<p>Plastic Recognition traces a critical genealogy of the human face in cinema and its afterlives. By rethinking the history of film theory through its various investments in the face, it seeks to intervene not only in the discipline of film studies but more broadly within contemporary political and scientific discourse. This dissertation contends that the face is a privileged site for thinking through the question of recognition, a concept that cuts across a range of aesthetic, political, philosophical, and scientific thought. Plastic Recognition examines this intimate link between the face and recognition through a return to "classical" film theory, and specifically to the first generation of European and Soviet film theorists' preoccupation with the face in silent cinema. In the process, it recasts the canonical debate over cinematic specificity between Béla Balázs and Sergei Eisenstein as an antagonism between two opposing conceptions of the face in film: transparent universalism versus plastic typicality. Of these two conceptions, this project contends that the "Balázsian" idea of a transparently expressive face assumes cultural dominance in the latter half of the 20th century by virtue of its essential commensurability with the political and social ideal of mutual recognition that has come to prevail in the United States and Western Europe in the context of neoliberalism. Alongside and against this dominant tendency, the "Eisensteinian" insistence upon the plasticity of aesthetic form provides a radical alternative to the idealist metaphysics of immediacy underlying both the "Balázsian" notion of the cinematic face and the ideal of mutual recognition it exemplifies. That insistence forces into view the ways that recognition itself is always contingent upon aesthetic and technological practices, even (or especially) when it is brokered by that seemingly most immediate of images--the human face. By adopting this approach as its basic critical orientation, this dissertation attempts to restage the problem of recognition as fundamentally about the historicity of plastic form. The project concludes by turning to a scientific scene of recognition in which the "Balázsian" conception of the face makes an uncanny reappearance. The final chapter examines several studies in contemporary neuroscience that use representations of the human face as experimental stimuli in an effort to establish a neurophysiological basis for the mutual recognition of empathy.</p> / Dissertation

This thesis focuses on the development of a robotic device to be used in parallel with observational learning techniques for facilitating the recovery of the upper limb in post-stroke patients. It has been shown in the existing observational learning literature that observational practice for the execution of goal-directed single arm movements can engage the mirror neuron system and motor areas involved in learning motor actions. On the other hand, robotic-based therapy protocols have proven successful in which participants are able to learn the required perception-action skill. However, robotics have not been overly successful in the generalization of learning to other tasks and this is an essential aspect on improving performance on Activities of Daily Life (ADL). Observational learning of motor skills has been shown to produce transfer across limbs and generalization across muscle groups in the same limb, as well as transfer to perceptual tasks. Therefore, our long-term hypothesis is that a combination of interactive robotics and action observation techniques might offer a greater benefit regarding transfer to ADLs in comparison to pure robotic training. The results from this research broaden the theoretical understanding of observational learning and drive the future development of rehabilitation protocols using the combination of robotic and observational learning techniques. We hypothesize that if the application of these techniques, for non-stroke individuals, yield benefits for the learning of motor/skill actions, then such paradigm will serve as a foundation in the future development of methods for facilitating the recovery of upper limb function after stroke.

No description available.

Donat el nivell d'incidència i impacte de l'ictus, hi ha la necessitat de trobar mètodes de rehabilitació més automatitzats que els actuals. Un candidat prometedor és la Realitat Virtual, on múltiples sistemes ja han estat proposats. Malauradament, encara no és coneixen exactament quins són els beneficis d'aquests sistemes en comparació amb mètodes de rehabilitació convencionals. Aquí presentem el raonament, disseny, desenvolupament i resultats en l'impacte clínic d'un d'aquests sistemes, el Rehabilitation Gaming System (RGS). El RGS combina conceptes d'execució i observació d'accions amb una avaluació psicomètrica per proporcionar un entrenament personalitzat i automatitzat al pacient d'ictus. El RGS s'adapta al usuari d'una manera efectiva, i així permet l'aplicació de protocols de rehabilitació personalitzats amb una supervisió mínima. Els nostres resultats mostren que la rehabilitació amb el RGS facilita la recuperació funcional de les extremitats superiors en les fases aguda i crònica de l'ictus, i que per aquest motiu, el RGS és una eina valuosa per a la rehabilitació.Given the high incidence and impact of stroke, the need has arisen to find more automated and self-managed rehabilitation approaches. A promising candidate is the use of Virtual Reality, and a number of systems have been proposed. Thus far, however, it is not clear what the benefits of these systems are when compared to conventional methods. Here we present the rationale, development and results on the clinical impact of one such system, the Rehabilitation Gaming System (RGS). RGS combines concepts of action execution and observation with a psychometric evaluation to provide a personalized and automated training. The RGS effectively adjusts to the individual features of the user, allowing for a minimally supervised deployment of individualized rehabilitation protocols. Our results show that rehabilitation with the RGS facilitates the functional recovery of the upper extremities in the acute and chronic stages of stroke, and that this system is therefore a valuable tool for rehabilitation.

Thesis (Ph.D.)--University of Melbourne, School of Physics, 2001. / Typescript (photocopy). Includes bibliographical references (leaves 124-135).

Thesis (Ph. D.)--University of California, San Diego, 2008. / Title from first page of PDF file (viewed September 24, 2008). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references (p. 133-135).

GAEDE, Tobias Sandino. Vídeo especular. 2011. 106f. Vídeo especular. – Dissertação (Mestrado) – Universidade Federal do Ceará, Instituto de Cultura e Arte, Programa de Pós-graduação em Comunicação Social, Fortaleza (CE), 2011. / Submitted by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2014-04-01T14:58:29Z No. of bitstreams: 1 2011-DIS-TSGAEDE.pdf: 1191680 bytes, checksum: 079b4b489c836e65b6575587213766ac (MD5) / Approved for entry into archive by Márcia Araújo(marcia_m_bezerra@yahoo.com.br) on 2014-04-01T17:09:47Z (GMT) No. of bitstreams: 1 2011-DIS-TSGAEDE.pdf: 1191680 bytes, checksum: 079b4b489c836e65b6575587213766ac (MD5) / Made available in DSpace on 2014-04-01T17:09:47Z (GMT). No. of bitstreams: 1 2011-DIS-TSGAEDE.pdf: 1191680 bytes, checksum: 079b4b489c836e65b6575587213766ac (MD5) Previous issue date: 2011 / This research analyzes the videoinstallation “Trindade”, recognizing in it the aspects of trinitarian composition of their conceptual elements (triads theoretical categorization, dialectical method, trinitarian theology) and materials (equipment, methods of image generation, optical phenomena and the production of synthetic color), and establish parallels between the image generated by it and the image produced by the tool of the mirror. / Esta pesquisa analisa a videoinstalação “Trindade”, reconhecendo nela aspectos relacionados à composição trinitária de seus elementos conceituais (tríades teóricas, categorização, método dialético, teologia trinitária) e materiais (equipamentos, modos de geração da imagem, fenômenos óticos e de produção de cores sintéticas), além de se estabelecer paralelos da imagem por ela gerada àquela produzida pela ferramenta do espelho.

Comment définir la déroutante pensée de Bonaventure ? Étienne Gilson y voyait à l’œuvre une « logique de l’analogie », tandis que Hans Urs von Balthasar la présentait comme une « monadologie sans harmonie préétablie ». Dans les deux cas, c’est l’expressionnisme du Docteur séraphique qui se trouve mis en valeur : les créatures représentent leur Créateur par tout leur être, et le Créateur lui-même exprime ses créatures. Toutefois, cet expressionnisme universel et divin n’est que la face visible d’une structure dynamique et tripartite plus vaste que l’on peut appeler, en s’appuyant sur d’importantes déclarations de Bonaventure, la logique de la ressemblance. S’émancipant des restrictions et des interdits dionysiens et augustiniens, Bonaventure a étendu le champ sémantique et conceptuel de similitudo en réunissant sous ce vocable toutes les entités « mineures », c’est-à-dire tous les êtres dépendant radicalement d’une origine qu’ils expriment et vers laquelle ils reconduisent ou sont reconduits : le Fils, les créatures images, les créatures vestiges, les espèces sensibles, etc. Dans ce dispositif dont l’homme et le Christ occupent le centre, c’est la réconciliation du ciel et de la terre, de Dieu et du monde, de la théologie et de la métaphysique, que Bonaventure donne à voir. / Bonaventure’s puzzling thought seems to challenge any attempt to define it. Étienne Gilson saw it as a « logic of analogy », while Hans Urs von Balthasar summed it up as a « monadology without preestablished harmony ». Both of them thus emphasize the seraphic Doctor’s expressionism : each creature represents its Creator through its whole being, and the Creator himself expresses his creatures. However, this universal and divine expressionism is but the visible side of a dynamic and threefold structure that we suggest to call, according to several Bonaventure’s important texts, the logic of resemblance. Liberating himself from Dionysian and Augustinian restrictions and proscriptions, Bonaventure broadened the semantic and conceptual field of similitudo by gathering in this noun all « minor » entities, i.e. all beings that completely depend on an origin that they express and towards which they lead or are led back : these are the Son, the image creatures, the vestige creatures, the sensible likenesses (species), etc. Throughout this device, whose center is occupied by the human being and Christ, Bonaventure makes us see the reconciliation of heaven with earth, of the world with God, of theology with metaphysics.

A obra escrita de Tarkovski e o filme O Espelho são analisados à luz da teoria psicanalítica da interpretação dos sonhos articulando conceitos vindos de outros campos do conhecimento, quais sejam inconsciente ótico e choque em Walter Benjamin. O filme se passa em lugares do passado de Tarkovski, evocados a partir de lembranças encobridoras, sonhos e devaneios, em que o cineasta é espectador e ator. Há a referência, no título e ao longo das cenas, ao espelho, também usado por Lacan, como modelo de dispositivo ótico, ao teorizar sobre a formação da função do “Eu”. Através desta análise, pretendeu-se aproximar a linguagem do filme à linguagem do sonho, encontrando conteúdos oníricos latentes. São analisadas as filiações e influências, o roteiro, e aquilo que fala nas lembranças de infância, nos sonhos e devaneios associados às tradições culturais russas, ao poeta Puchkin e a Dostoievski. Identificam-se aspectos do pensamento utópico e articulações psicanalíticas na cena do devaneio do personagem Ignat. Também são comentadas articulações à estética do choque em Walter Benjamin, nas cenas de déjà vu de Ignat e no fenômeno análogo que acometeu Maria na cena da tipografia. O conceito de Outra cena, do campo freudiano, é contextualizado na discussão do filme e também cotejado com elementos da teoria platônica apontados por Lacan em seus seminários. Finalmente, a cena de levitação de Maria é comparada com a cena da pintura de Füssli The Nightmare e interpretada como sendo de um sonho de angústia. / Tarkovski's written work and the film The Mirror are analyzed in the light of psychoanalytic theory of interpretation of dreams being articulated with concepts from other fields of knowledge, such as optic unconscious and shock at Walter Benjamin’s writings. The film takes place somewhere in Tarkovski’s past, evoked from screen memories, dreams and daydreams, in which the filmmaker is a spectator and an actor at a time. There is a reference, in the title and throughout the scenes, to the mirror, which is also used by Lacan, as the model of an optical device, in theorizing about the formation of the function of the "self". Through this analysis, it was intended to approximate the language of the film to the language of the dream and find latent dreams contents. The affiliations and influences, the script, and what he talks about in the memories of childhood, the dreams and daydreams associated with Russian cultural traditions, the poet Puchkin and Dostoyevsky are analyzed. We identify aspects of utopian thinking and psychoanalytic articulations in the scene of Ignat's daydream. Similarly, articulations among the aesthetics of the shock in Walter Benjamin, in the déjà vu scenes of Ignat and in the analogous phenomenon that rushed Maria in the typography scene are also commented in this work. The concept of Other scene, from the freudian field, is contextualized in the discussion of the film and also compared with elements of the platonic theory pointed out by Lacan in his seminars. Finally, the levitation scene of Mary is compared to the painting scene of Füssli The Nightmare and interpreted as being of a dream of anguish.

Esse trabalho versa sobre a perspectiva de atualização da função especular. Tendo como base as obras “O Espelho” (1882), de Machado de Assis; O retrato de Dorian Gray (1891), de Oscar Wilde; “A mulher no espelho: reflexo e reflexão” (1929), de Virgínia Woolf; “Espelho” (1997), de José J. Veiga; e O homem duplicado (2002), de José Saramago, importa analisar a trajetória de evolução do espelho – a qual acompanha o desenvolvimento do cenário literário – assim como a sua relevante significação perante as narrativas. No século XIX, Machado de Assis retrata a capacidade de suprir a falta do olhar do outro, revelando o desaparecimento da individualidade do sujeito e expondo a importância atribuída à alma exterior; em Oscar Wilde, é a função especular quem faz o narcisista Dorian descobrir-se no retrato e, depois, perceber sua verdadeira essência maculada por ações egoístas. Nos século XX e XXI, com a contribuição das teorias psicanalíticas de Freud e de Otto Rank, que dão novos contornos para a questão da consciência do sujeito, Virgínia Woolf narra a descoberta da verdade que ninguém conseguia encontrar – o vazio interior; J. J. Veiga desloca o foco narrativo para o objeto, que revela a qualidade e a veracidade da alma interior; e Saramago discute a falta de singularidade do sujeito e o reconhecimento pelo outro. A função principal do espelho é revelar a verdade que está mascarada e instigar um processo de reconhecimento, de estranhamento entre imagem e reflexo, dialogando, frequentemente, com a temática do duplo e a do fantástico. / This dissertation is about the update perspective of mirror’s function. Based on the works “O Espelho” (1882), by Machado de Assis; The picture of Dorian Gray (1891), by Oscar Wilde; The Lady in the looking-glass (1929), by Virgínia Woolf; Espelho (1997), by José J. Veiga e O homem duplicado (2002), by José Saramago, it’s important to analyze the mirror’s evolution path – which comes with the literary scene development – as well as the relevant significance before the narratives. In the nineteenth century, Machado de Assis portrays the ability to address the lack of the other’s gaze, revealing the subject’s individuality disappearance and points out the importance attached to the exterior soul; in Oscar Wilde, it’s the mirror’s function that makes narcissist Dorian discover himself on the portrait and, after, realizes his truth essence which is tainted by selfish actions. In the XX and XXI centuries, with the psychoanalytic theories’ contribution from Freud and Otto Rank, which offers new perspectives to the subject’s consciousness issue, Virgínia Woolf narrates the discover of truth that nobody could find – the blank inside; J. J. Veiga dislocates the narrative focus to the object, which reveals the quality and the veracity of interior soul and Saramago discusses subject’s lack of uniqueness and recognition by the other. The mirror’s main function is to reveal the truth that is masquerade and to instigate a recognition process, an uncanny between image and reflection, dialoguing, often, with the doppelganger and the fantastic theme.