Doubts cast on imagery as a rehab tool for stroke patients

Wouldn't it be marvellous if brain-damaged stroke patients could use mental practice to rehabilitate their weakened limbs? This isn't as far fetched as it sounds. Merely imagining performing a movement, or watching someone else execute a movement, provokes activity in the same brain areas that are involved when carrying out that movement with your own body. This suggests imagery exercises could help forge new connections in damaged neural networks involved in actual bodily movement. Indeed, several small-scale studies have reported that mental imagery helps stroke patients recover their limb use, above and beyond the benefits from standard physical therapy.

What's been lacking is a larger study with recently afflicted patients, an adequate control condition, and with the imagery intervention kept separate from standard physical therapy. Now psychologist Magdalena Ietswaart and her colleagues have published the results from just such a study. Sadly the outcome is disappointing.

Ietswaart's team recruited 121 patients within one to six months of their having suffered a stroke, all of whom had significant weakness in one of their arms. Forty-one of these patients were then enrolled on an intensive four-week mental imagery intervention, which involved a total of nine hours supervised exercises and four hours of independent work.

The programme was extraordinarily thorough. As well as basic imagination exercises designed to target the damaged brain areas involved in motor control (e.g. imagining opening and closing the hand), there were also mirror and video techniques to aid the imagination process. For example, placing the weakened hand under a video display of a moving healthy hand can create the illusion that the weakened limb is moving, thus triggering activity in relevant brain areas. There was also a mental rotation exercise, involving rotating pictures of hands - again this has been shown to stimulate the desired motor areas of the brain.

Of the remaining patients, 39 were enrolled on a four-week placebo programme designed to match all the mental effort and therapist attention involved in the imagery programme. But instead of using motor imagery, this group spent their time visualising flowers and other static scenes. A final group of 41 patients had care as usual. Patients in all groups underwent standard physical therapy, but this was kept separate from the imagery work.

When tested soon after the intervention phase, patients in all groups had shown improvement in use of their weakened limb compared with baseline. But here's the rub: there was no difference between groups, either in the amount of limb improvement, or in secondary measures such as independent living. This result suggests the positive outcome for imagery found in previous small studies may have been based on non-specific effects, such as increased motivation. Alternatively, it may be that mental imagery only works as an adjunct to physical exercises, helping to consolidate the progress made with specific, related movements. This new study is the first to study mental imagery as a separate intervention in its own right.

The new findings undermine the idea that mental imagery on its own can help the brain forge new functional connections. If imagery only works by consolidating the benefits of related physical exercise, the researchers said this would significantly diminish its value as an rehabilitation intervention. Apart from anything else, they noted, it would suggest mental imagery could only be used to help patients who are already capable of performing physical exercises.
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Ietswaart, M., Johnston, M., Dijkerman, H., Joice, S., Scott, C., MacWalter, R., and Hamilton, S. (2011). Mental practice with motor imagery in stroke recovery: randomized controlled trial of efficacy. Brain, 134 (5), 1373-1386 DOI: 10.1093/brain/awr077

This post was written by Christian Jarrett for the BPS Research Digest.

Review: Trombone Shorty and Orleans Avenue

Trombone Shorty and Orleans Avenue
Under the Bridge, July 2nd, 2011. Part of Bluesfest London. Review by Rod Fogg)

Troy 'Trombone Shorty' Andrews is a New Orleans native from the Tremé (pronounced “TreMAY”) district near the centre of town and grew up as part of an extended family of musicians. The marching band culture in New Orleans means kids there grow up wanting to play brass instruments rather than guitars, and Troy began playing in brass band parades when only four years old – his nickname comes from the fact that the trombone was larger than he was. Although only in his mid-20s he has already performed and toured with many leading artists including Lenny Kravitz and U2.

Andrew’s main outlet for original work is Orleans Avenue, a seven-piece band that’s the baddest, funkiest and tightest you’ll hear in a long, long time. They are: Trombone Shorty, trombone, trumpet and vocals; Michael Ballard, bass; Pete Murano, guitar; Dan Oestreicher, baritone sax; Joey Peebles, drums; Dwayne Williams, percussion; and Tim McFatter on tenor sax. These guys seem to have several things in common; their connection to New Orleans, their youth, and their ability to play to a very high standard.

“Supafunkrock” is Andrews' chosen name for their style of music. It's not easy to sum up, but the majority of their tracks are instrumental, and feature dynamite unison or 'call and response' horn riffs played over a weighty bass/drums backbeat and accompanied by funky single note riffs or choppy chords on guitar. That's an over simplification and the music is way, way better than that might sound. The baritone sax is punchy and deep, the tenor sax fluent and jazzy, and Pete Murano’s guitar solos (several of them lengthy) demonstrate his amazing chops.

All of which makes Andrews even more impressive because I've never heard the trombone played the way he does it. He has speed, fluency, musical invention, power and excitement that put the old ’bone on a whole new level. He's also a fine singer, taking the lead on original tracks and some cover versions such as Allen Toussaint's "On Your Way Down", or Marvin Gaye's "Let's Get It On". His party piece is circular breathing, and he blew a single note continuously for what seemed like minutes on end. It may not have been the most musically inventive part of the gig but for technical prowess it was seriously impressive.

This band don't just play funk with a rock influence; you can also add a dose of rap, hip-hop and all other post James Brown dance styles to the mix. After hurricane Katrina it may have been tempting to see New Orleans as a city whose glory days are in the past. If it can still produce music of this quality, then the future is looking pretty good too.

http://www.bluesfestlondon.com// http://www.underthebridge.co.uk/

Park Güell - Antoni Gaudí

It was a loooong walk to a destination I wasn't sure what or where to stop.

The bus dropped me off, or rather, I dropped myself off at a random location I thought was appropriate, only to find myself several stops too far from where I should be getting off.

Afterall, I couldn't speak the language, no one could understand me, it's all down to my instinct, which was terrible considering I'm a self-declared road idiot.


up, up and up.


As luck would have it, and I'm usually lucky in my travels, I found myself in a beeline with random walkers, all heading towards the same direction. I knew Park Güell shouldn't be too far.

I was wrong.

It was bloody far.


see all the way down the bottom? I came from there.


Not knowing where I was coming from or heading to, as usual, it turned out I ended up entering the park through the back way instead of the main entrance, which I heard could be a little difficult to locate coming from where I was; wherever I was.

I took people's words for it too easily.



the map! I must be in the park! woo~hoo~~!


And then, at one point of climbing, the view became better.




And better.


view large size here.


and BETTER.


HAVE to view the large size here.


Finally, from a distance, I could see the main part of the park.





Park Guell is free to enter, and as a park with many visitors, you will find many performing artists at every corner doing their daily/weekly routine.





rooftop of the court



the invisible man!



random vendors were there too!
I love these colorful fans



Now that's the entrance, where I should be coming in from. Which I used to leave Park Güell later. -.-



weird corridor at the side of the court, where a lot of people took photos of/with/in.



the court unique mosaic ceiling






the side


Saw two singers at the court surrounded by a crowd, they were good.




Let's have a look at the main piece of Park Güell.


Not the girl


I bet most of you have seen this mosaic lizard somewhere, read it somewhere during your childhood.




Well if you have not, just know that it's bloody famous. I've always remembered this piece of lizard, it's actually a dragon, but never knew it's the symbol in Park Güell, I was glad to have made the effort to come all the way to the park.






me!!! Phew! Finally manage to get a spot with the dragon, everyone was fighting over it.





Other parts of Park Güell:





looks like a candy house



A little fun facts about Park Güell: built in 1900 to 1914, one of the works of Anthoni Gaudi, the idea of Count Eusebi Güell, hence the name; Park Güell used to be a high-end housing site for the rich, inspired by the English Garden City movement, but it turned out unsuccessful, instead of having allocated 60 lots to build luxury houses, only few of the rich bought the land here to build their homes.

Including Gaudi himself.

Parc Güell (in Catalan spelling) was where you would find the famous Catalan Architect lived, till his death in 1926.


Let's have a look at his house, shall we?







Oh yes it's pink alright.
Gotta love the man for having taste. ;)




He might be old, but never lost his charms.




After Gaudi's death, the house was bought over by an Italian couple who owned an musical instrument shop in Barcelona. In 1960 their heirs sold the house off to friends of Gaudi who made it into a museum it was today.

In the house, you would find a lot of Gaudi's inspired furnitures, as well as things left by the musical Italian couple.





the early evolvement of the new age sofa?












remember the arch? very Gaudi aint it?


Oh and I LOVE this.


It's a stand mirror, with two side mini platform to put keys and stuff, and also two umbrella holders.

Brilliant!



lamp


Let's have a last look at the magnificient and failed but completed project of luxury housing community: Park Güell.


The entrance.





When I finally gathered my things and prepared to leave Park Güell, this time through the main entrance, it was almost sun set.

There was a lizard man at the entrance allowing tourists to take photos with him.




So cute. They even provide photo-takers with matching lizard hats for the picture.




*Hello, meet my brother"



View his other works here:-
Casa Milà
Casa Batlló &
Sagrada Familia

festive potluck offerings for the Fourth

Hope you're having a fabulous long weekend. The rain here in CT has made for a much more mellow day than we'd planned...which is sort of nice after a late night sinking our toes in the sand watching fireworks. (I apologize to anyone sitting near us...I did not realize our 4-year-old was going to excitedly emcee the details of every sparkling blast.) Anyway, tomorrow's supposed to be gorgeous again, so I wanted to quickly re-post two of my favorite offerings for any Fourth of July potluck: deviled eggs (aka "eggs with the devil in them") and a berry studded flag cake. (You don't have to make Annie's Grandma's Carrot Cake...your favorite cake will do). Bring one of these along and you'll surely be invited back next year!

Review: Booker T. Jones

Booker T. Jones. Photo credit: Frederick Bernas

Booker T. Jones
(Under the Bridge, 3th June. Part of Bluesfest London. Review by Frederick Bernas)

Roman Abramovich’s new venue is a welcome addition to London's live music scene. A cross between Ronnie Scott’s and the kind of nightclub where you might expect to meet the more unruly Chelsea stars on a rumbustious night out, it is an intimate space and has accomplished sound engineers. The voluble Booker T. Jones – a veteran hard worker of the US music scene – looked right at home in his pork pie hat on the glittering stage.

Booker’s biography reads like a Who’s Who of R&B, soul and rock – it’s easier to count the big names he hasn’t worked with. While his groundbreaking MGs group produced classic cuts such as ‘Green Onions’ and ‘Soul Limbo,’ they also backed up a whole host of cult figures on the Stax Records roster throughout the ‘60s and ‘70s.

Unsurprisingly, Thursday’s concert featured a rich vein of feelgood hits – cherished by a knowledgeable crowd – that was effectively combined with newer material from the 2011 album Road To Memphis, recorded in collaboration with The Roots, Philadelphia’s live hip-hop supergroup.

Bombastic organ grooves were Booker’s order of the day, characterised by his trademark minimal style and metronomic beats from drummer Darian Gray, who doubled up as MC on a couple of tunes. Highlights from the recent release included pulsating instrumentals like ‘Everything is Everything’ and ‘Harlem House,’ while the shameless spaghetti western hero music of ‘Hangin High’ was an unexpected treat.

Booker himself even exited the picture at one point, leaving guitarist Vernon Black completely alone to belt out an enjoyable cover of Hendrix’s ‘Little Wing’.

The sizeable old school revival crew was not left wanting, however, as Booker’s band rounded off nearly two hours of music by returning to its prodigious historical repertoire: ‘Sitting on the Dock of the Bay,’ ‘Ain’t No Sunshine’ and ‘Take Me to the River’ were reeled off in quick succession to leave the audience partying like it was 1975.

www.bluesfestlondon.com / www.underthebridge.co.uk

Review: Roy Hargrove Quintet

Roy Hargrove. Photo Credit: Roger Thomas

Roy Hargrove
(Union Chapel, 28th June 2011. Second night of Bluesfest London. Review by Frederick Bernas)

Another of the jazzier offerings at London’s inaugural BluesFest saw trumpeter Roy Hargrove play Union Chapel, an acoustic setting perfectly suited to the sounds of his current touring ensemble.

Hargrove burst onto the scene in the late ‘80s after being first spotted at high school by Wynton Marsalis. A 1998 Grammy for the Latin-flavoured Habana album established his name as a major brand in the jazz world. Since then, Hargrove has dabbled with edgier funk and soul aesthetics in his RH Factor project, as well as assembling a distinguished big band and working extensively in smaller groups.

With this acoustic quintet, it seems he has found a fertile middle ground on which to flex his refined compositional acumen, brimming in diverse influences. As the musicians on stage raced through their set with no break for repartee, a strong element of patience was also present in their unfolding dialogue.

Hargrove and saxophonist Justin Robinson regularly took a back seat, disappearing behind the bandstand while the improvisational baton was passed around. When the two horns were involved, melodic hooks rang short and sharp – it was their solos which told the real stories. Robinson is a subtle, eloquent player who refrains from showy pyrotechnics and, while Hargrove’s dazzling chops were in full flow for the livelier numbers, his warm tone on the flugel was the perfect voice to croon on a smooth ballad.

The rhythm section was perhaps even more impressive, as Ameen Saleem (bass) and Montez Coleman (drums) locked down a selection of tricky time signatures. And on straight 4/4 grooves or standard swing, their backing – aided by pianist Sullivan Fortner – was often sparse but effective, augmented by a great deal of textural variety during solos.

As a seasoned player who has been around for some time now, it looks like Hargrove is really settling into himself. At the encore, as the trumpeter marched between pews exchanging fiery licks with Robinson’s alto in a sermonising lap of honour, it was thrilling to conclude that this highly versatile bandleader is at the peak of his creative powers.

Roy Hargrove Quintet. Photo credit: Roger Thomas

www.bluesfestlondon.com

Review: Monty Alexander

Monty Alexander. Photo credit: Frederick  Bernas

Monty Alexander
(Union Chapel, N1, 27th June. Opening night of Bluesfest London. Review and Photo credit: Frederick Bernas)

Now into the 50th year of his performing career, Monty Alexander is well known as a charismatic showman who draws great pleasure from mixing, twisting and bending different genres into an accessible musical package – and stamping his own unique identity onto whatever style he desires.

At Union Chapel his chosen format was the simple piano trio, witnessed by a strong crowd on the opening night of BluesFest 2011. They were not disappointed. Starting up with Blue Mitchell's calypso ‘Fungi Mama,’ the group radiated a positive vibe that matched Alexander’s cheerful countenance as he strolled onto the stage.

He took the opportunity to showcase several tunes from his latest album, Uplift – a collection of live recordings that topped American jazz radio charts for a couple of weeks in June.

Familiar melodies such as ‘Come Fly With Me’ and ‘Django’ were punctuated by Alexander originals – none more impressive than ‘Renewal’, another cut from the new release. Its dark, brooding overture blossomed into a bustling groove before bassist Hassan Shakur produced one of the evening’s most remarkable solos, effortlessly juxtaposing his own ideas with memorable lines from R&B hits and even the Pink Panther.

Alexander reinforced his credentials as a mischievous musical adventurer with ‘No Woman, No Cry’. Swashbuckling runs were replaced by a delicate touch that did full justice to Bob Marley’s classic anthem, a fitting tribute to both the great songwriter and the rich Jamaican culture in which Alexander grew up.

As a consummate entertainer with genuine international pedigree, he is a man who never forgets his roots, fusing the creative essence of his native land with the jazz legacy of past collaborators like Gillespie, Rollins and Sinatra. Monty Alexander really is a musician who has it all – and he was fully appreciated with a rapturous standing ovation.

www.bluesfestlondon.com / www.montyalexander.com