Academic literature on the topic 'Picture-body-image'
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Journal articles on the topic "Picture-body-image"
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Slade, Peter D. "Body Image in Anorexia Nervosa." British Journal of Psychiatry 153, S2 (1988): 20–22. http://dx.doi.org/10.1192/s0007125000298930.
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The term ‘body image’ is used to refer to the picture we have in our minds of the size, shape and form of our bodies; and to our feelings concerning the size, shape and form of our bodies, and its constituent parts.
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Buxton, Barbara K. "Body Image and Women: How Does Obesity Fit into the Picture?" Bariatric Nursing and Surgical Patient Care 3, no. 4 (December 2008): 285–90. http://dx.doi.org/10.1089/bar.2008.9946.
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Et al., Verlanda Yuca. "The Body Image Profile of Student of Universitas Negeri Padang in Terms of Their Admission." Psychology and Education Journal 58, no. 1 (February 4, 2021): 4102–8. http://dx.doi.org/10.17762/pae.v58i1.1472.
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The most basic human needs are physiological needs. Human physical appearance, as a part of physiological needs, is considered as an essential part of people's lives. That essential part determines the formation of body image (self-image) in the community. Body image is a mental picture of the state of the human body. That is how people give values of the size and shape of their bodies or others' opinions about them. This study aims to describe the body image of students in terms of their admission. This study uses a quantitative approach to the type of descriptive research. The sampling technique used Simple Random Sampling on 161 students of Universitas Negeri Padang. Data collection techniques through questionnaires with descriptive analysis. The research findings show that a picture of the body image condition of UNP students on average is in the medium category with the reliability of 0.824.
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Tejoyuwono, Agustina Arundina Triharja, and Muhammad Riedha. "Medical Students Perception about Doctor's Body Image Using Stunkard Figure Rating Scale (FRS) Method." International Journal of Public Health Science (IJPHS) 4, no. 4 (December 1, 2015): 294. http://dx.doi.org/10.11591/ijphs.v4i4.4749.
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<p>Doctor as health workers are obliged to be role models, especially in healthy and active life stlyle projected as having an ideal body image. It beneficial to increase self confidence, improve sucess in counceling and health service satisfaction and as well as gaining patient’s trust. Body image sometimes considered unnecessary, however it could be quite disturbing in health service.Therefore, this study aims to describe medical student’s perception on doctor’s body images as health workers in Tanjungpura University. This resarch used survey in descriptive study with quantitative data. The subject was medical students from medical, pharmacy and nursing grade 2011 to 2014. Triangulation data collected from doctor working in medical school, and Tanjungpura University Hospital. Sample was choosen by purposive sampling and analyzed by descriptive statistic. This research had been approved by medical faculty ethic research admission at Untan no. 3986/UN22.9/DT/2014. A total of 576 medical students were enrolled in this research. 93.06% stated that body image is important for doctor and it will influence the theraphy. 67.2% chose picture 4 (normal nutritional status) in Stunkard Figure Rating Scales the ideal body images for doctors. Nevertheless,17.01% chose picture < 3 (underweight) and 15.8% choose picture > 5 (overweight and obesity) as the doctor’s ideal body images. Doctors that work in Educational field were the most important field that needs a good body image (42.88%0, followed by doctor in hospital (24.83%). Based on triangulation data from 16 medical school doctors, and 7 Tanjungpura University Hospital doctors, suggested that body image will not impact the therapy (82.6%) and the most important field that needs ideal body images was in hospital (43.5%). Body image is very important and it will influence doctor theraphy. Doctor in educational field should have a ideal body image with normal nutrition status.</p>
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Tejoyuwono, Agustina Arundina Triharja, and Muhammad Riedha. "Medical Students Perception about Doctor's Body Image Using Stunkard Figure Rating Scale (FRS) Method." International Journal of Public Health Science (IJPHS) 4, no. 4 (December 1, 2015): 294. http://dx.doi.org/10.11591/.v4i4.4749.
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<p>Doctor as health workers are obliged to be role models, especially in healthy and active life stlyle projected as having an ideal body image. It beneficial to increase self confidence, improve sucess in counceling and health service satisfaction and as well as gaining patient’s trust. Body image sometimes considered unnecessary, however it could be quite disturbing in health service.Therefore, this study aims to describe medical student’s perception on doctor’s body images as health workers in Tanjungpura University. This resarch used survey in descriptive study with quantitative data. The subject was medical students from medical, pharmacy and nursing grade 2011 to 2014. Triangulation data collected from doctor working in medical school, and Tanjungpura University Hospital. Sample was choosen by purposive sampling and analyzed by descriptive statistic. This research had been approved by medical faculty ethic research admission at Untan no. 3986/UN22.9/DT/2014. A total of 576 medical students were enrolled in this research. 93.06% stated that body image is important for doctor and it will influence the theraphy. 67.2% chose picture 4 (normal nutritional status) in Stunkard Figure Rating Scales the ideal body images for doctors. Nevertheless,17.01% chose picture < 3 (underweight) and 15.8% choose picture > 5 (overweight and obesity) as the doctor’s ideal body images. Doctors that work in Educational field were the most important field that needs a good body image (42.88%0, followed by doctor in hospital (24.83%). Based on triangulation data from 16 medical school doctors, and 7 Tanjungpura University Hospital doctors, suggested that body image will not impact the therapy (82.6%) and the most important field that needs ideal body images was in hospital (43.5%). Body image is very important and it will influence doctor theraphy. Doctor in educational field should have a ideal body image with normal nutrition status.</p>
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Zhang, Jian, and Wan Juan Song. "Body Recognition Based on Depth Image." Applied Mechanics and Materials 631-632 (September 2014): 414–17. http://dx.doi.org/10.4028/www.scientific.net/amm.631-632.414.
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The text introduces the research status of depth image in the pattern recognition and the application in the body recognition. Aiming at the problem that the image recognition shot by common camera has declined performance under the factors of illumination, posture, shielding, and the like, the body parts are distinguished and judged by taking Kinect equipment promoted by Microsoft as the platform, analyzing the features of the depth picture obtained by the Kinect camera and putting forwards to the local gradient features of comprehensive point features and the gradient features; and the elbow is taken as the example to argue simply .
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Malighetti, Clelia, Simona Sciara, Alice Chirico, and Giuseppe Riva. "Emotional Expression of #body on Instagram." Social Media + Society 6, no. 2 (April 2020): 205630512092477. http://dx.doi.org/10.1177/2056305120924771.
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Our aim was to explore emotions in Instagram images marked with hashtags referring to body image–related components using an artificial intelligence–based discrete emotional analysis. A total of 500 Instagram photos marked by specific hashtags related to body image components were analyzed and specific discrete emotions expressed in each picture were detected using the Emotion application program interface API from Microsoft Azure Cognitive Service. Results showed that happiness and neutrality were the most intense and recognizable emotions expressed in all images. Happiness intensity was significantly higher in images with #bodyimage and #bodyconfidence and higher levels of neutral emotion were found in images tagged with #body, #bodyfitness, and #thininspirational. This study integrated a discrete emotional model with the conventional dimensional one, and offered a higher degree of granularity in the analysis of emotions–body link on Instagram through an artificial intelligence technology. Future research should deepen the use of discrete emotions on Instagram and the role of neutrality in body image representation.
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Kleemans, Mariska, Serena Daalmans, Ilana Carbaat, and Doeschka Anschütz. "Picture Perfect: The Direct Effect of Manipulated Instagram Photos on Body Image in Adolescent Girls." Media Psychology 21, no. 1 (December 15, 2016): 93–110. http://dx.doi.org/10.1080/15213269.2016.1257392.
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Rutledge, Christina M., Katherine L. Gillmor, and Meghan M. Gillen. "Does this profile picture make me look fat? Facebook and body image in college students." Psychology of Popular Media Culture 2, no. 4 (October 2013): 251–58. http://dx.doi.org/10.1037/ppm0000011.
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Ramakrishnan, Kavitha Konnakkaparambil, and Sreekumar Damodaran. "Body Image Disturbances in Patients Undergoing Mastectomy for Breast Cancer." Journal of Evidence Based Medicine and Healthcare 7, no. 42 (October 19, 2020): 2384–88. http://dx.doi.org/10.18410/jebmh/2020/494.
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BACKGROUND Body image can be defined as a subjective picture of an individual’s own physical appearance established by self-observation and by noticing the reaction of others. Breast cancer and its treatment has been shown to have tremendous impact on the body image of the patients. We wanted to assess the level of body image disturbance in patients undergoing mastectomy for breast cancer and identify the relation between the body image disturbance and measures of psychosocial morbidity and quality of life. METHODS 35 female patients who had mastectomy for breast cancer were assessed preoperatively, immediately after surgery and 2 months after the surgery. They were administered body image scale questionnaire, HADS (Hospital Anxiety and Depression Scale), General Health Questionnaire (GHQ-12) and WHO QOL BREF. RESULTS Our results showed that 24 out of 35 patients (68.5 %) were Body Image Scale positive at the first interview itself. The number of positive patients increased to 27 at the second interview (77.1 %), but this change was not statistically significant and there was no change from second to third visit. Those who were Body Image Scale Positive had significantly higher anxiety, depression and GHQ12 scores. Those who had a body image disturbance also had a poorer quality of life across all domains. CONCLUSIONS This study shows that there is a high level of body image disturbance in patients undergoing mastectomy for breast cancer even before surgery. This high level also contributes significantly to their psychosocial morbidity and also negatively affects their quality of life. KEYWORDS Body Image, Anxiety, Depression, Quality of Life, Breast Cancer, Mastectomy
Dissertations / Theses on the topic "Picture-body-image"
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Fuzzell, Lindsay Nicole. "Cosmetic Surgery Pictures: Does Type of Picture Affect Acceptance of Cosmetic Surgery and/or Body Image?" UNF Digital Commons, 2010. http://digitalcommons.unf.edu/etd/424.
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The researcher investigates the effect of viewing positive and negative cosmetic surgery images, with short descriptive scenarios, on acceptance of cosmetic surgery. Two hundred ninety-nine participants were assigned to view one of three conditions: positive before/after cosmetic surgery pictures and an accompanying scenario, negative pictures and scenario, or no pictures or scenario (control), followed by the Acceptance of Cosmetic Surgery Scale (ACSS, Henderson-King & Henderson-King, 2005), the Body Parts Satisfaction Scale (Berscheid, Walster, & Bohrstedt, 1973), and the Physical Self Description Questionnaire (Marsh, Richards, Johnson, Roche, & Tremayne, 1994). There was a significant relationship between ACSS Intrapersonal subscale and picture/scenario type, specifically that the positive picture/scenario type participants had a higher Intrapersonal Acceptance of Cosmetic Surgery score. There was also a significant relationship between picture/scenario type & physicality, with four of the 11 subscales, physical activity, sport competence, strength, and endurance, being significantly related to acceptance of cosmetic surgery. Results show significant bivariate correlations between cosmetic surgery acceptance and the physicality aspect of body image as measured by the PSDQ, and total body image as measured by the BPSS. Ethnicity and gender were also significant indicators of cosmetic surgery acceptance. The researcher expects that these results could generalize to society as a whole because of the many people that view cosmetic surgery makeover shows on television. Viewing cosmetic surgery images in the media could possibly decrease body image and alter intrapersonal beliefs toward cosmetic surgery.
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Cevik, Senem Bahar. "Impact of media spokeswomen on teen girls' body image." CSUSB ScholarWorks, 2005. https://scholarworks.lib.csusb.edu/etd-project/2801.
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This project investigated body image issues of girls aged 13-19 years old. It surveyed a random sample of 100 girls via a self-administered questionnaire. The study found that most teen girls have a celebrity actor idol and that the majority of teen girls are self conscious regarding body shape and weight.
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Kanaan, Helena. "Impressões, acúmulos e rasgos : procedimentos litográficos e seus desvios." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2011. http://hdl.handle.net/10183/28920.
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Essa tese resulta de pesquisa artística ancorada na vivência de atelier de litografia. Desenvolvida de "##$ a "#%#, a investigação articula prática e reflexão teórica, com recorte específico no procedimento de gravura que tem como matriz a pedra calcária, e seus possíveis deslocamentos. A pesquisa tem como objetivo principal investigar factíveis desvios técnicos, transladando o conceito de gravura, subjugado à edição a um trabalho técnico-estético, com foco na arte contemporânea. Toma-se como pressuposto a possibilidade de um fazer que inclua o olhar fenomenológico, cruzando procedimentos técnicos e processos criativos, amalgamando látex às litografias, para criar o que denominamos ‘Policorpos’. Os conceitos abordados dizem respeito aos estados de alteração das imagens, provocados pelas reações químicofísicas das matérias e pela atitude experimental !ente à técnica. Impressão é o conceito operacional que baliza a investigação. Pedra-matriz, água, gorduras, óxidos, papel, látex, instauram um deslizamento contínuo entre a prática e fenômenos percebidos e intuídos na impermanência relativa dos corpos. Os trabalhos obtidos evidenciam uma fisicalidade fluídica fazendo alusões ao informe. A transitoriedade (in) formal inerente aos procedimentos da aguada litográfica e do manuseio do látex, problematizam a função autor.This thesis is the result of an artistic research based on lithography atelier experience. Developed !om "##$ to "#%#, the investigation combines practice and theorical reflexion, with specific jag on the engraving procedure which has as matrix the limestone and its possible displacements. The research has as main goal to explore possible technical deviations translating the engraving concept subjugated to edition to a technical-esthetical work with focus on contemporary art. It is presupposed that the possibility of a making that includes a phenomenological look, crossing technical procedures and creative processes, amalgamating latex to the litographies, in order to create what is called ‘Polybodies’. The concepts discussed concern the alteration estates of the images, caused by the chemical-physical reactions of the materials, and by the experimental attitude towards the technical attitude. Impression is the operational concept that drives the investigation. Litograph matrix, water, greases, oxides, paper, latex introduce a continuous sliding between the practice and the perceived and established phenomena in the relative non permanence of the bodies. The obtained works evidence a fluidic physicality making allusion to the formless. The (in)formal transitoriety inerent to the lithographic watery and the latex manipulation problematize the author function.
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Joffin, Élisa. "Plastique du corps amoureux : du rougissement de l'image à l'œil." Thesis, Toulouse 2, 2015. http://www.theses.fr/2015TOU20102.
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L’utopie est la suivante : elle débute par l’injonction amoureuse de Pablo Neruda, ‘‘je veux faire avec toi ce que le printemps fait avec les cerisiers’’, à la suite de laquelle, j’entame une petite collection dépareillée qui met en scène et met ensemble : pièces détachées, éléments brillants, particules rougissantes ou ternies et corps inconnus, qu’il me faudra déployer et marier dans les moindres détails, de novembre 2010 à novembre 2015 pour constituer ce que j’appelle : ‘‘la plastique du corps amoureux’’. J’observerai les effets des images, des corps, de l’œil de l’artiste et celui du regardeur, sous la contrainte du rougissement. Il ne sera pas nécessaire de chercher l’unité mais de bien faire le dessein d’hypothèses amoureuses éparses. Car si la plastique a le pouvoir de faire émerger une forme, celle d’un corps amoureux, ne serait-elle pas une tentative de s’exiler de la forme et de sa propre chair ? Faut-il parler d’informité quand on en vient au couple tant la limite est fragile lorsqu’on s’attaque aux contours ? Que fait-on une fois qu’il n’y a plus d’amour ? Que fait-on, une fois que l’on ne s’y voit plus ? L’engagement s’inscrivant sur une courte durée, il sera de bon augure de le situer dans une temporalité de l’instantané et de ce fait, il sera préférable de ne pas négliger ce que l’on nomme communément ‘‘cliché’’ comme une expérience vécue et recevable par tous, pour amorcer une pensée fleurissante qui croit et décroit suivant la saisonHere is the utopia: it will all start with the loving injunction of Pablo Neruda “I want to do with you what spring does with the cherry trees.” Then comes a little mismatched collection which will put on a performance and put together: spares parts, blushy or faded particles and shiny elements, which, from November 2010 until November 2015, I will open out and combine down to the smallest detail to constitute what I will call “The plasticity of the loving body”. I will observe images, bodies, the artist’s vision and the spectator vision when they are placed under the effects of blushing. I do not aim at achieving any form of unity but instead, at intending to make numerous assumptions of “loving designs”. Assuming that plasticity has the power of arising shapes, would not the plasticity of loving body be the attempt to get extracted from its own shape and its own flesh. .Should we define the couple as something shapeless: its limits are becoming more and more fragile as deconstruct its outlines. What should we do when love is nowhere to be found ? What should we do once all hopes are gone ? The implication, in the field of love, is timewise very short. It is characterized by its instantaneous dimension. Therefore, I will explore what is generally defined as a “cliché” as actually anybody could very easily experience it. I should be then carried away by a blooming thinking that would blossom and wither with the seasons
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Mosher, Jerry Dean. "Weighty ambitions fat actors and figurations in American cinema, 1910-1960 /." Diss., Restricted to subscribing institutions, 2007. http://proquest.umi.com/pqdweb?did=1495959291&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.
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Ducreux, Jessy. "La danse contemporaine à l'épreuve du cinéma et de la vidéo : quels regards pour quelles expériences ?" Thesis, Paris 1, 2017. http://www.theses.fr/2017PA01H307.
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Ce travail de recherche a pour objectif de mettre en avant la rencontre cinéma-danse à partir d'une libération des soubassements métaphysiques de l'art, ce faisant un instrument de médiation d'un ordre supérieur à l'artiste dont l'activité se réglait à la lumière d'un idéal éthico-politique, source d'inspiration du thème de l'ailleurs. Le cinéma est ce nouvel espace où la danse s'invente un autre corps en dehors d'une réglementation des pratiques et des usages, d'une pédagogie par le biais de laquelle les affections du corps étaient corrigées en miroir des œuvres de l'esprit. Le fait que le cinéma soit apparu à un moment de réhabilitation de la valeur philosophique du sensible le rend complice d'une danse cherchant à accroître son expérience du mouvement et à s'affranchir des limites de la représentation classique. C'est cette complicité à l'égard d'une attitude en commun qui ressort des divers aspects que soulève la problématique de la danse contemporaine à l'épreuve du cinéma et de la vidéoThis research work bas for objective to put forward the meeting cinema-dance from a liberation of the metaphysical bases of the art, making it an instrument of mediation of an order upper to the artist whose activity adjusted in the light of an ethical and political ideal, a source of inspiration of the theme of somewhere else. The cinema is this new space where the dance in vents another body except a regulations of the practices and the uses, the pedagogy by means of which the affections of the body were corrected in mirror of the works of the spirit. The fact that the cinema appeared at a moment of rehabilitation of the philosophic value of the sensitive makes it collusive in a dance trying to increase its experience of the movement and to free itself from limits of the classic representation. It is this complicity towards an attitude in common that takes out a gain diverse aspects which lifts the problem of the contemporary dance in the event of the cinema and the video
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Blanchette, Annie. "Getting fuller-figured women in the picture : from stigmatised consumers to embodied authors." Thesis, University of Exeter, 2014. http://hdl.handle.net/10871/16117.
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Whilst the idealisation of extreme slenderness is widely recognised as a problematic issue, the negative portrayal of larger individuals is rarely criticised for its link with stigmatisation and problems with self-esteem. To the contrary, the representation of larger individuals in dehumanising terms – whether in news reports, advertising and research accounts – is generally regarded as a necessary means to encourage the pursuit of a ‘better’, ‘healthier’ self. However, these negative stereotypical portrayals – generally excluding the perspective and consent of those depicted – can also have adverse effects on human dignity, legitimacy and self-esteem of those thus depicted. Building on the work of fat studies scholars, as well as feminist marketing researchers, this research project seeks to contribute to the inclusion and rehumanisation of fuller-figured individuals, by involving them in the dialogue of visual and research representation. To do so, this research invited a group of fuller-figured women living in the UK and Canada, to ‘envision’, ‘model’, and ‘review’ their own self-presentations, primarily via the use of self-directed portraits, blogs, and conversations. Whilst the inclusion of their embodied perspectives is expected to contribute to humanising the representation of larger individuals – and offer a glimpse into what could be if we started considering women ‘of size’ as authors of their own depictions – it also contributes in filling a gap left by consumer researchers who have overlooked the way larger individuals make sense of their selves, bodies and well-being. As such, this research contributes to existing consumer research theories by explaining the ways individuals can envision their selves/bodies in the shadow of, but also in contrast with, the dominant marketplace promotion of slenderness. In terms of contribution, this research illustrates the relevance of therapeutic and embodied perspectives to understand the self, the body and to engage in acts of consumption. A new ‘self-nurtured’ discursive position offers challenges to the meanings generally attributed to larger individuals, and to the traditional approaches taken by consumer researchers to solve the ‘obesity crisis’. Overall, this research provides empirical, methodological and theoretical contributions to the field of consumer research. It also offers practical implications for the representation of larger individuals, and recommendations for those interested in the social marketing of health to enjoin people of all sizes in mindful acts of self-care and consumption.
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Wilson, Samantha A. "The Effects of Picture Presentation on Male Body Shame and Muscle Dysmorphia." TopSCHOLAR®, 2010. http://digitalcommons.wku.edu/theses/141.
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The purpose of this study was to investigate whether picture presentation influenced men’s experienced body shame or Muscle Dysmorphia symptomatology, and whether there was a relationship between body shame and Muscle Dysmorphia. Participants were 112 men attending Western Kentucky University. Participants completed the Body Shame Questionnaire and Muscle Dysmorphia Inventory. Participants were randomly assigned to either view eight photographs of average men or eight photographs of muscular men. After viewing the photographs, the participants completed the Objectified Body Consciousness Scale and the Muscle Appearance Satisfaction Scale. Although there was a trend, results indicate that men who view photographs of muscular men do not experience more body shame than those who view photographs of average men. In the sample, 63.5% reported that they were dissatisfied with their bodies, 69% with their chest size, 69% with their own body build, 65% with their arms, and 63% were dissatisfied with their own abdomen. Results indicate that viewing photographs of muscular men does not increase one’s symptomatology of MD. However, there was a positive correlation between body shame and muscle dysmorphia symptoms for both men who viewed photographs of muscular men and those who viewed photographs of average men.
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Li, Cheng-Jing, and 李承靜. "The Effects of the Program: Using Picture-book Group Counseling to Improve Body Image Unsatisfied Female Students in College." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/36749910403611061560.
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碩士國立彰化師範大學
輔導與諮商學系所
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The purpose of this study was to explore the efficacy of the program－using Picture-book group counseling to improve body image unsatisfied female students in college. This group counseling was short-term, closed, semi-structured. The present study respectively implemented video-tape collection, feedback, semi-structured interview, research notes and Body Image Scale and Social Physique Anxiety Scale to analysis on college students. The finding of this study showed that the intervention was effective in body image unsatisfied female participants on the aspects of perceptual, attitude, behavioral and emotional changes from the series of analysis of qualitative and quantitative data. The present study investigated the programs such as self-disclosure, self-awareness, awareness of self-internal and external problems and improved positive personal interaction. The course of body image cognitive adjustment experience: (1) Worried and anxiety: lack of identity; (2) Contradiction and disturbed: generate awareness loosened; (3) Awareness and reflection: find unreasonable expectations and oppression; (4) Multiple views show confidence: the gradual self-acceptance; furthermore, the result of this study indicated that the picture book image comprising could help connecting personal experience and the protagonist of the demonstration could bring a different perspective and flexibility; moreover, the model could provide courage and opposite real life to readers. Recommendations for future research and practical work are discussed.
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Wilson, Samantha A. "The effects of picture presentation on male body shape and muscle dysmorphia /." 2010. http://digitalcommons.wku.edu/theses/141/.
Full textBooks on the topic "Picture-body-image"
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Rutledge, Jill Zimmerman. Picture perfect: What you need to feel better about your body. Deerfield Beach, FL: Health Communications, 2007.
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Willcox, Katie H. Healthy Is the New Skinny: Your Guide to Healthy Body Image in a Picture-Perfect World. Hay House UK, Limited, 2017.
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Rutledge, Jill Zimmerman, and Jill Zimmerman Rutledge M. S. W. LCSW. Picture Perfect: What You Need to Feel Better About Your Body. HCI, 2007.
Find full textBook chapters on the topic "Picture-body-image"
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"Nursing patients with body image problems." In Oxford Handbook of Adult Nursing, edited by George Castledine and Ann Close, 813–24. Oxford University Press, 2009. http://dx.doi.org/10.1093/med/9780199231355.003.0024.
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Body image, 814 Factors associated with body image problems 816 Medical conditions that alter body image 818 Nursing care in helping patients adjust to changes in body image 822 Body image is a complex and multifaceted construct. It was originally defined by Schilder (1935) as ‘the picture of our own body that we form in our mind, that is to say, the way in which the body appears to ourselves.’ It has since been defined in many different ways. A useful definition, which includes the key elements identified by Schilder as well as key elements included in more recent definitions, is provided by Grogan (1999) as ‘a person’s perceptions, thoughts and feelings about his or her body.’...
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Miyahara, Katsunori. "Body schema and pain." In Body Schema and Body Image, 301–15. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198851721.003.0018.
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This chapter aims to situate Merleau-Ponty’s notion of body schema within the context of contemporary philosophy of pain. In the first section, the chapter starts by introducing his notion of body schema and its role in his account of the experience of pain. It then briefly reviews current theoretical treatments of pain in the analytic philosophy of mind. It outlines representational and imperative theories of pain by mapping them onto the conceptual distinction between body image and body schema. In the second section, the chapter further argues that they are both deeply entrenched in a Cartesian dualistic picture of mind and body. To be fair, imperativism partly overcomes the Cartesian conception of the body by acknowledging the significance of the body schema. To see how theories of pain can escape the dualistic picture, thus, it will be helpful to examine imperativist explanations. The chapter undertakes this task by closely examining Colin Klein’s imperativist account of a rare pathological condition called pain asymbolia. This account, it suggests in the third section, leads to an unacceptably over-intellectual view of the body because of hidden Cartesian assumptions. It concludes by contrasting this with an enactive approach to pain, deeply inspired by Merleau-Ponty. In the last section, the chapter turns to phenomenological grounds to clarify and support this alternative approach.
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Priyadarshi, Ankur. "Segmentation of Different Tissues of Brain From MR Image." In Interdisciplinary Approaches to Information Systems and Software Engineering, 142–80. IGI Global, 2019. http://dx.doi.org/10.4018/978-1-5225-7784-3.ch007.
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In the most recent couple of decades, medical image processing stood out within picture preparing research fields because of its nonintrusive nature. Restorative imaging modalities, for example, MRI, CT filter, for the most part, rely upon computer imaging innovation to create or show advanced pictures of the inward organs of the human body, which causes the medicine professionals to envision the internal bits of the body. Here the proposed algorithm is thresholding different tissue type of brain MR image. Modes of the histogram represent different tissue types in brain MR image. So, this algorithm depends on the principle of finding maxima and minima using differentiation of the smoothed histogram. Using discrete differentiation, the author finds the multiple thresholds of brain MR image by selecting proper location of minima. The algorithm can be used as an initial segmentation of different tissue types of brain MR image for further accurate detection of the regions.
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van Santen, Rutger, Djan Khoe, and Bram Vermeer. "The Transparent Body." In 2030. Oxford University Press, 2010. http://dx.doi.org/10.1093/oso/9780195377170.003.0028.
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The “easy” diseases have pretty much been beaten in the Western world, leaving doctors to contend with the more complex illnesses that stealthily overrun the body. Two-thirds of the deaths in the United States are now attributable to cancer or coronary disease. By the time these conditions manifest themselves, it’s often too late to intervene. Treatment is only likely to succeed if early signs of cancerous growth or clogging arteries can be detected. A tumor measuring a few millimeters across is plainly less threatening than one the size of a tennis ball, not least because there is less risk of metastasis at an early stage. The focus is therefore on enhancing rapid diagnosis, which in turn means improving medical imaging. Eighty percent of all diagnoses are based on images. Yet many small but life-threatening physical processes are still missed by the scanners, echographs, and other devices that peer inside our bodies. Growths measuring less than a centimeter tend to be overlooked, so scientists are constantly working on techniques capable of offering a more detailed internal picture. Breakthroughs in imaging technology can mean the difference between life and death. They’ll enable us to intervene sooner, boosting the patient’s survival chances. Little more than a generation ago, X-rays were the only means we had of looking inside the human body. The images they produce are flat, however, and lacking in depth information, which can make them hard to interpret. An ingenious technique was therefore devised in the 1970s that allowed a single three-dimensional image to be created by combining a series of X-ray photographs. The CT (computerized tomography) scan was the first technique to produce a genuine three-dimensional image of our insides. Doctors could now tell, for instance, whether an abnormality was located on top of a bone or beneath it. Several other techniques for producing three-dimensional images of the body have since become available, some of which require patients to be injected with a contrast agent to highlight specific parts of the body.
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Fisherman, Shraga. "Body Image and Emotional Well Being Among Gay and Heterosexual Religious Young Men." In #MeToo Issues in Religious-Based Institutions and Organizations, 195–224. IGI Global, 2020. http://dx.doi.org/10.4018/978-1-5225-9195-5.ch008.
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This chapter attempts to create a close-up picture of the society of Orthodox Jewish men in regard to their levels of religiosity and sexual identity. The author examines BI, emotional wellbeing, and the connection between them, among three groups of religious Israeli young men: Modern Orthodox (MO) heterosexual men, Modern Orthodox gay men (MOG), and ultra-Orthodox heterosexual men (UO). The findings pose an extremely important challenge to educators in Israel. The young men answered two questionnaires: SWLS and the Body Image Questionnaire. The BI and wellbeing scores for the MOGs were significantly lower than for the MOs and UO. The correlations between BI and wellbeing were different in each group: there was no significant correlation among the MO, among the MOGs there was a negative, medium, and significant correlation, and among the UO there was a positive, high, and significant correlation. These differences were explained by social and educational trends.
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Pethő, Ágnes. "The ‘Chemistry’ of Art(ifice) and Life: Embodied Paintings in East European Cinema." In The Cinematic Bodies of Eastern Europe and Russia. Edinburgh University Press, 2016. http://dx.doi.org/10.3366/edinburgh/9781474405140.003.0013.
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The essay focuses on the manifold uses and re-conceptualization of the tableau vivant in recent East European cinema through several examples from Hungarian and Russian films directed by György Pálfi, Kornél Mundruczó, Benedek Fliegauf, Béla Tarr, and Andrei Zvyagintsev. The tableau vivant in these films is not conceived primarily as an embodiment of a painting, the introduction of ‘the real into the image’ (Brigitte Peucker), but it appears more like the objectification of bodies as images, and something that we can associate with what Mario Perniola considers the ‘sex appeal of the inorganic’. The author discusses the case of the paradoxical ‘cadaverous’ tableaux vivants (among them the recurring cinematic paraphrases of Mantegna’s Dead Christ), in which a live body is displayed as a corpse, or the other way round, a corpse is presented as an embodied picture, or an object of art made of flesh. By repeatedly showing us bodies dying into art, and ideas reified as images, these films present us with uncanny rituals of ‘becoming an image’, with a yearning for a reintegration into something universal and lasting, and can be viewed in the context of the reconstructive tendencies of contemporary post-postmodern art.
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Korikov, Anatoly, and Oleg Krivtsov. "Development of Model and Software for Tracking Head Avatars in E-Learning Systems." In Handbook of Research on Estimation and Control Techniques in E-Learning Systems, 444–57. IGI Global, 2016. http://dx.doi.org/10.4018/978-1-4666-9489-7.ch031.
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In this chapter, we focus on the theoretical basis of the method of tracking a person's head, based on the construction of its geometric texture patterns, and finding the parameters of its movement between pairs of consecutive video frames. The task of tracking the position of geometric head model is formulated as the problem of determining the parameters of the model (translation and rotation) so that the projection of a 3D model of the head on the video frame coincides with the real image of the head in this picture. To solve this problem, we use an efficient algorithm for infrared imaging. The application of the expressions is obtained during movement of the head as a three-dimensional body with six degrees of freedom and the use of perspective projection and for avatars modeling by Prof Vardan Mkrttchian last publications in IGI Global 2011-2015.
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"The picture of God in the Old Testament and of mankind made in the image of God." In God’s Body. T&T CLARK, 2019. http://dx.doi.org/10.5040/9780567662149.0011.
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Tuinen, Sjoerd van. "Serpentine Life: The Nature of Movement in Gothic, Mannerism and Baroque." In Speculative Art Histories. Edinburgh University Press, 2017. http://dx.doi.org/10.3366/edinburgh/9781474421041.003.0010.
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In many ways, movement is a test case for visual art as much as for philosophy: for both, we have to answer the question of whether they create real movement or merely a representation of it. Does the event really take place or is it only an illusion? This is a problem that pertains especially to Mannerism and the baroque, which rely heavily on the vocabulary of force and movement that has invested the field of art since the Renaissance. Although these styles are still dominated by classical figuration, they also introduce all sorts of distortions, deformations, and exaggerations in it. Mannerism and the baroque are attempts, within representation, to present the unrepresentable and to render visible the invisible. As a consequence, stable form is no longer the foundation of the image, but rather the limit of visual evidency. Inseparable from its relation to the formless, extension itself becomes a delimitation of intensity, a participation in the infinite. Yet the question remains: Have these attempts merely produced sensational and metaphorical works of art that are meant to move us by generating an illusion of movement in what is undeniably a stable structure or a framed picture, or are they somehow literally moving in themselves? The second position is held by Gilles Deleuze. In Francis Bacon: The Logic of Sensation, he develops a deep connection between Bacon and Michelangelo, since Mannerist painting discovered the ‘figural’: the point at which abstract movements or forces are rendered visible within classical figuration such that the organic figurability of sensation is enriched with an inhuman becoming. In his The Fold: Leibniz and the Baroque, Deleuze then goes on to show how the baroque introduces movement in classical art by means of infinite folding, such that forms would emerge from and dissolve into folds: ‘[t]he object is manneristic, not essentializing: it becomes an event’. The first position, by contrast, is taken up by Lars Spuybroek in The Sympathy of Things: Ruskin and the Ecology of Design (2011), who contrasts Mannerism and the baroque with the Gothic, arguing that while the former work away from static form to deformation, only the latter directly imitates the vicissitude and variety of living nature and produces movement in its continuous working towards form. For no matter how much we deform the painted figure and render it dynamic, it remains imprisoned within a frame hanging motionless on a wall. And no matter how much we cover a classical structure with lifelike ornament, it remains a lifeless construction. Worse still, each time we produce an image or effect of movement in this way, our experience actually becomes more detached from real movement than attached to it. ‘The Baroque,’ Spuybroek therefore concludes, ‘is merely distorted classicism’. The proposition I put to the test is that, to a certain, to be determined extent, we should differentiate between Mannerism and the baroque in a way analogous to Spuybroek’s distinction between the Gothic and the baroque. For while the Mannerist fine arts certainly do not arrive at the free aggregation of lines of Gothic ornament, as they are based on the (dis)proportional variation of the single human body rather than on configural variation, they also lack, or do not yet succumb to, the continuity and smoothness of the baroque. Whereas the baroque brings all movement back to a spectacular sensuality and physicality, we still find a much more abstract, or inorganic, experience in Mannerism. It is that of the life of the serpentine line, or what William Hogarth would later call the ‘line of grace’.