Respiratory and non-respiratory sinus arrhythmia: implications for heart rate variability

The quantity of blood arriving at the left side of the heart oscillates throughout the breathing cycle due to the mechanics of breathing. Neurally regulated fluctuations in the length of the heart period act to dampen oscillations of the left ventricular stroke volume entering the aorta. We have reported that stroke volume oscillations but not spectral frequency variability stroke volume measures can be used to estimate the breathing frequency. This study investigated with the same recordings whether heart period oscillations or spectral heart rate variability measures could function as estimators of breathing frequency. Continuous 270 s cardiovascular recordings were obtained from 22 healthy adult volunteers in the supine and upright postures. Breathing was recorded simultaneously. Breathing frequency and heart period oscillation frequency were calculated manually, while heart rate variability spectral maximums were obtained using heart rate variability software. These estimates were compared to the breathing frequency using the Bland–Altman agreement procedure. Estimates were required to be \±10% (95% levels of agreement). The 95% levels of agreement measures for the heart period oscillation frequency (supine: -27.7 to 52.0%, upright: -37.8 to 45.9%) and the heart rate variability spectral maximum estimates (supine: -48.7 to 26.5% and -56.4 to 62.7%, upright: -37.8 to 39.3%) exceeded 10%. Multiple heart period oscillations were observed to occur during breathing cycles. Both respiratory and non-respiratory sinus arrhythmia was observed amongst healthy adults. This observation at least partly explains why heart period parameters and heart rate variability parameters are not reliable estimators of breathing frequency. In determining the validity of spectral heart rate variability measurements we suggest that it is the position of the spectral peaks and not the breathing

Landscapes of the invisible: sounds, cosmologies and poetics of space

In this PhD by Publication I revisit and contextualize art works and essays I have collaboratively created under the name Flow Motion between 2004-13, in order to generate new insights on the contributions they have made to diverse and emerging fields of contemporary arts practice/research, including digital, virtual, sonic and interdisciplinary art. The works discussed comprise the digital multimedia installation and sound art performance Astro Black Morphologies/Astro Dub Morphologies (2004-5), the sound installation and performance Invisible (2006-7), the web art archive and performance presentation project promised lands (2008-10), and two related texts, Astro Black Morphologies: Music and Science Lovers (2004) and Music and Migration (2013). I show how these works map new thematic constellations around questions of space and diaspora, music and cosmology, invisibility and spectrality, the body and perception. I also show how the works generate new connections between and across contemporary avant-garde, experimental and popular music, and visual art and cinema traditions. I describe the methodological design, approaches and processes through which the works were produced, with an emphasis on transversality, deconstruction and contemporary black music forms as key tools in my collaborative artistic and textual practice. I discuss how, through the development of methods of data translation and transformation, and distinctive visual approaches for the re-elaboration of archival material, the works produced multiple readings of scientific narratives, digital X-ray data derived from astronomical research on black holes and dark energy, and musical, photographic and textual material related to historical and contemporary accounts of migration. I also elaborate on the relation between difference and repetition, the concepts of multiplicity and translation, and the processes of collective creation which characterize my/Flow Motion’s work. The art works and essays I engage with in this commentary produce an idea of contemporary art as the result of a fluid, open and mutating assemblage of diverse and hybrid methods and mediums, and as an embodiment of a cross-cultural, transversal and transdisciplinary knowledge shaped by research, process, creative dialogues, collaborative practice and collective signature.