International differences in sport medicine access and clinical management

I undertook the 2012 ECOSEP travelling fellowship, sponsored by Bauerfeind, between May and August 2012, which involved visiting 5 European sport medicine centres and spending approximately one week in each centre. The 5 centres included: National Track and Field Centre, SEGAS, Thessaloniki, Greece; Professional School in Sport & Exercise Medicine, University of Barcelona, Spain; Sport Medicine Frankfurt Institute, Germany; Isokinetic Medical Group, FIFA Medical Centre of Excellence, Bologna, Italy, and Centre for Sports and Exercise Medicine, Barts and the London School of Medicine and Dentistry, Mile End Hospital, England. Throughout the fellowship, the clinical cases which were routinely encountered were documented. The following sections detail my experiences throughout the fellowship, the sports of the athletes and the injuries which were treated at each of the sport medicine centres during the fellowship visit and the different forms of management employed. © 2012, CIC Edizioni Internazionali

Exposición Internacional 1910. Buenos Aires.: Didactic leisure and international recognition

International exhibitions were greatly responsible for the modernization of western society. The motive for these events was based on the possibility of enhancing the country’s international status abroad. The genesis of world exhibitions came from the conviction that humanity as a whole would improve the continual flow of new practical applications, the development of modern communication techniques and the social need for a medium that could acquaint the general public with changes in technology, economy and society .
Since the first national industrial exhibitions in Paris during the eighteenth century and especially starting from the first Great Exhibition in London’s Hyde Park in 1851 these international events spread steadily all over Europe and the United States, to reach Latin America in the beginnings of the twentieth century . The work of professionals such as Daniel Burnham, Werner Hegemann and Elbert Peets made the relation between exhibitions and urban transformation a much more connected one, setting a precedent for subsequent exhibitions.
In Buenos Aires, the celebration of the centennial of independence from Spain in 1910 had many meanings and repercussions. A series of factors allowed for a moment of change in the city. Official optimism, economical progress, inequality and social conflict made of this a suitable time for transformation. With the organization of the Exposición Internacional the government had, among others, one specific aim: to achieve a network of visual tools to set the feeling of belonging and provide an identity for the mixture of cultures that populated the city of Buenos Aires at the time. Another important objective of the government was to put Buenos Aires at the level of European cities.
Foreign professionals had a great influence in the conceptual and factual shaping of the exhibition and in the subsequent changes caused in the urban condition. The exhibition had an important role in the ways of thinking the city and in the leisure ideas it introduced. The exhibition, as a didactic tool, worked as a precedent for conceiving leisure spaces in the future. Urban and landscape planners such as Joseph Bouvard and Charles Thays were instrumental in great part of the design of the Exhibition, but it was not only the architects and designers who shaped the identity of the fair. Other visitors such as Jules Huret or Georges Clemenceau were responsible for giving the city an international image it did not previously have.
This paper will explore on the one hand the significance of the exhibition of 1910 for the shaping of the city and its image; and on the other hand, the role of foreign professionals and the reach these influences had.

International inter-school competition to encourage children to walk to school: a mixed methods feasibility study.

Background: Active travel to school can be an important contributor to the total physical activity of children but levels have declined and more novel approaches are required to stimulate this as an habitual behaviour. The aim of this mixed methods study was to investigate the feasibility of an international walk to school competition supported by novel swipecard technology to increase children's walking to/from school. Methods: Children aged 9-13 years old participated in an international walk to school competition to win points for themselves, their school and their country over a 4-week period. Walks to and from school were recorded using swipecard technology and a bespoke website. For each point earned by participants, 1 pence (£0.01) was donated to the charity of the school's choice. The primary outcome was number of walks to/from school objectively recorded using the swipecard tracking system over the intervention period. Other measures included attitudes towards walking collected at baseline and week 4 (post-intervention). A qualitative sub-study involving focus groups with children, parents and teachers provided further insight. Results: A total of 3817 children (mean age 11.5±SD 0.7) from 12 schools in three cities (London and Reading, England and Vancouver, Canada) took part in the intervention, representing a 95% intervention participation rate. Results show a gradual decline in the average number of children walking to and from school over the 4-week period (week 1 mean 29%±SD2.5; week 2 mean 18%±SD3.6; week 3 mean 14%±SD4.0; week 4 mean 12%±SD1.1). Post intervention, 97% of children felt that walking to school helped them stay healthy, feel happy (81%) and stay alert in class (76%). These results are supported by qualitative findings from children, parents and teachers. Key areas for improvement include the need to incorporate strategies for maintenance of behaviour change into the intervention and also to adopt novel methods of data collection to increase follow-up rates. Conclusions: This mixed methods study suggests that an international walk to school competition using innovative technology can be feasibly implemented and offers a novel way of engaging schools and motivating children to walk to school.

The anticipatory space of the bunker, modernity’s dark mirror

The buried and semi-buried bunker, bulwark since the early eighteenth century against increasingly sophisticated forms of ordnance, emerged in increasing number in Europe throughout the twentieth century across a series of scales from the household Anderson shelter to the vast infrastructural works of the Maginot and Siegfried lines, or the Atlantic Wall. Its latest proliferation took place during the Cold War. From these perspectives, it is as emblematic of modernity as the department store, the great exhibition, the skyscraper or the machine-inspired domestic space advocated by Le Corbusier. It also represents the obverse, or perhaps a parodic iteration, of the preoccupations of early architectural modernism: a vast underground international style, cast in millions of tons of thick, reinforced concrete retaining walls, whose spatial relationship to the landscape above was strictly mediated through the periscope, the loop-hole, the range finder and the strategic necessity to both resist and facilitate the technologies and scopic regimes of weaponry. Embarking from Bunker Archaeology, this paper critically uncoils Paul Virillo’s observation, that once physically eclipsed in its topographical and technical settings, the bunker’s efficacy would mutate to other domains, retaining and remaking its meaning in another topology during the Cold War. ‘The essence of the new fortress’ he writes ‘is elsewhere, underfoot, invisible from here on in’. Shaped by this impulse, this paper seeks to render visible the bunker’s significance in a wider milieu and, in doing so, excavate some of the relationships between the physical artefact, its implications and its enduring metaphorical and perceptual ghosts.

'When I Land in Islamabad I Feel Home and When I Land in Heathrow I Feel Home': Gendered Belonging and Diasporic Identities of South Asian British Citizens in London, in Leicester and in North England

According to Deleuze and Guattari (1987) ‘de-territorialization’ is followed by a moment of re-territorialization. This moment, however, has to be regarded as a continuing educational process that becomes a different spatial site of social practices. It is argued in this chapter that regional, local as well as global identification override national and mono-ethno cultural identities, while shaping particular notions of gendered belonging and creating specific diasporic practices. Based on a sample of interviews with professional and academic South Asian British citizens in London, in Leicester, and in a number of Northern English cities gendered and generational patterns in terms of local diasporic identities are explored. Apart from multiple cultural belonging, foremost, territorial bonds and notions of group loyalty collapse at a point where temporary migration and settlement alternate in individual biographies.

Oramics: Atlantis Anew

A moving image work co-commissioned by the Science Museum (London), with extensive unprecedented access to the Oramics archive at Goldsmiths College and the Science Museum. Conceived of as an Artist's film in homage to Daphne Oram, the pioneer of British Electronic Music and co-founder of the BBC Radiophonic workshop in 1958, the film features a close-up encounter with her unique invention, the Oramics Machine, housed at the Science Museum in London. Oram used drawn sound principles to compose ‘handwrought' electronic music, and yet the visual nature of her work remains largely unseen and unsung. Exhibitions: ‘Oramics to Electronica’ Science Museum (London 2011-14); solo exhibition as part of the International Rotterdam Film Festival (2013); group exhibition ‘The Sight of Sound’, Deutsche Bank VIP Lounge, Frieze Art Fair, NY (2012); ‘Samsung Art+ Prize’ BFI Southbank, London (2012). Screenings: mini-retrospective at the Lincoln Centre, NY, as part of the New York Film Festival (2013); Jarman Award Tour screenings (2012, venues included Whitechapel Gallery, London; FACT, Liverpool; CCA, Glasgow; The Northern Charter in partnership with CIRCA projects; Nottingham Contemporary, Nottingham; Watershed, Bristol; Duke of York Cinema, Brighton); Mini-retrospective screening and in conversation with Lis Rhodes, Tate Britain (London 2014); Mini-retrospective screening, DIM Cinema, The Cinematheque (Vancouver 2015); Mini-retrospective at Whitechapel Gallery (London 2016).

Sound Seam

A moving image work based on research with neurologists and audiologists, collectors and archivists. The film gives voice to the idea that every surface, in particular parts of our anatomy, is potentially inscribed with an unheard sound or echoes of voices from the past. The soundtrack’s musical composition is interlaced with a voice-over which draws on Rainer Maria Rilke’s text 'Primal Sound', where he reflects on the possibility of playing the coronal suture of a skull with a phonograph needle. The film uses microscopic photography, scanning electron microscopy, and sounds of otoacoustic emissions to uncover haunting aural bonescapes. The voiceovers too are recorded using old sound technology as a filter - writing and over-writing of wax cylinder to create unexpected scratches, glitches, loops and echoes. Exhibitions: shown as multi-channel sound/film installation AV festival (Newcastle 2010); solo exhibition at Wellcome Collection (London 2010-11); group exhibition ‘Samsung Art+ Prize’ BFI Southbank (London 2012); group exhibition ‘Transcendence’, Gertrude Contemporary, Melbourne (2014); solo exhibition as part of the International Rotterdam Film Festival (2013); group exhibition ‘The Sight of Sound’, Deutsche Bank VIP Lounge, Frieze Art Fair, NY (2012). Screenings: mini-retrospective at the Lincoln Centre, NY, as part of the New York Film Festival (2013); Jarman Award Tour screenings (2012, venues included Whitechapel Gallery, London; FACT, Liverpool; CCA, Glasgow; The Northern Charter in partnership with CIRCA projects; Nottingham Contemporary, Nottingham; Watershed, Bristol; Duke of York Cinema, Brighton), Whitechapel Gallery, London; FACT, Liverpool; CCA, Glasgow; The Northern Charter in partnership with CIRCA projects, Newcastle (special Q&A Aura Satz with Rebecca Shatwell, director of AV festival); Nottingham Contemporary, Nottingham; Watershed, Bristol; Duke of York Cinema, Brighton; Mini-retrospective at Tate Britain (London 2014); Mini-retrospective screening, DIM Cinema, The Cinematheque (Vancouver 2015); Mini-retrospective at Whitechapel Gallery (London 2016). Publications: ‘Sound Seam’ booklet with contributions by Steven Connor and Tom McCarthy (2010).

Chromatic Aberration

Chromatic Aberration is a film installation which explores the early technologies of colour filmmaking drawn from the archives of George Eastman House, Rochester, New York. Featuring vibrant close-ups of eyes from fledgling archival experiments in colour film, Chromatic Aberration turns the cinematic lens in on itself: from the prosthetic recording eye of the camera, to an evocation of the abstract inner screen of one's eyelids. Early 1920s colour film footage - mainly tests shots featuring members of George Eastman's family as well as Hollywood stars of the time - is shot in such a way so as to reveal the inherent chromatic fringing, distortion and misalignment. Using specialist equipment at the BFI National Archive, London, the footage is reworked through the use of extreme close-up and magnification, honing in on the eyes. The installation evokes an imagined abstract colour world, a flickering eyelid trapped in a mechanical peephole. Exhibitions: Solo exhibition as film installation at Tyneside Cinema (Newcastle, Oct-Nov 2014); Solo exhibition at George Eastman Museum (Rochester, New York, Jan-April 2015), including a second work on display. Film festivals nominations for competitions: Winner of Best Vanguard Film Competition in Lima Independiente International Film Festival (Peru). Nominations: Filmadrid festival (Spain); Curtas Vila do Conde film festival (Portugal); Festival du Nouveau Cinema (Canada); Jihlava International Documentary Film Festival (Czech Republic ); International Film Festival Bratislava (Slovenia). Additional screenings at International Rotterdam Film Festival (Netherlands); European Media Art Festival (Germany); BFI London Film Festival (UK); Mini-retrospective screening at DIM CINEMA, The Cinematheque (Vancouver May 2015). Reviews and interviews in Artforum, The Wire Magazine, After Image, Studio International. Public lectures: with Prof. Sarah Street at Tyneside Cinema (Nov 2014); Royal Academy visiting public lecture (Nov 2014); ‘The Laughter of Things’ symposium, International Film Festival Rotterdam and Piet Zwart Institute (Jan 2015); George Eastman Museum and Rochester University (April 2015). Acquired by the George Eastman Museum for their collection.

Between the Bullet and the Hole

Between the Bullet and the Hole is a film centred on the elusive and complex effects of war on women's role in ballistic research and early computing. The film features new and archival high-speed bullet photography, schlieren and electric spark imagery, bullet sound wave imagery, forensic ballistic photography, slide rulers, punch cards, computer diagrams, and a soundtrack by Scanner. Like a frantic animation storyboard, it explores the flickering space between the frames, testing the perceptual mechanics of visual interpolation, the possibility of reading or deciphering the gap between before and after. Interpolation - the main task of the women studying ballistics in WW2 - is the construction or guessing of missing data using only two known data points. The film tries to unpack this gap, open it up to interrogation. It questions how we read, interpolate or construct the gaps between bullet and hole, perpetrator and victim, presence and absence. The project involves exchanges with specialists in this area such as the Cranfield University Forensics department, London-based Forensic Firearms consultancy, the Imperial War Museum, the ENIAC programmers project, the Smithsonian Institute, and Forensic Scientists at Palm Beach County Sheriff's Office (USA). Exhibitions: Solo exhibition at Dallas Contemporary (Texas, Jan-Mar 2016), including newly commissioned lenticular prints and a dual slide projector installation; Group exhibition the Sydney Biennale (Sydney, Mar-June 2016); UK premiere and solo retrospective screening at Whitechapel Gallery (London); forthcoming solo exhibition at Iliya Fridman Gallery (NY, Oct-Dec 2016); Film festivals and screenings: International Film Festival Rotterdam (Jan 2016); Whitechapel Gallery (London Feb 2016); Cornerhouse/Home (Manchester Nov 2016); Public lectures: Whitechapel Gallery with prof. David Alan Grier and Morgan Quaintance; Carriageworks (Sydney) Prof. Douglas Khan; Monash University (Melbourne); Gertrude Space (Melbourne). Reviews and interviews: Artforum, Studio International, Mousse Magazine.

A 30-Day-Ahead Forecast Model for Grass Pollen in North London, United Kingdom

A 30-day ahead forecast method has been developed for grass pollen at north London. The total period of the grass pollen season is covered by eight multiple regression models, each covering a 10-day period running consecutively from 21st May to 8th August. This means that three models were used for each 30-day forecast. The forecast models were produced using grass pollen and environmental data from 1961-1999 and tested on data from 2000 and 2002. Model accuracy was judged in two ways: the number of times the forecast model was able to successfully predict the severity (relative to the 1961-1999 dataset as a whole) of grass pollen counts in each of the eight forecast periods on a scale of one to four; and the number of times the forecast model was able to predict whether grass pollen counts were higher or lower than the mean. The models achieved 62.5% accuracy in both assessment years when predicting the relative severity of grass pollen counts on a scale of one to four, which equates to six of the eight 10-day periods being forecast correctly. The models attained 87.5% and 100% accuracy in 2000 and 2002 respectively when predicting whether grass pollen counts would be higher or lower than the mean. Attempting to predict pollen counts during distinct 10-day periods throughout the grass pollen season is a novel approach. The models also employed original methodology in the use of winter averages of the North Atlantic Oscillation to forecast 10-day means of allergenic pollen counts.

Comparing freight transport strategies and measures in London and Paris

The paper compares the approach being taken to freight transport strategy and the specific policy measures being implemented in London and Paris. It highlights the serious consideration that has been given to freight transport by the Mayors of London and Paris in the last five years. These freight policy considerations are taking place against a background of growing levels of road freight activity, energy use and pollutant emissions in both cities. The key freight transport objectives being followed in London and Paris are similar and focus on improving the efficiency and reliability of freight transport while reducing the negative environmental impacts that it causes. The specific freight transport policy measures being followed show some differences in each city. However, attempts to address problems related to loading and unloading are taking place in both, albeit through different specific initiatives. These policy initiatives have important implications for companies concerned with urban logistics operations.

London Wall

London Wall is a physical manifestation of the invisible city all around us; a poetic snapshot of social networking traffic from within a three-mile radius of the Museum of London. Over a ten-day period, publicly available status updates from popular websites like twitter and facebook will be selected then published as a vast array of A3 posters pasted onto a wall in the museum's foyer, revealing the idle mutterings of ourselves to ourselves as a form of concrete poetry. This commission is in the foyer and is part of relaunch the museums new galleries.