Determination of a Total Body Model of Efficiency Applied to a Rowing Movement in Humans

Efficiency represents the ratio of work done to energy expended. In human movement, it is desirable to maximise the work done or minimise the energy expenditure. Whilst research has examined the efficiency of human movement for the lower and upper body, there is a paucity of research which considers the efficiency of a total body movement. Rowing is a movement which encompasses all parts of the body to generate locomotion and is a useful modality to measure total body efficiency. It was the aim of this research to develop a total body model of efficiency and explore how skill level of participants and assumptions of the modelling process affected the efficiency estimates Three studies were used to develop and evaluate the efficiency model. Firstly, the efficiency of ten healthy males was established using rowing, cycling and arm cranking. The model included internal work from motion capture and efficiency estimates were comparable to published literature, indicating the suitability of the model to estimate efficiency. Secondly, the model was developed to include a multi-segmented trunk and twelve novice and twelve skilled participants were assessed for efficiency. Whilst the efficiency estimates were similar to published results, novice participants were assessed as more efficient. Issues such as the unique physiology of trained rowers and a lack of energy transfers in the model were considered contributing factors. Finally the model was redeveloped to account for energy transfers, where skilled participants had higher efficiency at large workloads. This work presents a novel model for estimating efficiency during a rowing motion. The specific inclusion of energy transfers expands previous knowledge of internal work and efficiency, demonstrating a need to include energy transfers in the assessment of efficiency of a total body action.

Bodily Experience and Restricted Conditions in Contemporary Art

The Doctoral research was carried out with the primary purpose of reviewing past practice designs and for identifying how body movements contributes to these designs. The context in which the body movements are understood are that of discipline enforced by culture and other physio-biological restraints. A discussion on the relationships of body experience in restricted conditions are carried out, which includes the interaction between movement and space in the application of painting, moulding, biological markers, and moving images. The discipline, socially acceptable practices and regulations present in the researcher’s personal life and culture frame the artworks and a fascinating exploration of dynamics between freedom of movement in artwork construction and restrain of behaviour has been analyzed. In the process of art production, significant points discussed were with respect to the identification, succession and repetition of habitual acts. In addition, bodily movement could be considered as a synthesis of spatiality and temporality. The key point which contains the elements of time and space remains relevant to my creative practice and theoretical research. The core interest of my practice is in understanding the settings and simple rules for bodily movement, which is inspired by the past and forms a possible creation for the future. In this research, the attempt was not to display a comprehensive understanding on how body influences the design of art but rather to explain how understanding body movements provides a trace of my works, from origin, the working process and to completion. Relevant artworks and reflection of personal experiences are discussed as needed to help the reader gain more insight on the interactions of body in art creations.