Spinal circuits can accommodate interaction torques during multijoint limb movements

The dynamic interaction of limb segments during movements that involve multiple joints creates torques in one joint due to motion about another. Evidence shows that such interaction torques are taken into account during the planning or control of movement in humans. Two alternative hypotheses could explain the compensation of these dynamic torques. One involves the use of internal models to centrally compute predicted interaction torques and their explicit compensation through anticipatory adjustment of descending motor commands. The alternative, based on the equilibrium-point hypothesis, claims that descending signals can be simple and related to the desired movement kinematics only, while spinal feedback mechanisms are responsible for the appropriate creation and coordination of dynamic muscle forces. Partial supporting evidence exists in each case. However, until now no model has explicitly shown, in the case of the second hypothesis, whether peripheral feedback is really sufficient on its own for coordinating the motion of several joints while at the same time accommodating intersegmental interaction torques. Here we propose a minimal computational model to examine this question. Using a biomechanics simulation of a two-joint arm controlled by spinal neural circuitry, we show for the first time that it is indeed possible for the neuromusculoskeletal system to transform simple descending control signals into muscle activation patterns that accommodate interaction forces depending on their direction and magnitude. This is achieved without the aid of any central predictive signal. Even though the model makes various simplifications and abstractions compared to the complexities involved in the control of human arm movements, the finding lends plausibility to the hypothesis that some multijoint movements can in principle be controlled even in the absence of internal models of intersegmental dynamics or learned compensatory motor signals.

Physiological modules for generating discrete and rhythmic movements: action identification by a dynamic recurrent neural network

In this study we employed a dynamic recurrent neural network (DRNN) in a novel fashion to reveal characteristics of control modules underlying the generation of muscle activations when drawing figures with the outstretched arm. We asked healthy human subjects to perform four different figure-eight movements in each of two workspaces (frontal plane and sagittal plane). We then trained a DRNN to predict the movement of the wrist from information in the EMG signals from seven different muscles. We trained different instances of the same network on a single movement direction, on all four movement directions in a single movement plane, or on all eight possible movement patterns and looked at the ability of the DRNN to generalize and predict movements for trials that were not included in the training set. Within a single movement plane, a DRNN trained on one movement direction was not able to predict movements of the hand for trials in the other three directions, but a DRNN trained simultaneously on all four movement directions could generalize across movement directions within the same plane. Similarly, the DRNN was able to reproduce the kinematics of the hand for both movement planes, but only if it was trained on examples performed in each one. As we will discuss, these results indicate that there are important dynamical constraints on the mapping of EMG to hand movement that depend on both the time sequence of the movement and on the anatomical constraints of the musculoskeletal system. In a second step, we injected EMG signals constructed from different synergies derived by the PCA in order to identify the mechanical significance of each of these components. From these results, one can surmise that discrete-rhythmic movements may be constructed from three different fundamental modules, one regulating the co-activation of all muscles over the time span of the movement and two others elliciting patterns of reciprocal activation operating in orthogonal directions.

Physiological modules for generating discrete and rhythmic movements: Component analysis of EMG signals

A central question in Neuroscience is that of how the nervous system generates the spatiotemporal commands needed to realize complex gestures, such as handwriting. A key postulate is that the central nervous system (CNS) builds up complex movements from a set of simpler motor primitives or control modules. In this study we examined the control modules underlying the generation of muscle activations when performing different types of movement: discrete, point-to-point movements in eight different directions and continuous figure-eight movements in both the normal, upright orientation and rotated 90 degrees. To test for the effects of biomechanical constraints, movements were performed in the frontal-parallel or sagittal planes, corresponding to two different nominal flexion/abduction postures of the shoulder. In all cases we measured limb kinematics and surface electromyographic activity (EMB) signals for seven different muscles acting around the shoulder. We first performed principal component analysis (PCA) of the EMG signals on a movement-by-movement basis. We found a surprisingly consistent pattern of muscle groupings across movement types and movement planes, although we could detect systematic differences between the PCs derived from movements performed in each sholder posture and between the principal components associated with the different orientations of the figure. Unexpectedly we found no systematic differences between the figute eights and the point-to-point movements. The first three principal components could be associated with a general co-contraction of all seven muscles plus two patterns of reciprocal activatoin. From these results, we surmise that both "discrete-rhythmic movements" such as the figure eight, and discrete point-to-point movement may be constructed from three different fundamental modules, one regulating the impedance of the limb over the time span of the movement and two others operating to generate movement, one aligned with the vertical and the other aligned with the horizontal.

Da impossibilidade da lucidez: a dissolução do Século XX em O arco-íris da gravidade, de Thomas Pynchon

Esta tese analisa a relação entre a ficcionalização da História Moderna e o desenvolvimento de uma ética da vida cotidiana no romance O arco-íris da gravidade, do norte-americano Thomas Pynchon. Para a sua análise e interpretação, será desenvolvido, no primeiro capítulo, um aporte teórico-metodológico que coteje a complexidade formal da narrativa (que dificulta a sua síntese temática) para se estabelecer, a partir daí, as condições de possibilidade de detecção de núcleos temáticos recorrentes que, numa rede de interconexões não-concêntrica ou dispersiva , perspectivizam no romance uma totalização fraturada do sistema-mundo moderno e contemporâneo. No segundo capítulo a ficcionalização do século XX é apresentada em suas configurações metafísica e intra-mundana, e no capítulo final são analisadas as condições que ela impõe para a formação, dentro do real ficcional, de rotinas e modos de vida eticamente positivos

Learning to perceive in the sensor motor approach: Piaget's theory of equilibration interpreted dynamically

Learning to perceive is faced with a classical paradox: if understanding is required for perception, how can we learn to perceive something new, something we do not yet understand? According to the sensorimotor approach, perception involves mastery of regular sensorimotor co-variations that depend on the agent and the environment, also known as the "laws" of sensorimotor contingencies (SMCs). In this sense, perception involves enacting relevant sensorimotor skills in each situation. It is important for this proposal that such skills can be learned and refined with experience and yet up to this date, the sensorimotor approach has had no explicit theory of perceptual learning. The situation is made more complex if we acknowledge the open-ended nature of human learning. In this paper we propose Piaget's theory of equilibration as a potential candidate to fulfill this role. This theory highlights the importance of intrinsic sensorimotor norms, in terms of the closure of sensorimotor schemes. It also explains how the equilibration of a sensorimotor organization faced with novelty or breakdowns proceeds by re-shaping pre-existing structures in coupling with dynamical regularities of the world. This way learning to perceive is guided by the equilibration of emerging forms of skillful coping with the world. We demonstrate the compatibility between Piaget's theory and the sensorimotor approach by providing a dynamical formalization of equilibration to give an explicit micro-genetic account of sensorimotor learning and, by extension, of how we learn to perceive. This allows us to draw important lessons in the form of general principles for open-ended sensorimotor learning, including the need for an intrinsic normative evaluation by the agent itself. We also explore implications of our micro-genetic account at the personal level.

From drawing board to dining table: the success story of the GIFT project

As compared to crops and livestock, the genetic enhancement of fish is in its infancy. While significant progress has been achieved in the genetic improvement of temperate fish such as salmonids, no efforts were made until the late 1980s for the genetic improvement of tropical finfish, which account for about 90 percent of global aquaculture production. This paper traces the history of the Genetic Improvement of Farmed Tilapia (GIFT) project initiated in 1988 by the WorldFish Center and its partners for the development of methods for genetic enhancement of tropical finfish using Nile tilapia (Oreochromis niloticus) as a test species. It also describes the impacts of the project on the adoption of these methods for other species and the dissemination of improved breeds in several countries in Asia and the Pacific.

O laboratório da Doutrina dos Nervos: autoria e autoridade em Thomas Willis

A presente pesquisa trata da análise da fundação da Neurologia. A maioria das obras que abordam o assunto a partir de uma perspectiva histórica, sobretudo, aquelas que privilegiam uma visão positivista, para a qual a investigação caminharia em direção a um ponto estático, tendem a alcançar o médico inglês seiscentista, Thomas Willis, como o inconteste precursor dessa já estabelecida especialidade médica. Nossa proposta é a de desconstruir essa ideia. A nosso ver, a historicidade do discurso científico estaria sempre em constante expansão e também em uma contínua transformação, pois diferentemente do ideal positivista, o instaurador do que Foucault designava como cientificidade não seria o descobridor de um objeto dado desde sempre, na medida em que seria enganoso supor uma história natural de um objeto cultural o objeto da história das ciências. Resta-nos, portanto, tentar compreender o sentido em que Willis funda o que ele mesmo denominava Doutrina dos Nervos. Entendemos que Willis instituiu um novo arquivo audiovisual, ou seja, uma nova articulação entre o visível e o enunciável, no que tange aos nervos. Propomos, enfim, que no horizonte da fundação a nova imbricação entre forma de representação e forma de vida emerge no mesmo processo em que Willis se consagra como um autor médico e cientista dos nervos.

Charles Henry Gilbert (1859-1928), Naturalist-in-Charge, and Chauncey Thomas, Jr. (1850-1919), Commanding: Conflict Aboard the U. S. Fish Commission Steamer Albatross in 1902

Charles Henry Gilbert (1859-1928) was a pioneering ichthyologist who made major contributions to the study of fishes of the American West. As chairman of the Department ofZoology at Leland Stanford Junior University in Palo Alto, Calif., during 1891-1925, Gilbert was extremely devoted to his work and showed little patience with those ofa different mindset. While serving as Naturalist-in-Charge of the U.S. Fish Commission Steamer Albatross during her exploratory expedition to the Hawaiian Islands in 1902, Gilbert engaged in an acrimonious feud with the ship's captain, Chauncey Thomas, Jr. (1850-1919), U.S.N., over what Gilbert perceived to be an inadequate effort by the captain. This essay focuses on the conflict between two strong figures, each operatingf rom different world views, and each vying for authority. Despite the difficulties these two men faced, the voyage of the Albatross in 1902 must be considered a success, as reflected by the extensive biological samples collected, the many new species of animals discovered, and the resulting publication of important scientific papers.

The Irwell. Story of an industrial river

This is the Irwell: Story of an industrial river document produced by the North West Water in 1979. This report is a leaflet format document. It focuses on the historical evolution of River Irwell, since it was “born” the river Irwell, about three hundred million years ago when shallow seas covered most of south east Lancashire and Europe to present years. It looks at Irwell’s pollution, highlighting the Irwell’s lower stretches were some of the region was the most polluted due to the population growth and establishment of industrial activities i.e. Lancashire’s great cotton industry, breach and dye works, paper mills, tanneries, chemical and gas works. Wastes from these industries were discharged directly to the river, together with crude sewage from an ever increasing population. However over the years the condition of the Irwell was gradually improved.

A vida do artista e a crise da modernidade: uma leitura de Morte em Veneza, de Thomas Mann

Este trabalho busca compreender os problemas enfrentados pelo artista burguês para o cultivo de sua alma sem diante do problema da crise da modernidade. Entre os séculos XIX e XX a autonomização do mundo e a fragmentação da cultura em duas esferas distintas objetiva e subjetiva tornaram a vida cotidiana uma perspectiva problemática para aqueles que desejavam atingir um nível elevado de suas almas. Nesse sentido, a obra Morte em Veneza (1912) de Thomas Mann conta a história de um artista Gustav Aschenbach que rejeita o mundo e seus sentimentos no intuito de explorar um ideal estético clássico e impossível de se articular com a realidade. A história narra a trajetória desse artista do momento em que decide deixar a Alemanha, seu país natal, rumo à Veneza, no intuito de recuperar-se da exaustão que o exercício do trabalho vocacionado lhe impõe. Mostraremos que Veneza assume, sob tal perspectiva, um papel de grande relevância, pois se relaciona de maneira direta ao ideal de vida do artista. E será em Veneza que Aschenbach encontrará na figura de um garoto a manifestação real de seus anseios idealísticos do belo. Tal encontro produzirá, no artista, um descontrole e uma anarquia de sentimentos que o levará diretamente ao abismo.