Técnicas para prática de escultura dental / Techniques for the practice of dental sculpture / Técnicas para la práctica de la escultura dental

Objetivo: Caracterizar e diferenciar as técnicas de escultura dental, bem como descrever as etapas da ceroplastia de dentes. Revisão Bibliográfica: As principais técnicas encontradas foram: Técnica de escultura regressiva de dentes isolados em cera; técnica progressiva; técnica de ceroplastia em dentes articulados no manequim; enceramento progressivo em molde de gesso; enceramento progressivo com a oclusão dente-a-dente, cúspide-fossa; técnica de escultura de dentes articulados (restaurações unitárias); técnica de escultura de dentes articulados (restaurações múltiplas). No geral, o material e instrumental utilizados nas práticas de escultura são definidos pelo corpo docente do componente curricular Escultura Dental, e alguns desses diferem de uma universidade para outra, assim como o passo a passo seguido. Para o alcance da completa e correta escultura, faz-se necessário seguir a sequência evitando ultrapassar uma etapa sem antes haver cumprido com plena observância dos detalhes o passo imediatamente anterior. Considerações finais: Não houve uma técnica de escultura dental padrão a ser aplicada, entretanto acredita-se que a técnica de ceroplastia em dentes articulados no manequim destaca-se na prática laboratorial, pois os dentes a serem esculpidos precisaram respeitar o tamanho, a relação de oclusão, a relação interdental e o alinhamento, de forma a simular um procedimento clínico.

Objective: To characterize and differentiate dental carving techniques, as well as describe the stages of wax-up of teeth. Bibliographic Review: The main techniques found were: Technique of regressive sculpture of isolated teeth in wax; progressive technique; wax-up technique on articulated teeth on the dummy; progressive waxing in plaster mold; progressive waxing with tooth-to-tooth, cusp-fossa occlusion; articulated teeth sculpting technique (single restorations); articulated teeth sculpting technique (multiple restorations). In general, the material and instruments used in sculpting practices are defined by the faculty of the Dental Sculpture curricular component, and some of these differ from one university to another, as well as the step by step followed. In order to achieve a complete and correct sculpture, it is necessary to follow the sequence, avoiding going beyond a stage without first having completed the immediately preceding step in full observance of the details. Final considerations: There was no standard dental sculpting technique to be applied, however, it is believed that the wax-up technique on articulated teeth on the dummy stands out in laboratory practice, as the teeth to be sculpted needed to respect the size, the relationship of occlusion, interdental relationship and alignment, in order to simulate a clinical procedure.

Objetivo: Caracterizar y diferenciar las técnicas de tallado dental, así como describir las etapas del encerado de los dientes. Revisión Bibliográfica: Las principales técnicas encontradas fueron: Técnica de escultura regresiva de dientes aislados en cera; técnica progresiva; técnica de encerado en dientes articulados en el maniquí; encerado progresivo en molde de yeso; encerado progresivo con oclusión cúspide-fosa diente a diente; técnica de esculpido de dientes articulados (restauraciones individuales); Técnica de esculpido de dientes articulados (restauraciones múltiples). En general, los materiales e instrumentos utilizados en las prácticas de escultura son definidos por la facultad del componente curricular de Escultura Dental, y algunos de estos difieren de una universidad a otra, así como el paso a paso seguido. Para lograr una escultura completa y correcta, es necesario seguir la secuencia, evitando pasar de una etapa sin haber completado antes el paso inmediatamente anterior con total atención a los detalles. Consideraciones finales: No existía una técnica de esculpido dental estándar a aplicar, sin embargo, se cree que la técnica de encerado sobre dientes articulados sobre el maniquí se destaca en la práctica de laboratorio, ya que los dientes a esculpir debían respetar el tamaño, la relación de oclusión, relación interdental y alineación, con el fin de simular un procedimiento clínico. PALABRAS CLAVE: Corona del Diente; Escultura; Anatomía Artística.

Odissi Dance In Temple Art Of Odisha

The Odishan temple sculptures are of two broad categories, namely the cult image and the decorative motifs. There are also gods and goddesses, and depiction of religious episodes to create a religious atmosphere.Religious synthesis is reflected through the images of 'Ardanarisvara' and 'Hari-Hara' such as at Gandharadi. A significant feature of Odishan temple art is the presence of performing art sculpture on the outer walls to signify the fact that religion cannot he separated from real life. The sculptures have preserved thousands of examples, which are treasure-houses of the techniques of Odissi dance. The temples greatly helped the Gurus and research scholars to reconstruct the present form of Odissi dance from an almost lost tradition of dance. As we can see, Odissi, thus, recorded in the temples, provide us a world of Odissi postures, gestures, costumes and ornaments.

Una escultura de Juan José Sicre Vélez para honrar al doctor Carlos J. Finlay Barrés / One sculpture of Juan José Sicre Vélez to honor Doctor Carlos J. Finlay Barrés

Los artistas cubanos han dedicado obras de variados géneros para homenajear al doctor Carlos J. Finlay Barrés y su meritorio trabajo investigativo sobre la fiebre amarilla, enfermedad causante de epidemias y defunciones, en su época, en Cuba y otros países. Las artes plásticas tienen una sustancial impronta en reconocimientos al sabio, lo que hace usual su presencia en obras escultóricas del paisaje urbanístico cubano. Entre estas, se destaca por su belleza y localización, la del escultor Juan J. Sicre Vélez. Este trabajo tiene como objetivo contribuir al conocimiento de la obra escultórica dedicada por Sicre al sabio y destacar su trascendental significación para la medicina y la ciencia cubana. La escultura y su temática por su significación para la medicina y la ciencia realzan la identidad cultural de la nación cubana. Su emplazamiento en áreas del Hospital Militar Central Dr. Carlos J. Finlay, en Marianao, tiene simbolismo por ser la localidad donde Finlay desarrolló la mayor parte de las investigaciones conducentes a su teoría sobre el modo de contagio y el agente transmisor de la fiebre amarilla. La obra escultórica es también un hermoso homenaje a los médicos y trabajadores de la salud que prestan servicios médicos humanitarios en Cuba y en otros países. Por su contenido estético y temático, la escultura es un estimable recurso didáctico para desarrollar las estrategias educativas en la formación del personal de la salud(AU)

Cuban artists have dedicated works of various genres to honor Dr. Carlos J. Finlay Barrés and his meritorious investigative work on yellow fever, a disease that causes epidemics and deaths, in its time, in Cuba and other countries. The plastic arts have a substantial mark in recognizing the sage, which makes their presence usual in sculptural works of the Cuban urban landscape. Among these, the one of the sculptor Juan J. Sicre Vélez stands out for its beauty and location. This work aims to contribute to the knowledge of the sculptural work dedicated by Sicre to the sage and highlight its transcendental significance for Cuban medicine and science. The sculpture and its theme due to its significance for medicine and science enhance the cultural identity of the Cuban nation. Its location in areas of the Central Military Hospital Dr. Carlos J. Finlay, in Marianao, has symbolism for being the town where Finlay developed most of the research leading to his theory on the mode of contagion and the transmitting agent of yellow fever. The sculptural work is also a beautiful tribute to the doctors and health workers who provide humanitarian medical services in Cuba and in other countries. Due to its aesthetic and thematic content, sculpture is a valuable didactic resource to develop educational strategies in the training of health personnel(AU)

Exomorphic Characters of Seeds of Some Species of Capparaceae Family in Taif, KSA

Seed exomorphic characters of six species belonging to four genera of family Capparaceae were studied using light microscope (LM) and scanning electron microscopy (SEM) in order to determine the importance of seed features as taxonomic evidence. These species are Cadaba farinosa Forssk, Capparis decidua (Forssk). Edgew, Capparis cartilaginea Decne, Dipterygium glaucum Decne, Maerua crassifolia Forssk and Maerua oblongifolia (Forssk.) A. Rich. The diagnostic characters at level of the general and specific level are shape of seed, size, color, texture and seed coat surface. There is a wide range of variations of seed shape among the studied species. LM revealed that the studied seeds are mostly varying from ovate to globose or cardiac- shape. All of the seeds lack wings except Dipterygium glaucum Decne. and most of the seed is coarse texture. There are six main types of seed surface sculptures revealed by SEM investigation at higher magnifications; reticulate, rugose-striate, winding undulate, ribbed and papillate.

The art and neurology of Paul Richer / A arte e a neurologia de Paul Richer

ABSTRACT In the 1890s, one of Charcot's most important protégés, Dr. Paul Richer (1849-1933), drew and sculpted a series of representations of the main types of nerve pathology. That series included drawings of pleomorphic hysterical crises and sculptures depicting patients suffering from labio-glosso-laryngeal paralysis and myopathy, as well as Parkinson's disease. Richer was a resident at La Salpêtrière and, in 1882, became head of the Charcot museum. Early in his career, despite having no formal artistic training, he could represent masterfully, in drawings and sculptures, people's tragic suffering from neurological diseases. Later on, with the same tools, he expressed the beauty of human movements in health.

RESUMO Nos anos 1890, um dos mais importantes protegidos de Charcot, o doutor Paul Richer (1849-1933), desenhou e esculpiu uma série de representações figurativas dos principais tipos de patologia nervosa. Essa série incluiu desenhos de crises histéricas pleomórficas e esculturas de bustos representando pacientes que sofriam de doenças tais como: paralisia labio-glosso-laríngea, miopatia e doença de Parkinson. Richer foi residente de La Salpêtrière e, em 1882, foi nomeado chefe do museu de Charcot. Na primeira parte de sua carreira e sem qualquer treinamento artístico formal, ele conseguiu representar, como ninguém, em desenhos e esculturas, o trágico sofrimento das doenças neurológicas. Mais adiante, com as mesmas ferramentas, ele concebeu a beleza do movimento humano na saúde.

El cuerpo humano en el "Moisés" de Miguel Ángel / The human body in Michelangelo's Moses

What grips us so powerfully to a work of art is the artist's intention, if he succeeds to express it in his work and we are able to understand it. Michelangelo's Moses established the essential structures of an animate organism and the embodiment of consciousness in the world. Since the body is an expressive unit, it is possible to reconstruct a highly feasible sequence of movements that might have preceded the moment caught in the statue. It is an expression of the highest ideal of mental and spiritual achievement through the controlled tension between action and restraint. The phenomenon of embodiment and feeling the body as own is the basis of concrete human existence.

O design inteligente e a estratificação biomimética em restaurações diretas posteriores: consolidando a era pós-amálgama / Rational design and biomimetic layering of posterior composite restorations: consolidating the postamalgam era

No campo da dentística restauradora, muitas conquistas têm sido alcançadas, principalmente em relação à crescente conscientização dos pacientes quanto à possibilidade de se obterem restaurações mais funcionais e estéticas. O grande dilema tem sido como raciocinar clinicamente com esses novos conceitos, ou seja, modificar a abordagem antiga, que era baseada na ausência da verdadeira união. Quais conceitos clássicos devem permanecer vigentes nesse novo contexto? Mimetizar, em ciência, envolve permitir a cópia de um modelo que, na área odontológica, sem dúvida, é o dente intacto. Este artigo aborda a associação desse conceito com a técnica e a seleção dos materiais na prática clínica.

The increased awareness of patients for more functional and esthetic restorations led to a number of archievements that occurred in Restorative Dentistry. A major concern is how to clinically thinking on these new concepts, changing the old approach which was based on the lack of true adhesion. Which classical concepts should be maintained in this new context? Mimicking in science, involves a process of copying a model that, in the dental field, is in most cased an intact tooth. This article discusses the association of this concept with the technique and selection of materials in clinical practice.

Model sculpture for virtual coronary artery bypass operation / 医用生物力学

Objective To conduct the operation of capture and deformation in virtual three-dimensional (3D) environment with force feedback device and simulate the coronary artery bypass operation. Methods Based on data collected from real CT images of the patient with heart disease, digitized visual model of the heart was reconstructed. Then the bypass vessel was built and the vessel model was sculptured by force feedback device to simulate the bypass surgery from pulmonary artery to ventriculus dexter in Fontan operation. Results Space structure of the heart was shown in the virtual 3D reconstructed environment. Bypass vessel with any diameter and angle was transformed to simulate the coronary artery bypass operation. Heart patch with any size was built to repair the heart model. The satisfactory model and parameters of the postoperative model were finally achieved. Conclusions The application of force feedback device in virtual coronary artery bypass operation sets the stage for cardiovascular surgery planning system with mechanical characteristics to simulate multiple modalities of such operation.

Sobre desertos, pedras, ilhas, vulcões / About deserts, rocks, islands, volcanoes

Este artigo trata da experiência dos personagens do filme A aventura, de Michelangelo Antonioni, na paisagem escultural da ilha Lisca Bianca, e traz como contraponto a experiência da obra Double negative, de Michael Heizer.

This article deals with the experience of the characters from Michelangelo Antonioni’s film The adventure at the sculptural landscape of the island Lisca Bianca, and has as a counterpoint the experience of Michael Heizer’s work Double negative.

Lygia Reinach responde / Lygia Reinach replies

Os processos de criação da obra da escultora Lygia Reinach são revelados pelas respostas que ela oferece às perguntas de arquitetos, artistas plásticos, paisagistas, críticos e arte, escritores, curadores, fotógrafos.

The creation processes of the work of the sculptress Lygia Reinach are revealed by the answers she provides to the questions raised by architects, plastic artists, landscapers, art critics, writers, curators, photographers.

A onda: um mergulho ao encontro do desamparo / The wave: diving into helplessness

O presente artigo, partindo de uma experiência de recepção estética, propõe-se a acompanhar a trajetória da construção de significados que esta experiência possibilitou, fazendo um recorte particular sobre a noção de desamparo. Para tanto, investiga os desdobramentos desse conceito na obra freudiana e em alguns de seus interlocutores, para, ao final, indagar sobre as possíveis relações entre a arte e o desamparo. Nesse percurso, algumas considerações são apontadas no que tange às formas possíveis de diálogo entre a psicanálise e a arte.

The starting point of this paper is a specific aesthetical reception experience and it intends to go through the path of the construction of meanings which this particular experience has facilitated. The article makes a singular cut out of the concept of helplessness. In order to study this concept, the author studies some conceptual unfolding in Freud’s theory as well as in some of his interlocutors. At the end, it investigates possible relationships between art and helplessness. This paper discusses possibilities of dialogue between art and psychoanalysis.

Corpos inanimados, escultura de fumaça / Lifeless bodies, smoke sculpture

A partir da exposição Corpo humano − real e fascinante, de Roy Glover, a autora faz uma observação sobre o impacto do excesso de concretude, que acaba por criar pouca margem para a manobra simbólica. O lugar do corpo veiculado sem nome, sem passado, sem subjetividade é uma das questões principais analisadas na concepção dessa mostra. Como contraponto, a exposição Ascension, de Anish Kapoor, traz de diferente maneira temas relacionados ao abismo e ao vazio, pelas sensações de transcendência que ela causa. No polo abstrato, essa obra provoca experiências sensoriais inusitadas.

From Roy Glover’s exhibition Bodies − The Exhibition, the author observes the impact of the excessive concreteness leaving a little margin for the symbolic maneuver. The place of the body disclosure without a name or past or subjectivity is one of the grand questions examined in the conception of this exhibition. The exhibition Ascension, by Anish Kapoor, as a counterpoint, leads us to themes related to the abyss and the emptiness, from a different point of view as for the transcendence sensations. In the abstract point, this work of art causes unusual sensorial experiences.

Subjetividade e clínica psicanalítica: o urso, a menina e a flor / Subjectivity and clinical psychoanalytic: the bear, the girl and the flower

Neste trabalho procuro pensar a metáfora freudiana de que a psicanálise se dá “per via di levare” articulando um texto de Saramago, uma experiência clínica e recursos da teoria psicanalítica. Partindo do princípio de que a arte é manifestação profunda do mundo interno do artista, penso o trabalho clínico como a escultura de uma subjetividade, cuja autoria é sempre do paciente que acompanhamos na singularidade psíquica.

In this work I try to think of the metaphor that Freudian psychoanalysis is given “per via di levare” linking a Saramago’s text, a clinical case, and features of psychoanalytic theory. On the assumption that art is a manifestation of the deep inner world of the artist, I think the clinical work as the sculpture of a subjectivity, whose authorship is the patient who follow in their singularity psychic.

Morphology and ultrastructure of megaspores and microspores of Isoetes sehnemii Fuchs (Lycophyta)

The morphology and wall ultrastructure of megaspores and microspores of Isoetes sehnemii that grows in Brazil were analyzed as part of the study of the Isoetaceae present in Southern South America. The observations were performed with light, scanning and transmission electron microscopes. The megaspores are trilete, 350-450μm in equatorial diameter. The surface is reticulate. In section, the sporoderm is 100μm thick including the ornamentation. The wall is composed of a siliceous perispore, which consists of short fused flatten, elements forming a three-dimensional mesh. The exospore has two zones of different structure. The endospore is fibrillar. The microspores are monolete, 21-27μm in equatorial diameter. The sporoderm is composed of a sporopollinic rugulate perispore. A space between the paraexospore and the exospore is evident. The exospore is compact. The endospore is fibrillar. The ultrastructural analysis akes hoologies evident concerning structure and organization of the layers belo the perispore in both spore types. A possible similarity and stability in the ultrustructure of the present spores and fossils could be also inferred. In addition, there would be a correlation among the plant habitat, the spore ornamentation and the geographic distribution.

A morfologia e a ultraestrutura da parede de megasporos e microspores de Isoetes sehnemii que crescem no Brasil foram analisados como parte do estudo de Isoetaceae presente no sul da América do Sul. As observações foram realizadas com microscopias de luz e eletrônicas de transmissão e varredura. Os megasporos são triletes com 350-450μm de diâmetro equatorial. A superfície é reticulada. Em secção o esporoderma possui 100μm de espessura incluindo ornamentação. A parede é composta de um perisporo silicoso que consiste de elementos fusionados curtos e achatados formando uma rede tridimensional. O exosporo tem duas zonas com diferentes estruturas. O endosporo é fibrilar. Os microsporos são monoletes, 21-27μm de diâmetro equatorial. A esporoderme é composta por um perisporo esporopolínico rugulado. Um espaço entre o para-exosporo e o exosporo é evidente. O exosporo é compacto. O endosporo é fibrilar. A análise ultraestrutural torna evidente homologias relativas a estrutura e organização das camadas abaixo do perisporo em ambos os tipos de esporos. Uma possível similaridade e estabilidade na ultraestrutura do presente esporo e fósseis pode também ser inferida. Além disso, haveria uma correlação entre o habitat da planta, a ornamentação do esporo e a distribuição geográfica.

A 2-year clinical evaluation of Sculpture crowns / 대한치과보철학회지

STATEMENT OF PROBLEMS: There are only a few studies available that deal with the clinical behavior of ceromer systems as potential substitutes for metal-ceramic crowns. PURPOSE: This prospective study was initiated to evaluate the clinical performance of 35 Sculpture crowns after 2 years in service. MATERIAL AND METHODS: Thirty five Sculpture crowns were placed for 20 patients (7 men and 13 women). All patients were treated by the same dentist, and all restorations were fabricated by the same dental laboratory. Crown placement involved both the anterior and posterior regions of the dental arches. Patients were evaluated by two examiner at baseline, 12, and 24 months using the CDA quality assessment system in addition to periodontal criteria. RESULTS: Of 34 crowns remaining in the study after 2 years, only one crown had experienced a marginal fracture. The crown was replaced as a result of recurrent caries. All remaining crowns were ranked as either excellent or acceptable for surface and color, anatomic form, and marginal integrity. CONCLUSION: The 2-year clinical observations and ranking with the CDA quality assessment criteria supported the conclusion that Sculpture crowns may be used in substitutes for metal- ceramic crowns.