![]() ![]() We tested the hypothesis that the systolic over mean pulmonary artery pressure ratio (sPAP/mPAP) and the mean over diastolic pressure ratio (mPAP/dPAP) may match Φ in patients with pulmonary arterial hypertension (PAH) and in control patients. The golden ratio (phi, Φ = 1.618) is a proportion that has been found in many phenomena in nature, including the cardiovascular field. These results supported the idea that golden ratio is the preferred stance-to-swing ratio modality, but at the same time this ratio could be adapted in response to particular contextual requests. A cluster analysis identified the most frequent cluster centered at 1.63, a value close to the golden ratio. The stance-to-swing ratio did not differ significantly from the golden ratio in forward comfortable walking, backward walking and stair descending. All tests were performed at comfortable speed, while forward walking was also tested at slow and fast speed. Twenty healthy young subjects were asked to perform different tasks: forward walking, backward walking, lateral walking, stepping in place, stair ascending and descending, while wearing baropodometric shoe insoles. Thus, aim of the study is to verify whether and how the stance-to-swing ratio is modified during the execution of different locomotor tasks. While few studies analysed how this ratio is modified due to different contextual factors, no studies are available about different locomotor acts. ![]() Recently, it was found that this proportion is close to the “golden ratio” (a well-known irrational number equal to 1.618…). Specifically, both stance and swing durations exhibit high reliability at comfortable speed, maintaining the same proportion between the twos with respect to different contextual features in forward walking. ![]() ![]() Walking is a repeatable and cyclic locomotor act, presenting standardized biomechanical patterns within the gait cycle in healthy humans. Further research should try to examine various other art movements, and if modern era art is more prone to utilize the Fibonacci sequence as knowledge of this mathematical concept is more universally known. Therefore, it can be concluded that the Fibonacci sequence had differed in how often it had been incorporated when comparing the Baroque and Romantic eras to the Renaissance however, this is limited due to various factors during the analyzation process. The results had shown that the Renaissance era had utilized the sequence in 60% of its paintings, the Baroque in 40%, and the Romantic in 30%. For each art movement, through content analysis, it was then determined whether or not each painting incorporated the Fibonacci sequence. Data was collected through content analysis based on random samples of paintings that I formulated. Prior research shows that the Fibonacci sequence has been noticed in some major Renaissance pieces, such as the Mona Lisa and the Vitruvian Man however, there is no apparent research done specifically on how this mathematical principle has appeared in other art movements, nor are there any existing comparisons made between art movements in regard to utilization of this sequence. By doing this, I hoped to further the understanding of the techniques and characteristics of paintings made during these art movements. The goal of this study was to examine paintings from three different art movements-the Renaissance, Baroque, and Romantic eras-and determine if there were differences in the observed usage of the Fibonacci sequence during each period. ![]()
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