La representación contemporánea del cuerpo desnudo : El objeto sexual en el cambio de siglo XX al XXI

Los cambios que el pensamiento feminista ha producido en nuestra personalidad como sociedad, en nuestra manera de conducirnos y expresarnos, invitan a trabajar sobre ellos en profundidad. En estas líneas se analizan algunos trabajos de artistas feministas y 'post-feministas', relacionándolos con la tradición de representación del cuerpo humano en la historia del arte. La denominación objeto sexual no es un calificativo que se aplique hoy únicamente al sexo femenino. Imágenes femeninas y masculinas son utilizadas por la sociedad de consumo para vender sus productos como reclamo. Las particulares formas de entender y presentar el cuerpo humano como desperdicio, consumible o despojo, no son tampoco patrimonio de un solo sexo. Desde la perspectiva de la representación del cuerpo humano se deben analizar las nuevas estrategias nacidas a partir del compromiso de respeto hacia los derechos sociales de las mujeres

La representación contemporánea del cuerpo desnudo : El objeto sexual en el cambio de siglo XX al XXI

Los cambios que el pensamiento feminista ha producido en nuestra personalidad como sociedad, en nuestra manera de conducirnos y expresarnos, invitan a trabajar sobre ellos en profundidad. En estas líneas se analizan algunos trabajos de artistas feministas y 'post-feministas', relacionándolos con la tradición de representación del cuerpo humano en la historia del arte. La denominación objeto sexual no es un calificativo que se aplique hoy únicamente al sexo femenino. Imágenes femeninas y masculinas son utilizadas por la sociedad de consumo para vender sus productos como reclamo. Las particulares formas de entender y presentar el cuerpo humano como desperdicio, consumible o despojo, no son tampoco patrimonio de un solo sexo. Desde la perspectiva de la representación del cuerpo humano se deben analizar las nuevas estrategias nacidas a partir del compromiso de respeto hacia los derechos sociales de las mujeres

La representación contemporánea del cuerpo desnudo : El objeto sexual en el cambio de siglo XX al XXI

Los cambios que el pensamiento feminista ha producido en nuestra personalidad como sociedad, en nuestra manera de conducirnos y expresarnos, invitan a trabajar sobre ellos en profundidad. En estas líneas se analizan algunos trabajos de artistas feministas y 'post-feministas', relacionándolos con la tradición de representación del cuerpo humano en la historia del arte. La denominación objeto sexual no es un calificativo que se aplique hoy únicamente al sexo femenino. Imágenes femeninas y masculinas son utilizadas por la sociedad de consumo para vender sus productos como reclamo. Las particulares formas de entender y presentar el cuerpo humano como desperdicio, consumible o despojo, no son tampoco patrimonio de un solo sexo. Desde la perspectiva de la representación del cuerpo humano se deben analizar las nuevas estrategias nacidas a partir del compromiso de respeto hacia los derechos sociales de las mujeres

Wan xiao tang hua zhuan /

"Ju Qianlong geng wu nian [1750] She yuan Tao shi ben ying yin"--Colophon.

Observed bodies generate object-based spatial codes

Contemporary studies of spatial and social cognition frequently use human figures as stimuli. The interpretation of such studies may be complicated by spatial compatibility effects that emerge when researchers employ spatial responses, and participants spontaneously code spatial relationships about an observed body. Yet, the nature of these spatial codes – whether they are location- or object-based, and coded from the perspective of the observer or the figure – has not been determined. Here, we investigated this issue by exploring spatial compatibility effects arising for objects held by a visually presented whole-bodied schematic human figure. In three experiments, participants responded to the colour of the object held in the figure’s left or right hand, using left or right key presses. Left-right compatibility effects were found relative to the participant’s egocentric perspective, rather than the figure’s. These effects occurred even when the figure was rotated by 90 degrees to the left or to the right, and the coloured objects were aligned with the participant’s midline. These findings are consistent with spontaneous spatial coding from the participant’s perspective and relative to the normal upright orientation of the body. This evidence for object-based spatial coding implies that the domain general cognitive mechanisms that result in spatial compatibility effects may contribute to certain spatial perspective-taking and social cognition phenomena.

The use of cues for attention in ancient Greek art: aspects that influence concentration in the work of art and its elements

The goal of this study is to identify cues for the cognitive process of attention in ancient Greek art, aiming to find confirmation of its possible use by ancient Greek audiences and artists. Evidence of cues that trigger attention’s psychological dispositions was searched through content analysis of image reproductions of ancient Greek sculpture and fine vase painting from the archaic to the Hellenistic period - ca. 7th -1st cent. BC. Through this analysis, it was possible to observe the presence of cues that trigger orientation to the work of art (i.e. amplification, contrast, emotional salience, simplification, symmetry), of a cue that triggers a disseminate attention to the parts of the work (i.e. distribution of elements) and of cues that activate selective attention to specific elements in the work of art (i.e. contrast of elements, salient color, central positioning of elements, composition regarding the flow of elements and significant objects). Results support the universality of those dispositions, probably connected with basic competencies that are hard-wired in the nervous system and in the cognitive processes.

Modelling the underlying principles of human aesthetic preference in evolutionary art

Our understanding of creativity is limited, yet there is substantial research trying to mimic human creativity in artificial systems and in particular to produce systems that automatically evolve art appreciated by humans. We propose here to study human visual preference through observation of nearly 500 user sessions with a simple evolutionary art system. The progress of a set of aesthetic measures throughout each interactive user session is monitored and subsequently mimicked by automatic evolution in an attempt to produce an image to the liking of the human user.

Building sensitising terms to understand free-play in open-ended interactive art environments

In this paper we introduce and discuss the nature of free-play in the context of three open-ended interactive art installation works. We observe the interaction work of situated free-play of the participants in these environments and, building on precedent work, devise a set of sensitising terms derived both from the literature and from what we observe from participants interacting there. These sensitising terms act as guides and are designed to be used by those who experience, evaluate or report on open-ended interactive art. That is, we propose these terms as a common-ground language to be used by participants communicating while in the art work to describe their experience, by researchers in the various stages of research process (observation, coding activity, analysis, reporting, and publication), and by inter-disciplinary researchers working across the fields of HCI and art. This work builds a foundation for understanding the relationship between free-play, open-ended environments, and interactive installations and contributes sensitising terms useful for the HCI community for discussion and analysis of open-ended interactive art works.

Evoking gesture in interactive art

In this paper, we describe an interactive artwork that uses large body gestures as its primary interactive mode. The artist intends the work to provoke active reflection in the audience by way of gesture and content. The technology is not the focus, rather the aim is to provoke memory, to elicit feelings of connective human experiences in a required-to-participate audience. We find the work provokes a diverse and contradictory set of responses. The methods used to understand this include qualitative methods common to evaluating interactive art works, as well as in-depth discussions with the artist herself. This paper is relevant to the Human - Centered Computing track because in all stages of the design of the work - as well as the evaluation - the focus is on the human aspect; the computing is designed to enable all-too-human responses.

Social engineering in social networking sites : the art of impersonation

Social networking sites (SNSs), with their large number of users and large information base, seem to be the perfect breeding ground for exploiting the vulnerabilities of people, who are considered the weakest link in security. Deceiving, persuading, or influencing people to provide information or to perform an action that will benefit the attacker is known as “social engineering.” Fraudulent and deceptive people use social engineering traps and tactics through SNSs to trick users into obeying them, accepting threats, and falling victim to various crimes such as phishing, sexual abuse, financial abuse, identity theft, and physical crime. Although organizations, researchers, and practitioners recognize the serious risks of social engineering, there is a severe lack of understanding and control of such threats. This may be partly due to the complexity of human behaviors in approaching, accepting, and failing to recognize social engineering tricks. This research aims to investigate the impact of source characteristics on users’ susceptibility to social engineering victimization in SNSs, particularly Facebook. Using grounded theory method, we develop a model that explains what and how source characteristics influence Facebook users to judge the attacker as credible.

The art of human rights : enriching the life of the law school through drawings and other visual resource

In the life of the Law School, focus on the “visual” can operate at three different levels: learning, teaching, and examining (legal concepts). My main interest in this paper is to explore the latter level, “examining”, broadly considered so as to encompass evaluation in general. Furthermore, that interest is pinned down here to the area of constitutional rights and human rights in general, even though the conclusions reached can (and should) likely be extrapolated to other areas of the law... In effect, the first logical step regarding the relevance of the visual approach has to do with using it yourself when you study —assuming that you came to the conclusion that you are a “visual learner”. As you know, VARK theorists propose a quadripartite classification of learners. The acronym VARK stands for Visual, Aural, Read/write, and Kinesthetic sensory modalities that are used for learning information. This model was designed in the late 80s by Neil Fleming and it has received some acceptance and a lot of attention...

Robot navigation in dense crowds : statistical models and experimental studies of human robot cooperation

This thesis explores the problem of mobile robot navigation in dense human crowds. We begin by considering a fundamental impediment to classical motion planning algorithms called the freezing robot problem: once the environment surpasses a certain level of complexity, the planner decides that all forward paths are unsafe, and the robot freezes in place (or performs unnecessary maneuvers) to avoid collisions. Since a feasible path typically exists, this behavior is suboptimal. Existing approaches have focused on reducing predictive uncertainty by employing higher fidelity individual dynamics models or heuristically limiting the individual predictive covariance to prevent overcautious navigation. We demonstrate that both the individual prediction and the individual predictive uncertainty have little to do with this undesirable navigation behavior. Additionally, we provide evidence that dynamic agents are able to navigate in dense crowds by engaging in joint collision avoidance, cooperatively making room to create feasible trajectories. We accordingly develop interacting Gaussian processes, a prediction density that captures cooperative collision avoidance, and a "multiple goal" extension that models the goal driven nature of human decision making. Navigation naturally emerges as a statistic of this distribution.

Most importantly, we empirically validate our models in the Chandler dining hall at Caltech during peak hours, and in the process, carry out the first extensive quantitative study of robot navigation in dense human crowds (collecting data on 488 runs). The multiple goal interacting Gaussian processes algorithm performs comparably with human teleoperators in crowd densities nearing 1 person/m², while a state of the art noncooperative planner exhibits unsafe behavior more than 3 times as often as the multiple goal extension, and twice as often as the basic interacting Gaussian process approach. Furthermore, a reactive planner based on the widely used dynamic window approach proves insufficient for crowd densities above 0.55 people/m². We also show that our noncooperative planner or our reactive planner capture the salient characteristics of nearly any dynamic navigation algorithm. For inclusive validation purposes, we show that either our non-interacting planner or our reactive planner captures the salient characteristics of nearly any existing dynamic navigation algorithm. Based on these experimental results and theoretical observations, we conclude that a cooperation model is critical for safe and efficient robot navigation in dense human crowds.

Finally, we produce a large database of ground truth pedestrian crowd data. We make this ground truth database publicly available for further scientific study of crowd prediction models, learning from demonstration algorithms, and human robot interaction models in general.

A spatio-temporal 2D-models framework for human pose recovery in monocular sequences

This paper addresses the pose recovery problem of a particular articulated object: the human body. In this model-based approach, the 2D-shape is associated to the corresponding stick figure allowing the joint segmentation and pose recovery of the subject observed in the scene. The main disadvantage of 2D-models is their restriction to the viewpoint. To cope with this limitation, local spatio-temporal 2D-models corresponding to many views of the same sequences are trained, concatenated and sorted in a global framework. Temporal and spatial constraints are then considered to build the probabilistic transition matrix (PTM) that gives a frame to frame estimation of the most probable local models to use during the fitting procedure, thus limiting the feature space. This approach takes advantage of 3D information avoiding the use of a complex 3D human model. The experiments carried out on both indoor and outdoor sequences have demonstrated the ability of this approach to adequately segment pedestrians and estimate their poses independently of the direction of motion during the sequence. (c) 2008 Elsevier Ltd. All rights reserved.

The EU Charter of Fundamental Rights in the case law of the European Court of Human Rights

The European Court of Human Rights has begun to refer to the EU Charter of Fundamental Rights in order to support its reasoning for interpreting the European Convention on Human Rights in a particular way. But the EU Charter does not yet have any special status in that regard, being treated by the Court as on a par with numerous other documents of international law. The Court’s use of the Charter began in connection with arts 8 and 12 of the Convention (the right to a family life and the right to marry) but in subsequent years it has been extended to many other Articles of the Convention. It is in relation to art.6 (the right to a fair trial) that the Charter’s influence has been most noticeable so far, the Court having changed its position on two important aspects of Article 6 partly because of the wording of the EU Charter. But the influence on art.3 (in relation to the rights of asylum seekers), art.7 (in relation to retroactive penal laws), art.9 (in relation to the right to conscientious objection) and art.11 (in relation to rights of trades unions) has also been significant. The potential for the Charter to have greater influence on the Court’s jurisprudence in years to come remains considerable.

Human Presence Detection: analisi comparativa e caso di studio in Home Manager

La possibilità di monitorare l’attività degli utenti in un sistema domotico, sia considerando le azioni effettuate direttamente sul sistema che le informazioni ricavabili da strumenti esterni come la loro posizione GPS, è un fattore importante per anticipare i bisogni e comprendere le preferenze degli utenti stessi, rendendo sempre più intelligenti ed autonomi i sistemi domotici. Mentre i sistemi attualmente disponibili non includono o non sfruttano appieno queste potenzialità, l'obiettivo di sistemi prototipali sviluppati per fini di ricerca, quali ad esempio Home Manager, è invece quello di utilizzare le informazioni ricavabili dai dispositivi e dal loro utilizzo per abilitare ragionamenti e politiche di ordine superiore. Gli obiettivi di questo lavoro sono: - Classificare ed elencare i diversi sensori disponibili al fine di presentare lo stato attuale della ricerca nel campo dello Human Sensing, ovvero del rilevamento di persone in un ambiente. - Giustificare la scelta della telecamera come sensore per il rilevamento di persone in un ambiente domestico, riportando metodi per l’analisi video in grado di interpretare i fotogrammi e rilevare eventuali figure in movimento al loro interno. - Presentare un’architettura generica per integrare dei sensori in un sistema di sorveglianza, implementando tale architettura ed alcuni algoritmi per l’analisi video all’interno di Home Manager con l’aiuto della libreria OpenCV .