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An important aesthetic goal in orthognathic planning is to improve facial balance, harmony, volume, and symmetry. It is therefore logical that adjunctive aesthetic procedures become a part of the overall orthognathic treatment plan and that their possibilities are discussed with orthognathic candidates. Such procedures help to improve the final outcome of the orthognathic treatment and enhance patient satisfaction. Training and experience are of utmost importance when offering and performing aesthetic facial surgery. This article discusses various facial aesthetic procedures that can be combined with orthognathic surgery, to the patient's benefit, to help them become the most beautiful version of themselves.

An important aesthetic goal in orthognathic planning is to improve facial balance, harmony, volume, and symmetry. It is therefore logical that adjunctive aesthetic procedures become a part of the overall orthognathic treatment plan and that their possibilities are discussed with orthognathic candidates. Such procedures help to improve the final outcome of the orthognathic treatment and enhance patient satisfaction. Training and experience are of utmost importance when offering and performing aesthetic facial surgery. This article discusses various facial aesthetic procedures that can be combined with orthognathic surgery, to the patient's benefit, to help them become the most beautiful version of themselves.

Ernest Fenollosallegó a Japón en 1878 por mediación de Edward Morse para ser profesor de Filosofía y Política Económica en la Universidad Imperial de Tōkyō. En Japón realizó una ingente labor en pos de la revitalización del arte japonés que tuvo un gran reconocimiento, llegando a ser nombrado Comisionado Imperial de las Artes. Durante su regreso a EE.UU. fue comisario del prestigioso Museo de Bellas Artes en Boston y contribuyó decisivamente a la difusión de las artes de Japón. Publicó diversas obras, entre las que destaca el monumental Epochs of Chinese and Japanese Arts, que ha servido de base para un nuevo entendimiento de oriente. En este contexto, no debemos olvidar su proximidad a la lógica y filosofía de Hegel. Este artículo tiene como objetivo principal dar a conocer las ideas estéticas de Fenollosa, pues son muy poco conocidas, pero tratando de explicar cómo fue posible, a través de su colaboración con Okakura, la anomalía de que un extranjero, en un país cerrado durante más de doscientos años, prácticamente viniera a salvar el arte japonés antiguo y provocara que éste llegase hasta nuestra época. En ello y con las críticas que estableceremos, creemos que intervino sobre manera el singular paralelismo entre Oriente y Occidente que Fenollosa y en cierta medida Okakura, fueron capaces de establecer, abogando por una verdadera civilización universal que había sido impensable en los modelos orientalistas preconizados hasta entonces. Ernest Fenollosaarrived in Japan in 1878 through Edward Morse to be a professor of Philosophy and Economic Policy at the Imperial University of Tôkyô. In Japan he carried out an immense work in pursuit of Japanese art revitalization that had great recognition, having been nominated as Imperial Commissioner of the Arts. During his return to the USA he was a curator of the prestigious Fine Arts Museum in Boston and contributed decisively to the dissemination of Japanese arts. He published various works, including his monumental Epochs of Chinese and Japanese Arts, which has provided the basis for a new understanding of the East. In this context, we must not forget its proximity to Hegel's logic and philosophy. This article aims to gain an awareness on Fenollosa's aesthetic ideas, trying to explain the rarity by virtue of which ancient Japanese art was salvaged by one man alone. In this respect, we believe that the parallel that he proposed between East and West, greatly imbued by Okakura, has much to do with their success, as he justly advocated for a true universal civilization unlike the prevailing models of his time.

Resumen: Este artículo busca realizar una primera aproximación a la comunidad estética Dark Academia, que adquirió una amplia popularidad durante la pandemia. Asimismo, se explora su relación con el fandom de la novela The Secret History (Donna Tartt, 1992). Para llevar a cabo el análisis, se estudian las prácticas ejercidas por los miembros de la Dark Academia en la red social Tumblr, seleccionada debido a sus múltiples posibilidades de circulación de contenido y sus facilidades de creación de comunidades. Además, el estudio se apoya en la metodología de la encuesta, realizada de manera virtual a 1000 usuarios de la comunidad estética. La intención es resaltar cómo el fandom de la obra de Donna Tartt es clave para el desarrollo y evolución de esta nueva comunidad. Abstract This article approaches the Dark Academy aesthetic community, which became popular during the pandemic, and explores its relationship with the fandom of the novel The Secret History (Donna Tartt, 1992). To carry out the analysis, we study the practices exercised by the members of Dark Academy on Tumblr, selected due to its multiple content circulation possibilities and community-creating tools, and the results of an online survey of 1000 members of the aesthetic community. As a result, we highlight how the fandom of Donna Tartt's work is key to the development and evolution of this new community. Resumo: O artigo visa apresentar um panorama inicial sobre a comunidade estética Dark Academia, de grande popularidade durante a pandemia. Da mesma forma, explora-se a relação que estabelece com o fandom do romance The Secret History (Donna Tartt, 1992). A fim de realizar a análise, estudamos as práticas exercidas pelos membros da Dark Academia na rede social Tumblr, escolhida devido às suas múltiplas possibilidades para a circulação de conteúdos e às facilidades para a criação de comunidades. Além disso, o estudo se ampara na metodologia da enquete, realizada online com 1000 usuários da comunidade estética. A nossa intenção é destacar como o fandom sobre a obra de Donna Tartt é a chave para o desenvolvimento e evolução desta nova comunidade.

Although it has passed hundreds of years since art, craft and technique were named together as “techne” in Ancient Greece, this word is encountered again with the increasing diversity and variation in the communication and interaction tools that have taken place and developed in our age. The concept of “Metaverse”, which is a multiverse structure in real time, has begun to be put into practice with the emergence of the internet and the Web from a futuristic point of view and the emergence of blockchains with the changing and developing of technology and their relationship with economy, culture, art, etc. Metaverse is a process-based formation that provides the transition between the real world and the virtual world and removes the blur. In Metaverse fixed up experience, creativity, inte-raction, communication, etc. virtual “living space and living culture” has started to form with the differentiation experienced in action areas, asset areas and digital tools by incorporating the socioeconomic and sociocultural environments that exist in the real world. In Metaverse, as a network that involved covers real-time and three-dimensional universes, it is provided to interact with the virtual World emerging the aesthetic view with imagination of human. The individual, as a “Metahuman”, enters the meta warehouse, communicates and interacts, and reveals aesthetic experiences and artistic actions in the world of objects with his creativity. In real time, it occurs “presence” as individual’s immediate in virtual environments In this context, art in Metaverse, which is a bridge between the real world and the virtual worlds; galleries, concert and theater halls, auctions such as NFT market etc. manifests itself in a similar way to real life. As a result of the developments in information processing in the light of technological de-velopments, it gives a qualitative and quantitative meaning the field of visual arts. While de-signing or creating artistic forms and objects in Metaverse, the priority-later relationship is based. In this direction, formal structure / object / aesthetic object. becomes possible to “represent” visual arts through aesthetic information processing. It has began to form “virtual aesthetics” and “Metaverse aesthetics or art” in multiple virtual universes or worlds with the formation of a universal structure the reunification of science and art, Antik Yunan’da sanat, zanaat ve tekniğin “techne” olarak birlikte adlandırılmasının üzerinden yüzlerce yıl geçmesine rağmen çağımızda gerçekleşen ve gelişen iletişim ve etkileşim kurma araçlarında farklılığın ve çeşitliliğin artmasıyla bu sözcükle tekrar karşılaşılmaktadır. Fütürist bakış açısı doğrultusunda internet ve Web’in ortaya çıkışı ile teknolojinin gelişim göstermesi, blok zincirlerin ortaya çıkması ve bunların ekonomi, kültür, sanat ile sentezlenerek gerçek zamanlı olarak çoklu evren yapısı olan “Metaverse” kavramı uygulamaya koyulmaya başlamıştır. Metaverse, gerçek dünya ile sanal dünya arasında geçişkenliği sağlayan ve bulanıklığı or-tadan kaldıran süreç tabanlı bir oluşumdur. Deneyimlemenin, yaratıcılığın, etkileşimin, iletişimin sağlandığı Metaverse’te, gerçek dünyada var olan sosyoekonomik, sosyokültürel ortamları bünyesinde bulundurarak eylem alanları, varlık alanları ve dijital araçlarda yaşanan farklılaşma ile sanal “yaşam alanı ve yaşam kültürü” oluşmaya başlamıştır. Görsel olarak gerçek zamanlı ve üç boyutlu evrenleri kapsayan bir ağ olarak Metaverse’te, estetik bakışın sanal ortamlarda insanın hayal gücüyle yer alması ile sanal dünyayla etkileşim kurma sağlanır. “Metahuman” olarak birey, meta deposuna giriş yaparak yaratıcılık yeteneğiyle nesneler dünyasında estetik deneyimlemeler ve sanatsal eylemler ortaya koyar. Gerçek zamanlı olarak bireyin sanal ortamlarda dolayımsız olarak var olması meydana gelir. Bu bağlamda gerçek dünya ile sanal dünyalar arasında köprü olan Metaverse’te sanat; galeriler, konser ve tiyatro salonları, NFT pazarı gibi müzayedeler ile gerçek yaşama benzer şekilde kendini göstermektedir. Teknolojik gelişmeler ışığında bilgi işlemde yaşanan gelişmeler neticesinde estetik bilgi iş-leminin ortaya çıkması ve gelişmesi ile görsel sanatlar alanına niteliksel ve niceliksel anlam kazandırılmaktadır. Metaverse’te sanatsal biçimler ve nesneler tasarımlanırken veya oluşturu-lurken öncelik-sonralık ilişkisi esas alınmaktadır. Bu doğrultuda biçimsel yapı / nesne / estetik obje estetik bilgi işlem vasıtasıyla görsel sanat olarak “temsil” edilmesinin önü açılmıştır. Bilim ve sanat tekrar bir araya gelerek tümel bir yapı oluşturmuştur. Bu bağlamda çoklu sanal evrenlerde veya dünyalarda sanal estetik ve Metaverse estetiği veya sanatı meydana gelmeye başlamıştır.

The so-called Egyptian Blue is a peculiar shade of synthetic blue and in ancient Egypt it is used above all in funerary texts that accompany the deads, protecting them simbolically in the difficult access to the afterlife. Its presence is also attested in Mediterranean area until late antiquity, then it disappears in the Middle Ages and it finally re-emerges in the Renaissance, mainly in Raphael’s Triumph of Galatea. Perhaps this “survival” is not accidental: the Neoplatonic climate of the time conceives hieroglyphics as visible symbols of invisible ideas.

For a long time, a tenacious prejudice has cultivated the idea that the West has produced the best ways of both knowing the world and organising existence. An integral part of this prejudice is the views on colour theories. Whether referring to the ancient Greeks, Goethe or Newton, for too long it has been thought (and sometimes still is thought) that it is the various Western colour theories that best describe the sensory experience that brings human beings into contact with colour. In a certain sense, that is, as theories, this is true. But it is not true that only colour theories allow us to have the best possible experience of colours. This observation is well illustrated by the case of ancient Japan, which lacked specific colour theories, but was very rich in colour sensitivity.

Aesthetic concerns are increasing rapidly; thus, several approaches have been suggested for treating gingival melanin pigmentation. Lasers have been reported as an effective new tool, and the Nd:YAG laser beam has an affinity for melanin and haemoglobin. However, ceramic gingival bur is simple and has less bleeding effect during operation than conventional techniques. This study aimed to compare the outcomes of gingival depigmentation using the Nd:YAG laser and ceramic bur in two different groups (smokers and non-smokers). A total of 40 patients presenting with gingival melanin pigmentation were enrolled in this split-mouth study. The sample was divided into two groups: smokers and non-smokers. Treatment was performed using the Nd:YAG laser (3 W, 60 mJ/pulse, and 50 Hz) and ceramic bur with a one-week interval between the two methods. Clinical indices were recorded, including intraoperative bleeding, wound healing, post-operative pain, and the recurrence of pigmentation, and follow-up periods were determined in the 3rd, 6th, and 9th months postoperatively. Both treatments promoted a similar pain experience and recurrence rate of pigmentation (p > 0.489, p = 1.000, respectively). Bleeding during surgery and complete healing recovery after one week were statistically significantly higher when using ceramic bur (p = 0.00, p = 0.041, respectively). Concerning the effect of smoking on the treatment, a higher recurrence rate was observed in SG than N-SG in laser sites (50%, and 95%, respectively) and bur sites (60%, and 85%, respectively), but statistically no significant difference was observed (p > 0.080). In conclusion, both procedures are adequate for aesthetic gingival depigmentation treatment. The Nd:YAG laser showed greater effectiveness in controlling bleeding, while ceramic bur showed a faster clinical recovery. Furthermore, smokers were more likely to have low depigmentation treatment stability.

In this contribution we first sketch an outline of the concept of lifeworld (Lebenswelt), to introduce the readers to the guest-edited collection of essays Varieties of the Lifeworld: Phenomenology and Aesthetic Experience, special issue of the “Continental Philosophy Review.” We trace back the origin of the concept of lifeworld to Husserl’s late phenomenology, although also explaining (on the basis of the careful historical-conceptual reconstructions offered by some distinguished scholars of Husserl and the phenomenological movement) that the development of Husserl’s phenomenology of the Lebenswelt was gradual and was connected, among other things, to the question of the natural world of experience. Then, quickly referring to Gadamer, Landgrebe, Fink and other authors belonging to the phenomenological tradition, we explain that different interpretations of the topic “Lifeworld” in Husserl’s thinking have been provided: In our view, this contributes to the fact that still nowadays this topic is a fascinating and philosophically stimulating one. Finally, making reference to more recent works by such authors as Figal, Gallagher, Zahavi and Shusterman (a pragmatist philosopher, whose somaesthetics is nonetheless very rich in insights that can be connected to phenomenological views of the body and its place in the world), we emphasize how the question concerning the lifeworld is still capable today to open a great variety of perspectives and plurality of paths for thinking, as testified by the essays collected in this guest-edited special issue of the “Continental Philosophy Review.”

For decades, implant-based breast augmentation has been one of the most performed surgical procedures for cosmetic purposes around the world. Hence, novel manufactured implants should be critically investigated to prove them safe and effective. Here, the authors describe the first independently conducted clinical study on Nagor Impleo textured round breast implants. For this retrospective study, outcomes of 340 consecutive female patients undergoing primary cosmetic breast augmentation were analyzed. Demographic and surgical data as well as outcomes and complications were evaluated. Furthermore, a survey concerning effectiveness and aesthetic satisfaction after breast augmentation was examined. All 680 implants were placed in a submuscular plane with incisions at the inframammary fold. The main indications for surgery were hypoplasia and hypoplasia with asymmetry. The mean implant volume was 390 cc and the main type of projection was high profile. The most common complications were hematoma and capsular contracture (0.9 percent, respectively). The overall revision rate for complications was 2.4%. Additionally, almost all patients showed increased quality of life and aesthetic satisfaction after a breast augmentation. Hence, all patients would undergo breast augmentation again with these newly launched devices. Nagor Impleo implants demonstrate a low complication rate and high safety profile. Although high aesthetic satisfaction and quality of life results were achieved, analysis of an even larger series over a longer period of time would be beneficial to evaluate the reliability of this implant.

O artigo reúne esforços para ler a estética do Lume a partir de possíveis conexões filosóficas com suporte no alargamento temporal e no conceito freudiano de sentimento oceânico. Para isso, amparou-se na metodologia filosófico-conceitual. Destacaram-se as ideias de plano de composição, flutuação e saturação, o delírio, a dissolução de fronteiras e a ligação com o todo. A presença foi o elemento articulador da estética do Lume com os componentes conceituais mobilizados. Ao expor duas recepções possíveis, o texto intenciona que o cotejamento com tais saberes acrescente camadas de expansão à experiência estética teatral, sem pretender revelar sentidos, mas antes, propor inteligibilidades. The article combines efforts to read Lume’s aesthetic based on possible philosophical connections supported by the notion of temporal enlargement and the Freudian concept of oceanic feeling. The philosophical-conceptual methodology was used to this end. The ideas of composition, fluctuation and saturation plane, delirium, the dissolution of borders and a sense of holistic connection stood out. Presence was the articulating element of Lume’s aesthetic, which is framed by the aforementioned conceptual principles. By exposing two possible receptions, the text intends the comparison with such knowledge to add layers of expansion to the theatrical aesthetic experience, not aiming to reveal meanings, but rather to propose intelligibilities. L’article rejoint les efforts pour lire l’esthétique de Lume basée sur d’éventuelles connexions philosophiques soutenues par l’expansion temporelle et le concept freudien du sentiment océanique. Pour cela, il s’est appuyé sur la méthodologie philosophico-conceptuelle. Les idées de composition, de plan de fluctuation et de saturation, de délire, de dissolution des frontières et de connexion à l’ensemble ressortent. La présence était l’élément d’articulation de l’esthétique de Lume avec les composantes conceptuelles mobilisées. En exposant deux réceptions possibles, le texte entend que la comparaison avec de telles connaissances ajoute des couches d’expansion à l’expérience esthétique théâtrale, sans vouloir révéler des significations, mais plutôt proposer des intelligibilités.

The article combines efforts to read Lume’s aesthetic based on possible philosophical connections supported by the notion of temporal enlargement and the Freudian concept of oceanic feeling. The philosophical-conceptual methodology was used to this end. The ideas of composition, fluctuation and saturation plane, delirium, the dissolution of borders and a sense of holistic connection stood out. Presence was the articulating element of Lume’s aesthetic, which is framed by the aforementioned conceptual principles. By exposing two possible receptions, the text intends the comparison with such knowledge to add layers of expansion to the theatrical aesthetic experience, not aiming to reveal meanings, but rather to propose intelligibilities. L’article rejoint les efforts pour lire l’esthétique de Lume basée sur d’éventuelles connexions philosophiques soutenues par l’expansion temporelle et le concept freudien du sentiment océanique. Pour cela, il s’est appuyé sur la méthodologie philosophico-conceptuelle. Les idées de composition, de plan de fluctuation et de saturation, de délire, de dissolution des frontières et de connexion à l’ensemble ressortent. La présence était l’élément d’articulation de l’esthétique de Lume avec les composantes conceptuelles mobilisées. En exposant deux réceptions possibles, le texte entend que la comparaison avec de telles connaissances ajoute des couches d’expansion à l’expérience esthétique théâtrale, sans vouloir révéler des significations, mais plutôt proposer des intelligibilités. O artigo reúne esforços para ler a estética do Lume a partir de possíveis conexões filosóficas com suporte no alargamento temporal e no conceito freudiano de sentimento oceânico. Para isso, amparou-se na metodologia filosófico-conceitual. Destacaram-se as ideias de plano de composição, flutuação e saturação, o delírio, a dissolução de fronteiras e a ligação com o todo. A presença foi o elemento articulador da estética do Lume com os componentes conceituais mobilizados. Ao expor duas recepções possíveis, o texto intenciona que o cotejamento com tais saberes acrescente camadas de expansão à experiência estética teatral, sem pretender revelar sentidos, mas antes, propor inteligibilidades.

Organisé par Julien Achemchame, Adrienne Boutang, Claire Cornillon, Pierre Jailloux, et David Roche, le colloque international « George A. Romero, l’œuvre dévorée ? » s’est déroulé à l’Université Paul-Valéry Montpellier 3 du 23 au 25 novembre 2022. Issu d’une collaboration entre les équipes de recherches RiRRa21, CRIT (Université Bourgogne-France-Comté) et Litt&Arts (Université Grenoble Alpes), le colloque s’est donné deux objectifs principaux. Le premier était une focalisation revendiquée su...

Entretien avec l’artiste californien Hal Fischer sur son corpus photographique Gay Semiotics. Interview with the Californian artist Hal Fischer on his photographic corpus Gay Semiotics.

The contribution of textile materials to interior design has increased considerably from the existance of mankind to the present. Today, the word textile, which means weaving, is known as the art of surface creation, and these surfaces are often used as interior decoration and coating. Curtains, upholstery, wall and floor coverings limited as interior textile.While creating the concept of a space, it has become an important design element and has important effects in terms of performance and health as well as aesthetic effects. Textiles that make up the interior are was examined and evaluated under four main selection criteria as aesthetics, performance, health-safety and cost. These criteria are subdivided and examined to see how they affect the user and their indoorsurfaces. Color-texture-pattern-brightness and touch affects aesthetic criteria, allowing the user to perceive textiles tactually and visually. In addition, properties such as strength, abrasion, pilling or static electrification of the fabric are the some of features that affect the performance criteria that will increase and decrease the comfort of the user andaffects the lifetime of the fabric. Considering the environmental effects without disturbing the air quality of the interior, the selected textiles should not harm human health. Finally, by calculating the investment / usage period, the cost calculation has an important place among the selection criteria considering the service life, application cost, labor and auxiliary materials of the textile in line with the increasing demands. This study was carried out to provide designers access to sufficient information when choosing textiles for interior spaces and to create selection methods., {"references":["Önlü N.(2004).Ev Tekstilinde Tasarımcının Rolü', Ev Tekstili Dergisi, Doğan Ofset Yay. Ve Mat. A.S, Year:11, issue: 40, (s.45), February, İstanbul","Levent T., (2015).Yüksek Lisans Tezi, İç Mimarlıkta Bir Tasarım Öğesi Olarak Tekstil Ürünleri ve Seçim Ölçütleri (s.28). Anadolu Üniversitesi.Eskişehir","Dölen E. (1992). Tekstil Tarihi (Cilt 1), (s:275), Marmara Üniversitesi Teknik Eğitim Fakültesi Yayınları, İstanbul","Arabalı Koşar S.T., (2007) 10. - 17. Yüzyıllar Arasında Fransa'da Tapestry Sanatı ve Gelişim Süreci, Ege Üniversitesi, İzmir","Yurt D. (2006) Ev Tekstilinin Tarihsel gelişimi Teknik ve Estetik Özellikleri, (s.4) Dokuz Eylül Üniversitesi,Izmir,Turkey","Pile,J. ( 2000) A History of Interior Design, (s.51),London, England.","Scott P.,(1996) The Book Of Silk, (s.29),Thames and Hudson, London.","Yurt, D. (2006)Ev Tekstilinin Tarihsel gelişimi Teknik ve Estetik Özellikleri, (s.5) Dokuz Eylül Üniversitesi, Izmir, Turkey"]}

The texture and color on wood are key factors that influence an individual's perception of it. However, little research has been done to confirm what kind of pattern in textures and colors are more likely to evoke individual aesthetic pleasure. Therefore, twenty-four decorative wood from northern China were selected, identified, and quantified in their colors with a CR-5 Colorimeter. We picked out eight kinds of wood with optimal texture characteristics through feature-fusion wood grain recognition (FWGR) and enhanced the texture features with photoshop in VR space. The result show that, in the color dimension, woods in the hue range of 20-25 and saturation of 65-75 were considered beautiful for individual perception of aesthetic. In the texture dimension, the size of the space affects the individual's preference for texture. When the pattern of the wood ray is continuous and clear, the individual's perception of its fluidity is enhanced; while for the fuzzy and interrupted pattern of the wood ray, the individual does not follow the fluidity of the line but focuses on the overall uniformity.

Rhinoplasty is one of the most requested aesthetic procedures performed by plastic surgeons world-wide and nonsurgical rhinoplasty is becoming the gold standard in aesthetic nasal treatment. Follow-up clinical examinations were performed on all 107 patients, being a safe and predictable technique with a high degree of satisfaction for the patients. Nonsurgical rhinoplasty using hyaluronic acid is an effective, fast, and safe nasal reshaping procedure with a high degree of patient satisfaction. Generally, due to the gradual reabsorption of the filler, the results last up to 8 to 12 months after treatment, making it a valid minimally invasive alternative to surgical rhinoplasty. Consequently, to maintain the effects it is necessary to repeat the treatment once a year.

Cette thèse de doctorat intitulée Lu Yang : une esthétique aberrante cherche à étudier dans une perspective à la fois philosophique et conceptuelle la création médiatique de l’artiste chinois Lu Yang (1984-) ( 陆扬) entre les années 2013 et 2020. À travers l’animation digitale, des installations et des performances, l’artiste conceptualise de nouvelles configurations des sexes, des genres, du corps et de la conscience qui échappent aux paramètres de la normativité et qui contribuent à déconstruire et à repenser autrement l’anthropomorphisme. Ces nouvelles configurations des sexes, du corps et de la conscience possèdent la particularité d’être aberrantes. Elles remettent aussi en cause la distinction entre le rationnel et l’irrationnel mais aussi entre ce qui est considéré comme « normal » ou « anormal ». L’hypothèse de la recherche est alors la suivante : l’artiste crée et développe une esthétique aberrante caractérisée par des logiques irrationnelles mais aussi par un imaginaire singulier qui relève de l’étrange, de l’anormal, du monstrueux, et du grotesque. L’esthétique aberrante comme il le sera démontré tout au long de cette thèse, contribue simultanément à faire éclater les normes sociales, à remettre en question et à transgresser les limites et les frontières sexuelles et corporelles et à proposer de nouvelles conceptions et configurations de la subjectivité. Ainsi, les questions fondamentales posées par cette thèse sont les suivantes : comment l’oeuvre médiatique de Lu Yang développe-t- elle une esthétique aberrante ? Quelles sont les fonctions et composantes à la fois visuelles et sonores de cette esthétique ? Que nous révèle cette esthétique du point de vue philosophique et conceptuel mais aussi d’un point de vue politique ? Comment propose-t- elle de nouvelles perspectives critiques sur l’art contemporain chinois ? Mon analyse des films et des performances définit trois modalités distinctes de l’esthétique aberrante qui caractérise ses oeuvres. La première modalité développée dans le premier chapitre, s’associe à la question du sexe et de la reproductivité, à travers ce que je vais nommer le sexe-aberrant. La deuxième modalité repose plutôt sur le corps et explore ses nombreuses déformations à travers ce que je définis comme une esthétique du grotesque. Finalement, la troisième et dernière modalité, repose sur l’esprit et la conscience et cet aspect demeure étroitement lié à l’intérêt de l’artiste pour la neuroscience et le bouddhisme. À partir de ces éléments, je démontrerai alors comment l’artiste crée ce que j’appelle une cosmo- technique aberrante. Le corpus de cette thèse se constitue ainsi des cinq oeuvres suivantes : Uterus Man (2013), Delusional Mandala (2015), Electromagnetic Brainology (2017), Electromagnetic Brainology Brain Control Messenger (2018) et, Delusional World (2020)., This doctoral thesis entitled Lu Yang: An Aberrant Aesthetic analyze through a philosophical and conceptual approach the artwork of Chinese new media artist Lu Yang ( 陆扬) (1984-). The artist creates vibrant and sophisticated live-action films, 3D animation, video games installations, and motion capture performance. In these films and performances, the artist visualizes alternative configurations of sexes, bodies, and minds that challenges normativity while deconstructing anthropocentrism and the boundaries between normality and abnormality. These new configurations of sex, body, and mind are aberrant. The main hypothesis of this research is the following: the artist conceptualizes and create what I call an aberrant aesthetic that is characterized by an irrational logic but also a deviant imagination featuring the grotesque, the bizarre, and the monstrous. Then, the following questions can be asked: how does Lu Yang’s media art develop an aberrant aesthetic? What are the visual and sonic functions and components of this aesthetic? What does this aesthetic reveal to us from a philosophical and conceptual point of view, but also from a political point of view? How does this aesthetic offer new critical perspectives on contemporary Chinese art? My analysis of his films and performances distinguishes three different but interrelated modalities of the aberrant aesthetic. The first modality, developed in the first chapter, is related to sex and reproduction through what I define as the aberrant- sex. The second modality is related to the body and his deformations with what I define as the aesthetic of the grotesque. Finally, the third and last modality, represents the mind. It is associated with the preoccupation of the artist for neurosciences and Buddhism and his obsession with the question of control. Then, the third modality designates what I call an aberrant cosmo-technic. The corpus is constituted of the five following artworks: Uterus Man (2013), Delusional Mandala (2015), Electromagnetic Brainology (2017), Electromagnetic Brainology Brain Control Messenger (2018), and Delusional World (2020).

The objective of this paper is to categorize aesthetic motivation according to the narratives of name givers who name a child, as well as sons and daughters named with such motivation. For that purpose, a database of 125 structured interviews with name givers and bearers with juxtaposed names born within 1930s/1940s and 2010s in the city of Marechal Candido Rondon – Parana state. It starts from the idea that anthroponyms are chosen from beliefs, values and preferences of the name givers (VAN LANGEDONK, 2007)., O objetivo deste artigo é categorizar a motivação estética a partir de narrações de designadores que atribuíram um nome ao filho, como também de filhos que foram nomeados com tal motivação. Para o objetivo proposto, foi analisado um banco de dados constituído por 125 entrevistas semiestruturadas com designadores e nomeados com nomes justapostos nascidos entre a década de 1930/1940 e 2010 no munícipio de Marechal Cândido Rondon - PR. Parte-se da ideia de que os antropônimos são escolhidos a partir de crenças, valores e gostos daqueles que nomeiam (VAN LANGEDONCK, 2007).

Resumo Introdução: Trata-se de uma revisão de escopo cujo objetivo é analisar a produção científica sobre as estratégias empreendedoras realizadas por enfermeiros estetas. A pouco menos de uma década, os enfermeiros adquiriram a permissão de abrirem suas clínicas e consultórios, e a partir disso, sua autonomia profissional. É importante que os profissionais sejam habilitados, ou seja, façam uma pós-graduação para exercer a estética. Dessa forma, os enfermeiros poderão ter respaldo legal e expertise para tratar de sua clientela, e serem livres para treinar outros profissionais enfermeiros. No Brasil há uma grande porcentagem de brasileiros que queiram ter o seu próprio negócio, não sendo diferente na área da enfermagem. Como o país apresenta algumas barreiras econômicas e culturais para que esse empreendimento venha se concretizar, esse estudo será importante agregar e compartilhar conhecimento para enfermeiros estetas que queiram abrir um consultório ou clínica estética. A revisão de escopo, escolhida como método, será fundamental para resgatar a maior quantidade possível de trabalhos publicados e, assim, auxiliar os demais profissionais enfermeiros em seus estudos e propagar a ciência sobre estratégias empreendedoras. Objetivo: Analisar a produção científica sobre as estratégias de enfermeiros no empreendedorismo da área estética. Método: A metodologia utilizada seguirá as recomendações da JBI para revisão de escopo e as orientações do checklist Preferred Reporting Items for Systematic Reviews and Meta-Analyses extension for Scoping Reviews (PRISMA-ScR) (PETERS et al, 2020). As fontes de informação incluirão as seguintes bases: Cumulative Index to Nursing and Allied Health Literature (CINAHL with full text) (EBSCO); Excerpta Medica Database (Embase) (Elsevier); Literatura Latino-Americana e do Caribe em Ciências da Saúde (LILACS) (BIREME/ OPAS/ OMS); Medical Literature Analysis and Retrieval System Online (MEDLINE/PubMed) (NCBI/NLM) será utilizado o Google Acadêmico. Os resultados não terão delimitação temporal ou idioma. Os documentos serão identificados e incluídos no gerenciador de referências EndNote para organização das referências e remoção de duplicatas. A seleção será realizada através do Rayyan e participarão do processo de seleção e inclusão dos artigos dois revisores. Após isso, será utilizado o fluxograma PRISMA-ScR (PETERS et al, 2020) para demonstração dos processos de identificação até a inclusão dos estudos.

For decades, implant-based breast augmentation has been one of the most performed surgical procedures for cosmetic purposes around the world. Hence, novel manufactured implants should be critically investigated to prove them safe and effective. Here, the authors describe the first independently conducted clinical study on Nagor Impleo textured round breast implants. For this retrospective study, outcomes of 340 consecutive female patients undergoing primary cosmetic breast augmentation were analyzed. Demographic and surgical data as well as outcomes and complications were evaluated. Furthermore, a survey concerning effectiveness and aesthetic satisfaction after breast augmentation was examined. All 680 implants were placed in a submuscular plane with incisions at the inframammary fold. The main indications for surgery were hypoplasia and hypoplasia with asymmetry. The mean implant volume was 390 cc and the main type of projection was high profile. The most common complications were hematoma and capsular contracture (0.9 percent, respectively). The overall revision rate for complications was 2.4%. Additionally, almost all patients showed increased quality of life and aesthetic satisfaction after a breast augmentation. Hence, all patients would undergo breast augmentation again with these newly launched devices. Nagor Impleo implants demonstrate a low complication rate and high safety profile. Although high aesthetic satisfaction and quality of life results were achieved, analysis of an even larger series over a longer period of time would be beneficial to evaluate the reliability of this implant Version of record

Valéry et Cioran sont deux écrivains iconoclastes, mais sensibles aux apories dont relève la question de la destruction. Celle-ci, bien qu’elle soit fortement présente dans le monde externe comme au tréfonds de notre intériorité, ne peut pas être érigée en loi universelle. Derrière tout nihilisme, il y a une volonté créatrice. Un artiste lucide doit extraire la quintessence esthétique de la destruction., Valéry and Cioran are two iconoclastic writers, but sensitive to the aporias to which the question of destruction relates. This, although it is strongly present in the external world as in the depths of our interiority, cannot be set up as a universal law. Behind all nihilism, there is a creative will. A lucid artist must extract the aesthetic quintessence of destruction.

Total hip arthroplasty (THA) can be performed by several approaches such as direct anterior (DAA), direct lateral (DL) and postero-lateral (PL). Our study was conducted to compare among different approaches, such as DAA, bikini (BK) and PL, the aesthetic impact of the scar, differences in the position of prosthetic components and differences in functional rehabilitation outcomes. Materials and methods: Population, composed by 240 patients, was collected among patients treated for primary total hip arthroplasty (THA) from 1 January 2017 to 31 December 2021 and divided by surgical approach. Of these, 160 female patients were included in the current analysis, leaving 58 DAA, 52 BK patients and 50 PL patients. Demographic and clinical parameters were retrospectively collected: age, BMI, time of surgery, length of stay, Harris Hip Score (HHS) before and after surgery at 6 months and patient, intra/post-surgical complications and Patient and Observer Scar Assessment Scale (POSAS). Results and Discussion: Our results showed a better aesthetical result in BK group compared to DAA group and faster rehabilitation with the DAA compared to PL. Optimal cup positioning was reached both in PL approach and DAA approach. DAA showed no increase in complications compared to PL approach and offered a faster recovery. Bikini approach is an alternative to the standard DAA approach and can be proposed for patients where a better aesthetic result is desired in addition to better functional recover.

This study aims to explore how well literature with a linked pedagogical material from Litteraturbanken skola correlates with pedagogical material that will promote aesthetic reading in accordance with Louise M. Rosenblatt’s transactional theory. To examine the selected pedagogical material, I perform a qualitative close reading and determine if the content in the literature correlates with the kind of content that Rosenblatt argued would promote aesthetic reading. Moreover, the linked pedagogical activities are studied to determine if they support a situational understanding that furthers aesthetic reading. The result shows that the content in the literature correlates well with the suggested content by Rosenblatt but that the main part of the linked pedagogical activities promotes efferent reading. Syftet med denna studie är att undersöka hur väl litteratur med tillhörande kopplat pedagogiskt material från Litteraturbanken skola överensstämmer med ett pedagogiskt material som främjar estetisk läsning enligt med Louise M. Rosenblatts transaktionsteori. För att undersöka det utvalda pedagogiska materialet genomför jag en närläsning av den utvalda litteraturen för att avgöra om innehållet överensstämmer med ett innehåll som Rosenblatt menar främjar estetisk läsning. Vidare granskas det kopplade pedagogiska materialet för att se om det främjar en situationsförståelse som främjar estetisk läsning. Resultatet visar att innehållet i litteraturen stämmer väl överens med den typ av innehåll som Rosenblatt förordar. Men resultatet visar även att merparten av det kopplade pedagogiska materialet främjar efferent läsning.

Η προτεινόμενη έκδοση μέσα στα εφτά κεφάλαια που προτείνονται έχει σαν στόχο να βοηθήσει στην κατανόηση καίριων θεμάτων της ιστορίας, της αισθητικής αλλά και του τρόπου λειτουργίας της φωτογραφικής εικόνας. Στα παραπάνω κεφάλαια παρουσιάζονται καίρια ζητήματα από τα προαναφερθέντα πεδία που αφορούν στην φωτογραφική εικόνα, ώστε να γίνει κατανοητή η ιδιαιτερότητα του μέσου και οι παράγοντες που το διαμόρφωσαν στην πάροδο του χρόνου. Έτσι επιχειρείται να αποδομηθεί η φύση του αντικειμένου της φωτογραφίας για να καταδειχθεί ο τρόπος οργάνωσης των διαφορετικών μορφών εμφάνισης του μέσου. Η φωτογραφία ως φορέας συλλογικής μνήμης εξετάζεται μέσα από την ανάλυση ιστορικών φωτογραφιών. Ανάμεσά τους φωτογραφίες που αφορούν σε θέματα κοινωνικά, πολιτικά, πολιτισμικά που καταδεικνύουν τον τρόπο που εντυπώνεται η φωτογραφική εικόνα στη συλλογική και όχι μόνο μνήμη. Το φυσικό αντικείμενο της φωτογραφίας, το υλικό που την αποτελεί και τα επιμέρους δομικά του στοιχεία. Η σημασία της τεχνικής και της εξέλιξής της σε σχέση με την ανάπτυξη του μέσου. Αναλύονται θέματα της ιστορίας της τέχνης που συζητούν την σχέση φωτογραφίας με τις άλλες εικαστικές τέχνες, τον κινηματογράφο και τη μουσική. Με εργαλείο την αισθητική προσεγγίζονται φωτογραφίες τόσο ως προς τον τρόπο δημιουργίας τους αλλά και ως προς την καταγωγή τους και την ανάγνωσή τους. Ιδιαίτερο τμήμα της έκδοσης αντιμετωπίζει την αισθητική της σύγχρονης ψηφιακής εικόνας και του τρόπου με τον οποίο επηρέασε και επηρεάζει την ζωή και την τέχνη. Η οπτική επικοινωνία εξετάζεται ως το εργαλείο με το οποίο κατανοούμε και αντιλαμβανόμαστε το περιβάλλον με έμφαση στην διατύπωση μιας μεθόδου αντίληψης των κωδίκων επικοινωνίας της φωτογραφίας. Η πληθώρα των δυνατοτήτων και των εφαρμογών της φωτογραφίας ως εργαλείο της δημιουργίας έργου τέχνης και η επιλογή των αποφάσεων μέσα από τις οποίες ο καλλιτέχνης προτείνει την προσωπική του οπτική. Παράγοντες πρόσληψης του καλλιτεχνικού αποτελέσματος.

This paper discusses the domain of do-it-yourself (DIY) biomaterials applied to design, by analysing aims, speculative value and aesthetics emerging from this encounter. From a transdisciplinary perspective, the convergence of postanthropocentric philosophies with systematic experiments in two different laboratories, located in Italy and China, demonstrates how design practices can contribute to new forms of human–nature relationships, highlighting a pluriverse way to understand life. Because of the dual approach of philosophical theories and hands-on experiments, biomaterials become tangible tools which change the very idea of “designed objects”: they assign to artefacts circular, living, and integrated properties, thereby placing them within the notion of an ecosystem. Nevertheless, beyond bio-based properties, the three most interesting qualities emerging from this theoretical–practical study are (1) 1:1 scale of production, (2) organic-formless aesthetic, and (3) multispecies coexistence. We argue that through such a model of bioproduction, the designer can assume the role of catalyst for a postanthropocentric vision, dismantling the feeling of separation, alterity, and not-belonging between the human and the nonhuman, between objects and organisms.

This article seeks primarily to highlight the first level of the introspective stage of Saint Bonaventure’s aesthetics, as highlighted in Chapter 3 of his Itinerarium mentis in Deum. according to this Franciscan philosopher, if man considers his three spiritual powers, memory, intelligence, and will inside his soul, he will be able to contemplate intellectually as though in a mirror God one and triune, be-cause those three powers are images of the Creator. Secondly, our article attempts to detect some of the doctrinal sources which could have inspired Bonaventure when proposing the different theses that structure this first introspective level of his aesthetics. Cilj članka je predvsem osvetliti prvo raven introspektivne estetike frančiškan-skega filozofa sv. Bonaventure, kakor je razložena v 3. poglavju njegovega dela Iti-nerarium mentis in Deum. Bonaventura je menil, da je človek, če se nasloni na vse tri moči v svoji duši – spomin, razum in voljo – sposoben intelektualno razmišljati kakor v zrcalu enega in troedinega Boga, saj so te tri moči podobe Stvarnika. Na-dalje skuša članek zaslediti še katere od doktrinalnih virov, ki bi lahko navdahnili Bonaventuro, ko je zastavljal teze, s katerimi je zgrajena prva introspektivna raven njegove estetike.

This article is divided into two parts. It concerns some confusions and misapprehensions consequent upon the use of some newly devised and older European terms that have been applied to describe the use of designs in Islamic art, othering terms, that unfortunately if not always deliberately, mislead. The use of these terms has resulted in the widespread mis-reading of the intent and content of design on works of Islamic art that carry what is termed, “decoration,” “ornament,” “abstract design”. This article questions the idea that Islamic designs developed due to iconophobia; or from an alleged fear of open spaces, a rare medical condition termed kenophobia, or, from any supposed fear of leaving empty spaces on a work, termed by orientalists, art historians and others from the late 19th c. onwards in respect to works of Islamic art, “horror vacui”. A term dismissive of any content to the designs employed, indicating these designs were employed just to fill otherwise empty space and is a term that continues in use in this context today, amongst a group of related terms repeatedly employed, resulting in the illusion of truth purveyed through their repeated use in the art historical and related literature, and the consequent deliberate(?) denial of content-meaning in the use of Islamic design., İki bölüm olarak tasarlanan bu makale İslam sanatında kullanılan bir grup bezeme üslubunu adlandırmak için kullanılan Batı kökenli terimlerin yarattığı karmaşa ve yanlış değerlendirmeleri konu edinmektedir. Bazıları yakın zamanda önerilmiş bazıları ise uzun süredir kullanılan bu terimler ne yazık ki İslam sanatını ötekileştirme yönünde, bilinçli olmasa da, yanlış yönlendirmelere yol açmaktadır. “Bezeme”, “süsleme” ve “soyut tasarımlar” olarak verilen bu terimler İslam sanatı bezeme sanatı örneklerinin niyet ve kapsamına dair yanlış okumalara neden olmuştur. Makale İslam sanatında tasarımların temelinde figürlü süslemeden kaçınan“ikonofobi” ya da açık alan korkusu olarak tanımlanan “kenofobi” olduğu önerisini sorgulamayı amaçlamaktadır. İslam sanatında eser bezenirken kullanılan ve yüzeyde hiç boş alan kalmayacak şekilde oluşturulan tasarım üslubu bu nedenle 19 yüzyıldan başlayarak sanat tarihçileri tarafından “horror vacui” boşluk korkusu olarak tanımlanmıştır. Herhangi bir şekilde bir bağlamla ilişkilendirilmeyen bu tanımlama, ki günümüzde de hala kullanılmaktadır, benzer başka terminoloji ile birlikte tekrarlanarak İslam sanatının yaratısal anlamda bir bağlamı/anlamı olmadığı, şekillerin basit bir tekrarı ile oluşturulduğu algısını yaratmakta, sanat tarihi ve tarih alanında eserleri anlamlandırma çabalarının (bilinçli ya da bilinçsiz olarak) önünü kesmektedir.

Le Journal d’Edmond de Goncourt nous offre un témoignage rare et précieux sur la vogue de la robe esthétique, « aesthetic dress » en anglais, avant même l’ouverture d’une succursale de la maison Liberty à Paris en 1890. Commençant par une femme qu’il remarqua à l’exposition posthume de Bastien-Lepage en 1885, puis Georgette Charpentier qui porta « une de ces toilettes esthetic de la Grande-Bretagne » à son mariage en 1888, il évoque les adeptes et l’influence de ce style chez les femmes du milieu artistique croisées dans les Salons et soirées jusqu’en 1894. Tantôt fasciné, tantôt amer face à l’invasion de cette mode d’origine anglaise et ses imitatrices serviles, l’écriture régulière et vive du Journal constitue un document de grand intérêt pour l’histoire de la mode en France. The Journal of Edmond de Goncourt offers us a rare and precious testimony of the French vogue for British aesthetic dress at the end of the nineteenth century, even before the 1890 opening of the Liberty house branch in Paris. Starting with a woman who he noticed at the posthumous exhibition of Bastien-Lepage in 1885, to Georgette Charpentier, who wore “one of those aesthetic toilets” at her 1888 wedding, Edmond de Goncourt noted, as far as 1894, its influence upon women in artistic circles and at Salon expositions. Sometimes fascinated, sometimes bitter towards the invasion of this fashion of English origin and its servile imitators, the regular and lively entries of the Journal provide us with a document of great interest which helps reveal the history of fashion in France.

One of the key criteria given to the judges of the Women’s Prize for Fiction is ‘accessibility’. Accessibility, readability and more recently ‘relatability’, have gained traction in recent years over other indices of literary value, such as quasi-modernist notions of difficulty and alterity. This article questions the gendering of accessibility as well as its relationship to neoliberalism. Its specific focus is on the 2006 winner of the Women’s Prize for Fiction, Zadie Smith’s On Beauty, a book that foregrounds questions of aesthetics and aesthetic value and attempts in its form and content to negotiate between the popular and the literary. Simultaneously problematising and simplifying ideas of beauty and artistic worth, the novel’s success was arguably due, in part, to the way that it at once tapped into and resolved insecurities surrounding judgements of aesthetic value. Controversies over literary awards are routine, but this article argues that they were especially rife in the 2000s. This article also sets these controversies over literary value and the novel’s own various engagements with the aesthetic in the context of recent, postcritical backlashes against the hermeneutics of suspicion that came to influence literary and critical theory in the 1980s and 1990s.

Taking Ford Madox Ford’s Soul of London (1905) as a starting point of an author’s impression of London in the early 20th century, and focusing then essentially on E. M. Forster’s Howards End (1910) as well as on Virginia Woolf’s Mrs Dalloway (1925), this paper contends that the city at the turn of the 20th century was both a disrupted and disrupting environment, which these writers managed to represent by elaborating an aesthetics of interruption, based on an acceptance of disruption as a fruitful force. Modern public transport in that regard played a major role in London’s transformation into an ever more urban, rapid, and crowded space, turned it into quite an ungraspable object for contemporary writers. Depicting this bustling and disorienting urban space became a challenge for our authors, who used urban travel as a vehicle through which both to express and process this disrupting urban life. Both Forster and Woolf thus met the apparently impossible challenge set by Ford, of finding a form to represent this disruptive city, by crafting an aesthetics of interruption—or disruption, which, as these authors demonstrate, turns out to be fruitful in more ways than one. Prenant l’ouvrage de Ford, The Soul of London (1905) comme point de départ d’une réflexion sur la ville au début du xxe siècle, et se concentrant ensuite sur Howards End d’E.M. Forster (1910) et sur Mrs Dalloway de Virginia Woolf (1925), cet article veut montrer combien l’expérience de la ville était déstabilisante pour les auteurs contemporains, qui parvinrent cependant à la représenter à travers une esthétique de l’interruption, fondée sur l’accueil de la déstabilisation comme force. Les transports jouèrent un rôle central dans la transformation de la ville en un espace toujours plus urbain, plus rapide et plus dense. Représenter cet espace tourbillonnant et désorientant devint ainsi un défi pour les auteurs de l’époque, qui se servirent des transports modernes comme d’un véhicule métaphorique au moyen duquel ils purent à la fois exprimer et accepter ces changements sans précédents. Ainsi, tant Forster que Woolf relevèrent le défi lancé par Ford de trouver une forme pour représenter cette ville qui semble dissoudre toute forme, en façonnant cette esthétique de l’interruption — de la déstabilisation, qui s’avère, comme ils le démontrent, être fructueuse à plus d’un titre.

La imaginería procesional ha experimentado en las últimas décadas una evolución estética que ha sido ya puesta de manifiesto por diversos investigadores expertos en la materia. La intención de este artículo es profundizar en sus orígenes tanto desde un punto de vista geográfico como conceptual, para seguir indagando acerca de un nuevo estilo con proyección internacional. La antropología que hay detrás del fenómeno cultural y religioso de la Semana Santa tiene su reflejo en la manera en la que un determinado grupo de imagineros entendieron la escultura sacra, generando un estilo que ha terminado por fraguar gracias al surgimiento de una escuela con nombre propio. Si bien esta nueva imaginería ha sido ya objeto de algunos estudios que han intentado ofrecer una explicación formal y conceptual, se antoja necesaria una revisión estilística y antropológica para aportar nuevos argumentos. Todo ello mediante el análisis formal de la obra de los protagonistas de dicha tendencia, así como de su concepto de imaginería y la generación de artistas implicados. In recent decades, processional imagery has undergone an aesthetic evolution that has already been demonstrated by various researchers who are experts in the field. The intention of this article is to delve into its origins both from a geographical and conceptual point of view, to further investigate a new style with international projection. The anthropology behind the cultural and religious phenomenon of Holy Week has its reflection in the way in which a certain group of imagers understood sacred sculpture, generating a style that has ended up forging thanks to the emergence of a school with its own name. Although this new imagery has already been the subject of some studies that have tried to offer a formal and conceptual explanation, a stylistic and anthropological review seems necessary to provide new arguments. All this through the formal analysis of the work of the protagonists of this trend, as well as their concept of imagery and the generation of artists involved.

Tahera Bhojani-Lynch,1 Anne Deckers,2 Ohan Ohanes,3 Kevin Poupard,4 Pauline Maffert4 1The Laser and Light Clinic, Loughborough, UK; 2Centre Médical Esthétique Eureka, Dalhem, Belgium; 3Swiss Care Cosmetic & Laser Clinic, London, UK; 4Clinical Development Department, Teoxane S.A., Geneva, SwitzerlandCorrespondence: Pauline MaffertTeoxane S.A., Rue de Lyon 105, Geneva, 1203, SwitzerlandTel +41 22 344 96 36Email p.maffert@teoxane.comBackground: Monitoring the effectiveness, safety and emerging uses of hyaluronic acid (HA) fillers in their wide range of indications requires a holistic approach.Purpose: To propose an observational study design aiming to gather real-world evidence (RWE) and continuously evaluate the performance and safety of marketed devices in routine practice.Materials and Methods: A prospective, observational registry was initiated at six European sites. Investigators enrolled any subject receiving at least one injection with a target study device (TEOSYAL Deep Lines [HADL] and/or Global Action [HAGA]). They followed their routine practice regarding injection technique, volume, and subject follow-up. Effectiveness was evaluated at 3 months using the global aesthetic improvement scale (GAIS). Safety was assessed based on common treatment reactions (CTR) and adverse events (AE).Results: High quantity of RWE was collected following the initiation of this registry. In the first 158 subjects enrolled, 1220 injections were performed in more than 25 indications, including 679 with the target devices and 271 with devices of the same filler line. The primary objective was achieved, with 93.9% of treatments providing improvement at Month 3 according to the PI and subject. Post-injection CTR were mild to moderate and short-lived, and there was no clinically significant AE. More than 76% of treatments still provided some visible effect at month 12.Conclusion: Based on RWE, HADL and HAGL are effective and safe in their respective indications mostly distributed in the midface, perioral region, and lower face. Observational registries are a valuable asset in the context of post-market clinical follow-up.Keywords: aesthetic, facial rejuvenation, nonsurgical, real-world evidence, registry

G-Coat Plus is a nano-filled, self-adhesive light cured protective coating that strengthens, protects and enhances glass ionomer restorations. The effect of G- Coat plus on different GICs have not been studied comprehensively. Hence the study was conducted to compare the effect of resin coating on surface hardness and Shear punch strength of newer modified GIC.Materials and methods: 120 samples of three GICs i.e. Fuji IX Extra, Fuji IX Fast, Fuji II LC were prepared using specialized metal moulds. Specimens of Fuji II LC were light cured for 20 seconds. Coated and uncoated samples were tested for surface hardness and 30 samples were tested for shear punch strength. P < 0.05 was considered as significant. Results: Shear Punch Strength after G-Coat plus coating was significantly higher for Fuji IX Extra followed by Fuji II LC. Surface Hardness after G- Coat plus coating was significantly higher for Fuji IX Extra followed by Fuji IX Fast and Fuji II LC.Conclusion: Surface coating by a resin agent significantly increases the surface hardness and shear strength of the GIC. Considering the above stated findings, they can be incorporated into daily clinical practice to enhance the strength and longevity of GIC.

In contrast to Kant's aesthetic, Gadamer proposes a fundamentally different way of understanding our experiences of art. One that is not restricted by the dichotomy between subjectivity and objectivity: A work of art is not simply an object created by an artist, but a "world" in which all the "players" participate. This conception of art is inspired by the performing arts; but how much is it relevant to other forms of art? Gadamer never explored this question fully. It is of interest, therefore, to expand the analysis of Gadamer on two fronts: first, new forms of art such as installations and video games; second, artistic practices in East Asia, notably, the Japanese art of kintsugi and Chinese art of seals (zhāng). The analysis of these forms of art not only helps broaden the scope of Gadamer's theory, but shows also that the insights found in his works are more relevant than ever.

Resumen El artículo presenta los resultados del proyecto de investigación realizado durante 2018 dentro de la Fundación Universitaria Bellas Artes de Medellín (FUBA), que tuvo como finalidad el fortalecimiento de las bases teóricas y conceptuales para plantear transformaciones de índole física, mediática, urbanística, artística y comunicativa. El tema es definido por dos intereses: primero, el reconocimiento y la activación de vectores identitarios para fortalecer procesos de identidad sobre el imaginario colectivo del pasaje Cervantes, en el centro de la ciudad. Segundo, establecer las condiciones históricas, culturales y contextuales susceptibles de ser explotadas como variables de diseño en los procesos de transformación de Medellín, a partir del análisis de variables simbólicas y urbanas que permiten reconocer la importancia del estudio del universo simbólico de los espacios urbanos, dentro del ejercicio de proyección e intervención urbanística. Finalmente, se exponen las reflexiones estéticas y semióticas elaboradas a partir del análisis de cuadros semióticos y mapas de variables. Abstract The article presents the results of the research project conducted in 2018 at the Fundación Universitaria Bellas Artes de Medellín (FUBA, for its Spanish acronym), which aimed to strengthen the theoretical and conceptual bases to propose transformations of a physical, media, urban, artistic and communicative nature. The theme is defined by two interests: First, the recognition and activation of identity vectors to strengthen identity processes on the collective imaginary of the Pasaje Cervantes, in the center of the city. Second, to establish the historical, cultural, and contextual conditions susceptible to be exploited as design variables in the transformation processes of Medellín, from the analysis of symbolic and urban variables that allow recognizing the importance of studying the symbolic universe of urban spaces, within the exercise of urban planning and intervention. Finally, the aesthetic and semiotic reflections elaborated from the analysis of semiotic tables and maps of variables are presented.

Na primeira metade do século XX, a chegada da cor ao cinema deu-lhe um novo e muito relevante poder. Os significantes psicológicos e afetivos das mais variadas cores, bem aplicados, podem dotar a obra cinematográfica de uma extraordinária implicação narrativa que provoca forte impacto afetivo e dramático no espectador. Ao longo deste trabalho pretendemos refletir sobre as possibilidades que a cor trouxe ao cinema, indo além da estética e assumindo um lugar de destaque no campo da narrativa., In the first half of the 20th century, the arrival of color in cinema gives it a new and very relevant power. The psychological and affective signifiers of the most varied colors, if properly applied, can give the cinematographic work an extraordi-nary narrative involvement that provokes a strong affective and dramatic impact on the spectator. Throughout this work, we intend to reflect on the possibilities that color has brought to the cinema, going beyond aesthetics and assuming a prominent position in the field of narrative.

Na primeira metade do século XX, a chegada da cor ao cinema deu-lhe um novo e muito relevante poder. Os significantes psicológicos e afetivos das mais variadas cores, bem aplicados, podem dotar a obra cinematográfica de uma extraordinária implicação narrativa que provoca forte impacto afetivo e dramático no espectador. Ao longo deste trabalho pretendemos refletir sobre as possibilidades que a cor trouxe ao cinema, indo além da estética e assumindo um lugar de destaque no campo da narrativa., In the first half of the 20th century, the arrival of color in cinema gives it a new and very relevant power. The psychological and affective signifiers of the most varied colors, if properly applied, can give the cinematographic work an extraordi-nary narrative involvement that provokes a strong affective and dramatic impact on the spectator. Throughout this work, we intend to reflect on the possibilities that color has brought to the cinema, going beyond aesthetics and assuming a prominent position in the field of narrative.

In this article, we approach the aesthetic perspective of the cult of the Candomblé orixás, from a specific aspect that involves it: the dance. When communicating with the terreiro community, these deities dance to the sound of the drums. Each orixá has its own way of dancing that also adapts to the body of the son or daughter through which it manifests. This way of dancing is linked to their characteristics, their myths, and the elements of nature. That indicates a possible aesthetic path: what can we say about dancing gods? However, such dances have been 'translated' to the stage through artistic reinterpretations, as well as it has influenced the formation of what we usually call Afro-Brazilian dances. Therefore, we intend to explore the transit between the sacred and the artistic, as well as the philosophical meaning of this aesthetic aspect of Candomblé. Since, according to this practice, beauty is an important attribute that characterizes the sacred and life., Neste artigo abordamos a perspectiva estética do culto aos orixás dos candomblés, a partir de um aspecto específico que o envolve: a dança. Ao se comunicarem com a comunidade de terreiro, estas divindades dançam ao som dos atabaques. Cada orixá tem seu jeito de dançar que também se adapta ao corpo do filho ou filha através do qual se manifesta. Esse jeito está ligado às suas qualidades, seus mitos, aos elementos da natureza. Isto por si só nos indica um caminho estético possível, que dizer de deuses que dançam? No entanto, tais danças têm sido ‘traduzidas’ para o palco através de releituras artísticas, assim como têm influenciado a conformação do que costumamos chamar de danças afro-brasileiras. Pretendemos explorar, portanto, tanto esse trânsito entre o sagrado e o artístico, quanto o sentido filosófico desse aspecto estético do candomblé, visto que para esta prática a beleza é um atributo importante, próprio do sagrado, próprio da vida.

International audience; Are artistic engagements evolving, or attracting more attention? The range of artistic protest actions shows how the globalisation of art is also the globalisation of art politics. Here, based on multi-site field research, we follow artists from the MENA countries, Latin America, and Africa along their committed transnational trajectories, whether these are voluntary or the result of exile. With this global and decentred approach, the different repertoires of engagement appear, in all their dimensions, including professional ones. In the face of political disillusionment, these aesthetic interventions take on new meanings, as artivists seek alternative modes of social transformation and production of shared values.

Aesthetics is a philosophical science that talks about everything that is called beautiful, the beauty contained in a work of art which is a form of creativity of an artist. Our goal is to analyze the depth of the aesthetic value of the good day coffee advertisement, seeing the lack of public knowledge about art in advertisements, they only see that the advertisement is beautiful without seeing the depth of aesthetic value and form in the work. It is said that the existence of art (advertising) is only controlled by art academics, curators, connoisseurs and art observers. The method is by looking at a work and then analyzing it and connecting it with aesthetic values and forms from various sources, then, it is processed using interpretive and descriptive methods so that readers can understand or re-explain properly and correctly. In analyzing this advertisement, the focus of the study is, what is the general description and the depth of aesthetic value and form in the work. The results of the study show that, not only visual products and music, but also property is needed so that the audience can enjoy it.

INTRODUCTION: Cephalometric analysis is an essential tool in the diagnostics and planning of orthognathic surgery. No objective criterion exists to facilitate decision making regarding genioplasties. Differing opinions amongst clinicians therefore leads to wide variability amongst treatment options offered to potentially suitable patients. This study has three aims. The first was to quantify the distribution of chin morphology amongst the average population using cephalometric analysis. Secondly, we sought to determine whether cephalometric parameters could be used to predict overlying soft tissue changes. Lastly, we consider the use of a new cephalometric angle, BNPg, for pre- and post-operative assessment of genioplasty patients. METHODS: This study retrospectively analysed 231 lateral cephalograms. The angle between the landmarks: B point, Nasion and Pogonion was measured to generate 'BNPg' a novel unit to quantify bony chin protrusion. RESULTS: The mean BNPg from all 231 samples was 1.12 degrees with a standard deviation of ± 1.35. Comparison between sexes showed no significant differences between male and females (P = 0.108). Furthermore, bony chin protrusion was found to strongly positively correlate with soft tissue chin appearance (r = 0.731), however, BNPg was found not to correlate with skeletal malocclusion (ANB, r = 0.085). CONCLUSION: The novel unit BNPg may serve as a useful tool in contributing to the determination of treatment thresholds in osseous genioplasty for desirable aesthetic outcomes and may be used post-operatively to assess outcomes also. As this is a pilot study, further clinical studies would be required to validate this parameter in genioplasty patients, both pre- and post-operatively. SUPPLEMENTARY INFORMATION: The online version contains supplementary material available at 10.1007/s12663-022-01784-5.

The June 2013 Days in Brazil developed as a social mobilization in a network complexed by socio-spatial, political and media dynamics. It is also worth noting the production of images, expressions and slogans that developed aesthetic meanings for the insurgency that occupied the streets, activating the country territorially. Thus, it is proposed here to focus on these aspects, reflecting the insurgent symbolic and aesthetic production in the June 2013 Days, considering the slogans "come to the street" and "the giant woke up". Initially, the relationship between insurgent practices and aesthetic production is discussed with the support of Rancière. Next, the symbolic production of June 2013 is analyzed, highlighting the two expressions analyzed here. It is also discussed the relations amongst aesthetic and collective action onto social mobilization. The variety of guidelines. the multiplicity of actors and the multiscalarity of the territorialities of insurgency produced multivectorial aesthetic designs, catalyzed by the corpographic performance of hybrid mobilization, between agencies and on and off-line potentials. An aesthetic sharing was produced in line with the volatile multitudinous character of the event-phenomenon of 2013 June. Las Jornadas en Brasil de junio de 2013 se desarrollaron como una movilización social en red complejada por dinámicas socioespaciales, políticas y mediáticas. También vale la pena mencionar la producción de imágenes, expresiones y consignas que desarrollaron significados estéticos para la insurgencia que ocupó las calles, activando territorialmente el país. De esta manera, se propone aquí centrar la mirada en estos aspectos, reflejando la producción simbólica y estética insurgente en las Jornadas de junio de 2013, considerando como consignas “salir a la calle” y “el gigante despertó”. Inicialmente, se discute la relación entre prácticas insurgentes y producción estética con el apoyo de Rancière. A continuación, se analiza la producción simbólica de junio de 2013, destacando las dos expresiones que nos propusimos examinar aquí. Finalmente, se discute la relación entre estética y acción colectiva en la movilización social. As Jornadas de Junho de 2013 no Brasil se desenvolveram como uma mobilização social em rede complexificada por dinâmicas socioespaciais, políticas e midiáticas. Ressalta-se ainda a produção de imagens, expressões e palavras de ordem que desenvolveram sentidos estéticos para a insurgência que ocupava as ruas, ativando territorialmente o país. Desse modo, propõe-se aqui concentrar o olhar sobre estes aspectos, refletindo a produção simbólica e estética insurgente nas Jornadas de Junho de 2013, considerando as palavras de ordem "vem pra rua" e "o gigante acordou". Inicialmente, discute-se a relação entre as práticas insurgentes e a produção estética com o suporte de Rancière. A seguir, analisa-se a produção simbólica de junho de 2013, evidenciando as duas expressões que aqui se propôs examinar. Por fim, debate-se as relações entre estética e ação coletiva na mobilização social. A variedade de pautas. a multiplicidade de atores e a multiescalaridade das territorialidades de insurgência produziram desenhos estéticos multivetoriais, catalisados pela performance corpográfica da mobilização híbrida, entre agências e potências on e off-line. Produziu-se uma partilha estética coadunada ao caráter multitudinário volátil do evento-fenômeno de junho de 2013.

Em 2019, Jacques Rancière apresentou “Architectures Deplacées”, na Société Française des Architectes, em Paris. Nosso trabalho consiste na tradução da referida palestra e no artigo introdutório publicado em revista, os quais abordaram temas de suas conferências recentes sobre arquitetura. Dentre os deslocamentos ético, poético e estético propostos, Rancière elucida questões intrínsecas da arquitetura na relação com a paisagem. Nesse contexto, o movimento se refere ao processo de desestabilização da finalidade da arquitetura e a busca pela perfeição, visando a construção de mundos livres. Segundo Rancière, quando a arquitetura sai do seu reduto, provoca mudanças mais efetivas. O autor também observa que a pintura é fonte de uma “arquitetura para ver”, relevante para o paisagismo. Por fim, Rancière sugere que a arquitetura, resgatada de sua funcionalidade autoritária, torna-se apoio de um movimento da imaginação que parte de arquiteturas modernas – para ver ou imaginárias – baseadas na fuga do olhar e na capacidade de imaginação, propondo uma terceira via de construção e movimento. Não mais a elevação ao céu inacessível e tampouco o deslocamento horizontal infinito, mas o enfrentamento da imperfeição, em que a crítica da vontade arquitetônica se alia à crítica da ordem do mundo. In 2019, Jacques Rancière presented “Architectures Deplacées”, at the Société Française des Architectes, Paris. Our work consists of the translation of this lecture and the introductory paper, themes of his recent conferences on architecture. Among the proposed ethical, poetic and aesthetic dislocations, Rancière elucidates intrinsic issues of architecture in relation to landscape. In this context, the movementalso refers to the destabilization of the finality of architecture, the search for perfection, aiming at the construction of free worlds. According to Rancière, when architecture leaves its stronghold, it causes more effective changes. Just as he observes that painting is the source of an “architecture to see”, relevant to landscaping, the architecture rescued from its authoritarian functionality becomes the support of a movement of the imagination. Starting from modern architectures – to see or imaginary – from the same escape of the look and imagination, it points to a third way of construction and movement. No longer the elevation to the inaccessible sky, nor the infinite horizontal displacement, but the confrontation of imperfection, in which the criticism of the architectural will is allied to the criticism of the world order

This intriguing book immediately throws the reader into a disciplinary maze (social theory, cultural studies, philosophy, psychology, and the humanities), and attempts to shed some light on common (mis)conceptions about the body and mind dichotomy. Short though dense, this essay aims to uncover the realities of the brain’s impact on our aesthetic understanding of art – according to Slopek, the body is crucial to all aesthetic experience – putting on a pedestal the “corporeal imagination” that...

There is a growing debate regarding aesthetics in engineering. The point is that this discipline is not among those considered as art (Literature, Music, Dance, Architecture, etc.). Going beyond the classic categories, this study provides a renewed perspective on why the engineering work is not considered an oeuvre of art. The unpublished interview with Julio Martínez Calzón, included in the collaborative work developed between the months of January and June 2021, is followed as the methodological axis, giving rise to a critical according to the common thread of the History of Aesthetics in the ‘six ideas’ of Tatarkiewicz. The difficulties in the society’s appreciation of aesthetic values of engineering work are identified. The conclusions of the research point out that the engineering element has a broad range of resources that can help overcoming these difficulties and allow for the development of the artistic sensitivity., Existe un debate creciente en torno a la estética en la ingeniería y a que esta disciplina no se encuentre entre aquellas consideradas como arte (Literatura, Música, Danza, Arquitectura, etc.). Más allá de las categorías clásicas, el presente trabajo arroja otra perspectiva acerca del por qué la obra de ingeniería no se considera una obra de arte. Metodológicamente se sigue como eje la entrevista inédita realizada a Julio Martínez Calzón, englobada en el trabajo colaborativo desarrollado entre los meses de Enero y Junio de 2021, y que ha dado lugar a un escrito crítico según el hilo conductor de la Historia de la Estética en las seis ideas de Tatarkiewicz. Se identificarán las dificultades que tiene la obra de ingeniería en la apreciación de sus valores estéticos para la consideración como obra de arte por parte de la sociedad. Las conclusiones del trabajo apuntan a que el elemento ingenieril, posee recursos sobrados para sortear dichas dificultades e introducirse en el camino de la sensibilidad que conduce a lo artístico.

This article addresses the increasing levels of complexity and abstraction that digital technologies produce, which generate a feeling of amazement nowadays similar to what the philosophy of art and aesthetics deemed the experience of the sublime. Through the idea of the “digital sublime”, we aim to find ways to find direction in this vertiginous world. Our intention is to research the extent to which art and design can function as mediators of scales that translate the digital sublime into concrete images that are more digestible, as well as easy to understand and perceive. We believe this is one of the challenges that these disciplines must face in our era governed by extra-human scales, both technological (the cloud, artificial intelligence, 5G, etc.) and geological (the Anthropocene and global climate change). With this in mind, we will analyse the work of several artists whose careers reflect their commitment to these issues. If we, and our bodies, are constantly translated into data, can art and design reverse meaning and make our data transform into bodies in such a way as to produce an aesthetic (sensible) experience of them? Can this help us to understand digital infrastructure and its materiality in a more intuitive and approachable way so that a body can imagine and/or visualise it? Can these actions encourage the production of collective emancipation strategies that allow us to be active agents when reconfiguring the governance and algorithmic regulations imposed on us?

BACKGROUND Surgical antibiotic prophylaxis has been widely used for prevention of surgical site infections (SSI’s). World Health Organization (WHO) global guidelines strongly recommend the administration of pre-operative prophylactic antibiotic, depending on the type of surgery, to reduce SSI’s. However, within Gulf Cooperation Council (GCC) countries, antibiotic resistance has been rising due to unregulated prescribing practice. We aimed to assess adherence to local/international guidelines in the plastic surgery unit of Salmaniya Medical Complex. METHODS This study was a retrospective review of adults’ undergoing plastic surgery between the dates of 1st of January 2019 to 30th of April 2019. Recommendations and guidelines were provided by South Australian Guidelines for Surgical Antimicrobial Prophylaxis, NHS Greater-Glasgow Foundation Trust. Salmaniya Medical Complex Guidelines were also taken into consideration. This was followed by an implementation of standardized guidelines and a re-assessment period for another four months. RESULTS There were 106 patients who met the inclusion/exclusion criteria throughout the primary cohort. With respect to choice and dose of antibiotics, only 21 (19.8%) of the procedures were adherent to global/local guidelines. Similarly, only 11.5% of those cases have met the recommended timing for pre-operative antibiotic administration. After the implementation period, adherence to guidelines regarding choice and time of antibiotic administration has increased to 36.8% and 32.6% respectively. SSI decreased from 1.8% to 0.08%. CONCLUSION Practice in SMC in plastic surgery pre-operative antibiotic prophylaxis shows poor compliance to both local and international guidelines in terms of choice, dose, and time of administration. We were able to significantly improve adherence to international/local practice in both areas by implementing an integrated protocol in liaison with the medical staff involved in the plastic surgery unit and operating theatres.

Nursing education's fundamental goal is to prepare students to effectively transition into practice. Success in this endeavor occurs when the student has a clear sense of themselves as a professional in relationship with their peers and grounded in disciplinary knowledge. Faculty must intentionally create opportunities for students to explore and mature their professional selfhood (PSH) to assist in a smooth transition from academia to practice. Educational strategies which enhance the awareness and continued development of PSH as a birthplace for professional identity may enable the graduate to navigate the healthcare system, mitigate ethical dilemmas, and enhance the quality of life for those they care for and themselves. Aesthetic narratives could be utilized to engage students in the analysis of their PSH as an alternative beyond the dominant text as an expression.