The effects of a pre-movement delay on the kinematics of prehension in middle childhood

The present study examined the effects of a pre-movement delay on the kinematics of prehension in middle childhood. Twenty-five children between the ages of 5 and 11 years made visually open-loop reaches to two different sized objects at two different distances along the midline. Reaches took place either (i) immediately, or (ii) 2 s after the occlusion of the stimulus. In all age groups, reaches following the pre-movement delay were characterised by longer movement durations, lower peak velocities, larger peak grip apertures and longer time spent in the final slow phase of the movement. This pattern of results suggests that the representations that control the transport and grasp component are affected similarly by delay, and is consistent with the results previously reported for adults. Such representations therefore appear to develop before the age of 5. (C) 2004 Elsevier B.V. All rights reserved.

Effects of utterance length on lip kinematics in aphasia

Most existing models of language production and speech motor control do not explicitly address how language requirements affect speech motor functions, as these domains are usually treated as separate and independent from one another. This investigation compared lip movements during bilabial closure between five individuals with mild aphasia and five age and gender-matched control speakers when the linguistic characteristics of the stimuli were varied by increasing the number of syllables. Upper and lower lip movement data were collected for mono-, bi- and tri-syllabic nonword sequences using an AG 100 EMMA system. Each task was performed under both normal and fast rate conditions. Single articulator kinematic parameters (peak velocity, amplitude, duration,and cyclic spatio-temporal index) were measured to characterize lip movements. Results revealed that compared to control speakers, individuals with aphasia showed significantly longer movement duration and lower movement stability for longer items (bi- and tri-syllables). Moreover, utterance length affected the lip kinematics, in that the monosyllables had smaller peak velocities, smaller amplitudes and shorter durations compared to bi- and trisyllables, and movement stability was lowest for the trisyllables. In addition, the rate-induced changes (smaller amplitude and shorter duration with increased rate) were most prominent for the short items (i.e., monosyllables). These findings provide further support for the notion that linguistic changes have an impact on the characteristics of speech movements, and that individuals with aphasia are more affected by such changes than control speakers.

Speech-like and non-speech lip kinematics and coordination in aphasia

Background and aims: In addition to the well-known linguistic processing impairments in aphasia, oro-motor skills and articulatory implementation of speech segments are reported to be compromised to some degree in most types of aphasia. This study aimed to identify differences in the characteristics and coordination of lip movements in the production of a bilabial closure gesture between speech-like and nonspeech tasks in individuals with aphasia and healthy control subjects. Method and procedure: Upper and lower lip movement data were collected for a speech-like and a nonspeech task using an AG 100 EMMA system from five individuals with aphasia and five age and gender matched control subjects. Each task was produced at two rate conditions (normal and fast), and in a familiar and a less-familiar manner. Single articulator kinematic parameters (peak velocity, amplitude, duration, and cyclic spatio-temporal index) and multi-articulator coordination indices (average relative phase and variability of relative phase) were measured to characterize lip movements. Outcome and results: The results showed that when the two lips had similar task goals (bilabial closure) in speech-like versus nonspeech task, kinematic and coordination characteristics were not found to be different. However, when changes in rate were imposed on the bilabial gesture, only speech-like task showed functional adaptations, indicated by a greater decrease in amplitude and duration at fast rates. In terms of group differences, individuals with aphasia showed smaller amplitudes and longer movement durations for upper lip, higher spatio-temporal variability for both lips, and higher variability in lip coordination than the control speakers. Rate was an important factor in distinguishing the two groups, and individuals with aphasia were limited in implementing the rate changes. Conclusion and implications: The findings support the notion of subtle but robust differences in motor control characteristics between individuals with aphasia and the control participants, even in the context of producing bilabial closing gestures for a relatively simple speech-like task. The findings also highlight the functional differences between speech-like and nonspeech tasks, despite a common movement coordination goal for bilabial closure.

To eat or not to eat? Kinematics and muscle activity of reach-to-grasp movements are influenced by the action goal, but observers do not detect these differences

Recent evidence suggests that the mirror neuron system responds to the goals of actions, even when the end of the movement is hidden from view. To investigate whether this predictive ability might be based on the detection of early differences between actions with different outcomes, we used electromyography (EMG) and motion tracking to assess whether two actions with different goals (grasp to eat and grasp to place) differed from each other in their initial reaching phases. In a second experiment, we then tested whether observers could detect early differences and predict the outcome of these movements, based on seeing only part of the actions. Experiment 1 revealed early kinematic differences between the two movements, with grasp-to-eat movements characterised by an earlier peak acceleration, and different grasp position, compared to grasp-to-place movements. There were also significant differences in forearm muscle activity in the reaching phase of the two actions. The behavioural data arising from Experiments 2a and 2b indicated that observers are not able to predict whether an object is going to be brought to the mouth or placed until after the grasp has been completed. This suggests that the early kinematic differences are either not visible to observers, or that they are not used to predict the end-goals of actions. These data are discussed in the context of the mirror neuron system

Space, authenticity and utopia in the hip-hop teen dance film

The dance film flourished in the 2000s in the form of the hip-hop teen dance film. Such films as Save the Last Dance (Thomas Carter, 2001), Honey (Billy Woodruff, 2002) and Step Up (Anne Fletcher, 2006) drew on hip-hop’s dominance of the mainstream music industry and combined the teen film’s pre-existing social problem and musical narratives. Yet various tension were created by their interweaving of representations of post-industrial city youth with the utopian sensibilities of the classical Hollywood musical. Their narratives celebrated hip-hop performance, and depicted dance’s ability to bridge cultural boundaries and bring together couples and communities. These films used hip-hop to define space and identity yet often constructed divisions within their soundscapes, limiting hip-hop’s expressive potential. This article explores the cycle’s celebration of, yet struggle with, hip-hop through examining select films’ interactions between soundscape, narrative and form. It will engage with these films’ attempts to marry the representational, narrative and aesthetic meanings of hip-hop culture with the form and ideologies of the musical genre, particularly the tensions and continuities that arise from their engagement with the genre’s utopian qualities identified by Richard Dyer (1985). Yet whilst these films illustrate the tensions and challenges of combining hip-hop culture and the musical genre, they also demonstrate an effective integration of hip-hop soundscape and the dancing body in their depiction of dance, highlighting both form’s aesthetics of layering, rupture and flow (Rose, 1994: 22).

Ontogenetic Changes in the Bell Morphology and Kinematics and Swimming Behavior of Rowing Medusae: the Special Case of the Limnomedusa Liriope tetraphylla

Swimming animals may experience significant changes in the Reynolds number (Re) of their surrounding fluid flows throughout ontogeny. Many medusae experience Re environments with significant viscous forces as small juveniles but inertially dominated Re environments as adults. These different environments may affect their propulsive strategies. In particular, rowing, a propulsive strategy with ecological advantages for large adults, may be constrained by viscosity for small juvenile medusae. We examined changes in the bell morphology and swimming kinematics of the limnomedusa Liriope tetraphylla at different stages of development. L. tetraphylla maintained an oblate bell (fineness ratio approximate to 0.5-0.6), large velar aperture ratio (R(v) approximate to 0.5-0.8), and rapid bell kinematics throughout development. These traits enabled it to use rowing propulsion at all stages except the very smallest sizes observed (diameter = 0.14 cm). During the juvenile stage, very rapid bell kinematics served to increase Re sufficiently for rowing propulsion. Other taxa that use rowing propulsion as adults, such as leptomedusae and scyphomedusae, typically utilize different propulsive strategies as small juveniles to function in low Re environments. We compared the performance values of the different propulsive modes observed among juvenile medusae.

A corpus approach to discursive constructions of a hip-hop identity

This chapter is an analysis of a 100,000-word corpus consisting of message-board postings on hip-hop websites. A discourse analysis of this corpus reveals three strategies employed by the posters to identify themselves as members of the hip-hop community in the otherwise anonymous setting of the internet: (1) defined openings and closings, (2) repeated use of slang and taboo terms, and (3) performance of verbal art. Each strategy is characterized by the codification of non-standard grammar and pronunciations characteristic of speech, as well as by the use of non-standard orthography. The purpose of the discourse is shown to be a performance of identity, whereby language is used and recognized as the discursive construction of one’s hip-hop identity.

The fall descriptions and health characteristics of older adults with hip fracture : a mixed methods study

Background: In light of the multifactorial etiology of fall-related hip fracture, knowledge of fall circumstances may be especially valuable when placed in the context of the health of the person who falls. We aimed to investigate the circumstances surrounding fall-related hip fractures and to describe fall circumstances in relation to participants' health and functional characteristics. Methods: The fall circumstances of 125 individuals (age >= 50 years) with hip fracture were investigated using semi-structured interviews. Data concerning participants' health (comorbidities and medications) and function (self-reported performance of mobility, balance, personal activities of daily living and physical activity, previous falls and hand grip strength) were collected via medical records, questionnaires and dynamometry. Using a mixed methods design, both data sets were analysed separately and then merged in order to provide a comprehensive description of fall events and identify eventual patterns in the data. Results: Fall circumstances were described as i) Activity at the time of the fall: Positional change (n = 24, 19%); Standing (n = 16, 13%); Walking (n = 71, 57%); Balance challenging (n = 14, 11%) and ii) Nature of the fall: Environmental (n = 32, 26%); Physiological (n = 35, 28%); Activity-related indoor (n = 8, 6%) and outdoor (n = 8, 6%); Trips and slips on snow (n = 20, 16%) and in snow-free conditions (n = 12, 10%) and Unknown (n = 10, 8%). We observed the following patterns regarding fall circumstances and participants' health: those who fell i) during positional change had the poorest functional status; ii) due to environmental reasons (indoors) had moderate physical function, but high levels of comorbidity and fall risk increasing medications; iii) in snow-free environments (outdoors) appeared to have a poorer health and functional status than other outdoor groups. Conclusions: Our findings indicate that patterns exist in relation to the falls circumstances and health characteristics of people with hip fracture which build upon that previously reported. These patterns, when verified, can provide useful information as to the ways in which fall prevention strategies can be tailored to individuals of varying levels of health and function who are at risk for falls and hip fracture.

Hip hop sul : um espaço televisivo de formação e atuação musical

O presente trabalho investigou o programa televisivo Hip Hop Sul, veiculado pela TV Educativa do Rio Grande do Sul, e a sua relação com os músicos que dele participam, buscando entender as funções sócio-musicais e as experiências de formação e atuação musical que o programa desempenha. As técnicas utilizadas na coleta de dados foram a entrevista semi-estruturada, observações e acompanhamento da rotina de trabalho dos produtores do programa e registros em fotografias digitais e em audiovisuais da atuação dos grupos de rap e da produção do programa. A investigação foi desenvolvida na perspectiva dos estudos culturais (Wolf, 1995) e a análise dos dados foi feita com base no método de análise televisiva de Casetti e Chio (1998). O trabalho fundamenta-se na perspectiva da televisão como mediadora de conhecimentos musicais, (Fischer, 1997, 2000a, 2000b; Kraemer, 2000; Nanni, 2000 e Souza, 2000), a partir dos quais foram evidenciados os aspectos musicais formativos e atuantes presentes no Hip Hop Sul. Os aspectos abordados referem-se as experiências musicais dos grupos de rap como telespectadores e participantes do programa. Os resultados dessa pesquisa mostram que para esses grupos, ver a si mesmo ou sentir-se representados na televisão, significa existir, ter uma identidade e sair do anonimato. Estar na televisão é, portanto, uma experiência que modifica o ser e o fazer musical.

Hip-Hop : educabilidades e traços culturais em movimento

Este é um estudo dos elementos e das atividades culturais do Movimento Hip-hop tomadas como saberes e como processos de aprendizagens trans-escolares, enquanto ações sociais potencializadoras de outras educabilidades e traços culturais. É um estudo de outros conhecimentos e modos de ser humanos que se fazem com, a partir e para além dos espaçostempos tradicionalmente conhecidos como pedagógicos e que se constituem dentro de um movimento constante dos seus sujeitos em busca de saberes. Na medida que foi possível perceber e vivenciar alguns fluxos de sentidos nesta rede de educabilidades, eu procurei compreendê-las como produções dialógicas de saberes e organizá-las, segundo sua natureza e tendências evolutivas, dentro de três campos complexos. A estes campos, construídos a partir de uma reflexão aberta, resolvi dar o nome de expressivo-identitário, ético-estético e sóciopolítico. Esta abordagem facilitou a organização dos registros desta pesquisa e vem se construindo como um instrumento flexível, não definitivo, mas bastante próprio à leitura, à análise e à compreensão de vários traços e elementos culturais que constituem o Movimento Hip-hop. Além disso, ajuda a pensar aspectos diversos de um dos principais objetivos deste estudo que é a revelação de outros sentidos destas educabilidades, elevando-as a um patamar de maior importância enquanto ações sociais formadoras e transformadoras dos jovens e das suas realidades localizadas em diferentes periferias urbanas, especialmente de Santa Cruz do Sul - RS. A realização deste trabalho vem fazendo parte da minha trajetória de educador por diferentes inserções diretas em espaços-tempos de expressão da cultura hip-hop, bem como pelo diálogo possível com diferentes grupos e sujeitos que nesta cultura descobrem, problematizam, recriam e assumem suas identidades. O desejo mais forte, a vontade mais latente nesta ação investigativa é construir referências para novos caminhos de ensinoaprendizagem no contexto social mais amplo e complexo, como é o caso do Movimento Hiphop. Em outras palavras, trato de apresentar alguns passos possíveis para uma observação educativa que não deixa de estar vinculada à busca de sentidos em torno de alguns aspectos dos elementos culturais do Movimento Hip-hop, trazendo um pouco da sua história e das suas metodologias constitutivas como caminhos possíveis e como novas perturbações e desafios para a academia. Para tanto, procuro repensar estes modos de ser e de fazer da cultura que forma e que informa o hip-hop no contexto social aberto, como instâncias e ferramentas que ampliam o nosso esforço de educadoras e educadores em reorganizar a escola – seus sujeitos, processos e estruturas do ensino-aprendizagem formais. Assim, as perspectivas e desafios decorrentes deste estudo apontam para algumas metodologias de construção e para certas características dos diferentes sujeitos e práticas culturais que integram o Movimento Hip-hop – mutabilidades, recursividades, dialogicidades, vivências, midiaticidades, autopoiesis, perturbações, transitoriedades, apropriações, territorialidades – como principais contribuições ao nosso trabalho coletivo, feliz-doloroso e inevitável de reconstruir a escola e a educação que vivemos hoje.

Modeling upper eyelid kinematics during spontaneous and reflex blinks

Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq)