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Supplementary materials for short communication by Arcangeli et al.

This document provides figures and statistical tables to support submission of conference paper entitled "Upper-limb joint coordination during and after exposure to a robotic exoskeleton: Influence of spontaneous movement vigour." (Parry, Roby-Brami, Jarrassé).

Supplementary tables with statistical analysis from object handling tasks with one deafferented patient and ten healthy adult controls. Additional figures are provided to accompany the published article "Adaptation and compensation for somatosensory deficits in object handling: evidence from a patient with large fibre sensory neuropathy" (Parry, Sarlegna, Jarrassé, Roby-Brami).

Today, any potential visitor to a museum soon realises that engaging with museums means interacting with a wide range of communication media: from online information about visiting hours, special exhibitions and transport facilities, on to invitations to follow the museum on social network sites (“social media”). Actual museum visitors also meet a variety of media in the form of printed leaflets and catalogues, information screens and possibly mobile options for online interaction along the way. Many museums are also keenly aware of the importance to communicate a clear public profile in a competitive cultural environment where many vie for the attention of visitors, politicians and funders. Behind the scenes, mediated modes of communication equally orchestrate museum professionals’ daily work, be it content management systems for collections, archival infrastructures or printed newsletters to the staff.

How do media play into the practices of museums in terms of their relations to audiences, to their modes of organisation and to their strategies of development? This part provides answers to these pressing questions. Parts I and II have mapped the historical trajectories and the structural contexts of the intricate media-museums nexus, and chapters have illuminated how media have been, and still are, constitutive to the ways in which museums define themselves and interact with visitors and local communities, and with nationally and transnationally distributed audiences. This part homes in on how museums apply media as part of their daily communication practices and as catalysts of change.

In a seminal article, media scholar Paul F. Lazarsfeld labelled the knowledge interests driving these two kinds of research “administrative” and “critical” communication research (Lazarsfeld, 1941). Administrative research is oriented towards “goal-oriented and instrumental studies that resolve specific issues for the purpose of developing, planning, or maintaining some communication activity” (Jensen, 2012, p. 359). In Lazarsfeld’s words, such studies “solve little problems, generally of a business character” (Lazarsfeld, 1941, p. 8). Conversely, critical research “addresses the wider social, cultural, and historical issues that technologically mediated communication raises, often in a user perspective and with reference to the public interest” (Jensen, 2012, p. 359). As Lazarsfeld put it, such research engages in “forward-looking projects related to the pressing economic and social problems of our time,” taking up “the general role of our media of communication in the present social system” (Lazarsfeld, 1941, p. 8-9), and it is sometimes conducted “purely for the purposes of intellectual understanding” (Barker, Mathijs, & Turnbull, 2015, p. 4).

Another alternative but equally arresting direction of practice and research is framed in the next chapter by Sarah Kenderdine and Andrew Yip as they consider the possibility of accepting digital copies as authentic objects. Whereas Vargas reflects on the dilemma of being confronted with a massification of data, here the authors confront another new problem associated with modern developments in technology – namely, what happens when communicative media can “produce sufficiently high resolution to produce visual replicas with a spatial and structural integrity that respects the original’s materiality”? Rather than seeing authenticity located in the materiality of an object, they see a direction of curatorship and scholarship (stimulated by the arrival of these new high-fidelity digital copies) in which the idea of authenticity is understood instead at the confluence of “material concerns, digital mediation and viewer perceptions.”

Museums have always communicated with the world around them through various means, such as signage, leaflets, photos and materials for learning. Over the years, museum communication has been marked by the uptake of media technologies that were new at the time, such as film and audio guides. In recent years, the options of mediated communication have been catalysed by a range of media technologies that are born digital (computers, mobiles) or can be turned into digital formats (e.g. print, film, photos). The Internet has widened these options through rapid and nearly global reach, thus turning museums’ mediated communication into both a physical and a virtual affair. Museums are in many ways unique spaces because they can bring the whole media ensemble into a particular place and space that exists within a set of complex mediated communication environments.

International audience; A world-class paracyclist suffering from agenesis of two toes of the left foot followed a specific training program, the effects of which on pedaling kinematics and anaerobic qualities were measured. In addition to the usual training, the program relied on techniques for pedaling and strengthening the foot muscles. The results suggest that the addition of a disability specific treatment can improve the rapid technical and energetic progression of a high-performance paralympic athlete. Such work could be extended to other people with congenital lower limb deformities.; Une paracycliste de niveau international atteinte d’une agénésie de deux orteils du pied gauche a suivi un programme spécifique d’entraînement, dont les effets sur la cinématique du pédalage et les qualités anaérobies ont été mesurés. Celui-ci s’appuyait, en plus de l’entraînement habituel, sur des techniques de pédalage et de renforcement musculaire du pied. Les résultats suggèrent que l’ajout d’une prise en charge spécifique au handicap permet d’améliorer la rapidité de progression technique et énergétique d’une sportive de haute performance en paralympisme. Un tel travail pourrait être élargi à d’autres personnes atteintes d’une malformation congénitale du membre inférieur.

Upper limb activities imply positioning of the head with respect to the visual target and may impact trunk posture. However, the postural constraints imposed on the neck remains unclear. We used kinematic analysis to compare head and trunk orientation during arm movements (pointing) with isolated movements of the head (heading). Ten right-handed healthy adults completed both experimental tasks. In the heading task, subjects directed their face toward eight visual targets placed over a wide frontal workspace. In the pointing task, subjects pointed to the same targets (each with their right arm). Movements were recorded using an electromagnetic spatial tracking system. Both orientation of the head and trunk in space (Euler angles) and orientation of the head relative to the trunk were extracted. The orientation of the head in space was closely related to target direction during both tasks. The trunk was relatively stable during heading but contributed to pointing, with leftward axial rotation. These findings illustrate that the neck compensates for trunk rotation during pointing, engaging in specific target-dependent 3D movement in order to preserve head orientation in space. Future studies may investigate neck kinematics of people experiencing neck pain in order to identify and correct inefficient movement patterns, particularly in athletes.

International audience; Objective: Limitations with manual dexterity are an important problem for patients suffering from hemiparesis post stroke. Sensorimotor deficits, compensatory strategies and the use of alternative grasping configurations may influence the efficiency of prehensile motor behavior. The aim of the present study is to examine how different grasp configurations affect patient ability to regulate both grip forces and object orientation when lifting, holding and placing an object.Methods: Twelve stroke patients with mild to moderate hemiparesis were recruited. Each was required to lift, hold and replace an instrumented object. Four different grasp configurations were tested on both the hemiparetic and less affected arms. Load cells from each of the 6 faces of the instrumented object and an integrated inertial measurement unit were used to extract data regarding the timing of unloading/loading phases, regulation of grip forces, and object orientation throughout the task.Results: Grip forces were greatest when using a palmar-digital grasp and lowest when using a top grasp. The time delay between peak acceleration and maximum grip force was also greatest for palmar-digital grasp and lowest for the top grasp. Use of the hemiparetic arm was associated with increased duration of the unloading phase and greater difficulty with maintaining the vertical orientation of the object at the transitions to object lifting and object placement. The occurrence of touch and push errors at the onset of grasp varied according to both grasp configuration and use of the hemiparetic arm.Conclusion: Stroke patients exhibit impairments in the scale and temporal precision of grip force adjustments and reduced ability to maintain object orientation with various grasp configurations using the hemiparetic arm. Nonetheless, the timing and magnitude of grip force adjustments may be facilitated using a top grasp configuration. Conversely, whole hand prehension strategies compound difficulties with grip force scaling and inhibit the synchrony of grasp onset and object release.