Der menschliche Körper dient im Mittelalter der Veranschaulichung zentraler Aspekte der Musik. Dabei lässt sich an den bildlichen Darstellungen der Frau Musica ein allmählicher Wandel beobachten: Während die Figur zunächst nur den musiktheoretisch-spekulativen Aspekt des Begriffes personifiziert, fungiert sie im Zuge einer höheren Wertschätzung der Praxis seit dem Hochmittelalter auch als reale Musiklehrerin. In der Modallehre dienen Geschlechterdifferenzen sowie die jeweils beschriebenen körperlichen Besonderheiten der Unterscheidung von authentischen und plagalen Modi. In Verbindung mit einfachen Grafiken garantieren die Beschreibungen eine leichtere Memorierbarkeit schwieriger musikpädagogischer Sachverhalte. / Since the Middle Ages the human body has served to represent central aspects of music. One can observe a gradual change in the graphic depictions of Frau Musica: while the figure initially personified the music-theoretical and the speculative, following a greater appreciation for practical aspects of music, she eventually came to represent a real music teacher. In modal teaching, both gender differences and the description of specific bodily characteristics served to distinguish between authentic and plagal modes. When combined with simple graphics, such descriptions simplify the memorization of difficult music-pedagogical concepts.

[ES] La siguiente investigación busca, desde la teoría y la propia práctica pictórica, profundizar en la problemática de re-presentación del cuerpo que se distancia de cierta normalización del mismo. Se centrará, por un lado, en identificar a pintores contemporáneos que logren exponer corporalidades y subjetividades que se distancien de la producción e imagen mediática, es decir, del canon y normalización de los cuerpos. Buscando visualizar aquellas manifestaciones pictóricas contemporáneas donde el cuerpo cobra importancia como imagen representada y también como un cuerpo que surge dentro del propio quehacer pictórico, vale decir, la existencia de una corporalidad en el propio acto de pintar. Desde esta perspectiva, proponemos que se posibilitan vías para visualizar y conocer el cuerpo, desde la figuración y la abstracción, desde lo visible e invisible. Hablaremos del acto pictórico, de lo que con él acontece y los significados y sentidos que este mismo levanta hoy en día. La pintura metaforiza al cuerpo a la vez que este aparece representando. Es decir, la imagen manual representa una subjetividad, involucra un cuerpo y la pintura hace y deja un registro de ese proceso, que se hace visible desde su temporalidad, sus movimientos y actos en forma y color, haciendo presente otras posibilidades corporales, que nos posicionan como sujetos sensibles dentro de un espacio determinado o delimitado. Esto da pie a reflexiones sobre la pintura, el cuerpo, la identidad y la visualidad hoy en día. / [CA] La següent investigació busca, des de la teoria i la pròpia pràctica pictòrica, aprofundir en la problemàtica de re-presentació del cos que es distancia d'una certa normalització d'aquest. Se centrarà, d'una banda, a identificar a pintors contemporanis que aconseguisquen exposar corporalitats i subjectivitats que es distancien de la producció i imatge mediàtica, és a dir, del cànon i normalització dels cossos. Buscant visualitzar aquelles manifestacions pictòriques contemporànies on el cos cobra importància com a imatge representada que s'allunya d'un cànon i també com un cos que sorgeix dins del propi quefer pictòric, val dir, l'existència d'una corporalitat en el propi acte de pintar. Des d'aquesta perspectiva, proposem que es possibiliten vies per a visualitzar i conéixer el cos, des de la figuració i l'abstracció, des del visible i invisible. Val dir que, parlarem de l'acte pictòric, del que amb ell esdevé i els significats i sentits que aquest mateix alça hui dia. La pintura *metaforiza al cos alhora que aquest apareix representant. És a dir, la imatge manual representa una subjectivitat, involucra un cos i la pintura fa i deixa un registre d'aqueix procés, que es fa visible des de la seua temporalitat, els seus moviments i actes en forma i color, fent present altres possibilitats corporals, que ens posicionen com a subjectes sensibles dins d'un espai determinat o delimitat. Això dona peu a reflexions sobre la pintura, el cos, la identitat i la visualitat hui dia. / [EN] The following research seeks, from the theory and the pictorial practice itself, to deepen in the problematic of re-presentation of the body that distances itself from certain normalization of the same. It will focus, on the one hand, on identifying contemporary painters who manage to expose corporealities and subjectivities that distance themselves from the media production and image, that is, from the canon and normalization of bodies. We seek to visualize those contemporary pictorial manifestations where the body becomes important as a represented image that distances itself from a canon and also as a body that emerges within the pictorial work itself, that is, the existence of a corporeality in the act of painting itself. From this perspective, we propose the possibility of visualizing and knowing the body, from figuration and abstraction, from the visible and the invisible. That is to say, we will talk about the pictorial act, what happens with it and the meanings and senses that it raises today. Painting metaphorizes the body at the same time that it appears to represent. That is to say, the manual image represents a subjectivity, it involves a body and the painting makes and leaves a record of that process, which becomes visible from its temporality, its movements and acts in form and color, making present other bodily possibilities, which position us as sensitive subjects within a determined or delimited space. This gives rise to reflections on painting, the body, identity and visuality today. / Alarcón Pino, NR. (2023). Práctica pictórica: un estudio sobre la presencia visible e invisible del cuerpo en la pintura contemporánea [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/202311

In this dissertation, I examine the complex role that the body played in early modern constructions of judgment. Moving away from an overreliance on anti-theatrical texts as the authority on the body in Shakespeare's plays, my project intervenes in the field Shakespearean studies by widening the lens through which scholars view the body's role in the early modern theater. Through readings of four plays—Richard II, Hamlet, King Lear, and The Winter's Tale—I demonstrate that Shakespeare uses a wide range of ideas about the human body from religious, philosophical, medical, and cultural spheres of thought to challenge Puritan accusations that the public theater audience is incapable of rational judgment. The first chapter outlines the parameters of the project. In Chapter 2, I argue that Richard II draws parallels between the theatrical community and the community created through the sacramental experiences of baptism and communion to show that bodies play a crucial role in establishing common experience and providing an avenue for judgment. In Chapter 3, I argue that Shakespeare establishes correspondences between bodily and social collaboration to show how both are needed for the memory-making project of the theater. In the next chapter, I show how Shakespeare appropriates what early moderns perceived of as the natural vulnerability in English bodies to suggest the passionate responses associated with impressionability can actually be sources of productive judgment and self-edification. I argue the storm models this passionate judgment, providing a guide for audience behavior. In Chapter 5, I argue that the memories created by and within the women in The Winter's Tale evoke the tradition of housewifery and emphasize the female role in preservation. Female characters stand in for hidden female contributors to the theater and expose societal blindness to women's work. Through each of these chapters, I argue that Shakespeare's plays emphasize the value of bodily experience and suggest that the audience take up what I have termed "corporeal judgment."

This study presents mathematical surrogate models, derived from finite element kinematic response data, to predict car crash-induced occupant head and neck injury risk for a broad range of impact velocities (10 – 45 mph), impact locations, and angles of impact (-45° to 45°). The development of these models allowed for wide-scale injury prediction while significantly reducing the overall required number of impact test cases. From these, increases in both the impact velocity and the impact’s locational proximity to the occupant were determined to result in the greatest head and neck injury risks. Additionally, strong interactions between the impact orientation variables (location and angle) produced significant changes in the head injury risk, while the neck injury risk was relatively insensitive to these interactions; likely due to the uniaxiality of the current standard neck injury risk metrics. Overall, this methodology showed potential for future applications in wide-scale injury prediction or vehicular design optimization.

Ice hockey is a sport whose athletes are at high risk for traumatic head injuries due to the violence of potential impacts with other athletes, ice, or glass during games. In order to develop the best protective strategies for the players, it is necessary to have a deep understanding of accident mechanisms during ice hockey games. Accident reconstructions using the finite element (FE) method are a way to perform a systematic analysis of impact cases, but require input data on the circumstances of the accidents. Thus, this project focused on finding a way to extract the position and velocity of the players involved from readily available videos of ice hockey accidents using motion tracking methods. This project included two parts: pose estimation and velocity estimation. The pose estimation aimed to align a human body model (HBM) with the players' poses and the key steps included estimating 2D joints from impact images, estimating the players' 3D poses, skeleton inferencing, and aligning the results with the baseline HBM via pelvic registration. The velocity estimation defined the initial conditions for simulating the collision and key steps included identifying the players' 2D joints across impact video frames, tracking of the players using a simplified pelvis projection on the rink plane, and estimating the players’ velocity using homography to identify their position on the ice hockey rink. Then, both parts were applied to accident cases from a video database of collisions that occurred during a hockey league season. The cases in which the pipeline was fully applied ultimately resulted in LS-DYNA positioning files for the Total Human Model for Safety (THUMS) model, and problematic cases were used to get an overview of the limits of the chosen methodology. Said limitations were mostly linked to the quality of the source videos, which is highly dependent on the source of the videos and possibly not controllable. Due to this, selection criteria are required, such as checking the blurriness and quality of the videos and the viewing angles to ensure as few occlusions as possible. Overall, this project resulted in a working semi-automatic pipeline for pose and velocity estimation in contact sports collisions, as well as a first set of personalized input information that should allow the reconstruction of ice hockey accidents using FE simulations. / Ishockey är en sport vars utövare löper stor risk att drabbas av traumatiska huvudskador på grund av de våldsamma potentiella kollisionerna med andra utövare, is eller glas under matcherna. För att kunna utveckla de bästa skyddsstrategierna för spelarna är det nödvändigt att ha en djup förståelse för olycksmekanismerna under ishockeymatcher. Olycksrekonstruktioner med hjälp av finita elementmetoden är ett sätt att utföra en systematisk analys av kollisionsfall, men kräver indata om omständigheterna kring olyckorna. Detta projekt fokuserade därför på att hitta ett sätt att extrahera de inblandade spelarnas position och hastighet från lättillgängliga videor av ishockeyolyckor med hjälp av rörelsespårningsmetoder. Projektet bestod av två delar: poseuppskattning och hastighetsuppskattning. Poseuppskattningen syftade till att anpassa en humanmodell till spelarnas poser och de viktigaste stegen omfattade uppskattning av 2D-leder från kollisionsbilder, uppskattning av spelarnas 3D-poser, skelettinferens och anpassning av resultaten till baslinjen HBM via bäckenregistrering. Hastighets-uppskattningen definierade de initiala villkoren för simulering av kollisionen och viktiga steg inkluderade identifiering av spelarnas 2D-led i videobilder av kollisionen, spårning av spelarna med hjälp av en förenklad bäckenprojektion på rinkplanet och uppskattning av spelarnas hastighet med hjälp av homografi för att identifiera deras position på ishockeyrinken. Därefter tillämpades båda delarna på olycksfall från en videodatabas med kollisioner som inträffade under en säsong i en hockeyliga. De fall där pipelinen tillämpades fullt ut resulterade slutligen i LS-DYNA-positioneringsfiler, och problematiska fall användes för att få en överblick över gränserna för den valda metoden. Begränsningarna var främst kopplade till kvaliteten på källvideorna, som är starkt beroende av källan till videorna och eventuellt inte kan kontrolleras. På grund av detta krävs urvalskriterier, t.ex. kontroll av videornas oskärpa och kvalitet samt betraktningsvinklar för att säkerställa så få ocklusioner som möjligt. Sammantaget resulterade detta projekt i en fungerande halvautomatisk pipeline för pose- och hastighetsuppskattning vid kollisioner i kontaktsporter, samt en första uppsättning personlig indatainformation som bör möjliggöra rekonstruktion av ishockeyolyckor med hjälp av simulering med finita element.

La seule évocation du corps humain éveille l’attention. Pourtant, le droit pénal ne s’en saisit qu’à travers la personne humaine et aux fins de protection de cette dernière. Le corps humain apparaît au travers des valeurs sociales protégées consubstantielles à la personne, ou plus généralement à l’humain, mais rarement en tant que tel. Dissimulé derrière ces valeurs, le corps interroge quant à la place que lui accorde le droit pénal. Cette étude se propose de renverser la perspective classique en appréhendant le corps non pas au travers des valeurs qu’il véhicule, mais pour ce qu’il est. L’analyse de la place du corps en droit pénal révèle sa dissimulation fréquente derrière la personne. Lorsqu’il est appréhendé comme un objet autonome, le législateur semble l’assimiler à une valeur sociale protégée. Or, cette première impression est trompeuse car il n’en constitue que le substrat. La vie, l’intégrité physique ou encore la dignité lui sont certes inhérentes, mais le corps n’est que le support concret qui véhicule ces notions abstraites. Il en découle un régime peu satisfaisant, d’une part parce que le traitement réservé aux valeurs sociales protégées ne lui est pas adapté et, d’autre part, car lorsqu’il est traité en dehors du prisme de la personne, il fait l’objet d’une appréhension lacunaire.Face à ces incohérences, cette étude se propose de renouveler le régime octroyé au corps humain en lui appliquant les règles relatives aux catégories juridiques préexistantes – les choses et les personnes. Tirant profit du droit pénal de la personne et du droit pénal des biens, une conception renouvelée du corps émerge en droit pénal. / The mere mention of the body captures the attention. However, criminal law considers it only through the human person and the protection purposes of the latter. The human body is reflected through protected social values which are part and parcel of the person, or more generally of the human being, but it is rarely considered as such. The body, being concealed behind these values, questions its position under criminal law. This study is intented to reverse the traditional approach by addressing the body for what it is and not through the values it conveys.The analysis of the position of the body under criminal law reveals its frequent concealment behind the person. When the body is tackled as an individual object, then the legislator seems to associate it with a protected social value. Yet, this first impression is misleading since it forms only the substratum. Life, physical integrity or dignity are certainly inherent to the body but the latter being only the solid support to convey those abstract notions. All this leads to an unsatisfactory legal regime, firstly because the treatment accorded to protected social values is not suitable to the body and secondly, because when treated outside the person lens, the body is the subject of a flawed apprehension. Faced with these inconsistencies, this study aims to renew the legal regime granted to the human body by applying the rules on the pre-existing legal categories- things and people. By taking advantage of the criminal law regarding people and of criminal law regarding property, a renewed understanding of the body emerges in criminal law.

This thesis work comprises the working and simulation procedures being involved in simulating motion capture data in AnyBody Modeling System. The motion capture data used in this thesis are ballet movements from dancers of Östgöta ballet and dance academy. The ballet movements taken into consideration are the arabesque on demi-pointe and pirouette. The arabesque on demi-pointe was performed by two dancers but the pirouette is performed by only one dancer. The method involved recording ballet movements by placing markers on the dancer's body and using this motion capture data as input to AnyBody Modeling System to create a musculoskeletal simulation. The musculoskeletal modeling involved creating a very own Qualisys marker protocol for the markers placed on the ballet dancers. Then implementing the marker protocol onto a human model in AnyBody Modeling System by making use of the AnyBody Managed Modeling Repository (TM) and obtain the kinematics from the motion capture. To best fit the human model to the dancer's anthropometry, scaling of the human model is done, environmental conditions such as the force plates are provided. An optimization algorithm is conducted for the marker positions to best fit the dancer's anthropometry by running parameter identification. From the kinematics of the motion capture data, we simulate the inverse dynamics in AnyBody Modeling System. The simulations explain a lot of parameters that describe the ballet dancers. Results such as the center of mass, the center of pressure, muscle activation, topple angle are presented and discussed. Moreover, we compare the models of the dancers and draw conclusions about body balance, effort level, and muscles activated during the ballet movements.

<div>The huge gamut of today’s internet-connected embedded devices has led to increasing concerns regarding the security and confidentiality of data. To address these requirements, most embedded devices employ cryptographic algorithms, which are computationally secure. Despite such mathematical guarantees, as these algorithms are implemented on a physical platform, they leak critical information in the form of power consumption, electromagnetic (EM) radiation, timing, cache hits and misses, and so on, leading to side-channel analysis (SCA) attacks. Non-profiled SCA attacks like differential/correlational power/EM analysis (DPA/CPA/DEMA/CEMA) are direct attacks on a single device to extract the secret key of an encryption algorithm. On the other hand, profiled attacks comprise of building an offline template (model) using an identical device and the attack is performed on a similar device with much fewer traces.</div><div><br></div><div>This thesis focusses on developing efficient side-channel attacks and circuit-level low-overhead generic countermeasures. A cross-device deep learning-based profiling power side-channel attack (X-DeepSCA) is proposed which can break the secret key of an AES-128 encryption engine running on an Atmel microcontroller using just a single power trace, thereby increasing the threat surface of embedded devices significantly. Despite all these advancements, most works till date, both attacks as well as countermeasures, treat the crypto engine as a black box, and hence most protection techniques incur high power/area overheads.</div><div><br></div><div>This work presents the first white-box modeling of the EM leakage from a crypto hardware, leading to the understanding that the critical correlated current signature should not be passed through the higher metal layers. To achieve this goal, a signature attenuation hardware (SAH) is utilized, embedding the crypto core locally within the lower metal layers so that the critical correlated current signature is not passed through the higher metals, which behave as efficient antennas and its radiation can be picked up by a nearby attacker. Combination of the 2 techniques – current-domain signature suppression and local lower metal routing shows >350x signature attenuation in measurements on our fabricated 65nm test chip, leading to SCA resiliency beyond 1B encryptions, which is a 100x improvement in both EM and power SCA protection over the prior works with comparable overheads. Moreover, this is a generic countermeasure and can be utilized for any crypto core without any performance degradation.</div><div><br></div><div>Next, backed by our physics-level understanding of EM radiation, a digital library cell layout technique is proposed which shows >5x reduction in EM SCA leakage compared to the traditional digital logic gate layout design. Further, exploiting the magneto-quasistatic (MQS) regime of operation for the present-day CMOS circuits, a HFSS-based framework is proposed to develop a pre-silicon EM SCA evaluation technique to test the vulnerability of cryptographic implementations against such attacks during the design phase itself.</div><div><br></div><div>Finally, considering the continuous growth of wearable and implantable devices around a human body, this thesis also analyzes the security of the internet-of-body (IoB) and proposes electro-quasistatic human body communication (EQS-HBC) to form a covert body area network. While the traditional wireless body area network (WBAN) signals can be intercepted even at a distance of 5m, the EQS-HBC signals can be detected only up to 0.15m, which is practically in physical contact with the person. Thus, this pioneering work proposing EQS-HBC promises >30x improvement in private space compared to the traditional WBAN, enhancing physical security. In the long run, EQS-HBC can potentially enable several applications in the domain of connected healthcare, electroceuticals, augmented and virtual reality, and so on. In addition to these physical security guarantees, side-channel secure cryptographic algorithms can be augmented to develop a fully secure EQS-HBC node.</div>

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.