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biomechanics - 6 dictionary results

bi⋅o⋅me⋅chan⋅ics

[bahy-oh-mi-kan-iks]
–noun (used with a singular verb)
1. Medicine/Medical.
a. the study of the action of external and internal forces on the living body, esp. on the skeletal system.
b. the development of prostheses.
2. Biology. the study of the mechanical nature of biological processes, as heart action and muscle movement.

Origin:
1930–35; bio- + mechanics


bi⋅o⋅me⋅chan⋅i⋅cal, adjective
bi⋅o⋅me⋅chan⋅i⋅cal⋅ly, adverb
bi·o·me·chan·ics   (bī'ō-mĭ-kān'ĭks)   
n.  
  1. (used with a sing. verb) The study of the mechanics of a living body, especially of the forces exerted by muscles and gravity on the skeletal structure.
  2. (used with a pl. verb) The mechanics of a part or function of a living body, such as of the heart or of locomotion.
bi'o·me·chan'i·cal adj., bi'o·me·chan'i·cal·ly adv.

Main Entry: bio·me·chan·ics
Pronunciation: -mi-'kan-iks
Function: noun plural but singular or plural in construction
: the mechanicalbases of biological, especially muscular, activity; also : the study of the principles and relations involved —bio·me·chan·i·cal /-i-k&l/ adjective

biomechanics bi·o·me·chan·ics (bī'ō-mĭ-kān'ĭks)
n.

  1. The study of the mechanics of a living body, especially of the forces exerted by muscles and gravity on the skeletal structure.
  2. The mechanics of a part or function of a living body, such as of the heart or of locomotion.

biomechanics   (bī'ō-mĭ-kān'ĭks)  Pronunciation Key 
The scientific study of the role of mechanics in biological systems. The study of biomechanics includes the analysis of motion in animals, the fluid dynamics of blood, and the role of mechanical processes in the development of disease.

biomechanics

antirealistic system of dramatic production developed in the Soviet Union in the early 1920s by the avant-garde director Vsevolod Meyerhold. Meyerhold drew on the traditions of the commedia dell'arte and kabuki and on the writings of Edward Gordon Craig for his system, in which the actor's own personality was eliminated and he was entirely subordinated to the director's will. Coached as gymnasts and acrobats and emphasizing pantomime rather than words, the actors threw themselves about in puppetlike attitudes at the director's discretion. For these productions the stage was exposed to the back wall and was then furnished with harshly lit, bare sets consisting of scaffoldings, ladders, and ramps that the actors used. Biomechanics had lost its appeal by the late 1920s, though Meyerhold's emphasis on external action did become an element in Soviet actor-training techniques.

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