An inertial sensor-based protocol for spinal range of motion measurements

To develop a protocol for assessing spinal range of motion using an inertial sensor device. The baseline error of an inertial sensor was assessed using a bicycle wheel. Nineteen healthy subjects (12 females and 7 males, average age 18.2 ± 0.6 years) were then prospectively enrolled in a study to assess the reliability of an inertial sensor-based method for assessing spinal motion. Three raters each took three measurements of subjects’ flexion/extension, right and left bending, and right and left rotation. Afterwards, one trial from each set of measurements was excluded. Correlations and the ICC (3,1) were used to assess intra-rater reliability, and ICC (3,2) was used to assess inter-rater reliability of the protocol. The baseline error of the sensor was 1.45°. Correlation and ICC (3,1) values for the protocol all exceeded 0.888, indicating high intra-rater reliability. ICC (3,2) values for the protocol exceed 0.87, indicating high inter-rater reliability. Our study presents both a paradigm for assessing the baseline error of inertial sensors and a protocol for assessing motion of the spine using an inertial sensing device.

SUSPENSION LARGE SPAN ROOFS STRUCTURES IN RUSSIA

Сonsidered are large-span structures with suspended roof structures with a span of up to 200 m, erected in Russia over the past 40 years. Among them, there are differen types of structures for covering sports facilities: cablestayed systems, structures of the "bicycle wheel" type, combined systems, thin-sheet metal hanging shells, etc. The main technical characteristics of structures, principles of operation of structures, their advantages and disadvantages are given. The development of technologies in recent decades has determined the emergence of new forms, materials, design and construction methods. Unique large-span structures have an increased level of responsibility; their collapse can lead to severe economic and social consequences. In this regard, it is relevant to analyze the experience in the design and construction of large-span suspended structures.

Journalists’ creative process in newswork: A Grounded theory study from the Philippines

Creativity in journalism has always been a challenging concept. Journalism has not often been seen as creative due to its structured conventions. In response, a few journalism scholars claim there is creativity in journalism. However, no studies reveal a creative process in journalistic writing. This grounded theory research from the Philippines revealed a creative process of journalists ( n = 20): A Bicycle Wheel of Journalists’ Creative Process in Newswork. This model sees journalists undergo the phases of cognizance, cultivation, captivation, and introspection in their efforts to be creative. Motivation and experience, plus their work environments, even contextualize these creativity-related efforts of journalists. Understanding this journalistic creative process will help practitioners and editors aspire for high journalistic standards and write engaging stories that are of public interest, and that are also relevant and significant.

THE PROPERTY OF KNOWLEDGE

We can note three phases in the tradition of the readymade and appropriation since Duchamp’s Bicycle Wheel of 1913. First, they include early enactments in which the readymade posed an onto- logical challenge to artworks through the equation of commodity and art object. Second, practices in which readymades were de- ployed semantically as lexical elements within a sculpture, paint- ing, installation or projection. In a third phase, which most directly encompasses the global, the appropriation of objects, images, and other forms of content challenges sovereignty over the cultural and economic value linked to things that emerge from particular cultural properties ranging from Aboriginal painting in Australia to the ap- propriation of Mao’s cult of personality in 1990s China. This essay considers the most recent phase of the readymade in terms of its century-long history.

CONNECTING THREADS: DUCHAMP’S READYMADES AND LARGE GLASS PROJECT IN CONTEXT, 1913—14

In 1963 Duchamp described his vertical installation of three Readymades at the Pasadena Art Museum as “readymade talk of what goes on in the Large Glass.” Elsewhere, he spoke of the Readymades as “vehicles for unloading ideas,” and during the years 1912-15 his mind was filled with ideas as he invented the “playful physics” for his techno-scientific allegory of quest, The Bride Stripped Bare by Her Bachelors, Even [The Large Glass] (1915-23). This essay argues that the “ideas” being unloaded in the Readymades were rooted in his extensive study of contemporary science and technology as well as the biographical experience of his stay at Herne Bay on the English seacoast during August 1913. Readymades addressed include the Bicycle Wheel, With Hidden Noise, Paris Air, and Fresh Widow. Central themes include string or thread, traced from his preoccupation with tennis during his holiday, and the impact of the electrical spectacle of the illuminated Pier Pavilion at Herne Bay.