The primary goal of this study was to investigate the feasibility of utilizing intermittent electrical stimulation (IES) in an intensive care environment as a potential method for preventing pressure ulcers. Furthermore, we wished to evaluate the practicality of the innovation and end-user acceptability. Twenty immobile subjects, age ranging from 19 to 86 years old with a Braden Scale score ranging from 9 to 16 (very high to moderate risk of developing pressure ulcers), were enrolled. Intermittent 35 Hz electrical stimulation was administered through surface electrodes to the gluteal muscles causing them to contract for 10 s every 10 min. Subjects utilized IES on a program that increased from 4 to 24 h per day over 8 days and lasted up to a maximum of 4 weeks. Bedside nurses reported that IES was simple to use, took an average of 6 min to apply, and 2 min to remove. Furthermore, IES could be easily incorporated into routine patient care. No pressure ulcers occurred in any subject during the study. No untoward reactions or adverse events had occurred directly as a result of IES. IES represents a potential method of preventing bedsores. This study represents a necessary pilot study, investigating safety and feasibility before proceeding with a larger randomized controlled trial to determine efficacy. Our results suggest that IES is both safe and feasible to implement in intensive care units.

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Some of the ideas outlined below were first presented at the conference, Last Looks and First Words, in San Francisco in April 1999. The three-day conference coincided with a revival of Le Sacre du Printemps (The Rehearsal) at the Ycrba Buena Center for the Arts and it brought together dance critics, musicologists, and both current and former Taylor company personnel. I am indebted to many of the participants for their generous and insightful feedback during the conference, and most particularly to Ruth Andrien, Bettie de Jong, Richard Chen See, John Tomlinson and Mr. Taylor himself Also, I am extremely grateful to Lois Greenfield, Jack Mitchell and Jack Vartoogian for granting permission to use their photographs here and to my Rochampton colleague, Damian Day, who helped me to obtain a copy of the piano version of Sacre in London and to analyse the score.

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