Children's body image concerns and eating disturbance: a review of the literature

In recent years a large number of studies have examined body image concerns, and early symptoms of eating disturbance among children. However, to date there has been no synthesis or evaluation of these studies. The purpose of the present article is to review and evaluate the research that has examined body image concerns, and eating attitudes and behaviors among children 6 to 11 years of age. The instruments used to assess body image concerns and eating disturbance in children closely resemble those used with adolescents and adults. Overall, the psychometric data for these instruments are very good and there is sufficient evidence indicating that they can be used reliably and validly. In addition, similar variables to those studied in adolescent and adult samples have been found to be associated with children's body image concerns and early eating disturbance. These include gender, age, body mass index, race, sociocultural pressures, and self-concept. Our understanding of the development of body image concerns and eating disturbance in children is limited, however, by the fact that most of the research in this field has been based on cross-sectional data, and the studies have focused almost exclusively on weight-loss cognitions and behaviors.

The role of ethnicity and culture in body image and disordered eating among males

An increasing number of researchers have examined body image concerns, disordered eating, and other behaviors associated with increasing muscle size among men from different cultural groups. However, to date there has been no synthesis or evaluation of these studies. In this paper we specifically review studies which have included a comparison between males from different cultural groups with White males on body image concerns or other related behaviors. The groups include Blacks, Hispanic Americans, Asians, Native Americans, Pacific Islanders, and men from Middle Eastern countries. Overall, evidence suggests that males from a range of cultural groups engage in more extreme body change strategies and binge eating than Whites. On the other hand, there is no consistent pattern which summarizes the nature of body image concerns across the different cultures. Mediating and/or moderating variables are proposed to account for the inconsistent findings. These include body build, levels of acculturation, socio-economic status, media exposure, and internalization of the muscular and lean body ideal.

Graph matching with subdivision surfaces for texture synthesis on surfaces

Existing texture synthesis-from-example strategies for polygon meshes typically make use of three components: a multi-resolution mesh hierarchy that allows the overall nature of the pattern to be reproduced before filling in detail; a matching strategy that extends the synthesized texture using the best fit from a texture sample; and a transfer mechanism that copies the selected portion of the texture sample to the target surface. We introduce novel alternatives for each of these components. Use of p2-subdivision surfaces provides the mesh hierarchy and allows fine control over the surface complexity. Adaptive subdivision is used to create an even vertex distribution over the surface. Use of the graph defined by a surface region for matching, rather than a regular texture neighbourhood, provides for flexible control over the scale of the texture and allows simultaneous matching against multiple levels of an image pyramid created from the texture sample. We use graph cuts for texture transfer, adapting this scheme to the context of surface synthesis. The resulting surface textures are realistic, tolerant of local mesh detail and are comparable to results produced by texture neighbourhood sampling approaches.

Monumental vision : a confrontation with the image of the Eternal Return

"Monumental Vision” is a nuanced summary of Nietzschean nihilism and the Eternal Return as rite of passage for free subjects and as condensed image of speculative intelligence proper. Utilizing Gerhard Richter’s “Sheet 692” from Atlas, a series of photographs of the mountains and lake at Sils Maria, Switzerland, as summary judgment of the limit imposed by this condition on all systems of representation, this form of vision discloses the chiasmus embedded in consciousness itself. In constantly revisiting Sils, the very location where Nietzsche “suffered” the vision of the Eternal Return, Richter has engaged repeatedly this origin for what has come into his work via Nietzsche – that is, an elective veil that refuses all compromises with transcendence until such is merged with immanence.

As situated amidst modernist “ideology as intellection”, and subsequent nascent forms of anti-modernism, the Eternal Return as image also signals the return of the Kantian “aesthetic-teleological” synthesis in non-discursive or purely visual agency. As an elective form of aesthetic vision, and as image of time insofar as it registers an overwhelming externality (Other) that nominally swallows and empowers the subject at once, this excoriating sense of universal praxis underwrites artistic and architectural production of the highest order, renegotiating concepts of the paradigmatic.

Utilizing Georg Simmel’s late work on Rembrandt (1916) and his encounter with Schopenhauer and Nietzsche (1907), the essay suggests that by the 1920s the avant-garde premises of modernism had already come under attack by an ahistorical and synoptic vision here denoted “monumental vision,” which also contains the imprint of eschatological time (invoking a schism present in rationality as such). The two readings of this image perpetrated by Karl Löwith in Nietzsche’s Philosophy of the Eternal Recurrence of the Same (Nietzsches Philosophie der ewigen Wiederkehr des Gleichen, 1935), or the cosmological and the ethical, while considered irreconcilable by Löwith, have since the 1960s been recalibrated through the figure of the event to pose possible scenarios out of the stalemate of the confrontation between Self and Other (ipseity and alterity) buried within this image as limit. In this manner, the image of the Eternal Return stands at the boundary between two forms of time (or two worlds) and signals the irreducible confrontation present in speculative thought and the necessity of closure through an aesthetic vision that produces a unitary field for all creative acts.

Notably, Nietzsche’s startling vision from Zarathustra suggests that the limit imposed by the Eternal Return is also a mask for an austere condition within subjectivity closely resembling the conundrum of Fichte’s I facing I, or thought turned toward thought itself (absolute subjectivity as cipher for Being). In Alenka Zupančič’s reading, in The Shortest Shadow: Nietzsche’s Philosophy of the Two (2003), the Eternal Return effectively contains a secret formal function that grinds all “error” to dust – a highly suggestive interpretation that also neutralizes the schism introduced by Löwith between the cosmological and the ethical.

Semantic photo synthesis

Composite images are synthesized from existing photographs by artists who make concept art, e.g., storyboards for movies or architectural planning. Current techniques allow an artist to fabricate such an image by digitally splicing parts of stock photographs. While these images serve mainly to “quickly”convey how a scene should look, their production is laborious. We propose a technique that allows a person to design a new photograph with substantially less effort. This paper presents a method that generates a composite image when a user types in nouns, such as “boat”and “sand.”The artist can optionally design an intended image by specifying other constraints. Our algorithm formulates the constraints as queries to search an automatically annotated image database. The desired photograph, not a collage, is then synthesized using graph-cut optimization, optionally allowing for further user interaction to edit or choose among alternative generated photos. An implementation of our approach, shown in the associated video, demonstrates our contributions of (1) a method for creating specific images with minimal human effort, and (2) a combined algorithm for automatically building an image library with semantic annotations from any photo collection.