scholarly journals Bimanual-Vertical Hand Movements

2011 ◽  
Vol 17 (4) ◽  
pp. 732-739
Author(s):  
Jay C. Kwon ◽  
Matthew L. Cohen ◽  
John Williamson ◽  
Brandon Burtis ◽  
Kenneth M. Heilman
Keyword(s):  
The Other ◽  
Hemispheric Dominance ◽  
Hand Movements ◽  
Future Research ◽  
Angular Deviation ◽  
Midsagittal Plane ◽  
Vertical Movements ◽  
Left Hand ◽  
Plane Normal ◽  
The Right

AbstractPatients often demonstrate attentional and action-intentional biases in both the transverse and coronal planes. In addition, when making forelimb movements in the transverse plane, normal participants also have spatial and magnitude asymmetries, but forelimb spatial asymmetries have not been studied in coronal space. Thus, to learn if when normal people make vertical movements they have right–left spatial and magnitude biases, seventeen healthy, blindfolded volunteers had their hands (holding pens) placed vertically in their midsagittal plane, 10 inches apart, on pieces of paper positioned above, below, and at eye-level. Participants were asked to move their hands together vertically and meet in the middle. Participants demonstrated less angular deviation in the below-eye condition than in the other spatial conditions, when moving down than up, and with their right than left hand. Movements toward eye level from upper or lower space were also more accurate than movements in the other directions. Independent of hand, lines were longer with downward than upward movements and the right hand moved more distance than the left. These attentional-intentional asymmetries may be related to gravitational force, hand-hemispheric dominance, and spatial “where” asymmetries; however, the mechanisms accounting for these asymmetries must be ascertained by future research. (JINS, 2011, 17, 732–739)

scholarly journals Handedness results from complementary hemispheric dominance, not global hemispheric dominance: evidence from mechanically coupled bilateral movements

2018 ◽  
Vol 120 (2) ◽  
pp. 729-740 ◽  
Author(s):  
Elizabeth J. Woytowicz ◽  
Kelly P. Westlake ◽  
Jill Whitall ◽  
Robert L. Sainburg
Keyword(s):  
Motor Control ◽  
Dynamic Control ◽  
The Other ◽  
Hemispheric Dominance ◽  
Control Mechanisms ◽  
Left Hand ◽  
Right Hand ◽  
Other Hand ◽  
Task Component ◽  
The Right

Two contrasting views of handedness can be described as 1) complementary dominance, in which each hemisphere is specialized for different aspects of motor control, and 2) global dominance, in which the hemisphere contralateral to the dominant arm is specialized for all aspects of motor control. The present study sought to determine which motor lateralization hypothesis best predicts motor performance during common bilateral task of stabilizing an object (e.g., bread) with one hand while applying forces to the object (e.g., slicing) using the other hand. We designed an experimental equivalent of this task, performed in a virtual environment with the unseen arms supported by frictionless air-sleds. The hands were connected by a spring, and the task was to maintain the position of one hand while moving the other hand to a target. Thus the reaching hand was required to take account of the spring load to make smooth and accurate trajectories, while the stabilizer hand was required to impede the spring load to keep a constant position. Right-handed subjects performed two task sessions (right-hand reach and left-hand stabilize; left-hand reach and right-hand stabilize) with the order of the sessions counterbalanced between groups. Our results indicate a hand by task-component interaction such that the right hand showed straighter reaching performance whereas the left hand showed more stable holding performance. These findings provide support for the complementary dominance hypothesis and suggest that the specializations of each cerebral hemisphere for impedance and dynamic control mechanisms are expressed during bilateral interactive tasks. NEW & NOTEWORTHY We provide evidence for interlimb differences in bilateral coordination of reaching and stabilizing functions, demonstrating an advantage for the dominant and nondominant arms for distinct features of control. These results provide the first evidence for complementary specializations of each limb-hemisphere system for different aspects of control within the context of a complementary bilateral task.

scholarly journals Interlimb Transfer of Grasp Orientation is Asymmetrical

2006 ◽  
Vol 6 ◽  
pp. 1805-1809 ◽  
Author(s):  
Victor Frak ◽  
D. Bourbonnais ◽  
I. Croteau ◽  
H. Cohen
Keyword(s):  
Motor System ◽  
Hemispheric Asymmetry ◽  
Hand Preference ◽  
Hemispheric Dominance ◽  
Hand Movements ◽  
Left Hand ◽  
Contact Points ◽  
Contralateral Hand ◽  
Human Motor ◽  
The Right

One the most fundamental aspects of the human motor system is the hemispheric asymmetry seen in behavioral specialization. Hemispheric dominance can be inferred by a contralateral hand preference in grasping. Few studies have considered grasp orientation in the context of manual lateralization and none has looked at grasp orientation with natural prehension. Thirty right-handed adults performed precision grasps of a cylinder using the thumb and index fingers, and the opposition axis (OA) was defined as the line connecting these two contact points on the cylinder. Subjects made ten consecutive grasps with one hand (primary hand movements) followed by ten grasps with the other hand (trailing movements). Differences between primary and trailing grasps revealed that each hemisphere is capable of programming the orientation of the OA and that primary movements with the right hand significantly influenced OA orientation of the trailing left hand. These results extend the hemispheric dominance of the left hemisphere to the final positions of fingers during prehension.

§ XI.—Hellenistic Mycenae

1923 ◽  
Vol 25 ◽  
pp. 408-428
Author(s):  
C. A. Boethius
Keyword(s):  
Common Type ◽  
The Other ◽  
The South ◽  
Left Hand ◽  
The Right

Among the ruins of the Hellenistic buildings at the south end of the Great Ramp, in the fourth or southern chamber (Pl. I. 34), three fragments of a stele (now in the Nauplia Museum) were found. The stele is of a simple and common type, and is made of the same white limestone as the other Mycenaean stele found by Tsountas, which it closely resembles even in its weathering. Except for the top left-hand corner and a gap on the right side the whole stele is preserved. It is ·969 m. in height, ·41–·436 m. in breadth (·41 m. at the ninth line of the inscription) and ·11–·125 m. thick. At the top there is a plain frieze, ·065 m. high : ·02 m. below the frieze begins an inscription which fills twenty lines and ends ·50 m. above the bottom of the stele. The letters are ·008–·01 m. high. The space between the lines is ·009–·011 m. The surface of the stone is very much worn, and it was consequently difficult to make out the letters and their accurate forms. The sketch (Fig. 93) shows the arrangement of the text.

scholarly journals BENTUK DAN STRUKTUR PENYAJIAN TARI TINGANG NELISE PADA SUKU DAYAK BAHAU BUSANG SUB SUKU LONG GELAAT DI ULU MAHAKAM

JOGED ◽  
2020 ◽  
Vol 16 (2) ◽  
pp. 202-214
Author(s):  
Katarina Devung
Keyword(s):  
Structural Analysis ◽  
Structural Approach ◽  
The Other ◽  
Daily Activities ◽  
Hand Movements ◽  
Folk Dance ◽  
Structure Approach ◽  
Group Movement ◽  
Language Analysis ◽  
The Right

Tari Tingang Nelise merupakan tari tradisional yang berkembang di desa Long Tuyoq khususnya Sub Suku Long Gelaat. Tarian ini merupakan tarian rakyat yang dibawakan secara khusus pada saat acara Nemlaai, acara adat anak, pernikahan, dan Dangai. Tari Tingang Nelise terinspirasi dari keseharian burung Enggang yang sedang merapikan bulunya, memperindah serta mempercantik dirinya. Tari Tingang Nelise adalah salah satu tarian yang memiliki banyak variasi dari tarian-tarian Karang Sapeq. Tingang Nelise awalnya dikenal dengan nama Tari Tingang Mate, namun karena itu memberikan makna yang kurang tepat terlebih lagi karena gerakannya lebih tepat disebut dengan Nelise (berhias). Penelitian ini akan mengupas bentuk dan struktur penyajian tari Tingang Nelise dilihat dari tari tradisional yang menggabungkan motif-motif dari setiap gerakan-gerakannya. Dengan pendekatan koreografi dan struktur. Pendekatan koreografi melihat tema, pelaku, gerak, rias busana, properti, musik iringan dilihat dari bentuk tariannya dibawakan sebagai tari hiburan atau rakyat yang tumbuh di kalangan masyarakat. Pendekatan struktur mengupas tari Tingang Nelise dilihat dari analisis struktural dimulai dari unsur gerak, frase gerak, kalimat gerak dan gugus gerak. Tari Tingang Nelise memiliki ciri khas yang terlihat dari motif-motif geraknya. Gerak yang paling dominan adalah kaki dan tangan. Secara struktur tari Tingang Nelise terbagi ke dalam 4 gugus, dan memiliki 7 motif gerak yang khas yaitu motif gerak Ngaset yang melompat ke kanan dan kiri dengan posisi jongkok, Nyebeb, Nyegung, Nyebib, Lemako, Nyelut, dan Nelise. ABSTRACT Tingang Nelise dance is a traditional dance of Dayak community, Long Gelaat tribe in Long Tuyoq village. This dance is a folk dance that is performed specifically at Nemlaai events, children's traditional events, weddings, and Dangai. Tingang Nelise dance is inspired by the daily activities of hornbills that are grooming their feathers and beautifying themselves. Tingang Nelise dance is one of the dances that have many variations of the Karang Sapeq dances, which is the embodiment of Tingang Nelise or the result of a change in name which was originally known as the Tingang Mate Dance, but because it gives less meaning and also because the movement is more accurately called Nelise (decorated). This research will explore the form and structure of the presentation of the Tingang Nelise dance with a choreography and structure approach. The choreography approach looks at themes, dancers, movements, dress and make-up, properties, and music accompaniment. While the structural approach of the Tingang Nelise dance is seen from the structural analysis of dance in the language analysis which analyzes from the smallest movement. Starting from the elements of movement, motives movement, phrases movement, sentences, and group movement. The results of the analysis conclude that the Tingang Nelise Dance has a characteristic that can be seen from the motives of the movement which are dominated by foot and hand movements. Structurally, the Tingang Nelise dance is divided into 4 groups and has 7 characteristic motive movement, namely the Ngaset that jumps to the right and left in a squatting position. The other motives are Nyebeb, Nyegung, Nyebib, Lemako, Nyelut, and Nelise.

Rediscovering Leon Theremin

Tempo ◽  
1991 ◽  
pp. 18-23 ◽  
Author(s):  
Stephen Montague
Keyword(s):  
Electromagnetic Field ◽  
The Other ◽  
Electronic Instrument ◽  
Left Hand ◽  
Vertical Antenna ◽  
Right Hand ◽  
Concert Halls ◽  
The Right

In the early 1920s and 30s a strange electronic instrument found its way from Russia into some of the more fashionable ballrooms, night clubs, and concert halls in Europe and America. This exotic new invention, called the ‘theremin’ or ‘thereminvox’, caused a considerable stir. Part of the interest was its unusual sound (like a musical saw mated with a light soprano), but its most dramatic feature was that the performer never actually touched the instrument. He or she simply waved graceful hands near the two antennae (one set vertically, the other looped horizontally) to coax out seamless, melifluous melodies. The proximity of the right hand to the vertical antenna changed the ultrasonic electromagnetic field, thus changing the pitch over about a six-octave range. The left hand (or sometimes a foot pedal) controlled the volume. By gently shaking the right hand at the antenna a vibrato could be achieved, giving performances a little more musical (not to mention choreographic) interest. Fashionable women dressed in long gowns seemed to be favourite photographic subjects of the period as performers, as well as the inventor himself, poised ‘playing the rods’ in full dress tails, arms outstretched like a great conductor–or perhaps sorcerer.

scholarly journals Trial-by-trial analysis of intermanual transfer during visuomotor adaptation

2011 ◽  
Vol 106 (6) ◽  
pp. 3157-3172 ◽  
Author(s):  
Jordan A. Taylor ◽  
Greg J. Wojaczynski ◽  
Richard B. Ivry
Keyword(s):  
Skill Acquisition ◽  
Training Transfer ◽  
Visuomotor Adaptation ◽  
Single Step ◽  
Hand Movements ◽  
Intermanual Transfer ◽  
Visuomotor Rotation ◽  
Left Hand ◽  
Right Hand ◽  
The Right

Studies of intermanual transfer have been used to probe representations formed during skill acquisition. We employ a new method that provides a continuous assay of intermanual transfer, intermixing right- and left-hand trials while limiting visual feedback to right-hand movements. We manipulated the degree of awareness of the visuomotor rotation, introducing a 22.5° perturbation in either an abrupt single step or gradually in ∼1° increments every 10 trials. Intermanual transfer was observed with the direction of left-hand movements shifting in the opposite direction of the rotation over the course of training. The transfer on left-hand trials was less than that observed in the right hand. Moreover, the magnitude of transfer was larger in our mixed-limb design compared with the standard blocked design in which transfer is only probed at the end of training. Transfer was similar in the abrupt and gradual groups, suggesting that awareness of the perturbation has little effect on intermanual transfer. In a final experiment, participants were provided with a strategy to offset an abrupt rotation, a method that has been shown to increase error over the course of training due to the operation of sensorimotor adaptation. This deterioration was also observed on left-hand probe trials, providing further support that awareness has little effect on intermanual transfer. These results indicate that intermanual transfer is not dependent on the implementation of cognitively assisted strategies that participants might adopt when they become aware that the visuomotor mapping has been perturbed. Rather, the results indicate that the information available to processes involved in adaptation entails some degree of effector independence.

scholarly journals XIV.—Ancient Gold Ornaments: described by John Yonge Akerman, Esq. Secretary

Archaeologia ◽  
1853 ◽  
Vol 35 (1) ◽  
pp. 190-193
Author(s):  
John Yonge Akerman
Keyword(s):  
Light Chain ◽  
The Body ◽  
The Other ◽  
Asia Minor ◽  
Plate Viii ◽  
Left Hand ◽  
Small Loop ◽  
The Individual ◽  
The Right ◽  
Of Greece

With the exception of Figs. 1, 2, 3, the Gold Ornaments engraved in Plate VIII. have no reference whatever to each other. The first three were obtained by Viscount Strangford, Director of the Society, from a Greek priest at Milo, in the year 1820. Figs. 1 and 3 appear to have formed the ends of a light chain, and the other (fig. 2) to have been pendent by a small loop on the top of the head. The figure has unfortunately lost the feet and the left hand, but the other parts are perfect. The right hand is raised in an admonitory attitude. The forehead appears as if encircled with a wreath, while the body is crossed by what would seem to be intended for the tendril of a vine. The necklace was formerly in the collection of the late Mr. H. P. Borrell, of Smyrna, but I am informed by his brother, Mr. Maximilian Borrell, who now possesses it, that no record exists of its discovery, and that he cannot learn the name of the individual from whom it was purchased. It was well known that Mr. H. P. Borrell was in the habit of purchasing ancient coins, which were sent to him from all parts of Greece and Asia-Minor, and that many rare and unique specimens fell into his hands, of which he contributed descriptions in various volumes of the Numismatic Chronicle. The necklace may, therefore, have been included in one of these numerous consignments, and we can scarcely indulge the hope that the place of its discovery will ever be made known. As an example of ancient art, it may vie with the most elaborate and beautiful specimens of goldsmiths' work of any age or period. The details are wonderfully minute and delicate, even the backs of the button-like objects at the ends of the pendent cords being elaborately finished.

Working Memory for Movements

1989 ◽  
Vol 41 (2) ◽  
pp. 235-250 ◽  
Author(s):  
Mary M. Smyth ◽  
Lindsay R. Pendleton
Keyword(s):  
Working Memory ◽  
Memory Span ◽  
Movement Pattern ◽  
Hand Movements ◽  
Body Parts ◽  
Left Hand ◽  
Spatial Tasks ◽  
The Right ◽  
Spatial Locations ◽  
With Memory

Movement to spatial targets that can, in principle, be carried out by more than one effector can be distinguished from movements that involve specific configurations of body parts. The experiments reported here investigate memory span for a series of hand configurations and memory span for a series of hand movements to spatial locations. Spans were produced normally, or in conditions in which a suppression task was carried out on the right or the left hand while the movements to be remembered were presented. All movements were recalled using the right hand. There were two suppression tasks. One involved repeatedly squeezing a tube and so changing the configuration of the hand, and the other involved tapping a repeated series of spatial targets. The spatial tapping task interfered with span for spatial locations when it was presented on either the right or the left hand but did not affect span for movement pattern. The movement suppression task interfered with memory for movement pattern when it was presented on either the right or the left hand, but did not interfere with span for spatial locations. It is concluded that memory for movement configurations involves different processes from those used in spatial tasks and that there may be a need for a subsystem of working memory that is specific for movement configuration.

Failure to Sing the Left-Hand Part of the Score during Piano Performance: Loss of the Pitch and Stroop Vocalizations

1989 ◽  
Vol 6 (3) ◽  
pp. 299-314 ◽  
Author(s):  
Yves Guiard
Keyword(s):  
The Other ◽  
Vocal Response ◽  
Left Hand ◽  
Performance Loss ◽  
Clear Cut ◽  
Right Hand ◽  
Hand Part ◽  
Continuous Regime ◽  
And Performance ◽  
The Right

An experiment compared the ability of classical pianists to sing, during keyboard performance, the right- and the left-hand part of the score being played. Upon instructions requiring them to "sing" one or the other voice of the score, the subjects spontaneously chose to sing and name the notes simultaneously, in keeping with the French traditional way of reading music, thus producing a two- dimensional tonal and verbal vocal act in response to each visual stimulus. Singing the right-hand part of the music, whether in unison with or in place of the right hand, while concurrently playing the left-hand part was judged easy by all subjects, and performance, typically, was correct in all respects. The other task, consisting of singing the left-hand part of the music, was judged more difficult by all subjects, and performance, more often than not, was poor. Careful inspection of the many errors that were recorded in the latter task revealed a few clear-cut regularities. Failures were vocal, but not manual. More specifically, vocal failures took place on the tonal dimension of the vocal response, but not on its verbal dimension: The song, but not the naming of the notes, was prone to fail, with either a loss of the pitch, or a systematic trend toward singing unduly—albeit accurately—the notes of the right-hand part. A number of subjects were found to display this intriguing tonal/verbal dissociation—naming a note at a pitch corresponding to another note—in a continuous regime. It is emphasized that this phenomenon amounts to the spontaneous production of musical events that belong to the Stroop category.

On a New Type of Vibrating Lift

1980 ◽  
Vol 102 (2) ◽  
pp. 264-269
Author(s):  
J. Inoue ◽  
Y. Araki ◽  
S. Kubo
Keyword(s):  
The Self ◽  
The Other ◽  
Vertical Position ◽  
Horizontal Position ◽  
Linear Vibration ◽  
Left Hand ◽  
Asynchronous Motors ◽  
Rotational Vibration ◽  
New Type ◽  
The Right

This paper investigates in detail the new vibrating lift made by utilizing the principle of the self-synchronization of mechanical vibrators. In a general way products ride up inclined way of the spiral trough of a vibrating lift, propelled by forces generated by two unbalanced rotors connected by the gear and driven by a motor, which are mounted on top of the structure in a horizontal position. This machine is a new type of vibrating lift. The axes of two unbalanced rotors are nonparallel and each driven by two asynchronous motors. One motor is positioned on the right hand side and the other is situated on the left hand side of the structure in a vertical position. In spite of the absence of any connection between two rotors, they rotate at the same speed and have the definite phase angle between them as the result of the phenomena of the self-synchronization under a certain condition. This phenomenon is also called entrainment. Accordingly, by the linear vibration in the direction of the axis of the structure and rotational vibration about the axis of the structure by two unbalanced rotors, products ride up inclined way of the spiral trough.

Sign in / Sign up

Export Citation Format

Share Document