Adaptations architecturales du tissu osseux en réponse à l'exercice physique : intérêts et limites des méthodes non invasives utilisées chez l'homme

Aim
The purpose of this paper is to give an overview of the imaging techniques that are currently used to study the effects of exercise on bone architecture.

Current knowledge
It is now widely accepted that the prevention of osteoporosis must be initiated in childhood, because the immature skeleton is more responsive to physical loading. Exercise recommendations for bone health promotion must consider the effects of loading not only on the more traditional measures of bone mineral content and macroarchitecture, but also on the microarchitecture and structural properties of the skeleton. The latter requires high precision 3D methods like quantitative computed tomography and magnetic resonance imaging.

Prospects
Imaging resolutions used most commonly in exercise studies of children have sufficient precision to assess bone density and gross geometry. However, they remain insufficient to clearly depict and quantify the trabecular bone microarchitecture in vivo in humans.

Work

WORK functions as both performance and document. It demonstrates some of what training-practice within a hybrid arts practice might be and performatively places into action an investigation into solo work and multi art form collaboration.

WORK

Steph Hutchison's solo WORK is fuelled by an interest in pushing the body to its physical limit. A hybrid performance, interweaving dance, circus arts, improvisation, sports and theatre, WORK is inspired by the physical journey of Julie Moss. In 1982, Julie Moss competed in her first Ironman without ever completing the total distance before. What began as a lark became a struggle for survival and a test of human will. Each time she felt like quitting, she thought it was her 'ego trying to self-sabotage,' but her real self was 'that voice that said; "just keep moving forward. There is no limit." Hutchison explores the notion of dance as extreme sport and emphatically engages her body in rigorous physical practices. Her attention is to muscularity and the performance of effort, work and labour, to the point of physical exhaustion. Using circus apparatus such as tissu, rope and acrobatic mats, Steph pushes to and beyond the limits of her physical ability during the performance. In preparation for the show, she puts herself through intense bootcamp style training, classical and contemporary dance training and teaches herself new acrobatic tricks. Her aim is to push herself past exhaustion to another level.