Este trabalho busca colocar em movimento uma pergunta sobre o gesto, a partir do tramado freudiano e derridiano, que situa a estrutura lógica da memória como uma superfície sempre aberta a novas inscrições. As pistas situadas via traço mnêmico e o carácter de abandono de uma origem apontam caminhos possíveis de produzir fixações transitórias de um pesquisar cujo objeto-gesto existe somente em transitoriedade. Opera-se com uma plataforma armada em três tempos, numa paragem entre o verso e o anverso do manuscrito. Alocamos, no verso da folha, os mapas gestuais da pesquisa sobre a ética da delicadeza e seus desdobramentos nos sulcos do gesto, memória, tempo, onde se pisteia uma certa experiência de permitir o rastro do pesquisar, como um gerúndio do gesto, numa escrita que farela com o/a leitor/a suas evanescências. No anverso, dois tempos distintos supendem a linearidade da página e propõem uma escrita de estilo mais saltitante em um jogo entre prosa e poesia, e outra que busca, em enxame, o diálogo com autoras e autores, pensadores, pensadoras, experiências em saúde e educação para, em horizonte, produzir uma pergunta sobre a transmissão daquilo que só se sustenta na transitoriedade. / This work seeks to put in motion a question about the gesture, from the Freudian and Derridian plot, which places the logical structure of memory as a surface always open to new inscriptions. The tracks located througt memory trace and the character of abandoning an origin point to possible ways of producing transient fixations of a search whose object gesture exists only in transience. It operates with a three-stroke armed platform at a stop between the back and the obverse of the manuscript. On the back of the page, we allocate the gestural maps of the research on the ethics of delicacy and their unfolding in the grooves of gesture, memory, and time, where a certain experience of allowing the traces of searching, as a gerund of gesture, in a writing what makes evanescence with the reader . On the obverse, two distinct times suppress the linearity of the page and propose a more jolting style writing in a game between prose and poetry, and another that seeks to swarm, the dialogue with authors, thinkers and experiences in health and education in order to produce a question on the transmission of what is based only on transience.

I’m interested in paint’s malleability. In my work, I transform the physical possibilities of paint in a literal way, using it as a tactile material to be cut apart, reassembled, or simply exposed for what it is. My paintings are labor-intensive. They are not predetermined, they meticulously evolve; crafted rather than executed. Remnant material from one painting, the result of a working process of cutting, gouging, or sanding, leads directly to the production of a new piece. In my work there is no illusion, material is meant to reiterate itself. Unlike abstract painters of the early 20th century, who hoped their work could aspire to spiritual harmony. My paintings are much more pragmatic, every day, present, and real.

HAVLOVÁ ROVENSKÁ, D.; Image of move - move of image/ Prague 2012, Charles University in Prague, Faculty of Education, Department of Art, 122 page (75 norm p.). This final diploma thesis Image of move - move of image is uncovering unusual forms using body, movement and gesture in art education. It is searching straight way in expresive activities and reflextions. It brings and connect the author with sensory art creation as a distinct form of expression of visually figurative expression. Key words: body, physicality, emotion, expression, move, gesture, shape, image, expression, meaning, action, art of action, spontaneus creation, interpretation, reflection.

Ideophones are “marked words that vividly depict sensory events” (Dingemanse, 2009, p. 1). They often occur with gesture, but the link between the two is not yet fully understood. McNeill (1992) and Streeck (2008) have proposed classification schemas for gesture, and Nuckolls (2019) is developing a framework for the categorization of ideophones. This thesis categorizes ideophone-gesture composites using a combination of all three of these frameworks. I used data from Quechua RealWords, an online video corpus of 221 ideophones of Pastaza Quichua elicited by students and faculty at the Andes and Amazon Field School in Ecuador. I analyzed video clips of composite utterances and classified them according to McNeill’s, Streeck’s, and Nuckolls’s classification systems. This thesis demonstrates how using these three classification systems together allows for a more holistic analysis of ideophone-gesture composites as well as for the identification of certain patterns in the data. In this case, these were the existence of deictic + beat gestures and the pairing of sound-only ideophones with head gestures rather than with hand gestures. This thesis also suggests that head gestures may be classified using Streeckian and McNeillian categories and it points out ways in which beats paired with Quichua ideophones deviate from the criteria put forth by McNeill.

El texto completo de este trabajo no está disponible en el Repositorio Académico UPC por restricciones de la casa editorial donde ha sido publicado. / Peruvian Sign Language Recognition (PSL) is approached as a classification problem. Previous work has employed 2D features from the position of hands to tackle this problem. In this paper, we propose a method to construct a dataset consisting of 3D spatial positions of static gestures from the PSL alphabet, using the HTC Vive device and a well-known technique to extract 21 keypoints from the hand to obtain a feature vector. A dataset of 35, 400 instances of gestures for PSL was constructed and a novel way to extract data was stated. To validate the appropriateness of this dataset, a comparison of four baselines classifiers in the Peruvian Sign Language Recognition (PSLR) task was stated, achieving 99.32% in the average in terms of F1 measure in the best case. / Revisión por pares

The diploma thesis "Dance as a Manifestation of Devotion, its History and Use in the Christian Liturgy" enquires into the phenomenon of dance in the context of Christian culture. It outlines the development of the religious dance in the history of mankind, its forms and modes of perception in different cultures and religions. The thesis also deals with dance as an expression of faith in Jewish culture whence the Christian liturgical dance often drew inspiration and thus went back to its own roots. It seeks to explore the positive attitudes of believers towards dance, but also the mistrust that accompanied dance throughout the history of Christianity. Additionally, the paper presents the situation of dance in the contemporary Christian culture on different continents (Europe, America, Africa), to pursue finally the question of dance as a manifestation of devotion in the Czech Republic. Based on the collected material, the thesis seeks to present the deep potential of dance that make believers express through gestures and movements their respect to God, their joy and anxiety, grief and hope, and thus can, alongside music and singing, enrich the liturgy to a great extent. Keywords Dance, gesture, liturgy, prayer, expression.

The space of hand gesture recognition using radar and sonar is dominated mostly by radar applications. In addition, the machine learning algorithms used by these systems are typically based on convolutional neural networks with some applications exploring the use of long short term memory networks. The goal of this study was to build and design a Sonar system that can classify hand gestures using a machine learning approach. Secondly, the study aims to compare convolutional neural networks to long short term memory networks as a means to classify hand gestures using sonar. A Doppler Sonar system was designed and built to be able to sense hand gestures. The Sonar system is a multi-static system containing one transmitter and three receivers. The sonar system can measure the Doppler frequency shifts caused by dynamic hand gestures. Since the system uses three receivers, three different Doppler frequency channels are measured. Three additional differential frequency channels are formed by computing the differences between the frequency of each of the receivers. These six channels are used as inputs to the deep learning models. Two different deep learning algorithms were used to classify the hand gestures; a Doppler biLSTM network [1] and a CNN [2]. Six basic hand gestures, two in each x- y- and z-axis, and two rotational hand gestures are recorded using both left and right hand at different distances. The gestures were also recorded using both left and right hands. Ten-Fold cross-validation is used to evaluate the networks' performance and classification accuracy. The LSTM was able to classify the six basic gestures with an accuracy of at least 96% but with the addition of the two rotational gestures, the accuracy drops to 47%. This result is acceptable since the basic gestures are more commonly used gestures than rotational gestures. The CNN was able to classify all the gestures with an accuracy of at least 98%. Additionally, The LSTM network is also able to classify separate left and right-hand gestures with an accuracy of 80% and The CNN with an accuracy of 83%. The study shows that CNN is the most widely used algorithm for hand gesture recognition as it can consistently classify gestures with various degrees of complexity. The study also shows that the LSTM network can also classify hand gestures with a high degree of accuracy. More experimentation, however, needs to be done in order to increase the complexity of recognisable gestures.

This thesis investigates how gesture-driven interfaces, integrated in HMD- based (Head-Mounted Display) Augmented Reality (AR) devices can be used in the context of order picking processes in logistic warehouses as a substitute to existing solutions for visualisation and interaction with order picking lists: which hand gestures should be used? What qualities are essential for designing a successful substitute? By applying an User-Centered Design approach, generative ideation methodologies, prototyping and usability testing this research results in a contribution to a framework of design guidelines for designing gesture-driven AR in the order picking process, as well as a proposition of a gestural interaction language grounded in both earlier research and empirical findings. The empirical findings include details of the end users’ gestural interaction preferences and content-related considerations, which was implemented in a low fidelity prototype and evaluated in the contextual domain of the end users.

No description available.

[pt] A pesquisa tem por objetivo explorar as possibilidades de criar com o corpo e pelo corpo, investigando sua potência e seus desdobramentos. Nesse sentido, busca-se contribuir para o desenvolvimento de projetos ou processos que utilizam a criação como elemento central, como é o caso dos estudos em design e da arte. A dissertação apresenta artistas que trabalham o corpo como instrumento e ferramenta principal para a realização de suas obras. Sob a luz do pensamento de Jorge Larrosa Bondía e John Dewey pautado no conceito do saber de experiência, propõe-se alternativas para trabalhar o corpo como sujeito-criador de experiências, a partir do compartilhamento de enunciados experienciados na disciplina Projeto Corpo, do curso de Artes Cênicas da PUC-Rio, que se aproxima, no que diz respeito à prática projetual, das disciplinas de Projeto do curso de Design, da mesma universidade. / [en] The research aims to explore the possibilities of creating with the body and through the body, investigating its power and its implications. In this sense, it seeks to contribute to the development of projects or processes that use creation asa central element, as is the case of studies in design and art. The dissertation presents artists who work with the body as an instrument and main tool for the realization of their pieces. Under the light of Jorge Larrosa Bondía and John Dewey s thought based on the concept of experience knowledge, alternatives are proposed to work the body as a subject-creator of experiences, from the sharing of statements experienced in the discipline Body Project, from the Theater School at PUC-Rio, which has a similar projectual practice to the disciplines of Project fromthe Design course at the same university.