Study protocol: an early intervention program to improve motor outcome in preterm infants: a randomized controlled trial and a qualitative study of physiotherapy performance and parental experiences

Background Knowledge about early physiotherapy to preterm infants is sparse, given the risk of delayed motor development and cerebral palsy. Methods/Design A pragmatic randomized controlled study has been designed to assess the effect of a preventative physiotherapy program carried out in the neonatal intensive care unit. Moreover, a qualitative study is carried out to assess the physiotherapy performance and parents' experiences with the intervention. The aim of the physiotherapy program is to improve motor development i.e. postural control and selective movements in these infants. 150 infants will be included and randomized to either intervention or standard follow-up. The infants in the intervention group will be given specific stimulation to facilitate movements based on the individual infant's development, behavior and needs. The physiotherapist teaches the parents how to do the intervention and the parents receive a booklet with photos and descriptions of the intervention. Intervention is carried out twice a day for three weeks (week 34, 35, 36 postmenstrual age). Standardized tests are carried out at baseline, term age and at three, six, 12 and 24 months corrected age. In addition eight triads (infant, parent and physiotherapist) are observed and videotaped in four clinical encounters each to assess the process of physiotherapy performance. The parents are also interviewed on their experiences with the intervention and how it influences on the parent-child relationship. Eight parents from the follow up group are interviewed about their experience. The interviews are performed according to the same schedule as the standardized measurements. Primary outcome is at two years corrected age. Discussion The paper presents the protocol for a randomized controlled trial designed to study the effect of physiotherapy to preterm infants at neonatal intensive care units. It also studies physiotherapy performance and the parent's experiences with the intervention

Corporeality, equality and education. A biopedagogical perspective

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Keeping the collectivity in mind?

The key question in this three way debate is the role of the collectivity and of agency. Collins and Shrager debate whether cognitive psychology has, like the sociology of knowledge, always taken the mind to extend beyond the individual. They agree that irrespective of the history, socialization is key to understanding the mind and that this is compatible with Clark’s position; the novelty in Clark’s “extended mind” position appears to be the role of the material rather than the role of other minds. Collins and Clark debate the relationship between self, agency, and the human collectivity. Collins argues that the Clark’s extended mind fails to stress the asymmetry of the relationship between the self and its material “scaffolding.” Clark accepts that there is asymmetry but that an asymmetrical ensemble is sufficient to explain the self. Collins says that we know too little about the material world to pursue such a model to the exclusion of other approaches including that both the collectivity and language have agency. The collectivity must be kept in mind! (Though what follows is a robust exchange of views it is also a cooperative effort, authors communicating “backstage” with each other to try to make the disagreements as clear and to the point as possible.

Empathy, engagement, entrainment: the interaction dynamics of aesthetic experience

A recent version of the view that aesthetic experience is based in empathy as inner imitation explains aesthetic experience as the automatic simulation of actions, emotions, and bodily sensations depicted in an artwork by motor neurons in the brain. Criticizing the simulation theory for committing to an erroneous concept of empathy and failing to distinguish regular from aesthetic experiences of art, I advance an alternative, dynamic approach and claim that aesthetic experience is enacted and skillful, based in the recognition of others’ experiences as distinct from one’s own. In combining insights from mainly psychology, phenomenology, and cognitive science, the dynamic approach aims to explain the emergence of aesthetic experience in terms of the reciprocal interaction between viewer and artwork. I argue that aesthetic experience emerges by participatory sense-making and revolves around movement as a means for creating meaning. While entrainment merely plays a preparatory part in this, aesthetic engagement constitutes the phenomenological side of coupling to an artwork and provides the context for exploration, and eventually for moving, seeing, and feeling with art. I submit that aesthetic experience emerges from bodily and emotional engagement with works of art via the complementary processes of the perception–action and motion–emotion loops. The former involves the embodied visual exploration of an artwork in physical space, and progressively structures and organizes visual experience by way of perceptual feedback from body movements made in response to the artwork. The latter concerns the movement qualities and shapes of implicit and explicit bodily responses to an artwork that cue emotion and thereby modulate over-all affect and attitude. The two processes cause the viewer to bodily and emotionally move with and be moved by individual works of art, and consequently to recognize another psychological orientation than her own, which explains how art can cause feelings of insight or awe and disclose aspects of life that are unfamiliar or novel to the viewer

Posthuman literacies: young children moving in time, place and more-than-human worlds.

This paper examines the potential of posthumanism to enable a reconceptualization of young children’s literacies from the starting point of movement and sound in the more-than-human world. We propose movement as communicative practice that always occurs as a more complex entanglement of relations within more-than-human worlds. Through our analysis, an understanding of sound emerged as a more-than-human practice that encompasses children’s linguistic and non-linguistic utterances, and which occurs through, with, alongside movement. This paper draws on data from two different research studies; in the first two year old children in the UK banged on drums and marched in a museum. In the second study, two young children in Australia chose sites for their own research and produce a range of emergent literacies from vocalisation and ongoing stories to installations. We present examples of ways in which speaking, gesturing and sounding, as emergent literacy practices, were not so much about transmitting information or intentionally designed signs, but about embodied and sensory experiences in which communication about and in place occurred through the body being and moving in place. This paper contributes to the field of posthuman early childhood literacies by foregrounding movement as central to in-the-moment becoming. Movement and sound exist beyond parameters of human perception, within a flat ontology (MacLure, 2013) in which humans are decentred and everything exists on the same plane, in constant motion. Starting from movement in order to conceptualise literacy offers, therefore, an expanded field of inquiry into early childhood literacy. In the multimodal literacy practices analysed in this paper, meaning and world emerge simultaneously, offering new forms of literacy and representation and suggesting possibilities for defining or conceptualising literacy in ways that resist anthropocentric or logocentric framings

'It just opened my eyes a bit more': student engagement with Instagram to develop understanding of complex concepts

How can we make use of image-based social media to develop students’ critical engagement with concepts like equality and diversity? In this paper, I draw on bell hooks’ description of liberatory theorising to discuss findings from a project that involved 60 2nd year BA education students taking and sharing photographs through Instagram as part of their learning on a sociology module underpinned by a critical pedagogy approach. Thematic analysis applied to ten interviews with student participants shows that while the project supported students to connect everyday experiences with abstract concepts, their criticality was hindered by the perception of the task as one of ‘capturing’ unambiguous representations of concepts. The findings highlight that if we are to use popular image-based social media sites as part of a critical pedagogy approach, we need to be prepared to support students in using the visual mode as part of liberatory theorising

'Being in your body' and 'Being in the moment': the dancing body-subject and inhabited transcendence

Sports studies is currently dominated by the intellectualist approach to understanding skill and expertise, meaning that questions about the phenomenological nature of skilled performance in sport have generally been overshadowed by the emphasis on the cognitive. By contrast, this article responds to calls for a phenomenology of sporting embodiment by opening up a philosophical exploration of the nature of athletic being in-the-world. In particular, the paper explores the conceptualisation of immanence and transcendence in relation to the embodied practice of dance, engaging with Merleau-Ponty’s important insight that the body can be a source of transcendence. I also draw on data from in-depth qualitative interviews with professional contemporary dancers to explore dancers’ concepts of ‘being in your body’ and ‘being in the moment’, and to suggest that during the actual embodied practice of dance, dancers do not experience transcendence and immanence as they are conceptualised in philosophy. Rather, I argue, dancers experience a third mode of being that is somehow in-between these two binary terms. I have called this ‘inhabited transcendence’

The affordance of compassion for animals: a filmic exploration of industrial linear rhythms

Compassion is an emotion that could be useful for improving the lives of animals within the intensive and factory farming system (IFFS). Rhythms that exist within this system play a role in making compassion difficult to realize, which formulates the research question: How do the rhythms of the IFFS shape the affordance of compassion for animals? Drawing on a cultural mode of analysis informed by Henri Lefebvre’s work on rhythms, this paper explored the rhythms of three films that focus on the treatment of animals in this system: Meat; Our Daily Bread and Never Let Me Go. Industrial linear rhythms seem to compromise the compassion offered to animals in the IFFS by manipulating the cyclical rhythms of animals and animalized bodies from birth, through life and at death. Compassion for animals and animalized bodies in the IFFS, this paper concludes, is often provided in a piecemeal and localized manner