Effect of six weeks of dura disc and mini-trampoline balance training on postural sway in athletes with functional ankle instability

Lateral ankle sprain (LAS) is one of the most common injuries incurred during sporting activities, and effective rehabilitation programs for this condition are challenging to develop. The purpose of this research was to compare the effect of 6 weeks of balance training on either a mini-trampoline or a dura disc on postural sway and to determine if the mini-trampoline or the dura disc is more effective in improving postural sway. Twenty subjects (11 men, 9 women) with a mean age of 25.4 ± 4.2 years were randomly allocated into a control group, a dura disc training (DT) group, or a mini-trampoline (MT) group. Subjects completed 6 weeks of balance training. Postural sway was measured by subjects performing a single limb stance on a force plate. The disbursement of the center of pressure was obtained from the force plate in the medial-lateral and the anterior-posterior sway path and was subsequently used for pretest and posttest analysis. After the 6-week training intervention, there was a significant (p < 0.05) difference in postural sway between pre- and posttesting for both the MT (pretest = 56.8 ± 20.5 mm, posttest = 33.3 ± 8.5 mm) and DT (pretest = 41.3 ± 2.6 mm, posttest = 27.2 ± 4.8 mm) groups. There was no significant (p > 0.05) difference detected for improvements between the MT and DT groups. These results indicate that not only is the mini-trampoline an effective tool for improving balance after LAS, but it is equally as effective as the dura disc.

Circle: orbital commutation

In exercising vision we employ strategies to perceive space and to distinguish the objects of attention. Some processes however remain invisible to us; how we process binocular vision; and how we resolve vision in motion. This work images invisible motion perspective. Revelation of invisible mechanisms of vision exposes the haptic qualities of sight and their contribution to proprioception and ʻaffordanceʼ. Figuring the ʻvortex of visionʼ also releases symbolic and metaphoric potentials. This innovative outcome of practical research develops imagery which depicts relative movement in space using the principles of motion perspective (Herschel) and optic flow (J. J. Gibson); the locative awareness of volumes in space through the dimensions of time and space presented in 2D imagery. The mural scale (3.5 metres) work presented in 'Circle', a group show of work around the idea of 'the circle' curated by Melinda Capp is derived from a large production of digital photographs made in the London Underground. In this work, the circle is associated with the orbit of the commuter which bends around the twin poles of home and employment, work and rest, circulating in an ellipse around the Ideal Life. Each traveller's path is a braid woven through gyrations of force and resistance. Optic flow, emulated with the rotating lens, tracing the moving subject, makes this visible.

Examining the dissociative basis for body image disturbances

Although dissociative symptoms have been linked with both food- and appearance-related aspects of eating disorders, the psychological mechanisms underlying these relationships remain unclear. The present study evaluated the hypothesis that the disturbances of self-identity attributed to dissociation can manifest as disturbances of body image and, in turn, undermine body-specific self-evaluations relevant to disordered eating (i.e., body comparison, body dissatisfaction, and internalization of the thin ideal). Ninety-three female university students completed self-report measures of dissociation and body-related aspects of disordered eating. In addition, the method of constant stimuli was used to experimentally derive three measures of body image disturbance: (1) accuracy of body size estimations (body image distortion), (2) ability to discriminate between different body sizes (body image sensitivity), and (3) consistency in one’s body size estimations (body image variability). The findings show that dissociation is related to symptoms of disordered eating, and that these relationships may be mediated by body image instability. Collectively, these findings support the notion that the body image attitudes and behaviours that characterize eating disorders may derive from proprioceptive deficits due to dissociation.

High volume versus low volume balance training on postural sway in adults with previous ankle inversion injury

Balance training is commonly used in the rehabilitation process of ankle injuries; however, the exercise prescription guidelines for prescribing balance training are poorly understood. The aim of the present study was to determine if high or low volume balance training is more effective in improving postural sway after an 8 week balance training program utilising the same exercises. Seventeen subjects (14 male, 3 female) with a mean age of 24.06 ± 5.6 years were randomly allocated into a control group (CG), low volume training (LVT) or high volume training (HVT). All subjects had sustained at least two inversion ankle injuries within the last 18 months. Subjects completed 8 weeks of balance training of up to 30 mins duration, 3 times per week. LVT consisted of 40 repetitions for week 1, progressing to 90 repetitions by week 8. HVT consisted of 60 repetitions for week 1, progressing to 130 repetitions by week 8. The maximum centre of pressure (COP) excursion was obtained from the porce plate in the medial-lateral (ML) direction and subsequently used for pre-test and post-test analysis. After the 8 week training intervention, there was a significant (P<0.001) difference in postural sway between pre and post testing for both the LVT (pre = 88.69mm ± 25.08mm, post = 72.17mm ± 27.53mm) and HVT (pre = 77.47mm ±10.57mm, post = 58.54mm ± 7.01mm) groups. There was no significant (P>0.01) difference detected for improvements between the LVT and HVT, however reported effect sizes (ES) showed large effect size chances in the high volume training (ES = 1.7) whereas low volume training showed medium effect sizes changes (ES = 0.6). This preliminary study demonstrates the importance of training volume in the rehabilitation of ankle injuries, with the HVT being superior to LVT.

Evanescent

Exhibition of original artworks created in 2013. Evanescent is a new series produced in 2013 which premiered at the Castlemaine State Festival 15-24 March 2013. The series revisits a childhood delight and fascination with the projected image and the natural world. For me then, as it is now, a magnifying glass was a wonder; its simple optics twisted light into abstract comas and sci-fi aberrations; able to compact a whole view into a luminous, paradoxically inverted phantom that could fit literally into the palm of my hand. By curling fingers and thumb around the lens and cupping both hands around the elusive rays, and by peering into the space in which I had trapped them, I fancied that I had entered into the secret workings of the eye. Chrysalis, for example, appears as a scenic projection from a hand-held lens and simultaneously as the litter of the forest floor. It is produced with a makeshift camera-obscura. The nebulous silhouettes of trees, some blurred under the passing clouds of a summer wind resolve here and there into crisp lines curled across the surface of a fallen leaf on which a moth chrysalis adheres. The leaf assumes Brobdingnagian proportions and thickness as the evanescent image shrinks and is foreshortened then dissolves in the enlarged dust and grit. It manifests the unique sight anchored at this fixed point, to reveal what we might see if we were to become vegetable or mineral. Near and far, large and small, superimpose, trigonometrically exact in their adjacency and spatial relations, presenting us with a located point of view.Why? I want to understand more intimately the interior of the natural landscape, rather than any ‘scene’ of human presence, or the context of any cultural landmark. In the steep, bush locations in which I am making these images, my means are necessarily makeshift; my camera and an old manual-aperture lens able to be carried in a backpack with a black T-shirt as a 'dark-tent'. The project is not systematic but intuitive and responsive to prevailing conditions and the effect on the projection caused by sun, shade, weather and situation. I am guided by the response of objects, textures and surfaces to the projected image and how they modulate and map it. This is landscape, but not from a human point of view.