Influence of posture on the range of axial rotation and coupled lateral flexion of the thoracic spine

Objective
This study examines the influence of posture on the range of axial rotation of the thorax and the range and direction of the coupled lateral flexion.

Methods
The ranges of mid thoracic axial rotation and coupled lateral flexion were measured in 52 asymptomatic subjects (aged 18-43 years) using an optical motion analysis system. To examine the influence of posture on primary and coupled motion, we initiated axial rotation from a neutral sitting posture and from end-range thoracic flexion and extension.

Results
There was a significant decrease in the range of thoracic rotation in flexion compared with the neutral and extended postures (P < .001). The mean range of coupled lateral flexion was 8.9% of the axial rotation range in the neutral posture and increased to 14.3% and 23.2% in the extended and flexed postures, respectively. Patterns of coupled motion varied between subjects, but an ipsilateral pattern was more common in the flexed posture, whereas a contralateral pattern was more common in the neutral and extended postures.

Conclusions
The ranges and patterns of coupled motion of the thorax appear to be strongly influenced by the posture from which the movement is initiated. This has important implications in relation to the interpretation of clinical tests of thoracic motion and in consideration of mechanisms of development of thoracic pain disorders.

Postural neck pain : an investigation of habitual sitting posture, perception of 'good' posture and cervicothoracic kinaesthesia

Impairments of cervico-cephalic kinaesthesia and habitual forward head posture have been considered important in the aetiology of postural neck pain, yet these factors have not been specifically examined in a homogeneous clinical population. The objective of this study was to compare the habitual sitting posture (HSP), perception of good posture and postural repositioning error (PRE) of the cervico-thoracic (CT) spine in individuals with postural neck pain, with a matched group of asymptomatic subjects. Twenty-one subjects with postural neck pain and 22 asymptomatic control subjects were recruited into the study. An optical motion analysis system was used to measure the HSP and perceived ‘good’ sitting posture. PRE was measured over six trials where the subject attempted to replicate their self-selected ‘good’ posture. There was no difference between the groups in the HSP but significant differences were identified in the perception of ‘good’ posture. Posture repositioning error was higher for the head posture variables than for CT and shoulder girdle variables in both groups. However, there was no significant difference in posture repositioning error between groups for any of the posture measures. The findings suggest that individuals with postural neck pain may have a different perception of ‘good’ posture, but no significant difference in HSP or kinaesthetic sensibility compared with matched asymptomatic subjects.

Choreotopography

Choreotopography is the result of a collaboration between the Melbourne Ballet Company and Deakin University's Motion.Lab. It is a ballet performance that uses 3D and interactive technology, requiring the aduience to wear 3D glasses.

A full body musculoskeletal model based on flexible multibody simulation approach utilised in bone strain analysis during human locomotion

Load-induced strains applied to bone can stimulate its development and adaptation. In order to quantify the incident strains within the skeleton, in vivo implementation of strain gauges on the surfaces of bone is typically used. However, in vivo strain measurements require invasive methodology that is challenging and limited to certain regions of superficial bones only such as the anterior surface of the tibia. Based on our previous study [Al Nazer et al. (2008) J Biomech. 41:1036–1043], an alternative numerical approach to analyse in vivo strains based on the flexible multibody simulation approach was proposed. The purpose of this study was to extend the idea of using the flexible multibody approach in the analysis of bone strains during physical activity through integrating the magnetic resonance imaging (MRI) technique within the framework. In order to investigate the reliability and validity of the proposed approach, a three-dimensional full body musculoskeletal model with a flexible tibia was used as a demonstration example. The model was used in a forward dynamics simulation in order to predict the tibial strains during walking on a level exercise. The flexible tibial model was developed using the actual geometry of human tibia, which was obtained from three-dimensional reconstruction of MRI. Motion capture data obtained from walking at constant velocity were used to drive the model during the inverse dynamics simulation in order to teach the muscles to reproduce the motion in the forward dynamics simulation. Based on the agreement between the literature-based in vivo strain measurements and the simulated strain results, it can be concluded that the flexible multibody approach enables reasonable predictions of bone strain in response to dynamic loading. The information obtained from the present approach can be useful in clinical applications including devising exercises to prevent bone fragility or to accelerate fracture healing.

Capturing dance and choroetopography : analyzing and visualizing complexity

 Motion capture provides 'snapshots' of the complexity of movement patterning.  This presentation explores how this complexity can be mapped to specific variables for analysis, and what such analyses both reveal and mask in relation to the choreographic practices involved, drawing on my three-year collaboration with mathematician Vicky Mak-Hau and biomechanist Richard Smith at the Deakin Motion.Lab in Melbourne, Australia.  The paper explores how these analyses can potentially drive creative processes in dance, and, through a discussion of performance project Choreotopography, how real-time motion capture can visualize and enhance spatial pathways using 3D stereoscopic projection.

Choreotopography (Remix)

This performance demonstrates the possibilities offered by new media and digital technology. Combining exceptional performers, live motion capture and stereoscopic projection, the dancers, choreographers, and interactive media artists extend themselves into space, transporting the audience to new environments. Motion capture markers on the performers' bodies connect their movement to the digital graphics which surround them, while the stereoscopic projection enlarges the performance space well beyond the physical dimensions of the stage.

Iterations

This performance demonstrates the possibilities offered by new media and digital technology. Combining exceptional performers, live motion capture and stereoscopic projection, the dancers, choreographers, and interactive media artists extend themselves into space, transporting the audience to new environments. Motion capture markers on the performers' bodies connect their movement to the digital graphics which surround them, while the stereoscopic projection enlarges the performance space well beyond the physical dimensions of the stage.

FacadeUnity

FacadeUnity is an artistic software environment developed during a residency at Ars Electronica Futurelab (Linz, Austria) and supported by the Australia Council. It allows a dancer in a motion capture system to choreograph the facade lighting of the Ars Electronica building in realtime creating a dance-driven kinetic architecture.

Pre-visualization techniques with live lensing system enhances workflow for interactive performance creation.

Vincs & Divers, with dancer Steph Hutchinson, present a new system for real-time previsualization in Motion Builder that enables choreographers and artists making interactive 3D work to make on-the-fly lensing decisions. Using motion capture to drive a ‘character’ created from a cloth simulation in real time, the presentation highlights the advantage of live lensing for interactive work-flow in creating 3D dance visualizations. This work forms part of Vincs’ ARC Discovery project ‘Building innovative capacity in Australian dance through new visualization technologies’ (DP120101695).

NEST

Indigenous choreographer Monica Stevens, dancer Rheannan Port and lead researcher Kim Vincs present motion capture visualization of indigenous dance movements for Stevens’ work NEST. This work forms part of Vincs’ ARC Discovery Project Capturing Dance: using motion capture to enhance the creation of innovative Australian dance(DP0987101).

Proceedings of the 2009 R-research seminar

The Deakin Motion.Lab was excited to have Scott deLahunta and Wayne McGregor from Wayne McGregorIRandom Dance visit in late July 2009.

Scott deLahunta is the director of R-Research, the research arm of Wayne McGregor|Random Dance based in London. McGregor is a multi-award winning, world renowned contemporary dance choreographer, and along with directing his own company, is also resident choreographer at The Royal Ballet in London.

Together with Deakin Motion.Lab's Kim Vincs, deLahunta and McGregor gave a public presentation of their research, their philosophies, and the future of dance and technology, focussing specifically on the use of motion capture.

Scott deLahunta's visit was supported by the British Council, the Australian Research Council Discovery Program (DP0987101). Thanks also to Random Dance, to R-Research Seminar co-presenter Dancehouse and to the Australian Ballet who supported Wayne McGregor's visit to Australia.

Multiverse

This performance showing demonstrated the integration of 3D stereographic scenography and game engine technology within a dance work by major Australian choreographer (Garry Stewart) and company (Australian Dance Theatre). The audience included major Australian arts festival and venue presenters. The work is an outcome of ARC Discovery DP120101695 Building innovative capacity in Australian dance through new visualization technologies, Vincs sole CI, and the collaboration with Garry Stewart, one of Australia's most successful and well known contemporary dance choreographers, and Australian Dance Theatre, one of Australia's major contemporary dance companies, demonstrates the industry impact and engagement of the research.

Integrating kinect and haptics for interactive STEM education in local and distributed environments

Skill shortage is a realistic social problem that Australia is currently facing, especially in the fields of Science, Technology, Engineering and Mathematics (STEM). Various approaches have been proposed to soften this issue. By now the most successful approach is to attract pre-university youth and university freshmen into those fields before they make a decision on future subjects by introducing them with interactive, modifiable and inspiring virtual environments, which incorporates most essential knowledge of STEM. We propose to design a comprehensive virtual reality platform with immersive interactions, pluggable components and flexible configurations. It also involves haptics, motion capture and gesture recognition, and could be deployed in both local and distributed environments. The platform utilizes off the shelf low cost haptics and motion capture products, however the fidelity can be maintained at a good level. The proposed platform has been implemented with different configurations and has been tested on a group of users. Preliminary test results show that the interactivity, flexibility and fidelity of the platform are highly appreciated by users. User surveys also indicate that the proposed platform could help pre-university students and university freshmen build an overview of various aspects of STEM education. Besides, users are also positive on the fact that the platform enabled them to identify the challenges for higher education in STEM by providing them opportunities to interactively modify system configurations and instantly experience the corresponding results both visually and haptically.