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As long as already five thousand years ago, the allure of the sea inspired humans to recreate its essence in miniature, artistic forms, as public baths where ancient rituals would take place. Since then, it has become quite normal to immerse ourselves in cooling waters, in the privacy of our homes and without religious incentives. Swimming pools have rapidly become status symbols and the source for many diverse experiences: leisure-time athletics, relaxation, or the simple pleasure of just being in water. It is no wonder then that filmmakers and photographers constantly return to the swimming pool as a subject and setting. Reflections of water and light are captured in countless, unique ways in the more than two hundred compelling images that comprise this catalogue. Also included of course are the images of those who animate it. With works by: Henri Cartier-Bresson, Gigi Cifali, Stuart Franklin, Harry Gruyaert, Emma Hartvig, Jacques Henri Lartigue, Joel Meyerowitz, Martin Parr, Paolo Pelligrin, Mack Sennett, Alec Soth, Larry Sultan, Alex Webb, et al.

Artistic Swimming (AS) requires complete execution and synchronization of movements for performance evaluation. The interest in objective and subjective performance analysis worldwide in sports via valid and reliable Artificial Intelligence (AI) tools is spreading depending on the required analysis parameters to design a novel system. This study investigated a novel application of the MediaPipe-based computer vision tool validation by examining biomechanical aspects and the objective performance impact in ballet leg and barracuda AS techniques. Twenty experienced AS athletes participated and executed these techniques under controlled conditions. Thirty-six recorded video trials were captured and analyzed via computer vision using MediaPipe, Kinovea, and AutoCAD (gold standard), with correlations calculated to assess the reliability of measurements and tools. The results indicated a non-significant difference (p<0.05) among the software tools, supported by one-way ANOVA and Bland-Altman tests. Notably, in ballet leg technique, maintaining alignment between the upper body trunk and knee in a line had a small correlation with other leg deviations; however, this aspect had a moderate negative correlation in scoring. Overall, this study suggests MediaPipe efficiency in computer vision for AS officiating and performance analysis, offering a reliable, real-time alternative to traditional methods and providing perceptions of AS techniques.

Purpose: We evaluated the feasibility of individualized sodium bicarbonate (NaHCO3) supplementation and its physiological effects on simulated artistic swimming duet performance, including blood buffering responses, perceived exertion, gastrointestinal (GI) tolerance, and performance scores. Methods: Seventeen (n = 17) elite adolescent female artistic swimmers completed an initial trial to determine individual time-to-peak blood bicarbonate concentration (Part 1). Subsequently, a subset (n = 7) completed a randomized, double-blind, crossover intervention (Part 2), performing competition duet routines (4 min) after ingesting either 0.3 g/kg NaHCO3 or a placebo timed to their individual alkalosis peak. Blood gas and lactate samples were taken pre- and post-performance. Performance was scored by blinded FINA adjudicators. GI discomfort was assessed before and after each routine. Results: Peak blood bicarbonate occurred at 52 ± 9 min post-ingestion, with a mean increase of 6.7 ± 1.8 mmol/L (g = 5.03). In Part 2 (n = 7), NaHCO3 significantly elevated pre- and post-performance pH (7.46 ± 0.02 vs. 7.37 ± 0.01; 7.34 ± 0.02 vs. 7.26 ± 0.03), HCO3− (29.5 ± 0.9 vs. 22.4 ± 0.4 mmol/L; 21.5 ± 1.2 vs. 15.7 ± 1.5 mmol/L), and base excess (5.9 ± 0.6 vs. −2.9 ± 0.5 mmol/L; −4.3 ± 0.8 vs. −10.3 ± 1.1 mmol/L) compared to the placebo (all p < 0.05, g = 3.99–14.93). Post-performance lactate was higher (9.3 ± 1.0 vs. 8.4 ± 0.9 mmol/L, g = 0.89), while rating of perceived exertion (RPE) was lower (12.9 ± 0.7 vs. 14.4 ± 0.7, p < 0.05, g = −2.14). Propulsion improved (6.66 ± 0.16 vs. 6.52 ± 0.20, g = 0.85), with no change in execution. Mild gastrointestinal symptoms were transiently elevated with NaHCO3. Conclusions: Individualized NaHCO3 dosing is a feasible and effective ergogenic strategy for artistic swimmers, enhancing systemic alkalosis and perceptual tolerance while preserving technical execution. These findings support the sport-specific integration of NaHCO3 to optimize anaerobic performance elements in high-level artistic swimming.

Of note, repeated cold water exposure over time may reduce the cold shock response via predominantly central mechanisms [21], allowing for a more prominent diving response over time [22]. [...]breath-holding is prioritized in artistic swimming training, with considerable emphasis on improving tolerance of the extreme discomfort of prolonged breath-holding through distraction [23], psychological skills training [23, 24], and training activities that enhance underwater breath-holding during physical activity independently of artistic swimming skills. Prior hyperventilation and associated hypocapnia in advance of breath-holding (either as a deliberate strategy or an involuntary response due to performance anxiety or oxygen debt [27]) promotes tachycardia and can prolong breath-holding capacity, but with the consequence of further reducing oxygen saturation while simultaneously decreasing cerebral blood flow and peripheral vascular resistance, posing an even greater risk of shallow water blackout [28, 29]. [...]when breath-holding during exercise is accompanied by a Valsalva-like strain, for example when lifting team members above the water, profound blood pressure perturbations can occur that may provoke hypotension [29].

Artistic swimming is an Olympic sport requiring a high level of fitness, as well as technical skills, artistry, flexibility, a good sense of rhythm, remarkable lung capacity and physical strength. The artistic swimming of adolescents has been largely untouched by the scientific community, so training this group based on scientific data is difficult. Due to the gap between theoretical knowledge and practical application, this study aimed to measure the technical elements, strength parameters, and swimming performance of young artistic swimmers and to compare swimming performance and strength with the quality of artistic element performances. Hungarian female junior artistic swimmers (14.36 ± 1.01 year) participated in this study. Swimming tests were performed, and three basic elements (body boost, barracuda, and vertical position) were scored. A negative correlation was found between 100 m freestyle swimming times and vertical position scores, as well as between 50 m breaststroke leg swimming times and body boost scores. Moreover, three months of breaststroke leg swim training resulted in improvements in body boost performance. In addition, a positive correlation was found between mean hand grip strength and barracuda scores, as well as between vertical position scores. According to the results of three months of breaststroke leg training, swimming practice improves artistic swimming performance by itself. A correlation was found between strength parameters and the execution of synchro elements, showing the importance of complex training strategies in this sport.

To develop a methodology for predicting success in artistic swimming based on a set of morphofunctional indicators and indices, 30 schoolgirls, average age (12.00 ± 0.22), were divided into two groups. Group 1: 15 athletes, training experience 4–5 years. Group 2: 15 schoolgirls without training experience. For each participant, we determined the length and weight of the body, the circumference of the chest, vital lung capacity, and the circumference of the biceps in a tense and at rest. The Erisman index, biceps index, and the ratio of proper and actual vital lung capacity was calculated. Them, we conducted the Stange and Genchi hypoxic tests, and flexibility tests for “Split”, “Crab position”, and “Forward bend”. Prediction was conducted using the Wald test with the calculation of predictive coefficients and their informativeness. A predictive table containing results of functional tests and indices of artistic swimming athletes is developed. It includes nine criteria, which informativeness varied in the range of 395.70–31.98. The content of the prediction consists of evaluating the results, determining the appropriate predictive coefficient, and summing these coefficients before reaching one of the predictive thresholds. The conducted research allowed us to substantiate and develop a method for predicting the success of female athletes with the use of morphofunctional indicators and indices.

Artistic swimming (AS) is a very unique sport consisting of difficult artistically choreographed routines ranging in the number of athletes (one to ten: solo, duet, team, combination, highlight routine) and with elements performed quickly and precisely above, below, and on the surface of the water. As a result, the physical and physiological demands placed on an athlete are unique to the sport with the most pronounced adaptation being the bradycardic response to long apneic periods spent underwater while performing strenuous movements. This indeed influences training prescription and the desired training outcomes. This review paper explores the physiological demands of AS, the physiological characteristics that influence AS performance, and innovative approaches to enhancing training and performance in elite performers.

Drawing on cultural associations with bodies of water, the spectacle of pretty women, and the appeal of the concept of \"family-friendly\" productions, performative aquatic spectacles portray water as an exotic fantasy environment exploitable for the purpose of entertainment.In Swim Pretty , Jennifer A.

The translational process has a series of phases. The comprehension phase is the first of this process and if it is not carried out efficiently, the rest of the phases cannot be carried out properly either, which will lead to serious errors of translation such as false sense. In addition, the comprehension phase and the documentation are closely related, since in order to understand, an appropriate documentation will sometimes be necessary to solve those deficiencies that prevent the proper follow-up of the translational process. We believe that students who begin their translation training neglect these decisive stages of the translational process and that they consider that what is essential is a purely linguistic activity of transposition from one language to another. For this reason, to corroborate this idea, we have carried out an analysis with the most frequent translation errors that have been committed, due to a lack of understanding and documentation, by the first-year students of Langues Étrangeres Appliquées (LEA), from the Üniversite de Lorraine (Nancy), in the subject of Initation a la traduction, in the translation of a text into French whose theme is artistic swimming. In the analysis you can see the original fragment to be translated, a selection of student translation proposals, the graph with the most recurring error percentages, a section with comments about the origin or origins of the errors and the steps that it should be taken to solve them and, finally, our final translation proposal.

The translational process has a series of phases. The comprehension phase is the first of this process and if it is not carried out efficiently, the rest of the phases cannot be carried out properly either, which will lead to serious errors of translation such as false sense. In addition, the comprehension phase and the documentation are closely related, since in order to understand, an appropriate documentation will sometimes be necessary to solve those deficiencies that prevent the proper follow-up of the translational process. We believe that students who begin their translation training neglect these decisive stages of the translational process and that they consider that what is essential is a purely linguistic activity of transposition from one language to another. For this reason, to corroborate this idea, we have carried out an analysis with the most frequent translation errors that have been committed, due to a lack of understanding and documentation, by the first-year students of Langues Étrangères Appliquées (LEA), from the Université de Lorraine (Nancy), in the subject of Initation à la traduction, in the translation of a text into French whose theme is artistic swimming. In the analysis you can see the original fragment to be translated, a selection of student translation proposals, the graph with the most recurring error percentages, a section with comments about the origin or origins of the errors and the steps that it should be taken to solve them and, finally, our final translation proposal. Le processus de traduction comporte une série de phases. La phase de compréhension est la première de ce processus et si elle n’est pas effectuée efficacement, la suite des phases ne pourra pas être effectuée correctement non plus, ce qui entraînera de graves erreurs de traduction telles que le faux sens. En outre, la phase de compréhension et la documentation sont étroitement liées, car pour pouvoir comprendre, une documentation appropriée sera nécessaire pour résoudre les problèmes qui entravent le suivi du processus de traduction. Nous pensons que les étudiants qui commencent leur formation en traduction négligent ces étapes décisives du processus de traduction et ils croient que ce qui est essentiel c’est la simple activité de transposition linguistique d’une langue vers une autre. Pour cette raison, pour corroborer cette idée, nous avons effectué une analyse avec les erreurs de traduction les plus fréquentes, en raison d’un manque de compréhension et de documentation, des étudiants de première année de Langues Étrangères Appliquées (LEA), de l’Université de Lorraine (Nancy), dans le cours d’Initation à la traduction, dans la traduction d’un texte en de l’espagnol vers le français ayant pour sujet la natation artistique. Dans l’analyse, nous pourrons voir la phrase d’origine à traduire, une sélection de propositions de traduction des étudiants, le graphique avec les pourcentages d’erreur les plus récurrents, une section avec des commentaires sur l’origine ou les origines des erreurs et les étapes à suivre et ce qui devrait être fait pour les résoudre et, finalement, notre proposition de traduction finale El proceso traslativo cuenta con una serie de fases. La fase de comprensión es la primera de este proceso y si no se realiza eficientemente, el resto de las fases tampoco podrá efectuarse adecuadamente, lo que dará lugar a errores graves de traducción como el falso sentido. Además, la fase de comprensión y la documentación están estrechamente relacionadas, pues, a veces, para comprender será necesario una documentación apropiada capaz de solventar aquellas carencias que impiden seguir apropiadamente con el proceso traslativo. Creemos que los alumnos que inician su formación en traducción descuidan estas etapas decisivas de la actividad traductora y que estiman que este trabajo se reduce a una actividad meramente lingüística de trasposición de una lengua a otra. Por ese motivo, para corroborar esta idea, hemos llevado a cabo un análisis con los errores de traducción más frecuentes que han cometido, a causa de una falta de comprensión y documentación, los alumnos de primer año de Langues Étrangères Appliquées (LEA), de la Univeristé de Lorraine (Nancy), en la asignatura de Initation à la traduction, en la traducción de un texto hacia el francés cuya temática es la natación artística. En el análisis se podrá ver el fragmento original que se ha de traducir, una selección de propuestas de traducción del alumnado, la gráfica con los porcentajes de errores más recurrentes, un apartado con comentarios acerca del origen u orígenes de los errores y los pasos que se debería hacer para solventarlos y, finalmente, nuestra propuesta de traducción final.