concepts studied by the neurocientists António Damasio (1999), Rodolfo Llinás (2003) and Gerald Edelman (2003), redimensioned by the philosophers Gilles Deleuze (1984, 2000), George Lakoff and Mark Johnson (2001) and by the researchers Helena Katz and Christine Greiner (2005), in what is related to the body studies specificaly as an object of communication. In the many possible conections that could be developed, we emphasize the topics refered to the studies of time, of movement, of the creation of internal images and of the body transit with the ambient. It is about a theorical -practical exercise that selects informations in the academic and scientific texts in order to bring them to an artistic and communicational context, through a theoric intersection and a creative propose, aiming to get started a process that shall be continued in a Doctorship, in the sense of turning the cinema studies disposable to researchers from other areas, and therefore extending not only the cinema s perspectives but its own language.
Inspirados pela proposta do filósofo Gilles Deleuze segundo a qual o elemento do cinema é o gesto e não a imagem, propomos o pensamento-ação do corpo como o modo de organização do filme. Para tanto, partimos da hipótese de que o corpo tem um lugar ainda não devidamente abordado pela teoria do cinema, embora a prática apresente exercícios preciosos de diferentes formas de representação, no contexto dos modos de organização dos gestos e das imagens criadas no corpo e a partir dele. O cinema apresenta-se como uma mídia suficientemente complexa para discutir o movimento em geral e, ao mesmo tempo, para colaborar com a pesquisa específica de buscar o lugar do corpo no filme. No decorrer do texto, sugerimos que estudar o corpo em movimento é reconhecê-lo como processador de comunicação na cena cinematográfica. Propomos conduzir os modos de construção da narrativa fílmica, expondo três recursos distintos de apropriação do corpo na criação de sentido: quando o lugar do corpo no filme está representado pela câmera, quando se organiza no corpo do personagem, e quando se apresenta na paisagem fílmica. Além de uma introdução histórica e conceitual que propõe uma taxonomia inédita das representações do corpo no filme, a dissertação apresenta dois capítulos. No primeiro, analisa um único filme, onde o pensamento do corpo não só ilumina bem estes três lugares propostos, como parece criar e conduzir a narrativa, estendendo-se a outros corpos em cena que dirigem nossa percepção e determinam uma estética e uma composição singulares. Trata-se da obra de Jean-Pierre e Luc Dardenne, O Filho (Le fils, 2002). No segundo capítulo, fazemos um exercício de criação em video, cuja linguagem propõe novas discussões e contribuições para o entendimento da construção de imagens a partir de um pensamento em movimento: Brevidade (2005). Como metodologia, trabalhamos com cruzamentos interteóricos específicos, a partir das pesquisas de especialistas como Jacques Aumont (1997), François Jost e André Gaudreault (1990), José Lino Grunewald, Phillippe Dubois e Arlindo Machado (2004); e das investigações de alguns conceitos estudados pelos neurocientistas António Damasio (1999), Rodolfo Llinás (2003) e Gerald Edelman (2003), redimensionados pelos filósofos Gilles Deleuze (1984, 2000), George Lakoff e Mark Johnson (2001) e pelas pesquisadoras Helena Katz e Christine Greiner (2005) no que se refere especificamente aos estudos do corpo como objeto da comunicação. Dentre as inúmeras conexões que poderiam ser estudadas, destacamos os tópicos referentes ao estudos do tempo, do movimento, da criação de imagens internas e dos trânsitos com o ambiente. Trata-se, portanto, de um exercício teórico-prático para selecionar informações dos textos acadêmicos e científicos e trazê-los ao contexto artístico e comunicacional, através de uma interseção teórica e uma proposta criativa, cujo objetivo principal é iniciar um processo que deverá ser continuado no doutorado, no sentido de tornar os estudos do cinema disponíveis a pesquisas realizadas em outros campos, repensando, assim, sob outra perspectiva, a sua própria linguagem.

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Machado, Adriana Bittencourt. "O papel das imagens nos processos de comunicação: ações do corpo, ações no corpo." Pontifícia Universidade Católica de São Paulo, 2007. https://tede2.pucsp.br/handle/handle/4859.

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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
The place of image in communication processes constitutes the initial ignition point for the research herein presented. For this study it became clearly necessary to treat image as a specific type of information that has transitoriness as a central feature. Proposing that all communication is based in or assumes transformation, we can see that it brings an evolutionary tendency to its domains, which allows a comprehension of how images may operate for communication to take place. For this purpose it became necessary to investigate the conditions that make communication between the human body and the environment not just possible but, most importantly, efficient. To this end, it became indispensable to treat body and environment as phenomena immersed in co-evolutionary processes. Here the body is thought of as media, as in the Bodymedia Theory of Katz and Greiner, that claims that the body is not an information processor, but is rather a medium of itself. Its exchanges with the environment are provisional and circumstantial. The communication that the body makes or does is always that of the collection of information that constitute it. Based on this concept of the body, the hypothesis of this dissertation is that the image constitutes itself in the basic materiality of communication processes which operate whenever human bodies are involved. The body is image in flow, in time. As such, the body is not merely image in movement. The image is, overall, one of the possible modes of its communication. This dissertation does not treat image as a type of photographic register of the real; its objective is to sustain that the images of the body are processual and indexes of its time, and to do this, an inter-theory reduction was applied that allows a dialogue between the semiotics of Charles Sanders Peirce and Darwin s theory of evolution
O lugar da imagem nos processos de comunicação - essa se constituiu na ignição inicial para a pesquisa aqui apresentada. Para empreendê - la ficou claro ser necessário tratar imagem como um tipo específico de informação, no qual a transitoriedade ocupa papel central. Ao propor que toda comunicação seja pautada na transformação, traz-se um viés evolutivo para seus domínios, e com ele se pode compreender como as imagens operam para que a comunicação se dê. Para tal, fez-se necessário investigar as condições que fazem com que a comunicação do corpo com o ambiente seja não apenas possível como, sobretudo, eficiente. Para atender tal demanda, tornou-se indispensável tratar corpo e ambiente como fenômenos imersos em processos co-evolutivos. Vale destacar que aqui o corpo é tratado enquanto mídia, de acordo com a Teoria Corpomídia (KATZ & GREINER), que pleiteia que o corpo não é um processador de informações, mas sim, uma mídia de si mesmo. Suas trocas com o ambiente são provisórias e circunstanciais. A comunicação que o corpo faz é sempre a da coleção de informações que o constitui. A partir desse conceito de corpo, a hipótese da tese é a de que a imagem se constitui na materialidade básica com a qual processos de comunicação operam sempre que envolvem corpos humanos. Corpo é imagem em fluxo no tempo. Todavia, o corpo não é apenas imagem em movimento. A imagem é, sobretudo, um dos modos possíveis de sua comunicação. A tese não trata imagem como uma espécie de registro fotográfico do real, O objetivo é sustentar que as imagens do corpo são processuais e índices de seu tempo e, então, fez-se necessário empregar uma redução interteórica que propiciasse um diálogo entre a semiótica de Charles Sanders Peirce e a teoria da evolução darwiniana

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Mert, Emel. "Effect of air gap thickness and contact area on heat transfer through garments in real life situation." Thesis, Mulhouse, 2016. http://www.theses.fr/2016MULH9978.

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Le corps humain et les vêtements sont toujours en interaction directe avec l’environnement, le corps devant maintenir sa température à environ 37°C. Les transferts de chaleur sont affectés non seulement par les propriétés de l’étoffe constitutives du vêtement, mais également par l’épaisseur de la couche d’air entre le corps et le vêtement. Les propriétés thermiques de la couche d’air dépendent de son étendue, influencée par les courbures du corps humain, des propriétés mécaniques de l’étoffe et de la forme du vêtement. Il est donc nécessaire de déterminer la forme 3D du corps et la répartition, l’étendue et l’épaisseur de la couche d’air ainsi que les zones de contact entre la peau et le vêtement dans des conditions posturales de la vie courante. Dans la présente étude, l’influence thermique de couches d’air homogènes (épaisseur constante) et hétérogènes (épaisseur variable) a été montrée. De plus, la distribution des couches d’air et de l’aire de contact réelle a été analysée minutieusement. L’influence des conditions posturales (à l’aide d’un mannequin) et du mouvement (à l’aide d’un logiciel de simulation de mouvement) a été étudiée dans différents cas. Une méthode de post-traitement des données provenant du logiciel de simulation 3D de mouvement a alors été mise au point. Les résultats montrent que le niveau de confort peut être ajusté en sélectionnant l’étoffe et la forme du vêtement et que cela dépend de la région du corps. La connaissance issue de cette étude sera directement utilisée en modélisation des transferts de chaleur au travers des vêtements et contribue à l’amélioration de la conception des vêtements pour la protection ou la pratique sportive
In real life, human body and clothing are always in direct interaction with environment, where human body attempts to keep its core temperature constant at around 37 °C by physiological thermoregulatory processes. The heat transfer from the wearer’s body to the environment is affected not only by the fabric properties but also by the presence of air layers and the contact between body and garment. The thermal properties of air layer are related to its size, which in turn, depends on the form of the wearer’s body, mechanical properties of fabric and garment design. Therefore, it is necessary to determine the three dimensional (3D) map and the quantitatively determination of air layers and contact area on the garment in real life situations, such as for various body postures and movement. In the present study, a comparison of the thermal effect of the heterogeneous and homogeneous air layers was sought. Additionally, the distribution of air layers and the contact area for lower body garments were analysed systematically. The effect of various body posture and movement on sought parameters was investigated. Moreover, new method was introduced to post-process the sought parameters for the ready output from 3D simulation software. Consequently, the results of this study indicated that the comfort level of the human body can be adjusted by selection of fabric type and the design of ease allowances in the garment depending on the body region and given purpose. The knowledge gained in this study will be directly used in modelling of the dry and latent heat transfer through garment and contribute to the improvement of clothing design for protective and active sport garments

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Rebeschini, Nicola. "Image corporelle, Corps d'images. Processus de création et œuvre aujourd'hui. Hypothèses pour une esthétique organique : Étude comparative à partir de l'installation-performative Sketches / Notebook de Meg Stuart (Berlin, 2013)." Thesis, Sorbonne Paris Cité, 2017. http://www.theses.fr/2017USPCA138.

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Le corps est être-au-monde. Le corps est l'être-vivant-de-l'image et, ainsi, le corps est image habitée. L'image-corps donne lieu à l'espace sensible lors de son apparition. L'Être comme Nature, peut-il se rendre visible à travers les images ou dans les gestes ? Y a-t-il une spécificité de certains fragments filmiques ou performatifs de la figure du corps et des formes de la persona ? Si cette spécificité a lieu, par quelles voies de la création esthétique ces images ou ces gestes se créent-ils et de quelles manières en imprègnent-t-ils l'œuvre ? Selon quels dispositifs de partage sensible de l'espace matériel et immatériel établi par l'œuvre le spectateur peut-il vivre l'expérience du surgissement de l'être dans l'image ou dans le geste dont il est témoin ? Cette étude est fondée sur l'expérience de recherche pratique et théorique des œuvres. Le sens de cette recherche est ancré dans l'expérience de la création de la danse performative et du cinéma du corps et, plus largement, du cinéma de danse. La quête d'une théorie du sensible est ici fondée, d'une part, sur l'étude du processus de création transdisciplinaire mettant en jeu le corps et les images / les images et les corps en mouvement, d'autre part, sur l'étude d'images mouvantes donnant lieu à une expérience de la présence du corps considérée comme spécifique à la matière de l'humain. Il s'agit, par cette perspective, dans un processus de création performatif, d'étudier les conditions qui donnent lieu au surgissement de ce que nous qualifions de corps d'images et, dans une œuvre filmique, de saisir et de décrire les modalités de l'apparition de ce que nous définissons comme une image corporelle. En ce qui concerne la recherche pratique, nous avons intégré l'équipe de création de l'installation performative Sketches / Notebook de Meg Stuart et, ainsi, constitué un corpus documentaire que, tout au long de notre recherche théorique, nous avons analysé et comparé avec un corpus complémentaire constitué d'œuvres performatives et, surtout, filmiques (on compte, parmi elles, Die Klage der Kaiserin, de Pina Bausch ou Sátántángo de Béla Tarr). Cette recherche nous a permis d’évoquer de nombreux liens entre diverses perspectives philosophiques et esthétiques et d'approfondir l'élaboration du concept janus bifrons d'image corporelle / de corps d'images en relation à la manifestation de la persona dans un environnement de dispositifs et de symboles que nous proposons de penser comme propre à une esthétique organique. En effet, nous reconnaissons à certains fragments de ces œuvres filmiques ou scéniques la puissance de création de l'espace sensible; une organisation de dispositifs dans l'image ou dans le geste capable de générer une mutation de l'espace de signes et de leur réception. De ce fait, nous comprenons qu'en terme de processus de création, certains fragments performatifs et certaines images semblent témoigner de protocoles d'expérience de créations qui - de manière plus propices que d'autres - permettent de donner lieu, voire de faire surgir, des images du corps comme images de la persona : par la présence particulière et universelle à la fois de l'être humain, signe ana-chronique d'une présence mortelle
The body is being-in-the-world. The body is the image's-being-alive, and thus, the body is an inhabited-image. The image-body gives place to the sensitive space within its advent. Can the Being, as Nature, be visible through images or gestures ? Is there a specificity in certain filmic or performative fragments about the figure of the body and forms taken by a persona ? If this specificity is proven, through which means of the aesthetic creation can these images or gestures be created and how do they impact the artwork ? What are the devices of material and immaterial sensitive sharing of space, as settled by the artwork, that allow the onlooker to live the experiment of the emergence of being through the image or the gesture which he is witnessing ? This study is based upon the experience of practical and theoretical research on artworks. The meaning of said research is rooted in the experience of creation concerning performative dance, cinema of the body and, in a wider perspective, dance cinema. The quest for a theory of the sensitive, in our work, has its foundations, first in the study of the process involved in transdisciplinary creation involving body and images / images and body in motion ; second, in the study of moving pictures generating an experience of the body's presence, considered as specific to human matters. In light of this point of view, our project, through the process of performative creation, is to study the conditions which give birth to the upsurge of what we call a body of images and, in filmic artwork, to grasp and describe the modalities through which what we define as a corporeal image appear. Concerning practical research, we have taken part in the creative team of Meg Stuart's performative setup, Sketches / Notebook, and thus assembled a set of documents which we have analysed and compared, all along our theoretical research, to a complementary set made of performative and, most of all, filmic artworks (among which are included Pina Bausch's Die Klage der Kaiserin and Béla Tarr's Sátántángo). This research gave us the opportunity to call to mind the numerous links existing between different philosophical and aesthetical points of view, as well as to deepen our construction of the janus bifrons concept of corporeal image / body of images, as related to the expression of the persona in an environment made of setups and symbols which our research designates as specific to an organic aesthetic. In fact, we recognize in specific fragments of these filmic or scenic artworks the creative power of sensitive space ; the arrangement of setups within the image or within the gesture, able to operate a mutation of the space of signs and their reception. Therefore, it is our understanding that, regarding the creation process, some performative fragments and some images appear to participate in protocols in creative experience which, in a more suitable manner than others, lead, or even give birth to images of the body as images of a persona, through the presence, all together individual and universal, of the human being as the anachronistic sign of a mortal presence

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Hardy, Jean-Sébastien. "Phénoménologie des kinesthèses et ontologie du geste : Constitutions originaires du monde et de la chair chez Husserl." Thesis, Paris 4, 2014. http://www.theses.fr/2014PA040099.

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Cette thèse se donne pour tâche d’expliciter et de déployer, à partir de l’œuvre de Husserl, les diverses conceptions phénoménologiques directrices du mouvement de la chair. En un premier temps, nous cherchons à préciser le contexte d’origine du concept de « kinesthèse », élaboré une première fois à l’été 1907 dans le cadre des leçons de Husserl sur la chose et l’espace. En un deuxième temps, il nous apparaîtra nécessaire d’élargir la signification technique et restreinte que possède le se-mouvoir dans la phénoménologie statique de la perception, afin de prendre en compte le mouvement en tant qu’action pratique du sujet dans divers horizons du monde. L’étude de certains textes qui relèvent de la phénoménologie génétique semble alors permettre de parler d’une co-constitution pratique entre la mobilité de la chair et la choséité, et ainsi de considérer à neuf l’hypothèse d’une historicité de la chair. Dans un troisième et dernier temps, il s’agira d’opérer une radicalisation de la compréhension du mouvement de la chair, afin de la ressaisir comme « geste », c’est-à-dire non plus simplement comme officiant des projets intentionnels de l’ego, mais bien comme origine et support des structures cardinales du monde. La lecture croisée de divers textes tardifs de Husserl et de Heidegger nous permettra de dégager une compréhension ontologique, et non plus strictement sensualiste ou pratique, de la mobilité charnelle. Au travers de ces études, le mouvement se révèle originairement impliqué dans les divers niveaux de la constitution de la mondanéité, mais aussi constitué en retour
This thesis sets itself the task of clarifying and deploying the various phenomenological conceptions of bodily movement within Husserl’s work. As a first step, we seek to shed light on the context which guided the formation of the concept of “kinesthesis” in the 1907 summer lectures on thing and space. As a second step, it will appear necessary to expand the narrow and technical meaning that this “moving-oneself” has in the static phenomenology of perception, in order to take into account the movement thought as a practical action throughout various horizons of the lifeworld. Some texts pertaining to Husserl’s genetic phenomenology seem to allow us to speak of a practical “co-constitution” between the mobility of the flesh and the handiness of the thing and, in doing so, to consider anew the hypothesis of a historicity of the flesh. As a third and final step, we will operate a radicalization of the understanding of bodily movement, in order to grasp it as a “gesture”, that is to say, not only as a mere implement of the intentional projects of the ego, but as the very origin and support of the cardinal structures of the world. The cross-reading of different later texts by Husserl and Heidegger seems to support the project of setting forth an ontological understanding of mobility that is no longer in any way sensualistic or pragmatic. Through these meanings, bodily movement reveals itself as being originally involved in the various constitutive levels of worldliness

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Padonou, Assomption. "Danser, c'est manger : pour une ethnographie de la créativité artistique chez les Gun de Porto-Novo (Bénin)." Thesis, Strasbourg, 2019. https://publication-theses.unistra.fr/restreint/theses_doctorat/2019/PADONOU_Assomption_2019_ED519.pdf.

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L’importance de la danse gun est, non la belle chorégraphie sur laquelle sont souvent focalisés les regards, mais plutôt l’activité du sang dans le corps dansant, y compris la dynamique culturelle suscitée par le savoir endogène auquel se réfèrent les traditions ancestrales. Car les mouvements observés lors de cette danse sont des contractions de muscles (yè) chaque fois accompagnées de relaxations du corps (hwé), comme s’il s’agissait, au fond, d’une alternance chaque fois renouvelée entre un cumul et une dépense d’énergies. Il en résulte que la danse gun se nourrit d’énergies. D’une part, elle se nourrit d’une énergie physique sous l’impulsion du cœur qui rythme la bonne circulation du sang irrigant le corps dansant de nourritures. D’autre part, la danse se nourrit d’émotions suscitées par le savoir qui éveille la mémoire à la joie, au sens d’espoir. Ainsi, la danse consiste dans l’éclosion du corps à travers la belle chorégraphie ; elle révèle à la fois une ouverture du cœur rythmant la vie et un éveil de la mémoire à la beauté du paradis, au sens d’oubli des misères des hommes et de leur histoire. Dans le cadre de cette thèse, je soutiens que la danse n’est pas seulement un art, mais elle est aussi une forme de nourriture. La danse est un art au cœur duquel le corps dansant mange la vie. La danse présente des caractéristiques nutritives d’émotions, à la fois performatives et communicatives ; elles expriment les relations des Gun entre eux, y compris avec leurs Vodǔn
The importance of Gun dance is not the beautiful choreography on which the spectators are often focused, but rather the activity of blood in the dancing body, including the cultural dynamics aroused by the endogenous knowledge to which the endogenous knowledge refers ancestral traditions among the Gun people. Indeed, the movements observed during the Gun dance are contractions of muscles each time accompanied by relaxations of the body, as if it were a renewed alternation between a cumulative and an expenditure of energies. As a result, dance feeds on energy. On the one hand, it feeds on a physical energy under the impulse of the heart that rhythms the proper circulation of blood irrigating the body dancing with nutrients. On the other hand, dance feeds on emotions aroused by knowledge that awakens memory to joy, to the sense of hope that sustains life. Hence, the dance consists in the hatching of the body through the beautiful ultrasound; it reveals both an opening of the heart punctuating life and an awakening of memory to the beauty of paradise, in the sense of forgetting the miseries of men and their history. As part of this thesis, I argue that dance is not only an art, but it is also a form of food. Dance is an art in which the dancing body eats life. Gun dance has nutritional characteristics of emotions, both performative and communicative, which help to express the most fundamental relationships of the Gun people with each other, including with their Vodǔn

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Gilman, Daniel. "The Acoustics of Abolition: Recovering the Evangelical Anti–Slave Trade Discourse Through Late-Eighteenth-Century Sermons, Hymns, and Prayers." Thèse, Université d'Ottawa / University of Ottawa, 2013. http://hdl.handle.net/10393/24055.

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This thesis explores the late-eighteenth-century movement to end Britain’s transatlantic slave trade through recovering one of the major discourses in favour of abolition, namely that of the evangelical Anglicans. This important intellectual milieu has often been ignored in academia and is discovered through examining the sermons, hymns, and prayers of three influential leaders in this movement: Member of Parliament William Wilberforce, pastor and hymn writer John Newton, and pastor and professor Charles Simeon. Their oral texts reveal that at the heart of their discourse lies the doctrine of Atonement. On this foundation these abolitionists primarily built a vocabulary not of human rights, but of public duty. This duty was both to care for the destitute as individuals and to protect their nation as a whole because they believed that God was the defender of the enslaved and that he would bring providential judgement on those nations that ignored their plight. For the British evangelicals, abolishing the slave trade was not merely a means to avoid impending judgement, but also part of a broader project to prepare the way for Jesus’s imminent return through advancing the work of reconciliation between humankind and God as they believed themselves to be confronting evil in all of its forms. By reconfiguring the evangelical abolitionist arguments within their religious framework and social contexts, this thesis helps overcome the dissonance that separates our world from theirs and makes accessible the eighteenth-century abolitionist discourse of a campaign that continues to resonate with human rights activists and scholars of social change in the twenty-first-century.

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Yang, Shihming, and 楊仕銘. "Around discussion movement to research human body nervous system response behavior." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/92866545140202522859.

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碩士
大華技術學院
機電研究所
97
This paper proposed variations of heart rate and HRV under the condition before and after human exercise. Ten healthy students are chosen as the objects of this study. They are subject to mid-strength and high-strength exercise during five minutes on the treadmill. ANSWatch monitor is used to record the heart rate and HRV signal. FFT software is developed as a post-treatment tool. Results are shown that : 1. Blood pressure, heart rate and LF/HF are increasing after exercise. However, RR-intervals, HRV and HF are decreasing. 2. Recovery time of blood pressure, HF and LF do not be affected by the strength of exercise. 3. Recovery time of HRV, HR, and RR-intervals are affected by the strength of exercise. One can conclude that human physiology signal are affected by the strength of exercise.

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Yang, Ti-Chiang, and 楊迪強. "Apply K-Means Algorithm to Human Body Movement Factors-Based on LMA." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/58270840153749403049.

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碩士
國立臺北大學
資訊管理研究所
96
There are various approaches for digitizing human body movement used on many domains, especially in 3D animation, digital games, virtual reality etc. In recent years, there has been a dramatic proliferation of research concerned with movement digitalization. Most of these technologies have only recorded the shape of the movements. It’s lack of recording the significance of the movements. If we use new technologies properly to find out the implicit significance of the movements, the meanings of the digital movement data can be understood; and further, it is helpful for inferring the emotion. The result of this research will be the foundation on 3D games, sports teaching and animation manufacturing. We need to develop the basic well-defined infrastructure of movement digitization. The fundamental theory in the research is Laban Movement Analysis (LMA) produced by Rudolf Laban. It is systematical, integral and detailed for analyzing the body movements in depth observing and understanding. A two-phase study was designed to explore the identification, classification, and application of movement factors. The LMA is restricted within lexemes although it is a rich vocabulary for describing and analyzing the movements. It has no quantifiable and valuable method for digital analysis. We use the kinematic parameters for quantifying the movement efforts on the phase one. On the phase two, we use the K-Means algorithm of cluster analytic method to find out the useful knowledge by clustering and observing process because we want to know the relation between the movements and the efforts. The research's main purpose is to discover a data mining digital model for the human body movements and illustrate the relation between the movements and the qualities of the movements. The digital model aims to classify body movement efforts and constructing a database for movement efforts. It will be fundamental for general education, creation and amplifying researches in future.

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Akers, Madeleine Ruth. "Loose bodies." Thesis, 2010. http://hdl.handle.net/2152/ETD-UT-2010-05-1195.

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My thesis film for the Master of Fine Arts degree is a 10-minute documentary entitled Loose Bodies. It traces my mom's recovery from knee replacement surgery, meanwhile exploring her relationship to her knees through interviews and archival footage and my own relationship to my body's ability to move. The film contains three animated sequences, using the Renaissance anatomical drawings of Andreas Vesalius. This report is an account of the filmmaking process from initial idea to finished film.
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Mason, Rachael Ruth. "Whole body vibration training for multiple sclerosis patients : a thesis presented in partial fulfilment for the requirements for the degree of Master of Science in Exercise and Sport Science at Massey University, Palmerston North, New Zealand." 2009. http://hdl.handle.net/10179/1336.

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Introduction: The purpose of this study was firstly to investigate whether 8 weeks of whole body vibration (WBV) training was an acceptable form of exercise for patients with Multiple Sclerosis (MS) and secondly what effect it may have on measures of functional capacity. Methods: Fifteen participants with MS volunteered for WBV training three times a week on a commercialised Galileo Sport™ vibration machine with an oscillating platform. Training consisted of two four week blocks based on an increasing stimulus training programme (overload principle). The first fours weeks involving five sets of 1-min WBV with 1-min rest in between with increasing vibration frequency (15-25Hz, 2.6mm-4.1mm amplitude); the second four weeks training increased to eight sets of 1-min WBV (15-20Hz, 6.1mm amplitude). Functional performance measures (Timed up and Go, Standing Balance, Functional Reach and Timed walk) and quality of life questionnaire (SF-36) were conducted prior to training, at 4 weeks, 8 weeks and 2 weeks (10wk) following the completion of the training. Results: The 10m walk test showed significant improvements at the 2m, 8m and 10m measure between pre vs. 8wk (P<0.05) and pre vs.10wk (P<0.05). Timed up and Go demonstrated a significant time effect (P<0.05). Standing balance showed significant improvements at pre and 4 week (p<0.05) and pre and 10 week (p<0.05). Conclusions: This is the first study to investigate WBV as an exercise training modality for MS patients. It was shown that not only is WBV training safe, well tolerated by MS patients but it also improved standing balance and walking speed in MS patients.

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Dissertations / Theses on the topic 'Human body movement'

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