Case 37: Hypertrophic Nonunion Distal Periarticular Tibia. Treatment with Callus Distraction Using a Spatial Frame

2015 ◽  
pp. 261-266
Author(s):  
James J. Hutson
Keyword(s):  
Callus Distraction ◽  
Spatial Frame

Taxation with representation: Eye movements reveal cost of spatial frame switching in text

2001 ◽  
Author(s):  
Christy R. Miller ◽  
Gary L. Allen ◽  
Robin K. Morris
Keyword(s):  
Eye Movements ◽  
Spatial Frame ◽  
Frame Switching

A case of short metatarsal bones lengthened by callus distraction

1988 ◽  
Vol 59 (2) ◽  
pp. 194-196 ◽  
Author(s):  
Takumi Wakisaka ◽  
Natsuo Yasui ◽  
Haruo Kojimoto ◽  
Makoto Takasu ◽  
Yutaka Shimomura
Keyword(s):  
Callus Distraction ◽  
Metatarsal Bones

THOUGHTS ON THE WESTERN SAVANNAH AND SAHEL

2020 ◽  
Vol 61 (3) ◽  
pp. 319-326
Author(s):  
Michael A. Gomez
Keyword(s):  
West Africa ◽  
Race And Gender ◽  
Spatial Frame ◽  
And Gender ◽  
The Relationship

AbstractA recent revival of interest in the empires of the medieval western Savannah and Sahel has generated new insights into slavery, ethnicity, race, and gender in precolonial West Africa. New histories of medieval West Africa also expand the spatial frame through which the relationship between the region's polities and the broader world can be understood. This essay offers a survey of that literature.

scholarly journals Acting Rehearsal in Collaborative Multimodal Mixed Reality Environments

2012 ◽  
Vol 21 (4) ◽  
pp. 406-422 ◽  
Author(s):  
William Steptoe ◽  
Jean-Marie Normand ◽  
Oyewole Oyekoya ◽  
Fabrizio Pece ◽  
Elias Giannopoulos ◽  
...  
Keyword(s):  
Facial Expression ◽  
System Architecture ◽  
Heterogeneous System ◽  
Mixed Reality ◽  
Frame Of Reference ◽  
Telecommunication System ◽  
Spatial Frame ◽  
The Common ◽  
Successes And Failures

This paper presents the use of our multimodal mixed reality telecommunication system to support remote acting rehearsal. The rehearsals involved two actors, located in London and Barcelona, and a director in another location in London. This triadic audiovisual telecommunication was performed in a spatial and multimodal collaborative mixed reality environment based on the “destination-visitor” paradigm, which we define and put into use. We detail our heterogeneous system architecture, which spans the three distributed and technologically asymmetric sites, and features a range of capture, display, and transmission technologies. The actors' and director's experience of rehearsing a scene via the system are then discussed, exploring successes and failures of this heterogeneous form of telecollaboration. Overall, the common spatial frame of reference presented by the system to all parties was highly conducive to theatrical acting and directing, allowing blocking, gross gesture, and unambiguous instruction to be issued. The relative inexpressivity of the actors' embodiments was identified as the central limitation of the telecommunication, meaning that moments relying on performing and reacting to consequential facial expression and subtle gesture were less successful.

Afropessimism, Liminal Hotspots, and Claude McKay’s Aesthetic of Sovereign Rejection in Romance in Marseille

2021 ◽  
Vol 59 (1) ◽  
pp. 201-217
Author(s):  
Michael J. Collins
Keyword(s):  
Harlem Renaissance ◽  
People Of Color ◽  
Spatial Frame ◽  
Fields Of Study ◽  
Temporal And Spatial ◽  
A Site

Abstract This article considers Claude McKay’s Romance in Marseille through two emerging fields of study: “Afropessimism” and anthropological theories of the “liminal hotspot.” It suggests that McKay’s novel functions as a critique of positive Harlem Renaissance images of diasporic movement by highlighting how racial “Blackness” functions as a system for rejecting people of color from the benefits of modernity and sovereign rights-bearing status in an expanded temporal and spatial frame. To explore this hypothesis, the article turns to new anthropological work on the liminal hotspot as a site of sustained, unresolved transition, reading the affectivity of diaspora as a negative one in McKay’s work that places an unsustainable pressure on ritual and performative stylizations and renders them untenable as forms for cultivating a sovereign condition.

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