title: CICADA

authors: Howell, Evie

subjects: Poetry

abstract: CICADA is a name for a noisy insect and an author and a collection of creative nonfiction poetry. It is the story of a trans woman rediscovering herself after attending an All-Boys High School. CICADA is a clear midnight sky in the lake’s mirror. It is six panic attacks trying to convince an examiner on why they should give a shit about CICADA. CICADA wants to be angry. At her high school, at herself, and at the dead boy in the lake. CICADA wants to show you the ugly side of transformation and transition. CICADA also wants to piss without crying, but it seems it’s easier to write a manuscript than it is to untangle one’s own backlog of trauma. 
Foregoing pride in being part of the LGBTQ+ community, CICADA opts to expose herself, all parts that are flesh and raw, all parts that are soft and ugly, all parts that are gruelling and never-ending. 
CICADA is a reoccurring theme of a boy lost at sea. The dead boy is everything that was, and everything that is now wasted thanks to the emergence of CICADA. He is a vessel to direct anger at. He is innocent yet blamed and scrutinized by CICADA for stealing her years from her. When you look for the dead boy in the waters, you may also see the stars in its reflection, and find the lost girl floating in dance with the beloved dead boy. 
The girl is dead potential, and everything that could have been, adrift in liminal outer space tied to a homemade spacesuit constructed by the dead boy. The dead boy and the lost girl are ghosts in the lived experience of the present CICADA, the transition, the artist, ‘the woman’ writing to the audience. Transition is often compared to a caterpillar’s journey of becoming the beautiful butterfly. CICADA is the opposite, enveloping the reader into the ugly reality of the never ending and every-day pains. The struggle to unlearn habits and to grow new skin as the old dead skin decays and rots away. It depicts a colossal range of everyday experiences and complications of living as a trans woman. CICADA overcomes tasks such as: getting dressed, showering, going to the bathroom, and even needing to revamp her social circle and career. CICADA also battles with herself. Her need to distance herself from the innate feeling of needing to educate, clashes with the desire of confronting the ignorant and standing with strength and visibility. 
CICADA aims to play with distance, humour and joins the new voice of poetry, harmonizing with other queer writers who are creating the new poetic mould. CICADA barely touches the iceberg of transgender issues as a whole. CICADA is able to say a lot about a global issue from one person’s experience. Through a magnified lens and focus on one individual experience, it provides a scale and context of how important empathy and support is for the transgender community. There will be moments unrelatable, confusing, and oddly specific that will disarm any reader. CICADA is to feel like an alien. CICADA is for no one and for everyone. CICADA is selfish enough to be about the author and not the reader.

text: CICADA CICADA is a name for a noisy insect and an author and a collection of creative nonfiction poetry. It is the story of a trans woman rediscovering herself after attending an All-Boys High School. CICADA is a clear midnight sky in the lake’s mirror. It is six panic attacks trying to convince an examiner on why they should give a shit about CICADA. CICADA wants to be angry. At her high school, at herself, and at the dead boy in the lake. CICADA wants to show you the ugly side of transformation and transition. CICADA also wants to piss without crying, but it seems it’s easier to write a manuscript than it is to untangle one’s own backlog of trauma. 
Foregoing pride in being part of the LGBTQ+ community, CICADA opts to expose herself, all parts that are flesh and raw, all parts that are soft and ugly, all parts that are gruelling and never-ending. 
CICADA is a reoccurring theme of a boy lost at sea. The dead boy is everything that was, and everything that is now wasted thanks to the emergence of CICADA. He is a vessel to direct anger at. He is innocent yet blamed and scrutinized by CICADA for stealing her years from her. When you look for the dead boy in the waters, you may also see the stars in its reflection, and find the lost girl floating in dance with the beloved dead boy. 
The girl is dead potential, and everything that could have been, adrift in liminal outer space tied to a homemade spacesuit constructed by the dead boy. The dead boy and the lost girl are ghosts in the lived experience of the present CICADA, the transition, the artist, ‘the woman’ writing to the audience. Transition is often compared to a caterpillar’s journey of becoming the beautiful butterfly. CICADA is the opposite, enveloping the reader into the ugly reality of the never ending and every-day pains. The struggle to unlearn habits and to grow new skin as the old dead skin decays and rots away. It depicts a colossal range of everyday experiences and complications of living as a trans woman. CICADA overcomes tasks such as: getting dressed, showering, going to the bathroom, and even needing to revamp her social circle and career. CICADA also battles with herself. Her need to distance herself from the innate feeling of needing to educate, clashes with the desire of confronting the ignorant and standing with strength and visibility. 
CICADA aims to play with distance, humour and joins the new voice of poetry, harmonizing with other queer writers who are creating the new poetic mould. CICADA barely touches the iceberg of transgender issues as a whole. CICADA is able to say a lot about a global issue from one person’s experience. Through a magnified lens and focus on one individual experience, it provides a scale and context of how important empathy and support is for the transgender community. There will be moments unrelatable, confusing, and oddly specific that will disarm any reader. CICADA is to feel like an alien. CICADA is for no one and for everyone. CICADA is selfish enough to be about the author and not the reader.

year: 2024-05-14

title: Effect of footwear versus barefoot on double-leg jump-landing and jump height measures: A randomized cross-over study

authors: Hébert-Losier, Kim

subjects: anterior cruciate ligament

abstract: Background: 
Assessing individuals in their own athletic footwear in clinics is common, but can affect movement, performance, and clinical measures.
 
Purpose:
The aim was to compare overall Landing Error Scoring System (LESS) scores, injury risk categorization, specific LESS errors, and jump heights between habitual athletic footwear and barefoot conditions. 

Study design:  
Randomized cross-over laboratory study. 

Methods: 
Eighty healthy individuals (55% male) completed the LESS following standard procedures (i.e., land from a 30-cm box to a distance of 50% of body height and then jump upwards maximally). Participants performed the LESS three times in two randomized conditions: footwear and barefoot. LESS data were extracted from 2D videos to compare group-level mean LESS scores, group-level and individual-level injury risk categorization (5-error threshold), specific landing errors, and jump heights between conditions. 

Results: 
LESS scores were significantly greater (0.3 errors, p=0.022) and jump heights were significantly lower (0.6 cm, p=0.029) in footwear than barefoot, but differences were trivial (d = 0.18 and -0.07, respectively) and not clinically meaningful. Although the number of high injury-risk participants was not statistically different at a group level (p=1.000); 27 individuals (33.8%) exhibited a clinically meaningful difference between conditions of one error or more in LESS score, categorization was inconsistent for 16.3% of individuals, and four of the 17 landing errors significantly differed between conditions.
 
Conclusion: 
At a group level, habitual athletic footwear does not meaningfully influence LESS scores, risk categorization, or jump height. At an individual level, footwear can meaningfully affect LESS scores, risk categorization, and alter landing strategies. Use of consistent protocol and footwear is advised for assessing movement patterns and injury risk from the LESS given the unknown predictive value of this test barefoot.
 
Level of Evidence:  
Level 3.

text: Effect of footwear versus barefoot on double-leg jump-landing and jump height measures: A randomized cross-over study Background: 
Assessing individuals in their own athletic footwear in clinics is common, but can affect movement, performance, and clinical measures.
 
Purpose:
The aim was to compare overall Landing Error Scoring System (LESS) scores, injury risk categorization, specific LESS errors, and jump heights between habitual athletic footwear and barefoot conditions. 

Study design:  
Randomized cross-over laboratory study. 

Methods: 
Eighty healthy individuals (55% male) completed the LESS following standard procedures (i.e., land from a 30-cm box to a distance of 50% of body height and then jump upwards maximally). Participants performed the LESS three times in two randomized conditions: footwear and barefoot. LESS data were extracted from 2D videos to compare group-level mean LESS scores, group-level and individual-level injury risk categorization (5-error threshold), specific landing errors, and jump heights between conditions. 

Results: 
LESS scores were significantly greater (0.3 errors, p=0.022) and jump heights were significantly lower (0.6 cm, p=0.029) in footwear than barefoot, but differences were trivial (d = 0.18 and -0.07, respectively) and not clinically meaningful. Although the number of high injury-risk participants was not statistically different at a group level (p=1.000); 27 individuals (33.8%) exhibited a clinically meaningful difference between conditions of one error or more in LESS score, categorization was inconsistent for 16.3% of individuals, and four of the 17 landing errors significantly differed between conditions.
 
Conclusion: 
At a group level, habitual athletic footwear does not meaningfully influence LESS scores, risk categorization, or jump height. At an individual level, footwear can meaningfully affect LESS scores, risk categorization, and alter landing strategies. Use of consistent protocol and footwear is advised for assessing movement patterns and injury risk from the LESS given the unknown predictive value of this test barefoot.
 
Level of Evidence:  
Level 3.

year: 2023

title: Beyond ethics to morality: Choices and relationships in bicultural research settings

authors: Furness, Jane Amanda

subjects: Indigenous methodologies

abstract: Knowledge of ourselves as cultural beings, of the values and beliefs of those with whom we work, and of the history of relations among those in our work settings are essential for community and applied social psychologists. In New Zealand, research by non-Maori involving Maori has often mirrored the harmful colonising practices of the nation’s wider history. In response, several frameworks have been developed setting out conditions and guidelines in which non-Maori might conduct research in Maori settings responsibly and usefully. Nevertheless, views differ on the ways, and extent to which, non-Maori might be involved. Most guidelines do not provide answers to ethical nuances that may arise. This article discusses the experiences of a non-Maori community psychologist engaging in research with Maori participants in a bicultural, but predominantly Maori, school-based community education setting. Insight is provided into how kaupapa Maori approaches were applied in research that was valuable to the community.

text: Beyond ethics to morality: Choices and relationships in bicultural research settings Knowledge of ourselves as cultural beings, of the values and beliefs of those with whom we work, and of the history of relations among those in our work settings are essential for community and applied social psychologists. In New Zealand, research by non-Maori involving Maori has often mirrored the harmful colonising practices of the nation’s wider history. In response, several frameworks have been developed setting out conditions and guidelines in which non-Maori might conduct research in Maori settings responsibly and usefully. Nevertheless, views differ on the ways, and extent to which, non-Maori might be involved. Most guidelines do not provide answers to ethical nuances that may arise. This article discusses the experiences of a non-Maori community psychologist engaging in research with Maori participants in a bicultural, but predominantly Maori, school-based community education setting. Insight is provided into how kaupapa Maori approaches were applied in research that was valuable to the community.

year: 2013