近年來人體姿態感測的技術與應用愈來愈熱門。許多電玩及電影大多是藉由攝影鏡頭偵測人體姿態，但效果容易受到外在因素的影響，如陽光、遮蔽物等，特別是用在舞台展演方面就不適合了。因此本篇論文希望設計穿戴式裝置來感測人體姿態，並結合新一代無線網路藍牙4.0做為數據傳輸方式，以進行即時互動展演。本論文研究開發以Arduino結合六軸姿態感測器，設計此穿戴式裝置雛型。而實際在展場上表演，此裝置必需具有一定的穩定性、可靠性且方便穿戴。本論文設計出的裝置與系統，已實際參與數場即時互動展演，並且供觀眾親自體驗，反應熱烈。未來期許能將此系統擴大應用於多人異地互動展演上、能有更大的擴充性、多樣的互動體驗。 / Recently, human body skeleton detection technology and its applications are becoming more popular. Many computer games and movies detect human body skeleton by cameras. However, the detection will be affected easily by sun light or obstacles. Especially, this is not suitable for the applications on stage performance. The goal of this thesis is to design wearable devices to detect body skeleton and uses BLE 4.0 for data transmission to interactively real time art perform. We put 6-axis motion detector on Arduino to develop the wearable device prototyping. These devices for performing in practice should be stable, reliable and convenient for wearing or taking off. The devices and system we developed have been used in several real time interactive performances and for audience experience. In the future, this system can be expanded to people performing in different locations and has better scalability and varieties of interactive experience.

Ce mémoire en recherche création est divisé en deux principales sections : un recueil de poésie et un essai. Le recueil, intitulé Le Cœur est une permanence, explore différentes interprétations du phénomène d’empathie dans la création littéraire. Afin que l’empathie devienne l’objet du discours, ce dernier est centré sur la relation à l’autre. L’empathie prend vie à travers deux entités, un « je » et un « tu ». Alors que le « je » entre en contact avec ses propres zones d’ombres, il s’ouvre tranquillement aux souffrances du « tu ». Au fil des poèmes, le « je » et le « tu » apaisent leur douleur en la partageant, faisant de l’empathie une voie d’accès à l’intimité. Ce déploiement de l’intime prend forme en trois temps : les sections replis de voix, point archimédien et ensembles vides. Le recueil accorde une importance particulière à la figure du corps comme véhicule de la souffrance. Il propose une réflexion sur l’amour, balançant entre naufrage et terre promise, et fait de l’enfance une pierre de touche pour interroger la douleur. La deuxième partie de ce mémoire est un essai intitulé Empathie et souffrance dans Tête première / Dos / Contre dos de Martine Audet. Divisé en trois chapitres, cet essai étudie l’empathie à l’œuvre dans le recueil de Audet, selon une approche bioculturelle. Il allie interprétation littéraire, sciences cognitives de deuxième génération et philosophie de l’esprit. Dans le premier chapitre, le concept de « simulation incarné », développé par Vittorio Gallese, permet d’interpréter la figure du corps et de suggérer qu’elle véhicule la douleur tout en étant la manifestation d’un effacement identitaire. Le deuxième chapitre se penche sur l’intersubjectivité en lien avec l’empathie. Il intègre certaines notions clés de la phénoménologie husserlienne afin d’analyser les manifestations du lien empathique unissant les deux présences parcourant le recueil de Audet. Le dernier chapitre explique comment les représentations de l’environnement dans lequel évoluent ces présences peuvent refléter leur souffrance. Pour ce faire, certains concepts liés à l’environnement, particulièrement importants pour l’écocritique actuelle, sont analysés dans Tête première / Dos / Contre dos, comme ceux de place et de nature. Ces derniers, étant construits par les perceptions propres à la cognition humaine, sont envisagés d’un point de vue bioculturel. En interprétant ces trois principaux aspects du texte (figure du corps, intersubjectivité et environnement), l’hypothèse selon laquelle la perception de la souffrance dans Tête première / Dos / Contre dos repose essentiellement sur l’empathie comme effet et objet du discours s’en voit validée. / This M.A. thesis, combining research and creative writing, is divided in two parts: a poetry collection and an essay. The first part, Le Cœur est une permanance, explores different interpretations of empathy phenomenon in creative writing. In order for empathy to become the subject of my poetry collection I focused it’s discourse on the possibilities of a relation to another self. This relation takes form through the two entities of “I” (je) and “you” (tu). While the "I" comes into contact with its own darkness, it opens to the sufferings of the "you". Throughout the poetry collection, the "I" and the "you" soothe their pain by sharing it, making empathy a pathway to intimacy. This use of intimacy takes shape in three stages: the sections: replis de voix, point archimédien and ensembles vides. The poetry collection also gives special importance to the conception and representation of the body as a vehicle of suffering. The compilation proposes an interpretation of love that balances between shipwreck and promised land and uses childhood as a touchstone for questioning pain. The second part of this M.A thesis is an essay entitled Empathie et souffrance dans Tête première / Dos / Contre dos de Martine Audet. The essay, divided into three chapters, examines empathy throughout Audet’s poetry collection, through a biocultural approach. It specifically combines literary interpretation with second-generation cognitive sciences and philosophy of mind. The first chapter analyzes literary representations of the body taking into account the concept of "embodied simulation", developed by Vittorio Gallese. It suggests that literary representations of the body convey pain while revealing identity issues. With this theoretical basis, the second chapter studies the relation between the “I’ and the “you”. It also examines Husserl's phenomenology point of view of intersubjectivity to suggest the presence of an empathic, albeit problematic, link between the two presences in Audet’s collection. The final chapter explains how the representations of the environment, in which the two presences progress, mirror their suffering. To do this, it takes interests in the presence of certain key concepts related to the environment in Tête première / Dos / Contre dos, such as place and nature. These concepts are particularly important for present ecocriticism. They can also be considered from a biocultural point of view in this essay, since being built by the perceptions belonging to human cognition. By interpreting three main aspects of Audet’s poetry collection (literary representations of the body, intersubjectivity and environment), the hypothesis that the perception of pain in Tête première / Dos / Contre dos is essentially based on empathy as an effect and object of discourse is being validated.

Sous la bannière de « l’être », le discours du Droit et son interprétation rallient hommes, embryons, robots, animaux, personnes morales et entreprises : il réunit ceux qui agissent tant dans le réel que dans la sphère juridique. En mobilisant concepts et techniques de qualification, le Droit leur réserve un destin différent. Un système cohérent s’élevant de l’être émerge. L’étude de la personnalité juridique, concept analytique et fondamental, permet d’observer le destin des êtres dans le monde juridique. Elle est une abstraction tantôt d’ordre égalitariste, lorsque des hommes en bénéficient, tantôt d’ordre finaliste, lorsque des groupements en jouissent. Tous les êtres du discours du Droit ne relèvent pas de la qualification de personne. Mais parce que l’existence est, pour les hommes, une expérience corporelle, le corps humain mérite exploration : son étude complète le système de l’être. Entre personne et chose, la qualification de l’enveloppe charnelle commande de distinguer le statut du corps vivant en « entier » de celui de ses émanations. Le pouvoir de la personne sur son corps est distinct de celui qu’elle exerce sur ses émanations. / Under the banner of « beings », men, embryos, robots, animals, legal persons and firms are named as such by the law and those who interpretate it. This word unites those who act both in the reality and within the legal « world ». Through its concepts and qualification technics, private law grants them a separate fate. A coherent system arises. The study of legal personnality, regarded both as an analytical and basic concept, reveals the fate of theses beings in private law. When granted to men, legal personnality is an egalitarian abstraction ; when granted to organizations it is a specialized abstraction. All « beings » in private law do not rise to the status of « person ». But human existence is a bodily experience. Only the study of the legal status of human body will complement the system. The status on the humain body differs whether the whole body or its elements are considered : it varies between property and person.

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2018-08-09T12:33:20Z No. of bitstreams: 1 Arthur Deucher Figueiredo Santos.pdf: 712842 bytes, checksum: d7b1013d73a0d63bdca3ec7ec874b762 (MD5) / Made available in DSpace on 2018-08-09T12:33:20Z (GMT). No. of bitstreams: 1 Arthur Deucher Figueiredo Santos.pdf: 712842 bytes, checksum: d7b1013d73a0d63bdca3ec7ec874b762 (MD5) Previous issue date: 2018-06-27 / Fundação São Paulo - FUNDASP / Two themes surround the purpose of this work: the freedom of artistic expression (or artistic freedom) and the disposition of the human body. Both are very problematic. What is proposed is the analysis of the dialogue between these two questions: how should freedom of artistic expression be applied when applied at the disposition of the human body? Does artistic freedom strengthen such provision by broadening the range of possibilities for doing so? In this sense, the fundamental problem to be discussed in this work is whether the infra-constitutional legal order, especially the art. 13 of the Civil Code, is up to the constitutional text to regulate such sensitive subject. In order to do so, I seek to understand the outlines of artistic freedom in the legal order, its application in the Federal Supreme Court, as well as the free development of the individual and the creation of his identity, in the context of corporal disposition. In this sense, the theoretical study of liberties in general, freedom of expression, freedom of artistic expression, the phenomenon of the constitutionalization of private law, existential subjective situations, personality rights, private autonomy and the fundamental rights. Thereby, I seek to provide an adequate answer to the problem proposed in this study and to verify the appropriateness or not of the infraconstitutional rule of artistic freedom applied to the corporal disposition / Dois temas cercam o objetivo deste trabalho: a liberdade de expressão artística (ou liberdade artística) e a disposição do corpo humano (ou direito ao próprio corpo). Ambos são, por si só, problemáticos. O que se propõe é a análise do diálogo entre essas duas questões: como se deve operar a liberdade de expressão artística quando aplicada à disposição do corpo humano? A liberdade artística potencializa referida disposição, ampliando o leque de possibilidades para fazê-lo? Nesse sentido, o problema fundamental a ser discutido neste trabalho é saber se o ordenamento jurídico infraconstitucional, em especial o art. 13 do Código Civil, encontra-se à altura do texto constitucional para regular tão sensível tema. Para tanto, procuro compreender os contornos da liberdade artística no ordenamento jurídico, sua aplicação no Supremo Tribunal Federal, bem como o livre desenvolvimento da pessoa humana e a criação de sua identidade, no contexto de disposição corporal. Nesse sentido, parto do estudo teórico das liberdades em geral, da liberdade de expressão, da liberdade de expressão artística, do fenômeno da constitucionalização do direito privado, das situações subjetivas existenciais, dos direitos da personalidade, da autonomia privada e da vinculação dos particulares a direitos fundamentais. Com isso, busco fornecer uma resposta adequada ao problema proposto neste trabalho e verificar a adequação ou não do regramento infraconstitucional da liberdade artística aplicada à disposição corporal

Denna studie jämförde kunskaper och uppfattningar som elever i förskoleklass och i grundskolans årskurs tre har om människoskelettet och de olika skelettdelarnas struktur och funktion. Fjorton elever tilldelade ett pappersark med en färdigskissad människokropp på och instruerades att rita hur de uppfattade att människoskelettet såg ut. Därefter intervjuades eleverna om sina skelettkunskaper utifrån deras ritningar. Studien omfattade enskilda semi-strukturerade intervjuer. Resultatet visade att det fanns en kunskapsutveckling från förskoleklass till grundskolans årskurs tre. Elevers uppfattning i båda årskurserna om skelettdelarnas funktion var att skelettdelarna behövdes för att kunna röra sig, gå, stå, plocka upp och hålla i saker. Dock visade det sig att det enbart var eleverna i grundskolans årskurs tre som hade kunskaper om skelettets funktion, att skydda kroppens inre organ. Vidare visade det sig att eleverna i båda årskurserna hade goda kunskaper om skelettdelarna i lemmarna. Den skelettdel som eleverna i båda årskurserna hade minst kunskap om var höftbenet, jämfört med de andra skelettdelarna. / This study compared pre-school and primary school year three pupils’ knowledge and perception regarding structure and function of the human skeleton and the various skeletal components. Fourteen pupils where provided with a sheet of paper consisted of an outline of the human body and were instructed to draw the human skeletal system, as they perceived it to be. Thereafter, the pupils were interviewed on their skeletal knowledge based on their drawings. The study utilized individual semi-structured interviews. The results depicted an increase in knowledge between pre-school and primary year three pupils. In both grades the pupils’ perception of the skeleton component functions were: movement, walking, standing, pick up and hold objects. Nonetheless, only the pupils in primary year three displayed knowledge of the skeleton’s capability to protect the body’s organs. Furthermore, the results showed that the pupils in both grades had adequate knowledge, regarding the skeleton components in the limbs. Pupils in both grades displayed a decreased amount of knowledge regarding the hipbone compared to the rest of the skeleton components.

Aujourd’hui, le nom de Béla Balázs (1884-1949) est avant tout associé aux débuts de la théorisation du cinéma. Le présent travail résulte d’une volonté de lire ses écrits dans une perspective plus large que celle du champ cinématographique. L’analyse des réflexions de Balázs sur le cinéma dans un certain contexte d’histoire des idées permet de montrer par quel prisme il aborde cet art dans son ensemble. Dans un besoin de renouveau culturel qui l’a mené au communisme, il pense toujours le cinéma en fonction de ce qu’il signifie pour l’homme. Forgé par le constat de la crise de la culture de Georg Simmel et les réflexions bergsoniennes au sujet de la perception, Balázs défend l’idée que le cinéma surmonte les conséquences négatives de la modernité sur l’épanouissement des individus. Face à un monde de plus en plus mécanisé et vide de sens, le film représente une chance de se réapproprier la technique afin de mettre une nouvelle culture en mouvement. L’homme se détache de la sphère du lisible pour devenir visible à nouveau. Le cinéma présente un monde anthropomorphe et trois techniques principales lui confèrent son potentiel artistique et culturel : le gros plan, le cadrage et le montage. L’effet de celles-ci ne se limite pas à la salle de projection, puisqu’elles amorcent un changement de perception et réapprennent à l’homme à voir. Si nous nous basons dans cette étude sur les ouvrages de Balázs sur le cinéma L’Homme visible (1924), L’esprit du cinéma (1930) et Le cinéma. Nature et évolution d’un art nouveau (1948), nous tenons également compte de ses écrits littéraires, dans lesquels les problématiques liées à la culture et la perception sont centrales. / Nowadays, the name of Béla Balázs is above all else associated with the onsets of the theorization of the Cinema. The present work is the fruit of a will to translate his writings in a perspective that is wider than the one of Cinema. The analysis of Balázs's thoughts on movie-making in a particular context, in terms of history of ideas, enables one to identify the prism through which he tackled this art altogether. In a search for a cultural renewal that lead him to Communism, he always thought out of Cinema as of what it meant for mankind. Shaped by Georg Simmel's observation of a cultural crisis, and Henri Bergson's thoughts about perception, Balázs supported the idea that cinema set the individuals free from the negative consequences of modernization which could hinder their personal fulfillment. In a world that is more and more mechanic and meaningless, films stand as a chance to reclaim a technique and set a new culture in motion. The Man detaches himself from telling and resumes through showing. Cinema displays a world that is anthropomorphic and three major techniques help it achieve its cultural and artistic potential: the close-up, framing, and editing. And their effect is not limited to the projection room, since they mark the debut of a change in perception, and make the Man learn to see again. This study is primarily based on Balázs's works on cinema such as The Visible Man (1924), The Spirit of Film (1930) and Theory of Art (1948), but also takes into account his literary works, in which issues tied to culture and perception are central.

Dans les environnements militaires, et plus particulièrement dans le domaine terrestre, de nombreux systèmes radioélectriques HF (de 3 à 30 MHz), VHF (de 30 à 300 MHz) et UHF (de 300 à 3000 MHz) sont utilisés. Ces systèmes remplissent plusieurs fonctions (communication longue et courte distance, brouillage, radar, etc ...) et peuvent parfois cohabiter sur un même porteur. Ces différentes fonctions utilisent plusieurs antennes et augmentent les risques de surexposition électromagnétique des opérateurs. Des normes civiles et militaires proposent des limites sur les champs électromagnétiques appliqués et sur des grandeurs dosimétriques (débit d'absorption spécifique DAS, densité de courant et champs électriques internes) pour limiter ces risques entre 0 et 300 GHz. Ces travaux de thèse ont deux objectifs principaux. Le premier est d'étudier les normes civiles et militaires afin de comprendre comment elles ont été développées et si elles sont réellement adaptées aux fréquences HF et VHF. Le deuxième est de proposer et valider une nouvelle méthode de validation des produits radio Thales. Pour cela, nous caractérisons numériquement le comportement électromagnétique et thermique du corps humain lors d'une exposition électromagnétique en bandes HF et VHF. L'étude des couplages entre le corps et les champs électromagnétiques externes nous permet de proposer pour la première fois des formules calculant les DAS dans le corps d'un fantôme homogène à partir, soit des courants induits le long du corps pour une exposition quelconque, soit du champ électrique appliqué pour une exposition en onde plane. / In military environments, especially land field, high frequencies (HF, 3 - 30 MHz), very high frequencies (VHF, 30 - 300 MHz) and ultra high frequencies (UHF, 300 - 3000 MHz) have been used for long range and shortrange communications, for communication interference or for detection. To have all those functions on the same carrier, they require many antennas, therefore they are increasing the operator's electromagnetic overexposure risk. Civilian and military standards were published providing limits on external electromagnetic fields and dosimetric quantities (specific absortion rate SAR, current density and internal electric field) to limit this overexposure risk between 0 and 300 GHz. The PhD thesis project has two main objectives. First, civilian and military standards are studied to understand how they were developed and if they are really suited for HF and VHF frequencies. Second, a new validation method of Thales radio product is proposed and validated. This PhD thesis project have characterized numerically the human body electromagnetic and thermal behavior during electromagnetic exposure in HF and VHF. Then, by studying couplings between external electromagnetic fields, induced current and human body, formulas to calculate both whole-body averaged SAR and local SAR 10 g in homogeneous body are proposed for the first time.

Feminists have always taken an interest in the manner in which the media represents women. This is due to the fact that the media is always accused of representing women in an unfavourable manner. If not under-represented, women are objectified or used to perpetuate negative stereotypes about women in general. Research demonstrates that the media has moved from under-representation of women. However, equal representation to men or overrepresentation of women does not necessarily mean correct representation. This dissertation is based on the soapi opera Generations, a soapie where female characters outnumber male characters. The purpose of this dissertation is to look at the manner in which black African women characters' bodies are represented. The women characters' bodies have been studied as social constructions with an underlying message. Foucault's ideas of subjectivity were employed to look at the unlimited possibilities as well as limitations of the body. Subjectivity when looking at bodies have been analysed through the flexibility of bodies to be changed through discipline, body gestures as well as adornment with jewellery and other accessories. Moreover, the underlying culture behind the various constructions was studied. The findings were that in the soapi opera Generations, the representation of women characters' bodies was highly influenced by western culture. The choice of a character's body size, hair texture and complexion is mainly that which is defined as beautiful in western culture. / Thesis (M.A.)-University of KwaZulu-Natal, Durban, 2008.

This thesis explores the question, “What literary strategies can be employed to allow as many people as possible to identify themselves positively with South Africa as a nation and a country?”. I focus in particular on the possibilities for identification open to white South African women, engaging with Antjie Krog's English texts, A Change of Tongue, Down to My Last Skin and Body Bereft. I seek to identify the textual strategies, such as a fluid structure, shifts between genre and a multiplicity of points of view, which Krog employs to examine this topic, and to highlight the ways in which the literary text is able to facilitate a fuller engagement with issues of difference and belonging in society than other discursive forms. I also consider several theoretical concepts, namely supplementarity, displacement and diaspora, that I believe offer useful ways of understanding the transformation of individual subjectivity within a transitional society. I then explore the ways in which women identify with, and thereby create their own space within, the nation. I investigate the ways in which Krog represents women in A Change of Tongue, and discuss how Krog uses „the body‟ as a theoretical site and a performative medium through which to explore the possibilities, and the limitations, for identification with the nation facing white South African women. I also propose that by writing „the body‟, Krog foregrounds her own act of writing thereby highlighting the construction and representation of her „self‟ through the text. I proceed to consider Krog's use of poetry as a textual strategy that enables her to explore the nuances of these themes in ways which prose does not allow. I propose that lyric poetry, as a mode of expression which emphasises the allusive, the imaginative or the affective, has a capacity to render in language those experiences, emotions and sensations that are often considered intangible or elusive. Through a selection of poems from Down to My Last Skin and Body Bereft, I examine the way in which Krog constantly re-writes the themes of belonging and identity, as well as interrogate Krog's use of poetry as a strategy that permits both the writer and the reader access to new ways of understanding experiences, in particular the way apparently ephemeral experiences can be rooted in the body. I also briefly consider the significance of the act of translation in relation to the reading of Krog's poems. I conclude by suggesting that in A Change of Tongue, Down to My Last Skin and Body Bereft Krog engages with the project of “[writing] the white female experience back into the body of South African literature” (Jacobson “No Woman” 18), and in so doing offers possible ways in which white South African women can claim a sense of belonging within society as well as ways in which they can challenge, resist, re-construct and create their identities both as women, and as South Africans. / Thesis (M.A.)-University of KwaZulu-Natal, Pietermaritzburg, 2006.

This study situates the literary works of Amy Lowell, Djuna Barnes, H.D., and Gertrude Stein in a genealogy of American modernist war writing by women that disrupts and revises patriarchal war narrative. These authors take ownership of war and war-related trauma as subjects for women writers. Combining the theories of Dominick LaCapra, Judith Butler, Elaine Scarry, and Elizabeth Grosz with close readings of primary texts, I offer feminist analyses that account for trauma and real-world materiality in literary representations of female embodiment in wartime. This framework enables an interdisciplinary discussion that focuses on representations of war and trauma in conjunction with identity politics.I examine Lowell's poetry collection Men, Women and Ghosts (1916), Barnes's novel Nightwood (1936), H.D.'s poem Trilogy (1944-1946), and Stein's novel Mrs. Reynolds (1952). The chapters highlight the progressively feminist and personal ownership of war and trauma embedded in the texts. Lowell and Barnes begin the work of deconstructing gendered binary constructions and inserting women into war narrative, and H.D. and Stein continue this trajectory through cultivation of more pronounced depictions of women and their bodies in war narrative.The strategies are distinct and specific to each author, but there are common characteristics in their literary responses to World War I and World War II. Each author protests war: war is destructive for Lowell, perverse for Barnes, traumatic for H.D., and disruptive for Stein. Additionally, each author renders female bodies as sites of contested identity and as markers of presence in war narrative. The female bodies portrayed are often traumatized and marked by the ravages of war: bodily injury and psychological and emotional distress. H.D. and Stein envision strategies for resolving (if only partially) trauma, but Lowell and Barnes do not.This project recovers alternative war narratives by important American modernist women writers, expands the definition and canon of war literature, contributes new scholarship on works by the selected authors, and constructs an original critical framework. The ramifications of this study are an increased awareness of who was writing about war and the shape that responses to it took in avant-garde literature of the early twentieth century. / Department of English