Purpose: To examine the effects of different small-sided games (SSGs) on physical and technical aspects of performance in wheelchair basketball (WB) players. Design: Observational cohort study. Methods: Fifteen highly trained WB players participated in a single 5v5 (24-s shot clock) match and three 3v3 SSGs (18-s shot clock) on a (1) full court, (2) half-court, and (3) modified-length court. During all formats, players’ activity profiles were monitored using an indoor tracking system and inertial measurement units. Physiological responses were monitored via heart rate and rating of perceived exertion. Technical performance, that is, ball handling, was monitored using video analysis. Repeated-measures analysis of variance and effect sizes (ESs) were calculated to determine the statistical significance and magnitude of any differences between game formats. Results: Players covered less distance and reached lower peak speeds during half-court (P ≤ .0005; ES ≥ very large) compared with all other formats. Greater distances were covered, and more time was spent performing moderate- and high-speed activity (P ≤ .008; ES ≥ moderate) during full court compared with all other formats. Game format had little bearing on physiological responses, and the only differences in technical performance observed were in relation to 5v5. Players spent more time in possession, took more shots, and performed more rebounds in all 3v3 formats compared with 5v5 (P ≤ .028; ES ≥ moderate). Conclusions: Court dimensions affect the activity profiles of WB players during 3v3 SSGs yet had little bearing on technical performance when time pressures (shot clocks) were constant. These findings have important implications for coaches to understand which SSG format may be most suitable for physically and technically preparing WB players. DOI: https://doi.org/10.1123/ijspp.2017-0500 LinkedIn: https://www.linkedin.com/in/rienkvdslikke/ https://www.linkedin.com/in/moniqueberger/
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The main aim of this study was to determine the agreement in classification between the modified KörperKoordinations Test für Kinder (KTK3+) and the Athletic Skills Track (AST) for measuring fundamental movement skill levels (FMS) in 6- to 12-year old children. 3,107 Dutch children (of which 1,625 are girls) between 6 and 12 years of age (9.1 ± 1.8 years) were tested with the KTK3+ and the AST. The KTK3+ consists of three items from the KTK and the Faber hand-eye coordination test. Raw scores from each subtest were transformed into percentile scores based on all the data of each grade. The AST is an obstacle course consisting of 5 (grades 3 till 5, 6–9 years) or 7 (grades 6 till 8, 9–12 years) concatenated FMS that should be performed as quickly as possible. The outcome measure is the time needed to complete the track. A significant bivariate Pearson correlation coefficient of 0.51 was found between the percentile sum score of the KTK3+ and the time to complete the AST, indicating that both tests measure a similar construct to some extent. Based on their scores, children were classified into one of five categories: <5, 5–15, 16–85, 86–95 or >95%. Cross tabs revealed an agreement of 58.8% with a Kappa value of 0.15 between both tests. Less than 1% of the children were classified more than two categories higher or lower. The moderate correlation between the KTK3+ and the AST and the low classification agreement into five categories of FMS stress the importance to further investigate the test choice and the measurement properties (i.e., validity and reliability) of both tools. PE teachers needs to be aware of the context in which the test will be conducted, know which construct of motor competence they want to measure and know what the purpose of testing is (e.g., screening or monitoring). Based on these considerations, the most appropriate assessment tool can be chosen.
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This report summarises the findings of an international study of the ethical challenges faced by social workers during the Covid-19 pandemic, undertaken during 6th-18th May 2020. 607 responses from 54 countries were received via an online survey, additional interviews and local surveys. Six key themes relating to social workers’ ethical challenges and responses were identified: 1. Creating and maintaining trusting, honest and empathic relationships via phone or internet with due regard to privacy and confidentiality, or in person with protective equipment. 2. Prioritising service user needs and demands, which are greater and different due to the pandemic, when resources are stretched or unavailable and full assessments often impossible. 3. Balancing service user rights, needs and risks against personal risk to social workers and others, in order to provide services as well as possible. 4. Deciding whether to follow national and organisational policies, procedures or guidance (existing or new) or to use professional discretion in circumstances where the policies seem inappropriate, confused or lacking. 5. Acknowledging and handling emotions, fatigue and the need for selfcare, when working in unsafe and stressful circumstances. 6. Using the lessons learned from working during the pandemic to rethink social work in the future.
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This PD project explores alternative approaches to audiovisual technologies in art and creative practices by reimagining and reinventing marginalized and decommodified devices through Media Archaeology, artistic experimentation, and hands-on technical reinvention. This research employs Media Archaeology to uncover “obsolete” yet artistically relevant technologies and hands-on technical reinvention to adapt these tools for contemporary creative practices. It seeks to develop experimental self-built devices that critically engage with media materiality, exploring alternative aesthetic possibilities through practice-based investigations into the cultural and historical dimensions of media technologies. These developments provide artists with new creative possibilities beyond mainstream commercial standardized tools and infrastructures. A key component of this project is collaborative innovation with artist-run analog film communities, such as Filmwerkplaats. By fostering knowledge exchange and artistic experimentation, this research ensures that reinvented tools remain relevant to both analog film communities and contemporary media art practices. The intended outcomes directly benefit two key groups: • Artist-run film labs gain sustainable methods for evolving their practices, reducing dependence on scarce, out-of-production equipment. • Digital-native artists are introduced to alternative methods for engaging with analog processes and media materiality, expanding their creative toolkit. This collaboration also strengthens art and design education by embedding alternative technological perspectives and research methodologies into curricula, providing students and practitioners with resourceful, sustainable approaches to working with technology. It advocates for a more diverse educational paradigm that incorporates media-technological history and critical reflection on the ideologies of linear technological progress. Ultimately, this research fosters critical discourse on media culture, challenges the dominance of corporate proprietary systems, and promotes innovation, redefining the relationship between creativity and technology.
