Academic literature on the topic 'Hip joint - Thesis'

SummaryA Helica short-stemmed femoral prosthesis that was identified as being loose one year after implantation was revised with a standard long stem cementless BFX femoral pros-thesis. A double pelvic osteotomy was also performed to improve the orientation of the stable acetabular cup. Despite complete resorption of the femoral neck, and a large perforation of the lateral femoral cortex, the revision stem did not subside or rotate. The prosthetic joint did not dislocate. At re-evaluation two years after revision surgery, the prosthetic components were stable. Signs of bone ingrowth into the stem and cup were evident on radiographs. The dog had a seven percent greater thigh muscle girth in the limb implanted with the hip prosthesis compared to the contralateral limb, and was very active with no lameness.

ABSTRACT Introduction: As skiers need to complete their movements in high mountains and snow, the athlete's landing's stability is directly related to the movement's success. The stable landing action wins high scores for the athletes’ participating actions and protects their safety. Objective: This article analyzes the characteristics of lower limb muscle strength and static balance ability of female freestyle skiing aerials athletes to provide athletes with targeted strength training, evaluation of muscle effects after training, and athlete selection to provide a scientific basis valuable Theoretical reference. Methods: The paper uses isokinetic testing and balance testing methods to study the characteristics of the hip and knee flexor and extensor strengths of the Chinese great female freestyle skiing aerials athletes and the static balance characteristics in four standing positions. Results: The right flexor-extensor force, flexor-extensor force ratio, and average power value of the right hip joint were slightly greater than the left flexor power. The left and right knee joint extensor unit peak weight moments and the left and right average power values were all four indicators. Greater than the flexor, at different test speeds of 60°/s (slow speed) and 240°/s (fast), the peak flexion and extension torque per unit weight, the average power of flexion and extension, the force of flexion and extension, and the average power appear with the increase of the test speed as a significant difference. Conclusions: The research in the thesis recommends reasonable weight control and balanced training of muscle strength, using the condition of moderately increasing exercise speed, to strengthen the training of lower limb extensor strength, provide targeted strength training for athletes, evaluate the muscle effect after training and providing the scientific basis and valuable theoretical reference. Level of evidence II; Therapeutic studies - investigation of treatment results.

Aim: Periprosthetic Joint Infection (PJI) is a rare but serious post-operative complication of hip replacement that often ends in complex implant revision and dramatically impacts the quality of life of the patient. Finally, costs associated with PJI significantly impact healthcare systems. Current research focuses on understanding the mechanisms of infection and identifying the risk factors related thereto. The objective of this study was to examine the potential impact of bearing materials on the incidence of infection in THA. Methods: Registries are a valuable tool to analyze large cohorts of THA patients and the influence of selected parameters on the clinical outcome of the surgeries. Data from THA patients recorded in the NJR, AOA and NZ registries were analyzed with respect to the incidence of infection. Material data and scientific publications were also reviewed to investigate if the incidence of PJI might be correlated with the specific bearing material used. Results: The use of metal bearings was consensually identified in all large patient cohorts as an independent risk factor for PJI. In contrast, using ceramic bearings was associated with a lower risk of revision for PJI.1 In vitro and ex vivo studies comparing the biological response to ceramic, metal and polyethylene materials are helpful to explain these findings. Metal exposure might activate the immune system and the released metal particles and ions might trigger adverse reactions with high inflammatory potential In contrast, extreme low wear ceramic bearings are well tolerated, show an excellent biological behavior 2,3,4,5,6 and might even support the wound healing process by initiating a healthy fibrotic pseudo-capsulation4. Furthermore, low wear is less likely to serve as a nidus for infection. Discussion and conclusion: Considering modifiable risk factors prior to THA is a key aspect for surgery success, implant longevity and patient satisfaction. Selecting a bearing material with enhanced biocompatibility like ceramics seems to have a measureable impact on the clinical outcomes. Favourable host-implant interactions might explain this observation. Literature: 1) Lenguerrand et al. Risk factors associated with revision for prosthetic joint infection after hip replacement: a prospective observational cohort study The Lancet, 2018DOI: https://doi.org/10.1016/S1473-3099(18)30345-1 2) Faye PA et al. Biomed Mater. 2017;12(1):015023 3) Cunningham BW et al. Journal of Neurosurgery: Spine. 2013;19(3):336-350 4) Savarino L et al. Acta Orthopaedica. 2009;80(2):162-167 5) Asif IM et al. Front. Bioeng. Biotechnol. Conference Abstract: 10th World Biomaterials Congress. doi: 10.3389/conf. FBIOE.2016.01.00793 6) Asif I M et al. Characterisation and Biological Impact of Wear Particles from Composite Ceramic Hip Replacements. PhD thesis, University of Leeds (2018). http://etheses.whiterose.ac.uk/20563/ 7) Pitto et al Are ceramic-on-ceramic bearings in total hip arthroplasty associated with reduced revision risk for late dislocation? Clin Orthop Relat Res. 2015;473(12):3790–3795. doi:10.1007/s11999-015-4395-6

Background: The vast majority of ACL injuries in adolescents occur during non-contact injuries, in particular single-leg landings. The magnitude of energy absorption about each joint during theses landings influences the internal and external forces acting on the joints of the lower extremity. Understanding the biomechanics of landing in adolescent male and female athletes may provide insight into these non-contact injury mechanisms. Hypothesis/Purpose: This study set out to identify sex-specific energy absorption strategies during single-leg landing and determine the relationship between joint strength and the observed strategies. To better represent real-world conditions, we developed a novel unanticipated drop-jump landing protocol for this population. Methods: Thirty-one healthy youth athletes completed unanticipated single-leg drop-jump landings on their dominant limb. Kinematics and lower-limb contributions to energy absorption were calculated over the landing phase for each jump. Independent t-tests as well as Mann-Whitney U tests determined the presence of statistical differences between sexes. Pearson and Spearman correlation coefficients determined the relationship between isometric joint strength and the observed kinematics and energy absorption. Results: Females participants absorbed a larger proportion of the landing forces at the ankle and smaller proportion at the hip compared to males. Females also reached larger peak negative joint power in their knee and ankle. Both hip extension and ankle plantar flexion strength were correlated with greater spine flexion and less pelvic flexion. Conclusion: Females adopted an energy absorption strategy which utilized distal joints to absorb a larger portion of the landing forces and tended to absorb the forces later relative to males. A greater reliance on the distal joints is related to reduced hip strength and may increase the risk for sustaining an ACL injury.

SummaryA six-year-old, female, spayed Labrador Retriever was evaluated for progressive lameness of one year duration, ending in non-weight-bearing of the right hindlimb. The dog had a history of severe coxarthrosis of both hip joints, and had a HELICA hip pros-thesis implanted in the right hip 18 months before. On survey radiographs, the acetabular and femoral components appeared unstable, with a large void in the proximal femur and a lacy periosteal reaction on the trochanter. Arthrocentesis was performed to rule out septic loosening. As culture samples were negative, the dog underwent surgery. We report the successful revision of an unstable HELICA screw hip prosthesis with a Zurich cementless total hip replacement. The patient had a good clinical and radiological outcome seven months postoperatively.

Abstract Introduction: Good scope of mobility within the junctions of the motor system means that people are not only efficient in doing their everyday activities but also that they are engaged in family, social and professional life. The aim of this thesis is the assessment of mobility of chest, spine and large joints of women living in social welfare homes of different standards. Material and methods: The research included the group of 124 women at the age of 60 - 89 who are residents of social welfare homes. The analyzed residents were divided into two groups according to age: 60-74 years old and 75-89 years old. Among the social welfare homes two kinds of institutions were differentiated. The first group is the institutions where women were offered additional programme of physical therapy - ‘good homes’. The second group is the institutions were rehabilitation is conducted only on basic level - ‘average homes’. The mobility of spine in cervical and lumbar sections was measured by Saunders digital inclinometer. Mobility of chest was measured . The measurement of the mobility of large joints was conducted by goniometer. Results: The female residents with extended programme of treatment show greater mobility of chest. Mobility of spine of tested women differs. The scope of mobility of large joints is better among the younger residents of good homes. Older women from good homes show greater mobility of hip joints. Conclusions: The research has shown that the expanded programme of occupational therapy and rehabilitation should be applied to all types of such institutions. This will bring not only greater independence of doing everyday activities but also it will improve the quality of life of elderly people.


 
 
 Samurai and Chinese martial arts themes inspire and permeate the uniquely philosophical lyrics and beats of Wu-Tang Clan, a New York-based hip-hop collective made popular in the mid-nineties with their debut album Enter the Wu-Tang: Return of the 36 Chambers. Original founder RZA (“Rizza”) scored his first full-length motion-picture soundtrack and made his feature film debut with Ghost Dog: The Way of the Samurai (Jim Jarmusch, 2000). Through a critical exploration of the film’s musical filter, it will be argued that RZA’s aesthetic vision effectively deterritorialises the figure of the samurai, according to which the samurai “change[s] in nature and connect[s] with other multiplicities” (Deleuze and Guattari, 9). The soundtrack consequently emancipates and redistributes the idea of the samurai from within the dynamic context of a fundamentally different aesthetic intensity, which the Wu-Tang has always hoped to communicate, that is to say, an aesthetics of adaptation or of what is called in hip-hop music more generally: an aesthetics of flow. At the center of Jarmusch’s film is a fundamental opposition between the sober asceticism and deeply coded lifestyle of Ghost Dog and the supple, revolutionary, itinerant hip-hop beats that flow behind it and beneath it, and which serve at once as philosophical foil and as alternate foundation to the film’s themes and message. Ghost Dog: The Way of the Samurai tells the story of Ghost Dog (Forest Whitaker), a deadly and flawlessly precise contract killer for a small-time contemporary New York organised crime family. He lives his life in a late 20th-century urban America according to the strict tenets of the 18th century text Hagakure, which relates the principles of the Japanese Bushido (literally, the “way of the warrior,” but more often defined and translated as the “code of the samurai”). Others have noted the way in which Ghost Dog not only fails as an adaptation of the samurai genre but thematises this very failure insofar as the film depicts a samurai’s unsuccessful struggle to adapt in a corrupt and fractured postmodern, post-industrial reality (Lanzagorta, par. 4, 9; Otomo, 35-8). If there is any hope at all for these adaptations (Ghost Dog is himself an example), it lies, according to some, in the singular, outmoded integrity of his nostalgia, which despite the abstract jouissance or satisfaction it makes available, is nevertheless blank and empty (Otomo, 36-7). Interestingly, in his groundbreaking book Spectacular Vernaculars, and with specific reference to hip-hop, Russell Potter suggests that where a Eurocentric postmodernism posits a lack of meaning and collapse of value and authority, a black postmodernism that is neither singular nor nostalgic is prepared to emerge (6-9). And as I will argue there are more concrete adaptive strategies at work in the film, strategies that point well beyond the film to popular culture more generally. These are anti-nostalgic strategies of possibility and escape that have everything to do with the way in which hip-hop as soundtrack enables Ghost Dog in his becoming-samurai, a process by which a deterritorialised subject and musical flow fuse to produce a hybrid adaptation and identity. But hip-hip not only makes possible such a becoming, it also constitutes a potentially liberating adaptation of the past and of otherness that infuses the film with a very different but still concrete jouissance. At the root of Ghost Dog is a conflict between what Deleuze and Guattari call state and nomad authority, between the code that prohibits adaptation and its willful betrayer. The state apparatus, according to Deleuze and Guattari, is the quintessential form of interiority. The state nourishes itself through the appropriation, the bringing into its interior, of all that over which it exerts its control, and especially over those nomadic elements that constantly threaten to escape (Deleuze and Guattari, 380-7). In Ghost Dog, the code or state-form functions throughout the film as an omnipresent source of centralisation, authorisation and organisation. It is attested to in the intensely stratified urban environment in which Ghost Dog lives, a complicated and forbidding network of streets, tracks, rails, alleys, cemeteries, tenement blocks, freeways, and shipping yards, all of which serve to hem Ghost Dog in. And as race is highlighted in the film, it, too, must be included among the many ways in which characters are always already contained. What encounters with racism in the film suggest is the operative presence of a plurality of racial and cultural codes; the strict segregation of races and cultures in the film and the animosity which binds them in opposition reflect a racial stratification that mirrors the stratified topography of the cityscape. Most important, perhaps, is the way in which Bushido itself functions, at least in part, as code, as well as the way in which the form of the historical samurai in legend and reality circumscribes not only Ghost Dog’s existence but the very possibility of the samurai and the samurai film as such. On the one hand, Bushido attests to the absolute of religion, or as Deleuze and Guattari describe it: “a center that repels the obscure … essentially a horizon that encompasses” and which forms a “bond”, “pact”, or “alliance” between subject/culture and the all-encompassing embrace of its deity: in this case, the state-form which sanctions samurai existence (382-3). On the other hand, but in the same vein, the advent of Bushido, and in particular the Hagakure text to which Ghost Dog turns for meaning and guidance, coincides historically with the emergence of the modern Japanese state, or put another way, with the eclipse of the very culture it sponsors. In fact, samurai history as a whole can be viewed to some extent as a process of historical containment by which the state-form gradually encompassed those nomadic warring elements at the heart of early samurai existence. This is the socio-historical context of Bushido, insofar as it represents the codification of the samurai subject and the stratification of samurai culture under the pressures of modernisation and the spread of global capitalism. It is a social and historical context marked by the power of a bourgeoning military, political and economic organisation, and by policies of restraint, centralisation and sedentariness. Moreover, the local and contemporary manifestations of this social and historical context are revealed in many of the elements that permeate not only the traditional samurai films of Kurosawa, Mizoguchi or Kobayashi, but modern adaptations of the genre as well, which tend to convey a nostalgic mourning for this loss, or more precisely, for this failure to adapt. Thus the filmic atmosphere of Ghost Dog is dominated by the negative qualities of inaction, nonviolence and sobriety, and whether these are taken to express the sterility and impotence of postmodern existence or the emptiness of a nostalgia for an unbroken and heroic past, these qualities point squarely towards the transience of culture and towards the impossibility of adaptation and survival. Ghost Dog is a reluctant assassin, and the inherently violent nature of his task is always deflected. In the same way, most of Ghost Dog’s speech in the film is delivered through his soundless readings of the Hagakure, silent and austere moments that mirror as well the creeping, sterile atmosphere in which most of the film’s action takes place. It is an atmosphere of interiority that points not only towards the stratified environment which restricts possibility and expressivity but also squarely towards the meaning of Bushido as code. But this atmosphere meets resistance. For the samurai is above all a man of war, and, as Deleuze and Guattari suggest, “the man of war [that is to say, the nomad] is always committing an offence against” the State (383). In Ghost Dog, for all the ways in which Ghost Dog’s experience is stratified by the Bushido as code and by the post-industrial urban reality in which he lives and moves, the film shows equally the extent to which these strata or codes are undermined by nomadic forces that trace “lines of flight” and escape (Deleuze and Guattari, 423). Clearly it is the film’s soundtrack, and thus, too, the aesthetic intensities of the flow in hip-hop music, which both constitute and facilitate this escape: We have an APB on an MC killer Looks like the work of a master … Merciless like a terrorist Hard to capture the flow Changes like a chameleon (“Da Mystery of Chessboxin,” Enter) Herein lies the significance of (and difference between) the meaning of Bushido as code and as way, a problem of adaptation and translation which clearly reflects the central conflict of the film. A way is always a way out, the very essence of escape, and it always facilitates the breaking away from a code. Deleuze and Guattari describe the nomad as problematic, hydraulic, inseparable from flow and heterogeneity; nomad elements, as those elements which the State is incapable of drawing into its interior, are said to remain exterior and excessive to it (361-2). It is thus significant that the interiority of Ghost Dog’s readings from the Hagakure and the ferocious exteriority of the soundtrack, which along with the Japanese text helps narrate the tale, reflect the same relationship that frames the state and nomad models. The Hagakure is not only read in silence by the protagonist throughout the film, but the Hagakure also figures prominently inside the diegetic world of the film as a visual element, whereas the soundtrack, whether it is functioning diegetically or non-diegetically, is by its very nature outside the narrative space of the film, effectively escaping it. For Deleuze and Guattari, musical expression is inseparable from a process of becoming, and, in fact, it is fair to say that the jouissance of the film is supplied wholly by the soundtrack insofar as it deterritorialises the conventional language of the genre, takes it outside of itself, and then reinvests it through updated musical flows that facilitate Ghost Dog’s becoming-samurai. In this way, too, the soundtrack expresses the violence and action that the plot carefully avoids and thus intimately relates the extreme interiority of the protagonist to an outside, a nomadic exterior that forecloses any possibility of nostalgia but which suggests rather a tactics of metamorphosis and immediacy, a sublime deterritorialisation that involves music becoming-world and world becoming-music. Throughout the film, the appearance of the nomad is accompanied, even announced, by the onset of a hip-hop musical flow, always cinematically represented by Ghost Dog’s traversing the city streets or by lengthy tracking shots of a passenger pigeon in flight, both of which, to take just two examples, testify to purely nomadic concepts: not only to the sheer smoothness of open sky-space and flight with its techno-spiritual connotations, but also to invisible, inherited pathways that cross the stratified heart of the city undetected and untraceable. Embodied as it is in the Ghost Dog soundtrack, and grounded in what I have chosen to call an aesthetics of flow, hip-hop is no arbitrary force in the film; it is rather both the adaptive medium through which Ghost Dog and the samurai genre are redeemed and the very expression of this adaptation. Deleuze and Guattari write: The necessity of not having control over language, of being a foreigner in one’s own tongue, in order to draw speech to oneself and ‘bring something incomprehensible into the world.’ Such is the form of exteriority … that forms a war machine. (378) Nowhere else do Deleuze and Guattari more clearly outline the affinities that bind their notion of the nomad and the form of exteriority that is essential to it with the politics of language, cultural difference and authenticity which so color theories of race and critical analyses of hip-hop music and culture. And thus the key to hip-hop’s adaptive power lies in its spontaneity and in its bringing into the world of something incomprehensible and unanticipated. If the code in Ghost Dog is depicted as nonviolent, striated, interior, singular, austere and measured, then the flow in hip-hop and in the music of the Wu-Tang that informs Ghost Dog’s soundtrack is violent, fluid, exterior, variable, plural, playful and incalculable. The flow in hip-hop, as well as in Deleuze and Guattari’s work, is grounded in a kinetic linguistic spontaneity, variation and multiplicity. Its lyrical flow is a cascade of accelerating rhymes, the very speed and implausibility of which often creates a sort of catharsis in performers and spectators: I bomb atomically, Socrates’ philosophies and hypotheses can’t define how I be droppin’ these mockeries, lyrically perform armed robberies Flee with the lottery, possibly they spotted me Battle-scarred shogun, explosion. … (“Triumph”, Forever) Over and against the paradigm of the samurai, which as I have shown is connected with relations of content and interiority, the flow is attested to even more explicitly in the Wu-Tang’s embrace of the martial arts, kung-fu and Chinese cinematic traditions. And any understanding of the figure of the samurai in the contemporary hip-hop imagination must contend with the relationship of this figure to both the kung-fu fighting traditions and to kung-fu cinema, despite the fact that they constitute very different cultural and historical forms. I would, of course, argue that it is precisely this playful adaptation or literal deterritorialisation of otherwise geographically and culturally distinct realities that comprises the adaptive potential of hip-hop. Kung-fu, like hip-hop, is predicated on the exteriority of style. It is also a form of action based on precision and immediacy, on the fluid movements of the body itself deterritorialised as weapon, and thus it reiterates that blend of violence, speed and fluidity that grounds the hip-hop aesthetic: “I’ll defeat your rhyme in just four lines / Yeh, I’ll wax you and tax you and plus save time” (RZA and Norris, 211). Kung-fu lends itself to improvisation and to adaptability, essential qualities of combat and of lyrical flows in hip-hop music. For example, just as in kung-fu combat a fighter’s success is fundamentally determined by his ability to intuit and adapt to the style and skill and detailed movements of his adversary, the victory of a hip-hop MC engaged in, say, a freestyle battle will be determined by his capacity for improvising and adapting his own lyrical flow to counter and overcome his opponent’s. David Bordwell not only draws critical lines of difference between the Hong Kong and Hollywood action film but also hints at the striking differences between the “delirious kinetic exhilaration” of Hong Kong cinema and the “sober, attenuated, and grotesque expressivity” of the traditional Japanese samurai film (91-2). Moreover, Bordwell emphasises what the Wu-Tang Clan has always known and demonstrated: the sympathetic bond between kung-fu action or hand-to-hand martial arts combat and the flow in hip-hop music. Bordwell calls his kung-fu aesthetic “expressive amplification”, which communicates with the viewer through both a visual and physical intelligibility and which is described by Bordwell in terms of beats, exaggerations, and the “exchange and rhyming of gestures” (87). What is pointed to here are precisely those aspects of Hong Kong cinema that share essential similarities with hip-hop music as such and which permeate the Wu-Tang aesthetic and thus, too, challenge or redistribute the codified stillness and negativity that define the filmic atmosphere of Ghost Dog. Bordwell argues that Hong Kong cinema constitutes an aesthetics in action that “pushes beyond Western norms of restraint and plausibility,” and in light of my thesis, I would argue that it pushes beyond these same conventions in traditional Japanese cinema as well (86). Bruce Lee, too, in describing the difference between Chinese kung-fu and Japanese fighting forms in A Warrior’s Journey (Bruce Little, 2000) points to the latter’s regulatory principles of hesitation and segmentarity and to the former’s formlessness and shapelessness, describing kung-fu when properly practiced as “like water, it can flow or it can crash,” qualities which echo not only Bordwell’s description of the pause-burst-pause pattern of kung-fu cinema’s combat sequences but also the Wu-Tang Clan’s own self-conception as described by GZA (“Jizza”), a close relative of RZA and co-founder of the Wu-Tang Clan, when he is asked to explain the inspiration for the title of his album Liquid Swords: Actually, ‘Liquid Swords’ comes from a kung-fu flick. … But the title was just … perfect. I was like, ‘Legend of a Liquid Sword.’ Damn, this is my rhymes. This is how I’m spittin’ it. We say the tongue is symbolic of the sword anyway, you know, and when in motion it produces wind. That’s how you hear ‘wu’. … That’s the wind swinging from the sword. The ‘Tang’, that’s when it hits an object. Tang! That’s how it is with words. (RZA and Norris, 67) Thus do two competing styles animate the aesthetic dynamics of the film Ghost Dog: The Way of the Samurai: an aesthetic of codified arrest and restraint versus an aesthetic of nomadic resistance and escape. The former finds expression in the film in the form of the cultural and historical meanings of the samurai tradition, defined by negation and attenuated sobriety, and in the “blank parody” (Otomo, 35) of a postmodern nostalgia for an empty historical past exemplified in the appropriation of the Samurai theme and in the post-industrial prohibitions and stratifications of contemporary life and experience; the latter is attested to in the affirmative kinetic exhilaration of kung-fu style, immediacy and expressivity, and in the corresponding adaptive potential of a hip-hop musical flow, a distributive, productive, and anti-nostalgic becoming, the nomadic essence of which redeems the rhetoric of postmodern loss described by the film. References Bordwell, David. “Aesthetics in Action: Kungfu, Gunplay, and Cinematic Expressivity.” At Full Speed: Hong Kong Cinema in a Borderless World. Ed. and Trans. Esther Yau. Minneapolis: Minnesota UP, 2004. Bruce Lee: A Warrior’s Journey. Dir./Filmmaker John Little. Netflix DVD. Warner Home Video, 2000. Daidjo, Yuzan. Code of the Samurai. Trans. Thomas Cleary. Tuttle Martial Arts. Boston: Tuttle, 1999. Deleuze, Gilles, and Félix Guattari. A Thousand Plateaus. Trans. Brian Massumi. Minneapolis: Minnesota UP,1987. Forman, Murray, and Mark Anthony Neal, eds. That’s the Joint!: The Hip-Hop Studies Reader. New York: Routledge, 2004. Ghost Dog: The Way of the Samurai. Dir. Jim Jarmusch. Netflix DVD. Artisan, 2000. Hurst, G. Cameron III. Armed Martial Arts of Japan. New Haven: Yale UP,1998. Ikegami, Eiko. The Taming of the Samurai. Cambridge: Harvard UP, 1995. Jansen, Marius, ed. Warrior Rule in Japan. Cambridge: Cambridge UP, 1995. Kurosawa, Akira. Seven Samurai and Other Screenplays. Trans. Donald Richie. London: Faber and Faber, 1992. Lanzagorta, Marco. “Ghost Dog: The Way of the Samurai.” Senses of Cinema. Sept-Oct 2002. http://www.sensesofcinema.com/contents/cteq/02/22/ghost_dog.htm>. Mol, Serge. Classical Fighting Arts of Japan. Tokyo/New York: Kodansha Int., 2001. Otomo, Ryoko. “‘The Way of the Samurai’: Ghost Dog, Mishima, and Modernity’s Other.” Japanese Studies 21.1 (May 2001) 31-43. Potter, Russell. Spectacular Vernaculars. Albany: SUNY P, 1995. RZA, The, and Chris Norris. The Wu-Tang Manual. New York: Penguin, 2005. Silver, Alain. The Samurai Film. Woodstock, New York: Overlook, 1983. Smith, Christopher Holmes. “Method in the Madness: Exploring the Boundaries of Identity in Hip-Hop Performativity.” Social Identities 3.3 (Oct 1997): 345-75. Watkins, Craig S. Representing: Hip Hop Culture and the Production of Black Cinema. Chicago: Chicago UP, 1998. Wu-Tang Clan. Enter the Wu-Tang: 36 Chambers. CD. RCA/Loud Records, 1993. ———. Wu-Tang Forever. CD. RCA/Loud Records, 1997. Xing, Yan, ed. Shaolin Kungfu. Trans. Zhang Zongzhi and Zhu Chengyao. Beijing: China Pictorial, 1996. 
 
 
 
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Conurbation [f. CON- + L. urb- and urbs city + -ation] An aggregation of urban areas. (OED) Beyond the urban, further and lower even than the suburban, lies the con-urban. The conurban: with the urban, partaking of the urbane, lying against but also perhaps pushing against or being contra the urban. Conurbations stretch littorally from Australian cities, along coastlines to other cities, joining cities through the passage of previously outlying rural areas. Joining the dots between cities, towns, and villages. Providing corridors between the city and what lies outside. The conurban is an accretion, an aggregation, a piling up, or superfluity of the city: Greater London, for instance. It is the urban plus, filling the gaps between cities, as Los Angeles oozing urbanity does for the dry, desert areas abutting it (Davis 1990; Soja 1996). I wish to propose that the conurban imaginary is a different space from its suburban counterpart. The suburban has provided a binary opposition to what is not the city, what lies beneath its feet, outside its ken. Yet it is also what is greater than the urban, what exceeds it. In modernism, the city and its denizens define themselves outside what is arrayed around the centre, ringing it in concentric circles. In stark relief to the modernist lines of the skyscraper, contrasting with the central business district, central art galleries and museums, is to be found the masses in the suburbs. The suburban as a maligned yet enabling trope of modernism has been long revalued, in the art of Howard Arkeley, and in photography of suburban Gothic. It comes as no surprise to read a favourable newspaper article on the Liverpool Regional Art Gallery, in Sydney's Western Suburbs, with its exhibition on local chicken empires, Liverpool sheds, or gay and lesbians living on the city fringe. Nor to hear in the third way posturing of Australian Labor Party parliamentarian Mark Latham, the suburbs rhetorically wielded, like a Victa lawn mover, to cut down to size his chardonnay-set inner-city policy adversaries. The politics of suburbia subtends urban revisionism, reformism, revanchism, and recidivism. Yet there is another less exhausted, and perhaps exhaustible, way of playing the urban, of studying the metropolis, of punning on the city's proper name: the con-urban. World cities, as Saskia Sassen has taught us, have peculiar features: the juxtaposition of high finance and high technology alongside subaltern, feminized, informal economy (Sassen 1998). The Australian city proudly declared to be a world city is, of course, Sydney while a long way from the world's largest city by population, it is believed to be the largest in area. A recent newspaper article on Brisbane's real estate boom, drew comparisons with Sydney only to dismiss them, according to one quoted commentator, because as a world city, Sydney was sui generis in Australia, fairly requiring comparison with other world cities. One form of conurbanity, I would suggest, is the desire of other settled areas to be with the world city. Consider in this regard, the fate of Byron Bay a fate which lies very much in the balance. Byron Bay is sign that circulates in the field of the conurban. Craig MacGregor has claimed Byron as the first real urban culture outside an Australian city (MacGregor 1995). Local residents hope to keep the alternative cultural feel of Byron, but to provide it with a more buoyant economic outlook. The traditional pastoral, fishing, and whaling industries are well displaced by niche handicrafts, niche arts and craft, niche food and vegetables, a flourishing mind, body and spirit industry, and a booming film industry. Creative arts and cultural industries are blurring into creative industries. The Byron Bay area at the opening of the twenty-first century is attracting many people fugitive from the city who wish not to drop out exactly; rather to be contra wishes rather to be gently contrary marked as distinct from the city, enjoying a wonderful lifestyle, but able to persist with the civilizing values of an urban culture. The contemporary figure of Byron Bay, if such a hybrid chimera may be represented, wishes for a conurbanity. Citizens relocate from Melbourne, Canberra, and Sydney, seeking an alternative country and coastal lifestyle and, if at all possible, a city job (though without stress) (on internal migration in Australia see Kijas 2002): Hippies and hip rub shoulders as a sleepy town awakes (Still Wild About Byron, (Sydney Morning Herald, 1 January 2002). Forerunners of Byron's conurbanity leave, while others take their place: A sprawling $6.5 million Byron Bay mansion could be the ultimate piece of memorabilia for a wealthy fan of larrikin Australian actor Paul Hogan (Hoges to sell up at Byron Bay, Illawarra Mercury, 14 February 2002). The ABC series Seachange is one key text of conurbanity: Laura Gibson has something of a city job she can ply the tools of her trade as a magistrate while living in an idyllic rural location, a nice spot for a theme park of contemporary Australian manners and nostalgia for community (on Sea Change see Murphy 2002). Conurban designates a desire to have it both ways: cityscape and pastoral mode. Worth noting is that the Byron Shire has its own independent, vibrant media public sphere, as symbolized by the Byron Shire Echo founded in 1986, one of the great newspapers outside a capital city (Martin & Ellis 2002): <http://www.echo.net.au>. Yet the textual repository in city-based media of such exilic narratives is the supplement to the Saturday broadsheet papers. A case in point is journalist Ruth Ostrow, who lives in hills in the Byron Shire, and provides a weekly column in the Saturday Australian newspaper, its style gently evocative of just one degree of separation from a self-parody of New Age mores: Having permanently relocated to the hills behind Byron Bay from Sydney, it's interesting for me to watch friends who come up here on holiday over Christmas… (Ostrow 2002). The Sydney Morning Herald regards Byron Bay as another one of its Northern beaches, conceptually somewhere between Palm Beach and Pearl Beach, or should one say Pearl Bay. The Herald's fascination for Byron Bay real estate is coeval with its obsession with Sydney's rising prices: Byron Bay's hefty price tags haven't deterred beach-lovin' boomers (East Enders, Sydney Morning Herald 17 January 2002). The Australian is not immune from this either, evidence 'Boom Times in Byron', special advertising report, Weekend Australia, Saturday 2 March 2002. And plaudits from The Financial Review confirm it: Prices for seafront spots in the enclave on the NSW north coast are red hot (Smart Property, The Financial Review, 19 January 2002). Wacky North Coast customs are regularly covered by capital city press, the region functioning as a metonym for drugs. This is so with Nimbin especially, with regular coverage of the Nimbin Mardi Grass: Mardi Grass 2001, Nimbin's famous cannabis festival, began, as they say, in high spirits in perfect autumn weather on Saturday (Oh, how they danced a high old time was had by all at the Dope Pickers' Ball, Sydney Morning Herald, 7 May 2001). See too coverage of protests over sniffer dogs in Byron Bay in Easter 2001 showed (Peatling 2001). Byron's agony over its identity attracts wider audiences, as with its quest to differentiate itself from the ordinariness of Ballina as a typical Aussie seaside town (Buttrose 2000). There are national metropolitan audiences for Byron stories, readers who are familiar with the Shire's places and habits: Lismore-reared Emma Tom's 2002 piece on the politics of perving at King's beach north of Byron occasioned quite some debate from readers arguing the toss over whether wanking on the beach was perverse or par for the course: Public masturbation is a funny old thing. On one hand, it's ace that some blokes feel sexually liberated enough to slap the salami any old time… (Tom 2002). Brisbane, of course, has its own designs upon Byron, from across the state border. Brisbane has perhaps the best-known conurbation: its northern reaches bleed into the Sunshine Coast, while its southern ones salute the skyscrapers of Australia's fourth largest city, the Gold Coast (on Gold Coast and hinterland see Griffin 2002). And then the conburbating continues unabated, as settlement stretches across the state divide to the Tweed Coast, with its mimicking of Sanctuary Cove, down to the coastal towns of Ocean Shores, Brunswick Heads, Byron, and through to Ballina. Here another type of infrastructure is key: the road. Once the road has massively overcome the topography of rainforest and mountain, there will be freeway conditions from Byron to Brisbane, accelerating conurbanity. The caf is often the short-hand signifier of the urban, but in Byron Bay, it is film that gives the urban flavour. Byron Bay has its own International Film Festival (held in the near-by boutique town of Bangalow, itself conurban with Byron.), and a new triple screen complex in Byron: Up north, film buffs Geraldine Hilton and Pete Castaldi have been busy. Last month, the pair announced a joint venture with Dendy to build a three-screen cinema in the heart of Byron Bay, scheduled to open mid-2002. Meanwhile, Hilton and Castaldi have been busy organising the second Byron All Screen Celebration Film Festival (BASC), after last year's inaugural event drew 4000 visitors to more than 50 sessions, seminars and workshops. Set in Bangalow (10 minutes from Byron by car, less if you astral travel)… (Cape Crusaders, Sydney Morning Herald, 15 February 2002). The film industry is growing steadily, and claims to be the largest concentration of film-makers outside of an Australian capital city (Henkel 2000 & 2002). With its intimate relationship with the modern city, film in its Byron incarnation from high art to short video, from IMAX to multimedia may be seen as the harbinger of the conurban. If the case of Byron has something further to tell us about the transformation of the urban, we might consider the twenty-first century links between digital communications networks and conurbanity. It might be proposed that telecommunications networks make it very difficult to tell where the city starts and ends; as they interactively disperse information and entertainment formerly associated with the cultural institutions of the metropolis (though this digitization of urbanity is more complex than hyping the virtual suggest; see Graham & Marvin 1996). The bureau comes not just to the 'burbs, but to the backblocks as government offices are closed in country towns, to be replaced by online access. The cinema is distributed across computer networks, with video-on-demand soon to become a reality. Film as a cultural form in the process of being reconceived with broadband culture (Jacka 2001). Global movements of music flow as media through the North Coast, with dance music culture and the doof (Gibson 2002). Culture and identity becomes content for the information age (Castells 1996-1998; Cunningham & Hartley 2001; OECD 1998; Trotter 2001). On e-mail, no-one knows, as the conceit of internet theory goes, where you work or live; the proverbial refashioning of subjectivity by the internet affords a conurbanity all of its own, a city of bits wherever one resides (Mitchell 1995). To render the digital conurban possible, Byron dreams of broadband. In one of those bizarre yet recurring twists of Australian media policy, large Australian cities are replete with broadband infrastructure, even if by 2002 city-dwellers are not rushing to take up the services. Telstra's Foxtel and Optus's Optus Vision raced each other down streets of large Australian cities in the mid-1990s to lay fibre-coaxial cable to provide fast data (broadband) capacity. Cable modems and quick downloading of video, graphics, and large files have been a reality for some years. Now the Asymmetrical Digital Subscriber Line (ADSL) technology is allowing people in densely populated areas close to their telephone exchanges to also avail themselves of broadband Australia. In rural Australia, broadband has not been delivered to most areas, much to the frustration of the conurbanites. Byron Bay holds an important place in the history of the internet in Australia, because it was there that one of Australia's earliest and most important internet service providers, Pegasus Network, was established in the late 1980s. Yet Pegasus relocated to Brisbane in 1993, because of poor quality telecommunications networks (Peters 1998). As we rethink the urban in the shadow of modernity, we can no longer ignore or recuse ourselves from reflecting upon its para-urban modes. As we deconstruct the urban, showing how the formerly pejorative margins actually define the centre the suburban for instance being more citified than the grand arcades, plazas, piazzas, or malls; we may find that it is the conurban that provides the cultural imaginary for the urban of the present century. Work remains to be done on the specific modalities of the conurban. The conurban has distinct temporal and spatial coordinates: citizens of Sydney fled to Manly earlier in the twentieth century, as they do to Byron at the beginning of the twenty-first. With its resistance to the transnational commercialization and mass culture that Club Med, McDonalds, and tall buildings represent, and with its strict environment planning regulation which produce a litigious reaction (and an editorial rebuke from the Sydney Morning Herald [SMH 2002]), Byron recuperates the counter-cultural as counterpoint to the Gold Coast. Subtle differences may be discerned too between Byron and, say, Nimbin and Maleny (in Queensland), with the two latter communities promoting self-sufficient hippy community infused by new agricultural classes still connected to the city, but pushing the boundaries of conurbanity by more forceful rejection of the urban. Through such mapping we may discover the endless attenuation of the urban in front and beyond our very eyes; the virtual replication and invocation of the urban around the circuits of contemporary communications networks; the refiguring of the urban in popular and elite culture, along littoral lines of flight, further domesticating the country; the road movies of twenty-first century freeways; the perpetuation and worsening of inequality and democracy (Stilwell 1992) through the action of the conurban. Cities without bounds: is the conurban one of the faces of the postmetropolis (Soja 2000), the urban without end, with no possibility for or need of closure? My thinking on Byron Bay, and the Rainbow Region in which it is situated, has been shaped by a number of people with whom I had many conversations during my four years living there in 1998-2001. My friends in the School of Humanities, Media, and Cultural Studies, Southern Cross University, Lismore, provided focus for theorizing our ex-centric place, of whom I owe particular debts of gratitude to Baden Offord (Offord 2002), who commented upon this piece, and Helen Wilson (Wilson 2002). Thanks also to an anonymous referee for helpful comments. References Buttrose, L. (2000). Betray Byron at Your Peril. Sydney Morning Herald 7 September 2000. Castells, M. (1996-98). The Information Age. 3 vols. Blackwell, Oxford. Cunningham, S., & Hartley, J. (2001). Creative Industries from Blue Poles to Fat Pipes. Address to the National Humanities and Social Sciences Summit, National Museum of Canberra. July 2001. Davis, M. (1990). City of Quartz: Excavating the Future in Los Angeles. Verso, London. Gibson, C. (2002). Migration, Music and Social Relations on the NSW Far North Coast. Transformations, no. 2. <http://www.ahs.cqu.edu.au/transformation...>. Graham, S., and Marvin, S. (1996). Telecommunications and the City: Electronic Spaces, Urban Places. Routledge, London & New York. Griffin, Graham. (2002). Where Green Turns to Gold: Strip Cultivation and the Gold Coast Hinterland. Transformations, no. 2. <http://www.ahs.cqu.edu.au/transformation...> Henkel, C. (2002). Development of Audiovisual Industries in the Northern Rivers Region of NSW. Master thesis. Queensland University of Technology. . (2000). Imagining the Future: Strategies for the Development of 'Creative Industries' in the Northern Rivers Region of NSW. Northern Rivers Regional Development Board in association with the Northern Rivers Area Consultative Committee, Lismore, NSW. Jacka, M. (2001). Broadband Media in Australia Tales from the Frontier, Australian Film Commission, Sydney. Kijas, J. (2002). A place at the coast: Internal migration and the shift to the coastal-countryside. Transformations, no. 2. <http://www.ahs.cqu.edu.au/transformation...>. MacGregor, Craig. (1995). The Feral Signifier and the North Coast. In The Abundant Culture: Meaning And Significance in Everyday Australia, ed. Donald Horne & Jill Hooten. Allen and Unwin, Sydney. Martin, F., & Ellis, R. (2002). Dropping in, not out: the evolution of the alternative press in Byron Shire 1970-2001. Transformations, no. 2. <http://www.ahs.cqu.edu.au/transformation...>. Mitchell, W.J. (1995). City of Bits: Space, Place, and the Infobahn. MIT Press, Cambridge, Mass. Molnar, Helen. (1998). 'National Convergence or Localism?: Rural and Remote Communications.' Media International Australia 88: 5-9. Moyal, A. (1984). Clear Across Australia: A History of Telecommunications. Thomas Nelson, Melbourne. Murphy, P. (2002). Sea Change: Re-Inventing Rural and Regional Australia. Transformations, no. 2. <http://www.ahs.cqu.edu.au/transformation...>. Offord, B. (2002). Mapping the Rainbow Region: Fields of belonging and sites of confluence. Transformations, no. 2. <http://www.ahs.cqu.edu.au/transformation...>. Organisation for Economic Cooperation and Development (OECD). (1998). Content as a New Growth Industry: Working Party for the Information Economy. OECD, Paris. Ostrow, R. (2002). Joyous Days, Childish Ways. The Australian, 9 February. Peatling, S. (2001). Keep Off Our Grass: Byron stirs the pot over sniffer dogs. Sydney Morning Herald. 16 April. <http://www.smh.com.au/news/0104/14/natio...> Peters, I. (1998). Ian Peter's History of the Internet. Lecture at Southern Cross University, Lismore. CD-ROM. Produced by Christina Spurgeon. Faculty of Creative Industries, Queensland University of Technology, Brisbane. Productivity Commission. (2000). Broadcasting Inquiry: Final Report, Melbourne, Productivity Commission. Sassen, S. (1998). Globalisation and its Contents: Essays on the New Mobility of People and Money. New Press, New York. Soja, E. (2000). Postmetropolis: critical studies of cities and regions. Blackwell, Oxford. . (1996). Thirdspace: journeys to Los Angeles and other real-and-imagined places. Blackwell, Cambridge, Mass. Stilwell, F. (1992). Understanding Cities and Regions: Spatial Political Economy. Pluto Press, Sydney. Sydney Morning Herald (SMH). (2002). Byron Should Fix its own Money Mess. Editorial. 5 April. Tom, E. (2002). Flashing a Problem at Hand. The Weekend Australian, Saturday 12 January. Trotter, R. (2001). Regions, Regionalism and Cultural Development. Culture in Australia: Policies, Publics and Programs. Ed. Tony Bennett and David Carter. Cambridge University Press, Cambridge. 334-355. Wilson, H., ed. (2002). Fleeing the City. Special Issue of Transformations journal, no. 2. < http://www.ahs.cqu.edu.au/transformation...>. Links http://www.echo.net.au http://www.smh.com.au/news/0104/14/national/national3.html http://www.ahs.cqu.edu.au/transformations/journal/issue2/issue.htm Citation reference for this article MLA Style Goggin, Gerard. "Conurban" M/C: A Journal of Media and Culture 5.2 (2002). [your date of access] < http://www.media-culture.org.au/0205/conurban.php>. Chicago Style Goggin, Gerard, "Conurban" M/C: A Journal of Media and Culture 5, no. 2 (2002), < http://www.media-culture.org.au/0205/conurban.php> ([your date of access]). APA Style Goggin, Gerard. (2002) Conurban. M/C: A Journal of Media and Culture 5(2). < http://www.media-culture.org.au/0205/conurban.php> ([your date of access]).

Introduction The counterculture that arose during the 1960s and 1970s left lasting social and political reverberations in developed nations. This was a time of increasing affluence and liberalisation which opened up remarkable political opportunities for social change. Within this context, an array of new social movements were a vital ingredient of the ferment that saw existing norms challenged and the establishment of new rights for many oppressed groups. An expanding arena of concerns included the environmental damage caused by 200 years of industrial capitalism. This article examines one aspect of a current environment movement in Australia, the anti-Coal Seam Gas (CSG) movement, and the part played by participants. In particular, the focus is upon one action that emerged during the recent Bentley Blockade, which was a regional mobilisation against proposed unconventional gas mining (UGM) near Lismore, NSW. Over the course of the blockade, the conventional ritual of waving at passers-by was transformed into a mechanism for garnering broad community support. Arguably, this was a crucial factor in the eventual outcome. In this case, we contend that the wave, rather than a countercultural artefact being appropriated by the mainstream, represents an everyday behaviour that builds social solidarity, which is subverted to become an effective part of the repertoire of the movement. At a more general level, this article examines how counterculture and mainstream interact via the subversion of “ordinary” citizens and the role of certain cultural understandings for that purpose. We will begin by examining the nature of the counterculture and its relationship to social movements before discussing the character of the anti-CSG movement in general and the Bentley Blockade in particular, using the personal experience of one of the writers. We will then be able to explore our thesis in detail and make some concluding remarks. The Counterculture and Social Movements In this article, we follow Cox’s understanding of the counterculture as a kind of meta-movement within which specific social movements are situated. For Cox (105), the counterculture that flourished during the 1960s and 1970s was an overarching movement in which existing social relations—in particular the family—were rejected by a younger generation, who succeeded in effectively fusing previously separate political and cultural spheres of dissent into one. Cox (103-04) points out that the precondition for such a phenomenon is “free space”—conditions under which counter-hegemonic activity can occur—for example, being liberated from the constraints of working to subsist, something which the unprecedented prosperity of the post WWII years allowed. Hence, in the 1960s and 1970s, as the counterculture emerged, a wave of activism arose in the western world which later came to be referred to as new social movements. These included the civil rights movement, women’s liberation, pacifism and the anti-nuclear and environment movements. The new movements rejected established power and organisational structures and tended, some scholars argued, to cross class lines, basing their claims on non-material issues. Della Porta and Diani claim this wave of movements is characterised by: a critical ideology in relation to modernism and progress; decentralized and participatory organizational structures; defense of interpersonal solidarity against the great bureaucracies; and the reclamation of autonomous spaces, rather than material advantages. (9) This depiction clearly announces the countercultural nature of the new social movements. As Carter (91) avers, these movements attempted to bypass the state and instead mobilise civil society, employing a range of innovative tactics and strategies—the repertoire of action—which may involve breaking laws. It should be noted that over time, some of these movements did shift towards accommodation of existing power structures and became more reformist in nature, to the point of forming political parties in the case of the Greens. However, inasmuch as the counterculture represented a merging of distinctively non-mainstream ways of life with the practice of actively challenging social arrangements at a political level (Cox 18–19; Grossberg 15–18;), the tactic of mobilising civil society to join social movements demonstrates in fact a reverse direction: large numbers of people are transfigured in radical ways by their involvement in social movements. One important principle underlying much of the repertoire of action of these new movements was non-violence. Again, this signals countercultural norms of the period. As Sharp (583–86) wrote at the time, non-violence is crucial in that it denies the aggressor their rationale for violent repression. This principle is founded on the liberal notion, whose legacy goes back to Locke, that the legitimacy of the government rests upon the consent of the governed—that is, the people can withdraw their consent (Locke in Ball & Dagger 92). Ghandi also relied upon this idea when formulating his non-violent approach to conflict, satyagraha (Sharp 83–84). Thus an idea that upholds the modern state is adopted by the counterculture in order to undermine it (the state), again demonstrating an instance of counterflow from the mainstream. Non-violence does not mean non-resistance. In fact, it usually involves non-compliance with a government or other authority and when practised in large numbers, can be very effective, as Ghandi and those in the civil rights movement showed. The result will be either that the government enters into negotiation with the protestors, or they can engage in violence to suppress them, which generally alienates the wider population, leading to a loss of support (Finley & Soifer 104–105). Tarrow (88) makes the important point that the less threatening an action, the harder it is to repress. As a result, democratic states have generally modified their response towards the “strategic weapon of nonviolent protest and even moved towards accommodation and recognition of this tactic as legitimate” (Tarrow 172). Nevertheless, the potential for state violence remains, and the freedom to protest is proscribed by various laws. One of the key figures to emerge from the new social movements that formed an integral part of the counterculture was Bill Moyer, who, in conjunction with colleagues produced a seminal text for theorising and organising social movements (Moyer et al.). Many contemporary social movements have been significantly influenced by Moyer’s Movement Action Plan (MAP), which describes not only key theoretical concepts but is also a practical guide to movement building and achieving aims. Moyer’s model was utilised in training the Northern Rivers community in the anti-CSG movement in conjunction with the non-violent direct action (NVDA) model developed by the North-East Forest Alliance (NEFA) that resisted logging in the forests of north-eastern NSW during the late 1980s and 1990s (Ricketts 138–40). Indeed, the Northern Rivers region of NSW—dubbed the Rainbow Region—is celebrated, as a “‘meeting place’ of countercultures and for the articulation of social and environmental ideals that challenge mainstream practice” (Ward and van Vuuren 63). As Bible (6–7) outlines, the Northern Rivers’ place in countercultural history is cemented by the holding of the Aquarius Festival in Nimbin in 1973 and the consequent decision of many attendees to stay on and settle in the region. They formed new kinds of communities based on an alternative ethics that eschewed a consumerist, individualist agenda in favour of modes of existence that emphasised living in harmony with the environment. The Terania Creek campaign of the late 1970s made the region famous for its environmental activism, when the new settlers resisted the logging of Nightcap National Park using nonviolent methods (Bible 5). It was also instrumental in developing an array of ingenious actions that were used in subsequent campaigns such as the Franklin Dam blockade in Tasmania in the early 1980s (Kelly 116). Indeed, many of these earlier activists were key figures in the anti-CSG movement that has developed in the Rainbow Region over the last few years. The Anti-CSG Movement Despite opposition to other forms of UGM, such as tight sands and shale oil extraction techniques, the term anti-CSG is used here, as it still seems to attract wide recognition. Unconventional gas extraction usually involves a process called fracking, which is the injection at high pressure of water, sand and a number of highly toxic chemicals underground to release the gas that is trapped in rock formations. Among the risks attributed to fracking are contamination of aquifers, air pollution from fugitive emissions and exposure to radioactive particles with resultant threats to human and animal health, as well as an increased risk of earthquakes (Ellsworth; Hand 13; Sovacool 254–260). Additionally, the vast amount of water that is extracted in the fracking process is saline and may contain residues of the fracking chemicals, heavy metals and radioactive matter. This produced water must either be stored or treated (Howarth 273–73; Sovacool 255). Further, there is potential for accidents and incidents and there are many reports—particularly in the United States where the practice is well established—of adverse events such as compressors exploding, leaks and spills, and water from taps catching fire (Sovacool 255–257). Despite an abundance of anecdotal evidence, until recently authorities and academics believed there was not enough “rigorous evidence” to make a definitive judgment of harm to animal and human health as a result of fracking (Mitka 2135). For example, in Australia, the Queensland Government was unable to find a clear link between fracking and health complaints in the Tara gasfield (Thompson 56), even though it is known that there are fugitive emissions from these gasfields (Tait et al. 3099-103). It is within this context that grassroots opposition to UGM began in Australia. The largest and most sustained challenge has come from the Northern Rivers of New South Wales, where a company called Metgasco has been attempting to engage in UGM for a number of years. Stiff community opposition has developed over this time, with activists training, co-ordinating and organising using the principles of Moyer’s MAP and NEFA’s NVDA. Numerous community and affinity groups opposing UGM sprang up including the Lock the Gate Alliance (LTG), a grassroots organisation opposing coal and gas mining, which formed in 2010 (Lock the Gate Alliance online). The movement put up sustained resistance to Metgasco’s attempts to establish wells at Glenugie, near Grafton and Doubtful Creek, near Kyogle in 2012 and 2013, despite the use of a substantial police presence at both locations. In the event, neither site was used for production despite exploratory wells being sunk (ABC News; Dobney). Metgasco announced it would be withdrawing its operations following new Federal and State government regulations at the time of the Doubtful Creek blockade. However it returned to the fray with a formal announcement in February 2014 (Metgasco), that it would drill at Bentley, 12 kilometres west of Lismore. It was widely believed this would occur with a view to production on an industrial scale should initial exploration prove fruitful. The Bentley Blockade It was known well before the formal announcement that Metgasco planned to drill at Bentley and community actions such as flash mobs, media releases and planning meetings were part of the build-up to direct action at the site. One of the authors of this article was actively involved in the movement and participated in a variety of these actions. By the end of January 2014 it was decided to hold an ongoing vigil at the site, which was still entirely undeveloped. Participants, including one author, volunteered for four-hour shifts which began at 5 a.m. each day and before long, were lasting into the night. The purpose of a vigil is to bear witness, maintain a presence and express a point of view. It thus accords well with the principle of non-violence. Eventually the site mushroomed into a tent village with three gates being blockaded. The main gate, Gate A, sprouted a variety of poles, tripods and other installations together with colourful tents and shelters, peopled by protesters on a 24-hour basis. The vigils persisted on all three gates for the duration of the blockade. As the number of blockaders swelled, popular support grew, lending weight to the notion that countercultural ideas and practices were spreading throughout the community. In response, Metgasco called on the State Government to provide police to coincide with the arrival of equipment. It was rumoured that 200 police would be drafted to defend the site in late April. When alerts were sent out to the community warning of imminent police action, an estimated crowd of 2000 people attended in the early hours of the morning and the police called off their operation (Feliu). As the weeks wore on, training was stepped up, attendees were educated in non-violent resistance and protestors willing to act as police liaison persons were placed on a rotating roster. In May, the State Government was preparing to send up to 800 police and the Riot Squad to break the blockade (NSW Hansard in Buckingham). Local farmers (now a part of the movement) and activist leaders had gone to Sydney in an effort to find a political solution in order to avoid what threatened to be a clash that would involve police violence. A confluence of events, such as: the sudden resignation of the Premier; revelations via the Independent Commission against Corruption about nefarious dealings and undue influence of the coal industry upon the government; a radio interview with locals by a popular broadcaster in Sydney; and the reputed hesitation of the police themselves in engaging with a group of possibly 7,000 to 10,000 protestors, resulted in the Office for Coal Seam Gas suspending Metgasco’s drilling licence on 15 May (NSW Department of Resources & Energy). The grounds were that the company had not adequately fulfilled its obligations to consult with the community. At the date of writing, the suspension still holds. The Wave The repertoire of contention at the Bentley Blockade was expansive, comprising most of the standard actions and strategies developed in earlier environmental struggles. These included direct blocking tactics in addition to the use of more carnivalesque actions like music and theatre, as well as the use of various media to reach a broader public. Non-violence was at the core of all actions, but we would tentatively suggest that Bentley may have provided a novel addition to the repertoire, stemming originally from the vigil, which brought the first protestors to the site. At the beginning of the vigil, which was initially held near the entrance to the proposed drilling site atop a cutting, occupants of passing vehicles below would demonstrate their support by sounding their horns and/or waving to the vigil-keepers, who at first were few in number. There was a precedent for this behaviour in the campaign leading up to the blockade. Activist groups such as the Knitting Nannas against Gas had encouraged vehicles to show support by sounding their horns. So when the motorists tooted spontaneously at Bentley, we waved back. Occupants of other vehicles would show disapproval by means of rude gestures and/or yelling and we would wave to them as well. After some weeks, as a presence began to be established at the site, it became routine for vigil keepers to smile and wave at all passing vehicles. This often elicited a positive response. After the first mass call-out discussed above, a number of us migrated to another gate, where numbers were much sparser and there was a perceived need for a greater presence. At this point, the participating writer had begun to act as a police liaison person, but the practice of waving routinely was continued. Those protecting this gate usually included protestors ready to block access, the police liaison person, a legal observer, vigil-keepers and a passing parade of visitors. Because this location was directly on the road, it was possible to see the drivers of vehicles and make eye contact more easily. Certain vehicles became familiar, passing at regular times, on the way to work or school, for example. As time passed, most of those protecting the gate also joined the waving ritual to the point where it became like a game to try to prise a signal of acknowledgement from the passing motorists, or even to win over a disapprover. Police vehicles, some of which passed at set intervals, were included in this game. Mostly they waved cheerfully. There were some we never managed to win over, but waving and making direct eye contact with regular motorists over time created a sense of community and an acknowledgement of the work we were doing, as they increasingly responded in kind. Motorists could hardly feel threatened when they encountered smiling, waving protestors. By including the disapprovers, we acted inclusively and our determined good humour seemed to de-escalate demonstrated hostility. Locals who did not want drilling to go ahead but who were nevertheless unwilling to join a direct action were thus able to participate in the resistance in a way that may have felt safe for them. Some of them even stopped and visited the site, voicing their support. Standing on the side of the road and waving to passers-by may seem peripheral to the “real” action, even trivial. But we would argue it is a valuable adjunct to a blockade (which is situated near a road) when one of the strategies of the overall campaign is to win popular backing. Hence waving, whilst not a completely new part of the repertoire, constitutes what Tilly (41–45) would call innovation at the margins, something he asserts is necessary to maintain the effectiveness and vitality of contentious action. In this case, it is arguable that the sheer size of community support probably helped to concentrate the minds of the state government politicians in Sydney, particularly as they contemplated initiating a massive, taxpayer-funded police action against the people for the benefit of a commercial operation. Waving is a symbolic gesture indicating acknowledgement and goodwill. It fits well within a repertoire based on the principle of non-violence. Moreover, it is a conventional social norm and everyday behaviour that is so innocuous that it is difficult to see how it could be suppressed by police or other authorities. Therein lies its subversiveness. For in communicating our common humanity in a spirit of friendliness, we drew attention to the fact that we were without rancour and tacitly invited others to join us and to explore our concerns. In this way, the counterculture drew upon a mainstream custom to develop and extend upon a new form of dissent. This constitutes a reversal of the more usual phenomenon of countercultural artefacts—such as “hippie clothing”—being appropriated or co-opted by the prevailing culture (see Reading). But it also fits with the more general phenomenon that we have argued was occurring; that of enticing ordinary residents into joining together in countercultural activity, via the pathway of a social movement. Conclusion The anti-CSG movement in the Northern Rivers was developed and organised by countercultural participants of previous contentious challenges. It was highly effective in building popular support whilst at the same time forging a loose coalition of various activist groups. We have surveyed one practice—the wave—that evolved out of mainstream culture over the course of the Bentley Blockade and suggested it may come to be seen as part of the repertoire of actions that can be beneficially employed under suitable conditions. Waving to passers-by invites them to become part of the movement in a non-threatening and inclusive way. It thus envelops supporters and non-supporters alike, and its very innocuousness makes it difficult to suppress. We have argued that this instance can be referenced to a similar reverse movement at a broader level—that of co-opting liberal notions and involving the general populace in new practices and activities that undermine the status quo. The ability of the counterculture in general and environment movements in particular to innovate in the quest to challenge and change what it perceives as damaging or unethical practices demonstrates its ingenuity and spirit. This movement is testament to its dynamic nature. References ABC News. Metgasco Has No CSG Extraction Plans for Glenugie. 2013. 30 July 2014 ‹http://www.abc.net.au/news/2013-01-22/metgasco-says-no-csg-extraction-planned-for-glenugie/4477652›. Bible, Vanessa. Aquarius Rising: Terania Creek and the Australian Forest Protest Movement. Bachelor of Arts (Honours) Thesis, University of New England, 2010. 4 Nov. 2014 ‹http://www.rainforestinfo.org.au/terania/Vanessa%27s%20Terania%20Thesis2.pdf›. Buckingham, Jeremy. Hansard of Bentley Blockade Motion 15/05/2014. 16 May 2014. 30 July 2014 ‹http://jeremybuckingham.org/2014/05/16/hansard-of-bentley-blockade-motion-moved-by-david-shoebridge-15052014/›. Carter, Neil. The Politics of the Environment: Ideas, Activism, Policy. 2nd ed. New York: Cambridge UP, 2007. Cox, Laurence. Building Counter Culture: The Radical Praxis of Social Movement Milieu. Helsinki: Into-ebooks 2011. 23 July 2014 ‹http://www.into-ebooks.com/book/building_counter_culture/›. Della Porta, Donatella, and Mario Diani. Social Movements: An Introduction. 2nd ed. Oxford: Blackwell Publishing, 2006. Dobney, Chris. “Drill Rig Heads to Doubtful Creek.” Echo Netdaily Feb. 2013. 30 July 2014 ‹http://www.echo.net.au/2013/02/drill-rig-heads-to-doubtful-creek/›. Ellsworth, William. “Injection-Induced Earthquakes”. Science 341.6142 (2013). DOI: 10.1126/science.1225942. 10 July 2014 ‹http://www.sciencemag.org.ezproxy.scu.edu.au/content/341/6142/1225942.full?sid=b4679ca5-0992-4ad3-aa3e-1ac6356f10da›. Feliu, Luis. “Battle for Bentley: 2,000 Protectors on Site.” Echo Netdaily Mar. 2013. 4 Aug. 2014 ‹http://www.echo.net.au/2014/03/battle-bentley-2000-protectors-site/›. Finley, Mary Lou, and Steven Soifer. “Social Movement Theories and Map.” Doing Democracy: The MAP Model for Organizing Social Movements. Eds. Bill Moyer, Johann McAllister, Mary Lou Finley, and Steven Soifer. Gabriola Island, Canada: New Society Publishers, 2001. Grossberg, Lawrence. “Some Preliminary Conjunctural Thoughts on Countercultures”. Journal of Gender and Power 1.1 (2014). Hand, Eric. “Injection Wells Blamed in Oklahoma Earthquakes.” Science 345.6192 (2014): 13–14. Howarth, Terry. “Should Fracking Stop?” Nature 477 (2011): 271–73. Kelly, Russell. “The Mediated Forest: Who Speaks for the Trees?” Belonging in the Rainbow Region: Cultural Perspectives on the NSW North Coast. Ed. Helen Wilson. Lismore: Southern Cross UP, 2003. 101–20. Lock the Gate Alliance. 2014. 15 July 2014 ‹http://www.lockthegate.org.au/history›. Locke, John. “Toleration and Government.” Ideals and Ideologies: A Reader. Eds. Terence Ball & Richard Dagger. New York: Pearson Longman, 2004 (1823). 79–93. Metgasco. Rosella E01 Environment Approval Received 2104. 4 Aug. 2014 ‹http://www.metgasco.com.au/asx-announcements/rosella-e01-environment-approval-received›. Mitka, Mike. “Rigorous Evidence Slim for Determining Health Risks from Natural Gas Fracking.” The Journal of the American Medical Association 307.20 (2012): 2135–36. Moyer, Bill. “The Movement Action Plan.” Doing Democracy: The MAP Model for Organizing Social Movements. Eds. Bill Moyer, Johann McAllister, Mary Lou Finley, and Steven Soifer. Gabriola Island, Canada: New Society Publishers, 2001. NSW Department of Resources & Energy. “Metgasco Drilling Approval Suspended.” Media Release, 15 May 2014. 30 July 2014 ‹http://www.resourcesandenergy.nsw.gov.au/__data/assets/pdf_file/0005/516749/Metgasco-Drilling-Approval-Suspended.pdf›. Reading, Tracey. “Hip versus Square: 1960s Advertising and Clothing Industries and the Counterculture”. Research Papers 2013. 15 July 2014 ‹http://opensuic.lib.siu.edu/gs_rp/396›. Ricketts, Aiden. “The North East Forest Alliance’s Old-Growth Forest Campaign.” Belonging in the Rainbow Region: Cultural Perspectives on the NSW North Coast. Ed. Helen Wilson. Lismore: Southern Cross UP. 2003. 121–148. Sharp, Gene. The Politics of Nonviolent Action: Power and Struggle. Boston, Mass.: Porter Sargent, 1973. Sovacool, Benjamin K. “Cornucopia or Curse? Reviewing the Costs and Benefits of Shale Gas Hydraulic Fracturing (Fracking).” Renewable and Sustainable Energy Reviews (2014): 249–64. Tait, Douglas, Isaac Santos, Damien Maher, Tyler Cyronak, and Rachael Davis. “Enrichment of Radon and Carbon Dioxide in the Open Atmosphere of an Australian Coal Seam Gas Field.” Environmental Science & Technology 47 (2013): 3099–3104. Tarrow, Sidney. Power in Movement: Social Movements and Contentious Politics. 3rd ed. New York: Cambridge UP, 2011. Thompson, Chuck. “The Fracking Feud.” Medicus 53.8 (2013): 56–57. Tilly, Charles. Regimes and Repertoires. Chicago: UCP, 2006. Ward, Susan, and Kitty van Vuuren. “Belonging to the Rainbow Region: Place, Local Media, and the Construction of Civil and Moral Identities Strategic to Climate Change Adaptability.” Environmental Communication 7.1 (2013): 63–79.


 
 
 Working drawings are produced, when a house is designed, to envisage an imagined building. They are a tangible representation of an object that has no tangible existence. These working drawings act as a manual for constructing the house; they represent that which is to be built. The house comes into being, therefore, via this set of drawings. This is known as documentation. However, these drawings record the house at an ideal moment in time; they capture the house in stasis. They do not represent the future life of the house, the changes and traces the inhabitants make upon a space, nor do they document the path of the person, the arc of their actions, within the space of the house. Other types of documentation of the house allow these elements to be included. Documentation that is produced after-the-event, that interprets ‘the existing’, is absent from discourses on documentation; the realm of post factum documentation is a less examined form of documentation. This paper investigates post factum documentation of the house, and the alternative ways of making, producing and, therefore, thinking about, the house that it offers. This acknowledges the body in the space of architecture, and the inhabitation of space, and as a dynamic process. This then leads to the potential of the‘model of an action’ representing the motion and temporality inherent within the house. Architecture may then be seen as that which encloses the inhabitant. The word ‘document’ refers to a record or evidence of events. It implies a chronological sequence: the document comes after-the-event, that is, it is post factum. Within architecture, however, the use of the word documentation, predominantly, refers to working drawings that are made to ‘get to’ a building, drawings being the dominant representation within architecture. Robin Evans calls this notion, of architecture being brought into existence through drawing, the principle of reversed directionality (Evans 1997, 1989). Although it may be said that these types of drawings document the idea, or document the imagined reality of the building, their main emphasis, and reading, is in getting to something. In this case, the term documentation is used, not due to the documents’ placement within a process, of coming after the subject-object, but in referring to the drawings’ role. Other architectural drawings do exist that are a record of what is seen, but these are not the dominant drawing practice within architecture. Documentation within architecture regards the act of drawing as that process upon which the object is wholly dependent for its coming into existence. Drawing is defined as the pre-eminent methodology for generation of the building; drawings are considered the necessary initial step towards the creation of the 1:1 scale object. During the designing phase, the drawings are primary, setting out an intention. Drawings, therefore, are regarded as having a prescriptive endpoint rather than being part of an open-ended improvisation. Drawings, in getting to a building, draw out something, the act of drawing searches for and uncovers the latent design, drawing it into existence. They are seen as getting to the core of the design. Drawings display a technique of making and are influenced by their medium. Models, in getting to a building, may be described in the same way. The act of modelling, of making manifest two-dimensional sketches into a three-dimensional object, operates similarly in possessing a certain power in assisting the design process to unfurl. Drawing, as recording, alters the object. This act of drawing is used to resolve, and to edit, by excluding and omitting, as much as by including, within its page. Models similarly made after-the-fact are interpretive and consciously aware of their intentions. In encapsulating the subject-object, the model as documentation is equally drawing out meaning. This type of documentation is not neutral, but rather involves interpretation and reflection through representational editing. Working drawings record the house at an ideal moment in time: at the moment the builders leave the site and the owners unlock the front door. These drawings capture the house in stasis. There is often the notion that until the owners of a new house move in, the house has been empty, unlived in. But the life of the house cannot be fixed to any one starting point; rather it has different phases of life from conception to ruin. With working drawings being the dominant representation of the house, they exclude much; both the life of the house before this act of inhabitation, and the life that occurs after it. The transformations that occur at each phase of construction are never shown in a set of working drawings. When a house is built, it separates itself from the space it resides within: the domain of the house is marked off from the rest of the site. The house has a skin of a periphery, that inherently creates an outside and an inside (Kreiser 88). As construction continues, there is a freedom in the structure which closes down; potential becomes prescriptive as choices are made and embodied in material. The undesignedness of the site, that exists before the house is planned, becomes lost once the surveyors’ pegs are in place (Wakely 92). Next, the skeletal frame of open volumes becomes roofed, and then becomes walled, and walking through the frame becomes walking through doorways. One day an interior is created. The interior and exterior of the house are now two different things, and the house has definite edges (Casey 290). At some point, the house becomes lockable, its security assured through this act of sealing. It is this moment that working drawings capture. Photographs comprise the usual documentation of houses once they are built, and yet they show no lived-in-ness, no palimpsest of occupancy. They do not observe the changes and traces the inhabitants make upon a space, nor do they document the path of the person, the arc of their actions, within the space of the house. American architects and artists Elizabeth Diller and Ricardo Scofidio have written of these traces of the everyday that punctuate floor and wall surfaces: the intersecting rings left by coffee glasses on a tabletop, the dust under a bed that becomes its plan analog when the bed is moved, the swing etched into the floor by a sagging door. (Diller & Scofidio 99) It is these marks, these traces, that are omitted from the conventional documentation of a built house. To examine an alternative way of documenting, and to redress these omissions, a redefinition of the house is needed. A space can be delineated by its form, its edges, or it can be defined by the actions that are performed, and the connections between people that occur, within it. To define the house by what it encapsulates, rather than being seen as an object in space, allows a different type of documentation to be employed. By defining a space as that which accommodates actions, rooms may be delineated by the reach of a person, carved out by the actions of a person, as though they are leaving a trace as they move, a windscreen wiper of living, through the repetition of an act. Reverse directional documentation does not directly show the actions that take place within a house; we must infer these from the rooms’ fittings and fixtures, and the names on the plan. In a similar way, Italo Calvino, in Invisible Cities, defines a city by the relationships between its inhabitants, rather than by its buildings: in Ersilia, to establish the relationships that sustain the city’s life, the inhabitants stretch strings from the corners of the houses, white or black or grey or black-and-white according to whether they mark a relationship of blood, of trade, authority, agency. When the strings become so numerous that you can no longer pass among them, the inhabitants leave: the houses are dismantled; only the strings and their supports remain … Thus, when travelling in the territory of Ersilia, you come upon the ruins of the abandoned cities without the walls which do not last, without the bones of the dead which the wind rolls away: spiderwebs of intricate relationships seeking a form. (Calvino 62) By defining architecture by that which it encapsulates, form or materiality may be given to the ‘spiderwebs of intricate relationships’. Modelling the actions that are performed in the space of architecture, therefore, models the architecture. This is referred to as a model of an action. In examining the model of an action, the possibilities of post factum documentation of the house may be seen. The Shinkenchiku competition The Plan-Less House (2006), explored these ideas of representing a house without using the conventional plan to do so. A suggested alternative was to map the use of the house by its inhabitants, similar to the idea of the model of an action. The house could be described by a technique of scanning: those areas that came into contact with the body would be mapped. Therefore, the representation of the house is not connected with spatial division, that is, by marking the location of walls, but rather with its use by its inhabitants. The work of Diller and Scofidio and Allan Wexler and others explores this realm. One inquiry they share is the modelling of the body in the space of architecture: to them, the body is inseparable from the conception of space. By looking at their work, and that of others, three different ways of representing this inhabitation of space are seen. These are: to represent the objects involved in a particular action, or patterns of movement, that occurs in the space, in a way that highlights the action; to document the action itself; or to document the result of the action. These can all be defined as the model of an action. The first way, the examination of the body in a space via an action’s objects, is explored by American artist Allan Wexler, who defines architecture as ‘choreography without a choreographer, structuring its inhabitant’s movements’ (Galfetti 22). In his project ‘Crate House’ (1981), Wexler examines the notion of the body in a space via an action’s objects. He divided the house into its basic activities: bedroom, bathroom, kitchen and living room. Each of these is then defined by their artefacts, contained in their own crate on wheels, which is rolled out when needed. At any point in time, the entire house becomes the activity due to its crate: when a room such as the kitchen is needed, that crate is rolled in through one of the door openings. When the occupant is tired, the entire house becomes a bedroom, and when the occupant is hungry, it becomes a kitchen … I view each crate as if it is a diorama in a natural history museum — the pillow, the spoon, the flashlight, the pot, the nail, the salt. We lose sight of everyday things. These things I isolate, making them sculpture: their use being theatre. (Galfetti 42–6) The work of Andrea Zittel explores similar ideas. ‘A–Z Comfort Unit’ (1994), is made up of five segments, the centrepiece being a couch/bed, which is surrounded by four ancillary units on castors. These offer a library, kitchen, home office and vanity unit. The structure allows the lodger never to need to leave the cocoon-like bed, as all desires are an arm’s reach away. The ritual of eating a meal is examined in Wexler’s ‘Scaffold Furniture’ (1988). This project isolates the components of the dining table without the structure of the table. Instead, the chair, plate, cup, glass, napkin, knife, fork, spoon and lamp are suspended by scaffolding. Their connection, rather than being that of objects sharing a tabletop, is seen to be the (absent) hand that uses them during a meal; the act of eating is highlighted. In these examples, the actions performed within a space are represented by the objects involved in the action. A second way of representing the patterns of movement within a space is to represent the action itself. The Japanese tea ceremony breaks the act of drinking into many parts, separating and dissecting the whole as a way of then reassembling it as though it is one continuous action. Wexler likens this to an Eadweard Muybridge film of a human in motion (Galfetti 31). This one action is then housed in a particular building, so that when devoid of people, the action itself still has a presence. Another way of documenting the inhabitation of architecture, by drawing the actions within the space, is time and motion studies, such as those of Rene W.P. Leanhardt (Diller & Scofidio 40–1). In one series of photographs, lights were attached to a housewife’s wrists, to demonstrate the difference in time and effort required in the preparation of a dinner prepared entirely from scratch in ninety minutes, and a pre-cooked, pre-packaged dinner of the same dish, which took only twelve minutes. These studies are lines of light, recorded as line drawings on a photograph of the kitchen. They record the movement of the person in the room of the action they perform, but they also draw the kitchen in a way conventional documentation does not. A recent example of the documentation of an action was undertaken by Asymptote and the students at Columbia University Graduate School of Architecture in their exhibition at the Venice Biennale of Architecture in 2000. A gymnast moving through the interior space of the pavilion was recorded using a process of digitisation and augmentation. Using modelling procedures, the spatial information was then reconstructed to become a full-scale architectural re-enactment of the gymnast’s trajectory through the room (Feireiss 40). This is similar to a recent performance by Australian contemporary dance company Chunky Move, called ‘Glow’. Infra-red video tracking took a picture of the dancer twenty-five times a second. This was used to generate shapes and images based on the movements of a solo dancer, which were projected onto the floor and the dancer herself. In the past, when the company has used DVDs or videos, the dancer has had to match what they were doing to the projection. This shifts the technology to following the dancer (Bibby 3). A third way of representing the inhabitation of architecture is to document the result of an action. Raoul Bunschoten writes of the marks of a knife being the manifestation of the act of cutting, as an analogy: incisions imply the use of a cutting tool. Together, cuts and cutting tool embrace a special condition. The actual movement of the incision is fleeting, the cut or mark stays behind, the knife moves on, creating an apparent discontinuity … The space of the cut is a reminder of the knife, its shape and its movements: the preparation, the swoop through the air, the cutting, withdrawal, the moving away. These movements remain implicitly connected with the cut as its imaginary cause, as a mnemonic programme about a hand holding a knife, incising a surface, severing skin. (Bunschoten 40) As a method of documenting actions, the paintings of Jackson Pollack can be seen as a manifestation of an act. In the late 1940s, Pollack began to drip paint onto a canvas laid flat on the floor; his tools were sticks and old caked brushes. This process clarified his work, allowing him to walk around it and work from all four sides. Robert Hughes describes it as ‘painting “from the hip” … swinging paintstick in flourishes and frisks that required an almost dancelike movement of the body’ (Hughes 154). These paintings made manifest Pollack’s gestures. As his arm swung in space, the dripping paint followed that arc, to be preserved on a flat plane as pictorial space (Hughes 262). Wexler, in another study, recorded the manifestation of an action. He placed a chair in a one-room building. It was attached to lengths of timber that extended outdoors through slots in the walls of the building. As the chair moved inside the building, its projections carved grooves in the ground outside. As the chair moved in a particular pattern, deeper grooves were created: ‘Eventually, the occupant of the chair has no choice in his movement; the architecture moves him.’ (Galfetti 14) The pattern of movement creates a result, which in turn influences the movement. By redefining architecture by what it encapsulates rather than by the enclosure itself, allows architecture to be documented by the post factum model of an action that occurs in that space. This leads to the exploration of architecture, formed by the body within it, since the documentation and representation of architecture starts to affect the reading of architecture. Architecture may then be seen as that which encloses the inhabitant. The documentation of the body and the space it makes concerns the work of the Hungarian architect Imre Makovecz. His exploration is of the body and the space it makes. Makovecz, and a circle of like-minded architects and artists, embarked on a series of experiments analysing the patterns of human motion and subsequently set up a competition based around the search for a minimum existential space. This consisted of mapping human motion in certain spatial conditions and situations. Small light bulbs were attached to points on the limbs and joints and photographed, creating a series of curves and forms. This led to a competition called ‘Minimal Space’ (1971–2), in which architects, artists and designers were invited to consider a minimal space for containing the human body, a new notion of personal containment. Makovecz’s own response took the form of a bell-like capsule composed of a double shell expressing its presence and location in both time and space (Heathcote 120). Vito Acconci, an artist turned architect by virtue of his installation work, explored this notion of enclosure in his work (Feireiss 38). In 1980 Acconci began his series of ‘self-erecting architectures’, vehicles or instruments involving one or more viewers whose operation erected simple buildings (Acconci & Linker 114). In his project ‘Instant House’ (1980), a set of walls lies flat on the floor, forming an open cruciform shape. By sitting in the swing in the centre of this configuration, the visitor activates an apparatus of cables and pulleys causing walls to rise and form a box-like house. It is a work that explores the idea of enclosing, of a space being something that has to be constructed, in the same way for example one builds up meaning (Reed 247–8). This documentation of architecture directly references the inhabitation of architecture. The post factum model of architecture is closely linked to the body in space and the actions it performs. Examining the actions and movement patterns within a space allows the inhabitation process to be seen as a dynamic process. David Owen describes the biological process of ‘ecopoiesis’: the process of a system making a home for itself. He describes the building and its occupants jointly as the new system, in a system of shaping and reshaping themselves until there is a tolerable fit (Brand 164). The definition of architecture as being that which encloses us, interests Edward S. Casey: in standing in my home, I stand here and yet feel surrounded (sheltered, challenged, drawn out, etc.) by the building’s boundaries over there. A person in this situation is not simply in time or simply in space but experiences an event in all its engaging and unpredictable power. In Derrida’s words, ‘this outside engages us in the very thing we are’, and we find ourselves subjected to architecture rather than being the controlling subject that plans or owns, uses or enjoys it; in short architecture ‘comprehends us’. (Casey 314) This shift in relationship between the inhabitant and architecture shifts the documentation and reading of the exhibition of architecture. Casey’s notion of architecture comprehending the inhabitant opens the possibility for an alternate exhibition of architecture, the documentation of that which is beyond the inhabitant’s direction. Conventional documentation shows a quiescence to the house. Rather than attempting to capture the flurry — the palimpsest of occupancy — within the house, it is presented as stilled, inert and dormant. In representing the house this way, a lull is provided, fostering a steadiness of gaze: a pause is created, within which to examine the house. However, the house is then seen as object, rather than that which encapsulates motion and temporality. Defining, and thus documenting, the space of architecture by its actions, extends the perimeter of architecture. No longer is the house bounded by its doors and walls, but rather by the extent of its patterns of movement. Post factum documentation allows this altering of the definition of architecture, as it includes the notion of the model of an action. By appropriating, clarifying and reshaping situations that are relevant to the investigation of post factum documentation, the notion of the inhabitation of the house as a definition of architecture may be examined. This further examines the relationship between architectural representation, the architectural image, and the image of architecture. References Acconci, V., and K. Linker. Vito Acconci. New York: Rizzoli, 1994. Bibby, P. “Dancer in the Dark Is Light Years Ahead.” Sydney Morning Herald 22 March 2007: 3. Brand, S. How Buildings Learn: What Happens after They’re Built. London: Phoenix Illustrated, 1997. Bunschoten, R. “Cutting the Horizon: Two Theses on Architecture.” Forum (Nov. 1992): 40–9. Calvino, I. Invisible Cities. London: Picador, 1979. Casey, E.S. The Fate of Place. California: U of California P, 1998. Diller, E., and R. Scofidio. Flesh: Architectural Probes. New York: Princeton Architectural Press, 1994. Evans, R. Translations from Drawing to Building and Other Essays. Cambridge, Mass.: MIT Press, 1997. ———. “Architectural Projection.” Eds. E. Blau and E. Kaufman. Architecture and Its Image: Four Centuries of Architectural Representation: Works from the Collection of the Canadian Center for Architecture. Exhibition catalogue. Cambridge, Mass.: MIT Press, 1989. 19–35. Feireiss, K., ed. The Art of Architecture Exhibitions. Rotterdam: Netherlands Architecture Institute, 2001. Galfetti, G.G., ed. Allan Wexler. Barcelona: GG Portfolio, 1998. Glanville, R. “An Irregular Dodekahedron and a Lemon Yellow Citroen.” In L. van Schaik, ed., The Practice of Practice: Research in the Medium of Design. Melbourne: RMIT University Press, 2003. 258–265. Heathcote, E. Imre Mackovecz: The Wings of the Soul. West Sussex: Academy Editions, 1997. Hughes, R. The Shock of the New: Art and the Century of Change. London: British Broadcasting Corporation, 1980. Kreiser, C. “On the Loss of (Dark) Inside Space.” Daidalos 36 (June 1990): 88–99. Reed, C. ed. Not at Home: The Suppression of Domesticity in Modern Art and Architecture. London: Thames & Hudson, 1996. “Shinkenchiku Competition 2006: The Plan-Less House.” The Japan Architect 64 (Winter 2007): 7–12. Small, D. Paper John. USA: Farrar, Straus and Giroux, 1987. Wakely, M. Dream Home. Crows Nest, NSW: Allen & Unwin. 2003. 
 
 
 
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 Macken, M. (Aug. 2007) "And Then We Moved In: Post Factum Documentation of the House," M/C Journal, 10(4). Retrieved echo date('d M. Y'); ?> from <http://journal.media-culture.org.au/0708/04-macken.php>. 

Fundação Carlos Chagas Filho de Amparo a Pesquisa do Estado do Rio de Janeiro<br>A avaliação da qualidade de vida tem sido cada vez mais utilizada pelos profissionais da área de saúde para mensurar o impacto de doenças na vida dos pacientes, bem como para avaliar os resultados dos tratamentos realizados. O crescente interesse por protocolos de pesquisa clínica em doenças não degenerativas do quadril tem encontrado muitos obstáculos na avaliação objetiva de seus resultados, principalmente nos estudos de observação de novas intervenções terapêuticas, como a artroscopia. O Nonarthritic Hip Score (NAHS) é um instrumento de avaliação clínica, desenvolvido originalmente em inglês, cujo objetivo é avaliar a função da articulação do quadril em pacientes jovens e fisicamente ativos. O objetivo desse estudo foi traduzir esse instrumento para a língua portuguesa, adaptá-lo para a cultura brasileira e validá-lo para que possa ser utilizado na avaliação de qualidade de vida de pacientes brasileiros com dor no quadril, sem doença degenerativa. A metodologia utilizada é a sugerida por Guillemin et al. (1993) e revisado por Beaton et al. (2000), que propuseram um conjunto de instruções padronizadas para adaptação cultural de instrumentos de qualidade de vida, incluindo cinco etapas: tradução, tradução de volta, revisão pelo comitê, pré-teste e teste, com reavaliação dos pesos dos escores, se relevante. A versão de consenso foi aplicada em 30 indivíduos. As questões sobre atividades esportivas e tarefas domésticas foram modificadas, para melhor adaptação à cultura brasileira. A versão brasileira do Nonarthritic Hip Score (NAHS-Brasil) foi respondida por 64 pacientes com dor no quadril, a fim de avaliar as propriedades de medida do instrumento: reprodutibilidade, consistência interna e validade. A reprodutibilidade foi 0,9, mostrando uma forte correlação; a consistência interna mostrou correlação entre 0,8 e 0,9, considerada boa e excelente; a validade foi considerada respectivamente boa e excelente; a correlação entre NAHS-Brasil e WOMAC foi 0,9; e a correlação entre o NAHS-Brasil e Questionário Algofuncional de Lequesne foi 0,79. O Nonarthritic Hip Score foi traduzido para a língua portuguesa e adaptado à cultura brasileira, de acordo com o conjunto de instruções padronizadas para adaptação cultural de instrumentos de qualidade de vida. Sua reprodutibilidade, consistência interna e validade foram também demonstradas.<br>The assessment of quality of life has been increasingly used by health professionals to measure the consequences of disease on patients' lives and evaluate the results of treatments. The growing interest in clinical research protocols of non-arthritic hip diseases has found many difficulties in dealing with the objective assessment of its results, especially in observational studies of new therapeutic interventions such as arthroscopy. The Nonarthritic Hip Score (NAHS) is a clinical assessment tool, originally developed in English to evaluate the function of the hip joint in young and physically active patients. The aim of this study was to translate this instrument into Portuguese, adapt it to the Brazilian culture and validate it, in order to evaluate quality of life of Brazilian patients with hip pain without osteoarthritis. The methodology used is suggested by Guillemin et al., (1993) and reviewed by Beaton et al., (2000), who proposed a set of standardized instructions for cultural adaptation of instruments for quality of life, including five steps: translation, back translation, review by committee, pre-test and test with a reassessment of the weights of scores, if relevant. The consensus version was administered to 30 individuals. Questions about sports and household chores were modified to better adapt to the Brazilian culture. The Brazilian version of Nonarthritic Hip Score (NAHS-Brasil) was answered by 64 patients with hip pain to evaluate the measurement properties of the instrument: reproducibility, internal consistency and validity. Reproducibility was 0.9, showing a strong correlation; the internal consistency showed a correlation between 0,8 and 0,9, considered good and excellent; the validity was considered good and excellent respectively; the correlation between NAHS-Brasil and WOMAC was 0,9, and the correlation between NAHS-Brasil and Lequesne Algofunctional Index was 0.79. The Nonarthritic Hip Score was translated into Portuguese and adapted to Brazilian culture, according to the instruction set of standardized instruments for cultural adaptation of quality of life. Its reliability, internal consistency and validity have also been demonstrated.

Articular cartilage degeneration, called osteoarthritis, in the hip joint is a serious condition that affects millions of individuals yearly, with limited clinical solutions available to prevent or slow progression of damage. Additionally, the effects of high-risk factors (e.g. obesity, soft and hard tissue injuries, abnormal joint alignment, amputations) on the progression of osteoarthritis are not fully understood. Therefore, the objective of this thesis is to generate a finite element model for predicting osteochondral tissue stress and strain in the human hip joint during gait, with a future goal of using this model in clinically relevant studies aimed at prevention, treatment, and rehabilitation of OC injuries. A subject specific finite element model (FEM) was developed from computerized tomography images, using rigid bones and linear elastic isotropic material properties for cartilage as a first step in model development. Peak contact pressures of 8.0 to 10.6 MPa and contact areas of 576 to 1010 mm2 were predicted by this FEM during the stance phase of gait. This model was validated with in vitro measurements and found to be in good agreement with experimentally measured contact pressures, and fair agreement with measured contact areas.

Current research suggests that femoroacetabular impingement can be a cause of osteoarthritis. Femoroacetabular impingement is a condition that can affect both the femur and the pelvis of an individual. Femoroacetabular impingement can cause damage to the hip joint and its surrounding tissues. The articular cartilage and the labrum are both affected by this condition. A cam impingement is where a bony protrusion develops at the femoral head/neck junction. A pincer impingement is where a bony protrusion develops at the acetabular rim. Often, patients are seen with a combination of both impingements. The main goal of this study was to computationally model and analyze acetabular stresses in a healthy hip, a hip with a cam impingement, a hip with a pincer impingement, and a hip with a combination of the two impingements. The bone models were taken from CT scans. The impingements were created by using Autodesk Maya to modify the surfaces of the models. The hip models were set up to model the single-leg stance phase of the walking cycle. For the most part, the impingements reduce the stress experienced by the femur. The only exception to this is that the cam femur paired with the pincer pelvis experienced the highest maximum principal stress in the proximomedial region. The pincer impingements increase both the maximum and minimum principal stresses experienced in the acetabulum. Overall, the two types of femoroacetabular impingement change the stress experienced by both the femur and the pelvis. The results of this study demonstrate that acetabular stresses can increase as a result of femoroacetabular impingements. These increased stresses can lead to damage in the hip joint which presents a clinical problem.

Thesis (MScPhysio)--University of Stellenbosch, 2011.<br>ENGLISH ABSTRACT: Aim: The aim of the study was to improve understanding of the hip joint kinematics in cricket fast bowlers and to ascertain whether a relationship exists between hip joint biomechanical parameters, including kinematics, ROM characteristics and lumbar symptoms. Study design: A descriptive cross-sectional study was conducted. Participants: Sixteen adult male fast bowlers between the ages of 18 and 40 years old, playing first-club league, were featured in the study. Main outcome measures: To obtain data with regards to the training history, as well as the nature of lumbar-spine symptoms experienced by the cricket fast bowlers, a newly designed questionnaire was compiled. For analysis of the front foot hip joint ROM and kinematics, the biomechanical equipment used included: a two-dimensional Canon MV950 Digital Video Camcorder, a Kodak EasyShare C310 camera and XSENS Motion Tracking equipment (Xsens Technologies B. V., Enschede, Netherlands). Results: Eight of the sixteen bowlers in our study experienced LBP in the season with seven of these bowlers presenting with recent symptoms most of which are experienced after bowling a spell and described as “tightness” or a “stabbing pain” in the lower back. Intensity of LBP ranged between 1/10 to 8/10. Front foot hip joint kinematics of fast bowlers showed highly individualised patterns of movement between different subjects. Medium amplitude movements in the flexion/extension as well as the rotation plane of movement showed a significant difference in bowlers with- and without LBP. No significant differences between groups with LBP and without LBP were found in the three passive hip ROM measurements. Conclusions: It has proved to be very difficult to improve the understanding of the front foot hip biomechanics in cricket fast bowlers due to the high inter-subject variability. Variability in movement patterns remains under-researched by sports biomechanics. Although decreased hip mobility could alter mechanical forces transmitted to the lumbar spine and therefore predispose or be a causative factor in LBP development, this study found no significant relation between these parameters. The sample size was very small in this study which will influence the validity of results. Our study confirmed the high incidence of LBP and preventative efforts for bowlers should therefore be strongly supported.<br>AFRIKAANSE OPSOMMING: Doelwit: Die doelwit van die studie was om die heupgewrig kinematika van krieket snelboulers beter te verstaan en om vas te stel of daar ‘n verwantskap bestaan tussen heupgewrig biomeganiese parameters, insluitende kinematika, omvang van beweging karakter en lumbale simptome. Studie ontwerp: ‘n Deursneë beskrywende studie is onderneem. Deelnemers: Sestien volwasse manlike snelboulers tussen die ouderdomme van 18 en 40 jaar oud wat eerste liga speel maak deel uit van die studie. Hoof uitkoms maatreëls: ‘n Nuut ontwerpte vraelys is opgestel om data aangaande oefen geskiedenis sowel as aard van lumbale simptome wat deur krieket snelboulers ervaar word in te samel. Die biomeganiese apparaat wat gebruik is vir die analiese van die voorvoet heup omvang van beweging, sowel as die kinematika, sluit in: ‘n twee dimensionele Canon MV950 Digitale Video Camcorder, ‘n Kodak EasyShare C310 kamera en XSENS beweging volgende apparaat (Xsens Technologies B. V., Enschede, Netherlands). Resultate: Agt van die sestien boulers in ons studie het lae rug pyn in die seisoen ervaar. Sewe van die boulers het gepresenteer met onlangse simptome waarvan die meeste na ‘n bouler se boulbeurt ervaar is en beskryf was as ‘n “styfheid” of “steekpyn” in die lae rug. Die intensiteit van die lae rug pyn het gewissel tussen 1/10 en 8/10. Voorvoet heup kinematika van snelboulers het hoogs individualistiese patrone van beweging getoon tussen verskillende deelnemers. Medium amplitude bewegings in die fleksie/ekstensie sowel as die rotasie plein van beweging het ‘n beduidende verskil tussen boulers met- en sonder lae rug pyn getoon. Geen beduidende verskille tussen die groep met- en sonder rugpyn is gevind met die drie passiewe heup omvang van beweging meetings nie. Gevolgtrekkings: Dit blyk baie moelik te wees om die voorvoet heup biomeganika in krieket snelboulers beter te verstaan a.g.v. die hoë inter-deelnemer veranderlikheid. Veranderlikheid in bewegings patrone is nog nie genoeg nagevors deur sport biomeganici nie. Alhoewel ingekorte heup mobiliteit meganiese kragte wat deur die lumbale werwelkolom gaan kan wysig, en sodoende die ontwikkeling van lae rug pyn kan predisponeer of ‘n oorsakende faktor kan wees, het hierdie studie nie ‘n beduidende verwantskap tussen die parameters gevind nie. Die steekproef groote was baie klein en dit sal die geldigheid van die resultate beïnvloed. Ons studie het die hoë insidensie van lae rug pyn bevestig en pogings tot voorkomende maatreëls moet daarom ten sterkste ondersteun word.

Thesis (PhD (Physics))--Stellenbosch University, 2009.<br>ENGLISH ABSTRACT: This dissertation investigates certain key aspects of mathematical modeling of HIV and TB epidemics in South Africa with particular emphasis on data from a single well-studied community. Data collected over a period of 15 years (1994 to 2009) in Masiphumelele, a township near Cape Town, South Africa are used to develop a community-level mathematical model of the local HIV-TB epidemic. The population is divided into six compartments and a system of di®erential equations is derived to describe the spread of the dual epidemic. Our numerical results suggest that increased access to antiretroviral therapy (ART) could decrease not only the HIV prevalence, but also the TB noti¯cation rate. We present a modeling framework for studying the statistical properties of °uctuations in models of any population of a similar size. Viewing the epidemic as a jump process, the method entails an expansion of a master equation in a small parameter; in this case in inverse powers of the square root of the population size. We derive two-time correlation functions to study the correlation between di®erent types of active TB events, and show how a temporal element could be added to the de¯nition of TB clusters, which are currently de¯ned solely by DNA type. We add age structure to the HIV-TB model in order to investigate the demographical impact of HIV-TB epidemics. Our analysis suggests that, contrary to general belief, HIV-positive cases are not making a substantial contribution to the spread of TB in Masiphumelele. We develop an age-structured model of the HIV-TB epidemic at a national level in order to study the potential impact of a proposed universal test and treat program for HIV on dual HIV-TB epidemics. Our simulations show that generalized ART could signi¯cantly reduce the TB noti¯cation rate and the TB-related mortality rate in the short term. The timescale of the impact of ART on HIV prevalence is likely to be longer. We study the potential impact of more conventional control measures against HIV. Guidance for possible future and/or additional interventions emerge naturally from the results. We advocate a reduction in intergenerational sex, based on our ¯nding that 1.5-2.5 standard deviation in the age di®erence between sexual partners is necessary to create and sustain a major HIV epidemic. A simulation framework is developed to help quantify variance in age-structured epidemic models. The expansion technique is generalized to derive a Fokker-Planck equation. Directions for future work, particularly in terms of developing methods to model °uctuations and validate mixing assumptions in epidemiological models, are identi¯ed.<br>AFRIKAANSE OPSOMMING: Hierdie proefskrif ondersoek aspekte van die wiskundige modelering van HIV en TB epi- demies in Suid Afrika en fokus ook op 'n spesi¯eke gemeenskap. Data wat oor 'n periode van 15 jaar ingesamel is (1994 tot 2009) in Masiphumelele, 'n woonbuurt naby Kaapstad, Suid Afrika word gebruik om 'n wiskundige model te skep wat HIV-TB in die gemeen- skap modeleer. Die populasie word in ses kompartemente verdeel en 'n stel di®erensiaal vergelykings word afgelei om die verspreiding van di¶e epidemies te ondersoek. Ons nu- meriese resultate toon aan dat verhoogde toegang tot antiretrovirale behandeling (ARB) die potensiaal het om HIV prevalensie die TB koers beduidend te laat daal. Ons ontwikkel 'n raamwerk waarmee die statistiese eienskappe van °uktuasies ondersoek kan word in enige populasie van dieselfde grootte. Die metode ontwikkel 'n meester vergelyking vir die on- derliggende geboorte-dood stogastiese proses en brei dit uit in terme van 'n klein parameter; in di¶e geval in inverse magte van die vierkantswortel van die populasie grootte. Die twee-tyd korrelasie funksies word afgelei, en word gebruik om die korrelasie tussen verskillende tipes van TB episodes te bestudeer, asook om te wys hoe 'n tydselement aan die de¯nisie van TB groeperings gegee kan word. Di¶e word tans slegs d.m.v DNA tipe geklassi¯seer. Ouderdom- struktuur word aan die model toegevoeg om die demogra¯ese impak van HIV-TB epidemies te bestudeer. Ons analise toon aan dat, anders as wat algemeen aanvaar word, maak HIV- positiewe gevalle nie 'n groot bydrae tot die verspreiding van TB in Masiphumelele nie. Ons ontwikkel 'n ouderdom-gestruktureerde model van HIV-TB op nasionale vlak en gebruik die model om die potensiÄele impak van 'n universele toets- en behandel strategie op die HIV-TB epidemies te ondersoek. Ons simulasies toon aan dat algemene ARB waarskynlik 'n groot impak op die TB aanmeldings koers asook die TB-verwante mortaliteits koers kan h^e binne 'n relatiewe kort tydperk. Die impak op HIV prevalensie sal eers oor 'n veel langer periode duidelik word. Ons ondersoek ook die moontlikheid van meer konvensionele beheermaa- treels. Ons ontmoedig tussengenerasie seksuale omgang, gegrond op ons bevinding dat 'n standaard afwyking van 1.5-2.5 in die ouderdoms verskil tussen seksuele vennote, nodig is om 'n HIV epidemie van stapel te stuur en te onderhou. Ons ontwikkel 'n simulasie raamwerk om variansie in ouderdomgestruktureerde modelle te benader. Die uitbreidingstegniek word veralgemeen om 'n Fokker-Planck vergelyking af te lei. Ons identi¯seer probleme in die on- twikkeling van metodes om interaksie patrone en °uktuasies te modeleer in epidemiologiese modelle as opgawe vir toekomstige werk.

Osteoarthritis (OA) is the most common joint condition worldwide. It can impair mobility and result in significant disability, need for total joint replacement, and healthcare utilization. OA is unusual in those younger than 40 years, then commonly the result of an underlying metabolic disorder or a prior joint injury. Some geographic and racial/ethnic variation exists in the prevalence and incidence of OA for specific joints, likely due to variation in genetics, anatomy, and environmental exposures. Many OA outcomes vary by socioeconomic status and other social factors. This chapter describes demographic and social determinants of knee, hip, and hand OA, including how these factors impact radiographic and symptomatic OA, OA-related pain and function, and its treatment.

Non-pharmacological approaches are widely and consistently recommended for the management of osteoarthritis (OA). This recommendation is based on biomechanical observations and emphasizes the therapeutic interest of biomechanical interventions able to modulate adverse mechanical factors affecting the symptomatic OA joint. Therapeutic approaches include braces, orthoses, insoles, joint protection, joint-preserving surgical procedures, walking sticks, and other aids. Overall, biomechanical interventions aim to modulate joint biomechanics, in order to improve joint mechanosensitivity, decrease mechanical joint loading, and eventually reduce pain. These interventions must be adjusted to the biomechanical specificities of each joint, and of the individual patient. This chapter uses an evidence-based approach, including the most recent European League Against Rheumatism, Osteoarthritis Research Society International, and American College of Rheumatology recommendations, to describe and to review non-pharmacological strategies available in daily clinical practice, designed to modulate mechanical joint loading, with a focus on the management of hand, hip, and knee OA. The interest of weight loss, specific and non-specific exercises, patient education, and self-care programmes is discussed elsewhere in this book.

This chapter examines how the sequel film Harold and Kumar Escape from Guantanamo Bay (2008) establishes Harold and Kumar as patriotic, racialized American citizens who are able to question American federal policy towards outsiders and regional stereotypes in the south in a post-9/11 heightened-security era. Harold and Kumar become the characters that the audience roots for. As in the first film, an Indian accent is not a performative characteristic or object. What is notable is that Harold and Kumar are “accent-less,” so their racial position does not define them. They do not act as cultural objects. In the world of the second film, however, government officials focus on what they look like—they are made hypervisible and seen only as a potential threat to the nation. In contrast to narrative of the paranoid security officials, the rest of the film minimizes their racial threat by having everyone else misrecognize them or surrounds them with exaggerated stereotypes that make Harold and Kumar normative and patriotic. The film allows Kumar, the victim of racial profiling, to protest his treatment and through humor diffuse some of the tension about issues related to detainment and racial profiling.

This chapter turns to the neglected author, Aretaios of Kappodokia, and his nosological writings. Aretaios develops an anatomically informed vision of pain perception which employs Aristotelian ideas about perception; he describes these symptoms in a manner which combines specific and formal medical terminology with more quotidian language and metaphors for various pain symptoms. This combination of linguistic registers helps provide a structure for the recognition and diagnosis of different symptoms and their conditions. Aretaios combines these two aspects of his nosology with a vision of the patient and his interaction with them that emphasizes their joint, heroic confrontation of pain and disease. Aretaios stresses, ultimately, the patient’s and doctor’s joint or combined confrontation of pain and disease.

Joint replacement is often considered the surgical treatment for patients with osteoarthritis (OA). However, several other surgical treatments, of which some are more frequently performed, have been advocated for patients with OA in order to relieve symptoms, stall progression, and avoid or postpone joint replacement. This chapter briefly describes the most common procedures such as knee and hip arthroscopy and knee and hip osteotomy. It also reviews the evidence for the efficacy of these treatments compared with non-surgical alternatives, which is frequently insufficient due to lack of controlled low-risk-of-bias studies. The risk of adverse events is also reported when data is available. Some of the more recent surgical techniques such as implantation of chondrocytes or stem cells are also described and discussed but their utility for treating osteoarthritis remains uncertain. There is a great need for continued innovation and development of surgical techniques for managing in particular the earlier stages of osteoarthritis. To reduce the risk of future costly failures, a stepwise introduction of new surgical procedures and devices must be encouraged.

One of the culturally dominant means through which time is conceptualized as space, and vice versa, jet lag has increasingly become a metaphor we live by. It has particular resonances for Shakespearean performance, a phenomenon that is, by definition, perpetually out of time. Taking as a point of departure Brian Cox’s 1991 account of his experience of the National Theatre’s touring productions of King Lear and Richard III, this chapter aligns the predicament of the jet -lagged traveller, the off-form actor, and the jet-lagged, off-form travelling actor to argue that their mutual predicament offers an under-explored frame of reference for performance in general and for Shakespeare in performance in particular. It examines how mechanisms of synchrony (or entrainment) shape the actor’s work in performance and with the audience. It also examines the implications of theatrical good and bad timing, and the sometimes unexpected consequences of time getting out of joint.

The nature of both respect and the reactive attitudes is illuminated by understanding the reactive attitudes to be a class of emotions distinguished by their forming a distinctively interpersonal pattern of rationality. In feeling a reactive attitude such as resentment, one holds the wrongdoer responsible by “calling on” him to feel guilt and on witnesses to feel disapprobation or indignation; other things being equal, one’s resentment is unwarranted if that “call” is not taken up by others. This call and its uptake are made intelligible through the community members’ joint background commitment to the value of the community and its norms, and to the dignity of its members as members—a commitment undertaken and reaffirmed in their reactive attitudes. The resulting interpersonal rational patterns of reactive attitudes constitute their joint recognition respect for its norms and for each other as a part of their joint reverence for the community.

While the Revolution gave Jenkins a few scares, including almost being shot by a firing squad, it allowed him to quintuple his fortune. When rebels loyal to Emiliano Zapata withdrew from Puebla, they briefly used Jenkins’s mill as a fort. Charged with complicity, Jenkins was hauled off by federal troops, but Álvaro Obregón intervened to save him. The incident heightened Jenkins’s disdain for the Revolution, and he dispatched Mary to California. But he kept his mills running and was one of the first textile barons to give his company joint-stock, limited-liability status. His chief wartime success was in property trading. He converted his dollars into the devalued peso and snapped up assets for a song. His success illustrates how a new entrepreneurial class used the era’s turmoil to their advantage. Helping make such purchases possible was Jenkins’s ability to ingratiate himself with certain Puebla elites and his willingness to bribe officials.

Hip and knee replacement surgery is one of the most commonly performed orthopaedic procedures in the world. Within the United States, approximately 1 000 000 arthroplasty surgeries are performed a year and within the United Kingdom, around 200 000 hip and knee replacements are performed annually. There is considerable evidence to show the clinical and cost-effectiveness of these interventions. Many patients will get very effective relief of the pain and immobility resulting in a general improvement in their quality of life. However, there can be complications from the surgery and approximately 10–15% of patients may not do well after joint replacement. This chapter outlines the key points of arthroplasty practice including indications for surgery, the type of surgery performed, and review of the benefits and risks of the procedure.

Chapter 4 describes how the author and his colleagues set about trying to tackle HIV/AIDS in Uganda through health education and prevention campaigns, collaborative research, and, ultimately, treatment. It covers how, through the work of the Joint Clinical Research Centre and active support from the country’s President, Uganda took the lead in many aspects of research and development, and how it became clear that the biggest challenges were securing access to treatments and confronting attitudes that the use of antiretroviral therapy (ART) in Africa was simply unfeasible. It also describes how ART became available and successful services were established throughout the country, how Uganda served as a model for many other countries in Africa, and explains the continuing need for investment and development to maintain and build on these successes.

AbstractOrthopaedic and dental implant treatments have allowed to enhance the quality of life of millions of patients. Total hip/knee arthroplasty is a surgical replacement of the hip/knee joint with an artificial prosthesis. The aim of joint replacement surgery is to relieve pain improve function, often for sufferers of osteoarthritis, which affects around a third of people aged over fifty. Nowadays, total hip and knee replacement (THR) surgeries are considered routine procedures with generally excellent outcomes. Given the increasing life expectancy of the world population, however, many patients will require revision or removal of the artificial joint during their lifetime. The most common cause of failure of hip and knee replacements is mechanical instability secondary to wear of the articulating components. Thus, tribological and biomechanical aspects of joint arthroplasty are of specific interest in addressing the needs of younger, more active patients. The most significant improvements in the longevity of artificial joints have been achieved through the introduction of more wear resistant bearing surfaces. These innovations, however, brought about new tribocorrosion phenomena, such as fretting corrosion at the modular junctions of hip implants. Stiffness mismatch between the prosthesis components, non-physiological stress transfer and uneven implant-bone stress distribution are all involved in premature failure of hip arthroplasty. The development of more durable hip and knee prostheses requires a comprehensive understanding of biomechanics and tribocorrosion of implant materials. Some of these insights can also be applied to the design and development of dental implants.

AbstractUNAIDS defines sex work as selling sexual services (Ditmore in Joint United Nations Programme on HIV/AIDS. UNAIDS, 2008, [1]). Sex workers involved in sexual relations with multiple partners are a key group of women who need access to comprehensive sexual health services, including HIV prevention, treatment, and care (Lafort et al. in Reproductive health services for populations at high risk of HIV: performance of a night clinic in Tete province, Mozambique. BMC Health Services Research, 2010, [2]). There are a broad range of sex workers in various locations including those who are street-based and brothel-based, those who work as escorts, and those who work from their own homes.

With an aging population, chronic osteoarthritic hip joint pain is becoming a major issue. Most patients with hip pain can control their pain with conservative measures but with a gradual reduction in their quality of life. When gradually reduced ambulation and pain become recalcitrant, total hip arthroplasty is the next step. For most patients, this is a good way to improve pain control and to recover some quality of life, but for a few this aggressive surgical procedure is not possible. Sometimes co-morbidities make total hip arthroplasties undesirable. At other times, the age of the patients recommends to wait for a while. In these cases, other options have to be explored. Percutaneous partial hip joint sensory denervation has become a notable option as it can provide acceptable rates of pain relief with minimal surgical aggressiveness. There are three modalities to perform it: thermal, cooled and pulsed radiofrequency.

This chapter discusses the goals, procedure, and potential outcomes of total hip arthroplasty (THA). Patients may be candidates for a THA when they have severe arthritis of their hip(s) (degeneration of cartilage covering the ends of the bones creating the hip joint). Arthritic hip pain is often progressive and gets worse as the cartilage continues to deteriorate. Typically, at the time a patient seeks hip arthroplasty, his or her quality of life has become very compromised. In a total hip arthroplasty, damaged bone and cartilage of the hip joint are removed and replaced with prosthetic components. THA can be performed under neuraxial anesthesia (spinal or epidural) or general anesthesia or a combination of both.

Chapter 107 discusses the hip and its component tissues, including the bones, labrum, synovial tissues, muscles, and tendons, and covers the MRI appearances of many of the most common pathologies that occur in and around the hip joint. The hip is a ball-and-socket joint consisting of the femoral head and the cup-shaped acetabulum. Because of its shape, the hip allows multi-axial movements, including flexion/extension, abduction/adduction, and internal/external rotation. A number of supporting structures, including the acetabular labrum and joint capsule, surrounding muscles and tendons, and bursae, help stabilize the hip and allow for a smooth range of motion. Injuries to any of these structures can result in hip pain and loss of function. MRI has become the test of choice to assess hip internal derangement because of its superior assessment of soft tissues and bone marrow and its contrast resolution, which improves conspicuity of pathologic conditions.

This chapter discusses osteoarthritis (OA), including the features seen in OA and the wider clinical features of OA, outlining the most commonly affected joints and their management. The potential causes of OA are summarized with visual representations of the joints involved and how they are affected. Investigations required to diagnosis OA and exclude other forms of joint pain are described. The chapter then provides more specific information for hip and knee; hand, wrist, foot, and ankle; and neck and spine, including their assessment and treatment options (pharmacological and non-pharmacological). This is followed by some of the more holistic aspects to care and management plans including when to refer those who present with OA to a specialist team.

Septic arthritis (or infective arthritis) is the most serious cause of one or more hot swollen joints. A causative organism can be identified in about 80% of cases, with Staphylococcus aureus the most common, followed by Streptococcus and gram-negative organisms. The key diagnostic investigation is microscopy and culture of aspirated joint fluid. Management is with drainage of bacteria, pus, and debris from the joint, along with antibiotics. Consensus is that these should be given intravenously for up to two weeks, or until clinical signs improve, followed by oral antibiotics for four weeks. Prosthetic joint infection is a particular challenge requiring specialist care. Arthralgia and/or arthritis are common occurrences with many viral infections, particularly parvovirus, hepatitis B and C, rubella, HIV, alpha (including chikungunya) and dengue viruses. Joint manifestations are usually sudden in onset, correlate with the onset of clinical illness, and generally self-limiting, but can persist following infection.

Osteoarthritis (OA), the commonest arthropathy, targets specific joints e.g. the knees, hips, interphalangeal joints, and first carpometacarpal joints. Most patients develop symptoms in their middle or older age. Usage-related (’mechanical’) joint pain, short-lived morning stiffness, and locomotor restriction are the common presenting symptoms. Pain at extremes of movement and joint line tenderness may be present in early disease. Crepitus, bony enlargement, and reduced range of movement suggest more severe OA. Advanced OA is characterized by rest pain, night pain, muscle wasting, and deformity. Notably, symptoms and signs of inflammation are absent or only modest, although mild-moderate effusions are not uncommon at the knee. OA may be diagnosed on clinical grounds alone in the at-risk age group, in the presence of typical symptoms and signs. Radiographic changes of OA are commonly asymptomatic. In general there is poor correlation between symptoms, signs, radiographic changes, and disability in OA, and due care should be used to differentiate the ’disease OA’ from the ’illness OA’. More inflammatory symptoms and signs suggest coexistence of calcium crystal deposition. Evaluation of people with OA should include targeted assessment for treatable comorbidities such as depression and obesity that compound disability from OA.

The musculoskeletal examination, as for other systems, is best done in correlation with the medical history. You may be asked to examine the whole system, the spine, or a single joint. A structured approach is required, both for a screening examination and individual joint examination. Practise a systematic approach for presenting your findings, even if the examination is carried out in a different sequence from the one outlined here. Key competence skills required in the musculoskeletal examination are given in table 12.1. Musculoskeletal cases commonly encountered in the MRCPCH Clinical Exam are listed in table 12.2. Stepwise examination of the musculoskeletal examination is performed as follows: • visual survey (head to toe inspection) • screening examination of the musculoskeletal system: gait, arms, legs, spine (pGALS) • Examination of individual joints (hands and wrists, elbows, shoulders, head and neck, hips, knee, foot and ankle, spine):… • look • feel • move • measurements • assessment of function • joint-specific tests…. These steps are repeated in every system to reiterate their importance and to help you recollect the initial approach of any clinical exam. Also refer to chapter 4. • On entering the examination room, demonstrate strict adherence to infection control measures by washing your hands or by using alcohol rub. • Introduce yourself both to the parents and the child. • Talk slowly and clearly with a smile on your face. • Establish rapport with the child and parents. • Expose adequately while ensuring their privacy. Ideally, the child should be undressed to their underwear. If possible, watch the child undress. • Ask three important questions:… • Do you have pain anywhere? • Can you dress completely without difficulty? • Can you walk up and down the stairs without difficulty?... • Positioning: early in the examination, it is preferable to examine a younger child on their parent’s lap rather than on a couch. Useful information can be obtained by watching the child walk and play. Depending on the joint, examine an older child either in the sitting or lying position.

This chapter begins with the cultural impact of the June War and its coda, Gamal Abdel Nasser's death in 1970. As the chapter shows, the defeat fundamentally altered Arab conceptions of political theatre's role. A well-developed high culture was no longer considered enough to guarantee the world's respect. Psychological interiority was irrelevant: what mattered was not deserving agentive power but seizing it. Disillusioned with their regimes, dramatists stopped addressing subtly allegorical plays to the government; instead, they appealed directly to audiences, trying to rouse them to participate in political life. Analyzing two early 1970s Hamlet adaptations from Egypt and Syria, the chapter demonstrates how the 1970s Hamlet became a Che Guevara in doublet and hose. Guilt and sadness over his father's death only sharpened his anger; his fierce pursuit of justice left no room for introspection or doubt.

Hip-replacement joints are designed to meet shape specifications for each individual patient. Because the height and shape of bones of every patient are different than the other, the shapes of hip-replacement joints need to be customized for each individual patient. Customizing for each individual patient will increase the overall cost of hip-replacement joint production and eventually the cost of whole surgery process. Mass-production is necessary to reduce the production cost for such products. A technique of mass-customization can address to both of these issues providing customization of individual design in mass format and in reasonably low production cost. In this paper we investigate the use of shape grammar to develop a common platform for mass-customization of hip-replacement joints. To capture the common shape used in regular hip replacement surgery, a set of rules is presented to define the shape grammar. The rules are then varied inside the limits and the variations of design are observed.

Morphological deviations of the acetabulum and femoral head may lead to hip dysplasia or femoro-acetabular impingement. Hip dysplasia and femoro-acetabular impingement (FAI), a pathological contact of the femoral neck with the acetabular rim during motion, have been proposed as potential factors in the development of hip osteoarthritis. The effects of these two kinds of disorders on the mechanical environment of the hip joint are analyzed and compared. One of the morphological measures of the acetabulum is the angle of Wiberg (CE angle), which defines dysplastic, normal or over-covered joints. The morphological measure defined for femoral head deviations in orthopedic literature is the alpha (α) angle [1]. A three-dimensional finite element model of the hip joint has been developed. Changing the CE angle, and alpha angle, normal and pathological joint geometries have been simulated with idealized CAD-generated models, and the results of finite element analyses have been compared for different load and motion cases. Internal contact pressures and cartilage stresses were calculated for each case. The results provide an understanding of normal and pathological joint function, as well as a scientific basis for the corrective operations which are already being utilized. Also, this study verifies femoro-acetabular impingement as one of the potential initiators of cartilage degeneration in the hip.

Jumping is a natural exertion that occurs during a variety of human activities including playing sports, working, skateboarding, dancing, escaping from hazardous events, rescue activities, and many others. During jumping, the ankles in particular are expected to support the entire body weight of the jumper and that may lead to ankle injuries. Each year hundreds of patients are treated for ankle sprains/strains with ankle fractures as one of the most common injuries treated by orthopedists and podiatrists. The knee joint is also considered the most-often injured joint in the entire human body. Although the general anatomy of the lower extremities is fairly well understood, an understanding of the injury mechanism during these jumping tasks is not well understood. The aim of this study is to determine the reaction forces exerted on legs and joints due to vertical jumps, through musculoskeletal simulation and experimental studies to better understand the dynamic jump process and the injury mechanism. The joint reaction forces and moments exerted on the ankle, knee and hip joint during takeoff and extreme squat landing of a vertical jump were determined through the application of musculoskeletal simulation. It is concluded that during extreme squat landing of a vertical jump, joint reaction forces and moments were highest in proximal/distal and anteroposterior direction may cause most likely injury to the hip joint ligaments, ankle fracture and knee joint, respectively.

Simplified analytical approaches to estimate hip joint contact pressures using perfectly spherical geometry have been described in the literature (rigid body spring models); however, estimations based on these simulations have not corresponded well with experimental in vitro data. Recent evidence from our laboratory suggests that finite element (FE) models of the hip joint that incorporate detailed geometry for cartilage and bone can predict cartilage pressures in good agreement with experimental data [1]. However, it is unknown whether this degree of model complexity is necessary. The objective of this study was to compare cartilage contact pressure predictions from FE models with varying degrees of simplicity to elucidate which aspects of hip morphology are required to obtain accurate predictions of cartilage contact pressure. Models based on 1) subject-specific (SS) geometry, 2) spheres, and 3) rotational conchoids were analyzed.

The wear prediction of artificial joints is a very difficult task due to several factors. First, one could notice a large domain of joint loading due to the wide spectrum of common activities. Secondary, to account for the evolution of contact conditions due to wearing could imply a high level of nonlinearity and time-consuming algorithms in order to solve. The authors tried to overcome all these difficulties by using a complex predictive model that combines statistical evaluation, nonlinear mechanical analyses of load transfer by the contact interface and tribological estimations of the wear characteristics. After a theoretical description of the predictive model, one could notice an application for an artificial Total Hip Prosthesis — a frictional CoCr alloy on ultra high molecular weight polyethylene (UHMWPE) couple. Several loading regimes are considered as characteristic for the common activity of the patient (normal walking, stair ascending and descending). For every regime a dynamic Finite Element simulation of the frictional contact was performed establishing the contact traces and the contact pressure distribution. Those characteristics combined with the frequencies of the activities considered are input data for computing a special point function which distribution over the contact surface could be a good measure of the wearing regime, qualitatively as quantitatively.

Charles Speziale was, throughout his career, associated almost exclusively with the academic community. His affiliations included Princeton, Stevens, Georgia Tech, ICASE, CTR, and Boston University. His collaborators during his career constitute a sizable portion of the “Movers and Shakers” in the Turbulence Modeling and Turbulence Computation Arenas. However and perhaps atypically for the era of the late 70’s to early 90’s he was interested in and focused on the exigencies/requirements arising from “Practical Applications”. The Research areas to which he contributed throughout his career are exceedingly broad in scope — allowing him to bring to the Turbulence Modeling problem a rich/continually-enriched background in continuum mechanics. These areas included non-Newtonian fluid dynamics, kinetic theory of gases, vortex dynamics and non-linear transition flow dynamics. This intellectual experience base enabled him to make serious and lasting contributions to the turbulence modeling areas of streamline curvature, rotational influences, renormalization group theory, large eddy simulation, dissipation rate equation development, wall region modeling, direct numerical simulation, compressibility influence, second order closure and a plethora of canonical criteria for modeling, calibration and validation.

Improvements in surgical procedures, installation techniques and properties of materials have resulted in a remarkable reduction in the failure of artificial hip joints (AHJ) due to infection. However, the durability of these replacements is greatly limited by premature osteolysis and eventual joint loosening, caused by macrophage activity in response to the release of submicron particles of ultra-high molecular weight polyethylene (UHMWPE) cup material [1–4]. The wear debris is mainly due to wear between the bearing surfaces, and these wear rates are known to be accelerated by the third body action of polymethylmethacrylate (PMMA) bone cement particles and metallic fragments of the femoral head material scattered within the synovial fluid lubricant [5]. This study is focused on development of a model that simulates the motion of UHMWPE particles in the synovial fluid between the AHJ bearing surfaces during articulation.

The lolotte or drop-knee technique is a fundamental of rock climbing that particularly involves lower limbs, and especially knee joints. To the authors’ best knowledge, no biomechanical analysis of the lolotte seems to have ever been conducted, despite its widespread use. As a first contribution to this research topic, the present work deals with an athlete-specific kinematic analysis of the lolotte aimed at quantifying the hip and knee joint angle trajectories and knee ligament strains. A marker-based motion capture system was employed to track the execution of the lolotte on a purposely designed climbing structure. The marker trajectories were then used as input for a numerical simulation in the OpenSim program, where an athlete-specific musculoskeletal model was set up to perform an inverse kinematics analysis and obtain the joint angle trajectories as well as their ranges of motion. Further processing of the model allowed to estimate the strain of the knee medial collateral ligament. Such kinematic analysis revealed characteristic hip and knee joint angle patterns and highlighted a critical phase in which the knee is considerably abducted (increased valgus). As a consequence, the medial collateral ligament is remarkably recruited, thereby substantiating the claim diffused among climbers that drop-kneeing may cause ligament injury.

Some open questions raised by the reaction of tissue on particles require the knowledge of the acting wear mechanisms. These have to be clarified within the macro-, micro-, and nanoscale. Thus, this contribution focuses on the wear mechanisms of hard-hard artificial hip joints which have been verified to act both in clinical application and both during laboratory simulation. Some aspects of novel developments will be discussed on the basis of these findings.

Nowadays, people publish a lot of natural language texts on social media. Socialized word embeddings (SWE) has been proposed to deal with two phenomena of language use: everyone has his/her own personal characteristics of language use and socially connected users are likely to use language in similar ways. We observe that the spread of language use is transitive. Namely, one user can affect his/her friends and the friends can also affect their friends. However, SWE modeled the transitivity implicitly. The social regularization in SWE only applies to one-hop neighbors and thus users outside the one-hop social circle will not be affected directly. In this work, we adopt random walk methods to generate paths on the social graph to model the transitivity explicitly. Each user on a path will be affected by his/her adjacent user(s) on the path. Moreover, according to the update mechanism of SWE, fewer friends a user has, fewer update opportunities he/she can get. Hence, we propose a biased random walk method to provide these users with more update opportunities. Experiments show that our random walk based social regularizations perform better on sentiment classification.