Exploration of techniques for the creation of a 3D character

Treball final de Grau en Disseny i Desenvolupament de Videojocs. Codi: VJ1241. Curs acadèmic: 2020/2021The present document is the last assignment of the Design and Video Game Creation course at the Jaume I University in Castellón. The idea behind this project is to explore all the different techniques that can be used in the creation of a 3D character and, with all the various results, make a comparison between them, present all the pros and cons of each one and see in which situacion they should be used

On Redefining the Body Image Satisfaction Questionnaire: A Preliminary Test of Multidimensionality

The aim of the present study was to examine the Body Image Satisfaction Questionnaire (BISQ) as a ultidimensional instrument, designed to measure individuals’ body image satisfaction. A sample of 790 Portuguese healthy adults (female = 399; male = 391) aged 18 and 49 years old (M = 28.61, SD = 7.97) completed the BISQ. Exploratory factor analysis of the BISQ provided initial psychometric validity for a five-factor model assessing five dimensions of body image, namely, face, upper torso, lower torso, lower body, and overall body appearance. Confirmatory factor analysis supported this five-correlated model, in which a bifactor model provided the best fit to the data, defining a body image satisfaction factor and five specific factors. The BISQ clearly distinguished between various dimensions of body image satisfaction and showed satisfactory psychometric quality through factor analyses. This measure may have a broad application for research and practice, as a tool for capturing individual body image satisfactioninfo:eu-repo/semantics/publishedVersio

The Egyptianizing, male, limestone statuary from Cyprus - a study of a cross-cultural, Eastern Mediterranean votive type

This thesis is a study of a particular limestone votive statuary type which was dedicated in the sanctuaries on Cyprus during the entire 6th century B.C. Common to the group of figures is that they are wearing a Cypriote version of an Egyptian-type outfit, including characteristic Egyptian royal headgear and jewelry. In order to be able to answer questions on the origin of the Egyptianizing iconography encountered on the island, the reasons for the introduction of this particular votive statuary type in the Cypriote workshops, and the significance of the Egyptianizing figures within the sanctuaries of the island, a series of analyses are introduced. A typological analysis of the apparel of the figures is carried out, and the stylistic properties of the statuary are outlined. In addition, the archaeological contexts of the figures are investigated. The foreign iconography found in these Cypriote figures made it necessary to turn outside the island: the focus is placed on the only other find concentration of Egyptianizing statuary outside Cyprus, on the Phoenician coast. Through a similar series of analyses carried out on the Phoenician material, it can be stated that part of the statuary found there was Cypriote imports, while another part constituted indigenous, Phoenician Egyptianizing stone statuary. Against this background theories on the transmission of this particular iconography and votive figural type to Cyprus are presented. Through an analysis involving detailed comparisons with different categories of foreign material, it is suggested that the material and the craft tradition which lay behind the introduction of the Egyptianizing statuary on Cyprus were not the ones behind the Phoenician stone statues, nor was there any actual direct connection to contemporary Egyptian craftsmanship and technology or the Nilotic religious sphere. The analysis points rather towards a material category which for obvious reasons is only very sparsely preserved in the archaeological material record: Phoenician, large-scale ivory-on-wood statuary. Based on this suggestion, it is possible to better understand the significance of the Egyptianizing statuary on display in the ancient Cypriote sanctuaries: they are not to be viewed against an Egyptian religious background, but rather as an outcrop of a royal Phoenician iconography which found its way to the island, an iconography where a decorative and colorful statuary type clad in Egyptian-type dress was an acknowledged means to attract the attention of the divine powers

One of These Things Is Not Like the Other: Art Education and the Symbolic Interaction Of Bodies and Self-images

This article begins with the premise that self-imagery is constituted as a shape-shifting aggregate of symbolic systems that incorporates the human body itself as one of its representations. At intermittent points of the body\u27s embodiment of visual culture and tacit social experience, alternative representations accrete into varying symbolic systems, the multiple shapes a self-image may take over a lifetime. Given that social identity is derived from the interaction of various symbolic systems, how do some bodies and self-images come to be taken as that of identities incompatible with most others? In this exploration of the self-image and identity, the author reconsiders the purposes of art education in human development, especially when the self-image is given primacy over the objects we typically plan to make in the classroom

One of These Things is Not Like the Other: Art Education and the Symbolic Interaction of Bodies and Self-images.

This article begins with the premise that self-imagery is constituted as a shape-shifting aggregate of symbolic systems that incorporates the human body itself as one of its representations. At intermittent points of the body’s embodiment of visual culture and tacit social experience, alternative representations accrete into varying symbolic systems, the multiple shapes a self-image may take over a lifetime. Given that social identity is derived from the interaction of various symbolic systems, how do some bodies and self-images come to be taken as that of identities incompatible with most others? In this exploration of the self-image and identity, the author reconsiders the purposes of art education in human development, especially when the self-image is given primacy over the objects we typically plan to make in the classroom

One of These Things is Not Like the Other: Art Education and the Symbolic Interaction of Bodies and Self-images.

This article begins with the premise that self-imagery is constituted as a shape-shifting aggregate of symbolic systems that incorporates the human body itself as one of its representations. At intermittent points of the body’s embodiment of visual culture and tacit social experience, alternative representations accrete into varying symbolic systems, the multiple shapes a self-image may take over a lifetime. Given that social identity is derived from the interaction of various symbolic systems, how do some bodies and self-images come to be taken as that of identities incompatible with most others? In this exploration of the self-image and identity, the author reconsiders the purposes of art education in human development, especially when the self-image is given primacy over the objects we typically plan to make in the classroom

Towards A Radical Body Positive: Reading The Online Body Positive Movement

Under the auspices of the “body positive movement,” there has recently been an explosion of web-based content dedicated to confronting narrow Western beauty ideals that privilege the white, thin, cis-gendered and able-bodied. Body positivity challenges this exclusionary culture by encouraging the circulation of empowering body-images and advocating for the visibility of bodies that do not fit mainstream beauty norms. This dissertation is a visual and textual analysis of five English-language body positive web spaces, Herself, Stop Hating Your Body, The Body is Not An Apology, My Body Gallery and Body Revolution. Exploring site mission statements, submission guidelines, “seed images” of site creators, and participant images and stories, it maps the representational tropes that frame digital body positive practices and the ideological formations that undergird them. It reads body positivity through an interdisciplinary lens, grounding it within a history of discourses on the relationship between subjectivity, the body and its representation to address how narratives of authenticity, visibility, and embodiment are negotiated when the body is digitally performed and disseminated. This dissertation argues that ultimately, the way the body and the image operate within digital body positivity does not significantly distance the practice from the cultural formations it attempts to combat; Instead, it proposes a radical body positive to open up productive possibilities for representing embodiment in the digital age

JACK

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Inspiration

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