Context. Underwater human detection has been an important problem in computer vision areas. Body part-based models could gain good performance in on-land human detection with occlusion existing scenarios. This thesis explores the feasibility of human body parts detection in underwater environment. Objectives. This thesis aims to build a DNN-based underwater human body part detector for human body part detection task. Three body part detectors implemented with different DNN-based models (Faster R-CNN, SSD and YOLO) are built and compared over underwater human body part detection task. Methods. In this thesis, experiments are used as research methods. Three DNN-based models which are regarded as the independent variables in the experiment is trained, tested and evaluated. And the detection results of detector based on the three different models are dependent variables. Finally the detection performance calculated on the result for each detector is compared. Results. Underwater Body part detector based on Faster R-CNN provides the best detection performance on the body part detection task in terms of mAP, and YOLOv2 achieves the fastest detection speed but it has the smallest mAP value. In addition, SSD model has both decent detection performance and also detection speed. Conclusions. Underwater Body part detector based on Faster R-CNN, SSD, and YOLO could gain good performance over underwater human body part detection task. Building an underwater body part detector via deep learning method is feasible.

This thesis consists of a collection of poems. By virtue of its content and arrangement, the collection ruminates on and attempts to work through the problem of corporeality and bodily experience: the anxieties surrounding illness, mortality, and the physicality of contemporary life. This collection explores the tension inherent in the mind/body duality and, rather than prescribing solutions, offers multiple avenues and perspectives through which to view bodily experience, as well as how that experience affects an individual’s identity, agency, and sense of self.

This project uses digital technology to interpret the human body as a malleable material for the development of sculptural and textile-based design. Mikhail Bakhtin’s definition of the grotesque human body lays the conceptual groundwork for using the human body as an interactive tool, that co-shapes itself with digital technology as an extension. The technology has been given agency to affect the creative outcome, rather than treating it as a means to an end. By 3D scanning the designer’s own body, and manipulating photographic documentation of it, through algorithmic interpretations, the morpho- logical transformations of the designer’s body, in multiple realities, were investigated while reflecting on its influence on self-perception. The investigated methods resulted in alternative bodily structures carved in polystyrene, and dressed in hybrid materials of transfer-printed textiles and bio-plastic. The design outcomes suggests a design method wherein agency is given to digital technology which allows for exploring unexpected ways of perceiving the human body.

Yes / This paper describes a hybrid computational method which efficiently models the interaction between a small antenna placed in proximity with the human body. Results for several test cases of placed in different locations on the body are presented and discussed. The near and far fields were incorporated into the study to provide a full understanding of the impact on human tissue. The cumulative distribution function of the radiation efficiency and absorbed power is also provided. The antennas are assumed to be operating over the 2.4 GHz and 5.2 GHz WLAN frequencies.

My dissertation focuses on various intellectual currents that shaped poet, composer, and amateur ethnomusicologist Amelia Rosselli’s work from 1950 to 1964, before she gained mild fame as a poet on the Italian literary scene. Rosselli had a trilingual background in Italian, English, and French, due to her Italian father and English mother and her family’s forced absence from Italy from Rosselli’s birth in 1930 until 1946, as a result of her father’s political activities. Rosselli is sometimes considered an outsider to Italian poetic movements, but in this dissertation I trace how she fits into various transnational intellectual networks. In doing so, I examine Rosselli through different lenses than what is typical in analyses of her work: I center her understandings of cultural difference according to her studies in various strains of anthropology and ethnomusicology. In doing so, Rosselli’s association of cultural difference with new conceptions of technology comes to the fore: namely, audiovisual recording technology used in ethnographic and ethnomusicological research; tools of electronic music that were bound up with this research in the 1950s; and new points of view on the body’s use as a technology, through a diffusion of the concept of techniques of the body. What emerges from my investigation is Rosselli’s political investments in establishing the universality of humans’ physiological and psychological capacities, beyond race (Chapter 1); valorizing previously marginalized cultural techniques, particularly techniques of the body (Chapter 2); seeking new mediatic modes of expression beyond the West (Chapter 3); and remapping relationships between self and other in her poetic output (Chapter 4). Although these political goals did not always result in building networks of solidarity, I argue that taking them seriously as important elements in Rosselli’s thought allows for a fuller consideration of how ideas of power dynamics, universality, and relationality play out in relation to cultural difference in her work. In doing so, I reveal how Rosselli inscribed herself into various political and intellectual networks that shaped Italian cultural life in the 1950s and 1960s.

The increased prevalence of crash avoidance technologies like autonomous emergency braking necessitates understanding of occupant responses during low-speed frontal pre-crash braking and low-severity crash events. Active human body models (HBMs) have emerged as valuable tools to evaluate occupant safety during these events, but must be validated with relevant volunteer data to accurately represent the responses of live occupants. The objective of this dissertation was to quantify the occupant responses of relaxed and braced 5th percentile female and 50th percentile male volunteers during low-speed frontal and frontal-oblique sled tests designed to simulate pre-crash braking and low-severity crash events. A study comprised of 160 low-speed sled tests was performed with 20 volunteers. The volunteers' kinematics, kinetics, and muscle responses were compared to determine how altering impact direction (frontal and frontal-oblique), impact severity (1 g and 2.5 g), demographic group (mid-size male and small female), and muscle state (relaxed and braced) affected occupant responses. The volunteers' occupant responses were significantly affected by impact direction, impact severity, demographic group, and muscle state. The frontal-oblique tests resulted in greater leftward excursions compared to the frontal tests. Increasing the pulse severity resulted in greater forward excursions, reaction forces, and muscle activation. The male volunteers exhibited greater forward excursions and reaction forces compared to the female volunteers. However, the two demographic groups exhibited similar muscle activation during the sled tests. Bracing increased the volunteers' initial joint angles, muscle activation, and reaction forces prior to the sled tests. Bracing decreased forward excursions and increased reaction forces during the sled tests. The relaxed volunteers exhibited greater relative changes in occupant responses compared to the braced volunteers. Overall, this study demonstrated that muscle activation significantly affected the volunteers' kinematics, kinetics, and muscle responses for both mid-size males and small females during low-speed events. Observed differences between demographic groups were more prominent when relaxed and more diminished when braced. These results underscore the importance of validating active HBMs with relevant volunteer data in order to be more representative of live occupants for a wider range of demographic groups in varying muscle states. Finally, this dissertation provides a large, comprehensive, and novel biomechanical dataset that can be used to develop and validate active HBMs for use in assessing occupant response during frontal pre-crash braking and low-severity crash events. These models will help improve the understanding of potential injury risk and development of effective vehicle safety systems for use during low-speed events. / Doctor of Philosophy / Computer models, known as active human body models (HBMs), have emerged as tools that can be used to assess occupant safety during low-speed vehicle crashes. In these types of events, occupants have enough time to react and potentially brace before the crash, which could in turn affect their responses during the crash. It is important to understand how occupants respond during crashes so that effective vehicle safety systems can be developed. Active HBMs are particularly valuable because they can simulate muscle activation to reflect the response of live occupants. However, data are needed from live occupants to ensure that these models are accurate. To gather this data, a study was performed where volunteers experienced low-speed frontal sled tests when they were relaxed and braced. The sled tests were designed to simulate pre-crash braking and low-severity vehicle crashes. Mid-size male and small female volunteers were recruited to participate to represent the standard adult occupant populations used in current frontal impact vehicle safety standards. A motion capture system was used to measure the volunteers' forward motion, load cells were used to measure the volunteers' exerted reaction forces on the test buck, and electrodes were used to measure the volunteers' muscle activity. The volunteers' responses were significantly different between the relaxed and braced muscle states, and between the males and females. Comparing between males and females, the males moved farther forward and exerted larger reaction forces, but both demographic groups exhibited similar muscle responses. Comparing between muscle states, bracing increased the volunteers' muscle activation and reaction forces before the sled tests. Bracing also increased the volunteers' reaction forces during the sled tests, but decreased forward movement. Overall, the volunteers exhibited greater relative changes in response when they were relaxed compared to when they were braced. Overall, this study demonstrated that muscle activation significantly affected the volunteers' responses for both mid-size males and small females during low-speed events. These results highlight the importance of developing active HBMs with relevant volunteer data in order to be more representative of live occupants. Finally, the data from this study can be used to develop active HBMs to improve their accuracy, so that the models can be used to assess occupant safety during low-speed frontal vehicle crashes. This will help improve the understanding of potential injury risk and development of effective vehicle safety systems, to reduce the number of injuries caused by vehicle crashes.

As more composers consciously incorporate the body into their musical works, so too should musical analyses probe these works through the lens of the body. Drawing upon Mauricio Kagel’s Repertoire from his opera Staatstheater (1970) and Marina Rosenfeld’s My Body (2019) for Rosenfeld herself and Yarn | Wire, this dissertation looks at the ways in which the body can be inextricably tied to music. In Chapter 1, I pursue a corporeal analysis of Repertoire from the perspective of disability studies. Oppressive aesthetic decrees, disability studies concepts, operas involving disabled characters, and freak shows are discussed and related to Kagel’s Repertoire. In the analysis of Rosenfeld’s My Body in Chapter 2, I examine the ways bodies sensually interact with other living and nonliving bodies through touch. By taxonomizing touch between human and dubplate as well as human and human, I show how My Body uses connection to collapse the boundaries between subject and object identifiers. In neither example can music exist in a vacuum; I demonstrate that the sound must either be seen or felt in order to be fully appreciated. Both works summon the use of the sixth sense, proprioception, in their total body approach to music-making and musical appreciation.

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