El vaporwave es un movimiento artístico surgido en Internet a partir del 2010 gracias a plataformas digitales como Reddit, Soundcloud y Youtube. En los últimos años, se ha desarrollado una estética a partir de este movimiento artístico que tiene como características principales el City Pop Japonés de los años 80’s, el sistema operativo Windows 95, el Glitch art, las luces neón, entre otros. El objetivo del presente trabajo de investigación es desarrollar una colección de moda a partir del análisis teórico y visual de la estética del vaporwave centrándose en sus características y los elementos que lo componen. / Vapor wave is an artistic movement originated in the internet since 2010 in digital platforms such as Reddit, SoundCloud and YouTube. Over the past years, a unique aesthetic has developed from this Artistic movement, with its main characteristics being the 80s Japanese City pop, the Windows 95 system, Glitch art, neon lights, among others. The objective of the following investigative project is to develop a fashion collection based on the theoretical and visual analysis of the Vaporwave aesthetic, focusing on its characteristics and its composing elements. / Trabajo de investigación

Cette recherche s’attache aux pratiques de nettoyage et d’enlèvement des déchets en bordure de routes dans les Alpes-Maritimes (France). La réflexion proposée porte sur la déterritorialisation et/ou la reterritorialisation des déchets dans les lieux et sur « l’esthétique de la disparition ». Les résultats émanant d’enquêtes ethnographiques – menées auprès des élus et techniciens du Conseil Général du 06 et des membres d’une association de jeunes : « les Rikikibians » – sont l’occasion d’explorer leurs manières respectives ou communes d’agir avec les déchets sur l’environnement. Cette recherche entend revisiter la monographie, en tentant la « science nomade » de Deleuze et Guattari. Partant d’une approche ethnologique du sensible, il s’agit d’évaluer la relation entre les hommes et les déchets dans les usages politiques et sociaux de l’espace-nature contemporain. Le déchet, en tant que chose entre matière et substance, objet manipulé et objet de manipulation, est envisagé suivant son inscription dans le monde du sauvage et dans ses manières d’habiter l’abandon. Le déchet est analysé dans sa valeur praxique plutôt que dans sa valeur signe, dans la pratique plutôt qu’en termes de symbolique. Au-delà du rejet, l’accent est mis sur le détachement et plus largement sur les processus de subjectivation à l’oeuvre dans « l’apprentissage par corps de savoir-comment » avec les déchets. / This research attempts to look at the cleaning and waste removal practices along the roads in the Alpes-Maritimes (France). The reflection involves the deterritorialisation and/or reterritorialisation of waste in areas and on the “esthetic of disappearance”. The results from ethnographic investigations – which were conducted with elected officials and technicians of the General Council of 06 and members of a youth association : "the Rikikibians" – are an opportunity to explore their respective or common ways of acting with waste on the environment. This research intends to revisit the monograph, trying “nomadic science” of Deleuze and Guattari. From a sensitive ethnological approach, it is to assess the relationship between humans and waste in the political and social uses of contemporary natural-spaces. Waste, as something between material and substance, as manipulated object or object of manipulation, is considered following its inclusion in the world of the wild and in its ways of living the abandonment. Waste is analyzed in praxis value rather than in sign value, in practice rather than in symbolic terms. Beyond the reject, the emphasis is put on the detachment and more broadly on the processes of subjectivation at work in the “know-how body learning” with waste.

Indiana University-Purdue University Indianapolis (IUPUI) / In this thesis, we proposed and investigated the efficacy and safety of dental bleaching as a non-invasive aesthetic treatment option for stained arrested caries lesions (s-ACLs). Chapter 1 reports the suitability of this approach in extracted human teeth, as well as in a selected clinical case. Visual improvement in the color lighteness of the s-ACLs was observed and reported in photographs. In order to systematically study the impact of dental bleaching on the s-ACLs, we developed in vitro models simulating the development of metallic and non-metallic s-ACLs (Chapter 2). Human dental specimens were submitted to incipient caries-like lesion formation, followed by a 5-day cycling protocol based on remineralization and staining episodes. The created lesions were then bleached (simulating in-office/40% hydrogen peroxide). Color change was measured spectrophotometrically at baseline, after lesion creation, staining/remineralization cycling and bleaching; while mineral loss and lesion depth were quantified by transversal microradiography after staining/remineralization cycling. Metallic s-ACLs were darker, more remineralized and more difficult to bleach, compared to the non-metallic ones (p<0.05). In Chapter 3, we tested the efficacy and safety of different dental bleaching systems (simulating at-home/15% carbamide peroxide and in-office/40% hydrogen peroxide) using the in vitro models previously developed. Similar methods and outcomes were used, with the addition of demineralization after bleaching to simulate and test changes in caries susceptibility. At-home bleaching showed greater efficacy in color improvement compared to in-office (p<0.05), but also increased susceptibility to further demineralization (p<0.05), regardless of the type of stain. Overall, bleached non-metallic s-ACLs were more susceptible to demineralization compared to metallic ones (p<0.05). Within the limited laboratory testing conditions, we concluded that dental bleaching can improve the aesthetics of s-ACLs, with efficacy being dependent on the nature of the stain. At-home bleaching presented greater efficacy, but also raised some potential safety concerns, which should be further investigated in clinical conditions. In-office bleaching protocol showed to be an effective and safe procedure for the aesthetic treatment of stained arrested caries lesions.

Notre thèse aborde la question de la beauté dans les arts plastiques d'aujourd'hui. Celle-ci en effet ne va pas de soi, si l'on en croit notamment les multiples publications manifestant un rejet de l'art contemporain. Peut-on parler, actuellement, d'une esthétique de l'œuvre renvoyant à une science du beauté à une satisfaction d'ordre essentiellement intellectuel? Soit de beauté intrinsèque qui, comme dans l'art de la Renaissance, relève tant de l'harmonie et de la justesse de ses formes que de la légitimité de son contenu, grâce à la mise en évidence du bien-fondé de la mimêsis, de la perspective ou des motifs religieux ? Ou bien faut-il plutôt, pour pouvoir juger de la valeur esthétique de l'art contemporain, accorder une place de choix à la singularité de ses causes et effets, en opérant notamment un inévitable glissement vers une science du sensible ? Or notre parallélisme entre "esthétique de l'œuvre" et "continuité" dans l'histoire de l'art d'une part, puis "esthétique des effets" et éventuelle "rupture" d'autre part, nous a conduits à interroger d'abord ces éléments de rupture tels que le refus de la profondeur ou de la représentation figurative, mais aussi celui de la réalisation ouvragée et de la matière noble. Mais il nous a aussi amenés, malgré des conditions politiques ou techniques spécifiques de réalisation, à nous pencher sur une véritable poiêsis contemporaine. Car avec les œuvres plastiques de notre époque, il s'agit bien, toujours et incontestablement, d'art et même "d'épiphanie", dès lors que l'on s'en réfère à la vision ontologique et apologétique du philosophe François Dagognet / Our thesisconcerns the question of beauty in the contemporaries plastic arts. But this one does not without saying, if we consider the simple fact of the numerous publications concerning the rejection of contemporary art. May we speak, today, of a "work's esthetic" which refers to a "science of beauty" and to an essentially intellectual satisfaction? We mean an intrinsic beauty, like the one of the Renaissance's art, concerning as much the harmony as the exactness of the forms or the legitimacy of its contents. We mean an art which puts in a prominent position the mimêsis, the perspective's method or the religious motifs. Or would not it be better, in the intention to become able to judge of the esthetic value of contemporary art, to give a first place to the singularity of his causes and effects, at the same time we slide towards a "science of the sensibility" ? In fact, our parallelism between "work's esthetic" and "continuity", then between "effect's esthetic" and a possible "breaking" makes us think about reasons of this breaking, such as the refusal of profundity or as the figurative representation, as well asthe rejection of construction works or noble material. However, we have succeded to consider contemporary art as a real and new poiêsis, in spite of his specific political and technical ways of realisation. And we may assert that, today, undeniably, it is the matter of real art, and even of "epiphany", as soon as we refer to the ontological and laudatory point of view of the philosophe François Dagognet

<p>Sammanfattning</p><p>Ända sedan den moderna publiken, gemene man, bjöds in till att beskåda konsten i 1700-talets Sverige har det funnits delade uppfattningar och funderingar över amatören och konstnären. Skulle de båda verkligen få hänga sina alster sida vid sida på en utställning, var frågan. Trots Konstakademiens öppnande och att Konsthögskolorna utbildade konstnärer finns det än i dag ingen tydlig konstnärslegitimation. Hur ska man som elev på det Estetiska programmet; Bild och form, egentligen kunna veta vem som får kalla sig konstnär eller inte? Detta blir ett bildpedagogiskt dilemma för bildlärare att fundera över, dels för egen del och för att hitta argument inför sina elever.</p><p>Undersökningen är gjord utifrån en kvalitativ metod och formen som antagits ligger under benämningen; Fokusgruppsamtal. Huvudfrågeställningen; ”Vem får kalla sig konstnär” besvaras genom samtal med två fokusgrupper, en lärargrupp och en elevgrupp, för att därigenom utröna eventuella åsiktsskillnader dem emellan. I resultatet framkommer skillnader mellan grupperna; lärarna diskuterar utifrån sina erfarenheter och ur ett historiskt perspektiv och anser framför allt att Konsthögskolan är kriteriet. Eleverna pratar utifrån sig själva och hävdar att vem som helt får kalla sig konstnär bara man gör något med en tanke bakom. Konstnärsbegreppet är utan tvekan en bildpedagogisk utmaning.</p> / <p>Since the modern public was invited to view art in Sweden in the 16th century, there have been split opinions about the amateur and the artist. Should they be allowed to hang their paintings side by side at an exhibition? Despite the opening of the Swedish academy of art and the fact that the universities were educating artists you can’t be certified as an artist. How can a student attending upper secondary school know who can call themselves an artist or not? This becomes an educational challenge for teachers to think about, partly for their own sake and partly for finding arguments for their students.</p><p>This survey is made from a qualitative method named focusgroup. The main question “Who can call themselves an artist” is answered by discussing with two focusgroups, one group of teachers and one group of students. The results of the two group’s answers were then compared to find out possible differences. In the results we find differences between the groups; the teachers discuss on the basis of their experience and from a historical perspective and find that the main criteria is to have attended the University of Arts. The students however find that anybody can call themselves an artist as long as there’s a thought behind the work. The concept of an artist is without a doubt an educational challenge.</p>

La critique adornienne du jazz fait parfois l’objet de débats. Ces derniers ont généralement pour objet la nature dite élitiste de ses propos. Cette position critique par rapport au jazz et à la culture de masse, qu’Adorno nomme Kulturindustrie, ainsi que sa théorie esthétique semblent être à l’origine de cette accusation d’élitisme. Ce mémoire a pour objet de mettre en lumière le fondement de cette critique d’élitisme qui s’avère être une incompréhension du rôle que joue sa critique du jazz pour sa philosophie. Il est impératif d’analyser la critique adornienne du jazz en lien avec la dialectique de la raison ainsi que sa théorie esthétique afin d’en saisir la nature exacte. Une analyse de la dialectique de la raison ainsi que les concepts de l’idéologie, de mimésis, d’autonomie et de Kulturindustrie révèle le non fondement de la critique faite à l’égard des propos d’Adorno à l’endroit du jazz. / Adorno’s critique of jazz music is subject of a debate regarding his elitism or lack thereof. More often than not, Adorno is considered to be elitist on account of his aesthetic theory and his critical position on jazz and mass culture which he refers to as Kulturindustrie. This memoir posits that the allegations of elitism directed towards Adorno are the result of a misunderstanding of Adorno’s overall philosophy and the role which his critique of jazz music plays within this whole. The fact of the matter is that Adorno’s critique of jazz can best be analyzed by a philosophical approach that includes an analysis of his dialectic of reason as well as his concept of ideology which Adorno links to his concept of Aufklärung. Furthermore, an analysis of the concept of autonomy and its importance for his critique of jazz and the Kulturindustrie as well as his aesthetic theory is essential to this end. Such an analysis leads to the conclusion that the accusation of elitism is inadmissible.

BACKGROUND: Smile esthetics play a major role in the perception of a person’s attractiveness, as well as other social parameters. The study aim was to see if altering the gingival display of patients would affect perceptions of the aforementioned social parameters. METHODS: Smiling photographs were taken and then digitally altered so as to lengthen the teeth and reduce the amount of gingiva. These photographs were shown to a group of senior dental students, and a group of evaluators with no formal dental training. Groups were asked to rate each picture’s attractiveness, friendliness, trustworthiness, intelligence, and self-confidence. RESULTS: The digitally altered photographs were rated higher for all five social parameters than were their unaltered counterparts (p<0.0001). There were no statistically significant differences between the two groups of evaluators. CONCLUSIONS: Excessive gingival display positively affected how attractive a person’s smile is judged, and also how friendly, trustworthy, intelligent, and self-confident they are.

Purpose: The purpose of this study was to evaluate esthetic posterior stainless steel crowns (EP-SSC) and compare their relative shear strengths.Methods: Sixty EP-SSC were compared. 15 crowns from NuSmile® Primary Crowns, Kinder Krowns, and Dental Innovators 1UP and EC Crowns were studied. The crowns were cemented to a typodont tooth then thermally cycled in water baths to simulate oral conditions. Shear strengths were evaluated by subjecting these crowns to simulated forces of occlusion.Results: The force required to cause shearing of the esthetic facings was statistically significant. With the 1UP crown being significantly weaker than the other crowns tested. Conclusion: The 1 UP crowns failed at lower levels of force than the other types of EP-SSC. The shear strengths for the three other crown types were not statistically different from each other. The esthetic facings do not likely fail from the single point load of a child's bite.

Ce travail herméneutique interdisciplinaire où littérature et philosophie intimement s’entremêlent et dialoguent avec les sciences dites dures, s’est tout d’abord employé à définir la notion de mythe comme type de récit littéraire illustrant une prise de position quant à une question métaphysique et a révélé le récit ovidien de Pygmalion comme un mythe génésiaque au cœur duquel se trouve l’homme. Cheminant du XVIIIe au XXe siècle au fil de l’histoire des idées européennes, il s’est ensuite arrêté sur les différentes productions littéraires allemandes, françaises et italiennes réinvestissant le mythe à la lumière de la problématique dégagée du texte mère : celle de l’ampleur du pouvoir créateur de l’homme, afin d’en extraire les caractéristiques communes. Dans leur traitement de l’eros et de l’art, ces dernières posent un rapport à autrui et au monde orienté vers une dynamique de création se réalisant à travers un processus analogue, reposant sur les représentations ainsi que l’implication et les dispositions mentales et personnelles du sujet, l’extase, la volonté et la foi. Forts de leurs enseignements et de ce constat, il s’est à son tour emparé de cette question à travers l’élaboration d’un mythologisme anthroposophique convoquant des découvertes ayant eu lieu au XXIe siècle dans le domaine des neurosciences, de la physiologie, de la sémiostylistique, de l’éthique et de l’esthétique. Ce système de pensée, dans une quête de compréhension de ce processus créatif, a mené à la redéfinition d’un Homme alors compris comme essentiellement mû par un instinct représentationnel, un mouvement plasmateur, évoluant entre Créativité, Plaisir et Beauté, à travers l’exercice duquel il réalise sa Liberté. / This hermeneutic interdisciplinary work, where literature and philosophy are tightly intertwined and converse with the so-called hard sciences, first proceeds to define the notion of myth as a literary type of story that illustrates a stance on a metaphysical question. It reveals Ovid’s story of Pygmalion as a genesiac myth in which mankind is at the heart. Progressing from the XVIIIe to the XXe century along the history of European ideas, it then halts at the French, German and Italian literary works that revisit the myth, in light of the question drawn from the source text – that of the extent of Man’s creative power – in order to extract the common characteristics. In their study of Art and Eros, they present a relationship to the world and to the others that is directed toward a dynamic of creation that is realized through a similar process based on the representations along with the mental and personal implication and dispositions of the subject, ecstasy, will and faith. In turn, drawing on their lessons and this observation, this work eventually answers this question by elaborating an anthroposophical mythologism that call upon XXIe century discoveries in neurosciences, physiology, semiostylistic, esthetic and ethic. This system, in its quest of understanding this creative process, has led to the redefinition of a Man essentially led by a representational instinct, a creative gesture, moving from Creativity, to Pleasure and Beauty, by which he achieves his Freedom.

Made available in DSpace on 2016-04-25T19:20:15Z (GMT). No. of bitstreams: 1 Elenice Rampazzo.pdf: 2672922 bytes, checksum: 6f20a2e2f78eae77e0523a8d71e3b166 (MD5) Previous issue date: 2011-06-07 / This thesis is the result of an investigation about the meanders of female listeners reception process taking place at Momento de Fé , radio program hosted by Father Marcelo Rossi from Monday to Friday from 9 to 10 a.m. on Globo AM Radio. Our starting point were reception esthetic studies such as the ones proposed by authors Wolfgang Iser, Hans Robert Jauss e Raymond Williams. Those studies point out the ambivalence of communication messages and also their mediating characteristic between the empirical real and the imaginary. It was possible, therefore, to understand the creative intervention involved both in the production and in the reception of these messages. The imaginary is activated in all of the agents who participate in the communication process. Reality, in all its layers, is something to be constructed, a process not unfrequently fraught with contradiction and conflict designed to produce esthetical and reflexive effects as well as religious ones. Meaning is elaborated both by those who codify the message and also by those who interpret them. It is hence a collective work deriving from the confrontation among all the participants of the communication process. This process generates a number of differents forms of subjectivity and relationships. Deep layers of culture and subjectivity come into play as a result of this interaction between public and media, bringing forth solace, explanation for all the evils, cure for diseases, solutions for individual familiar and collective impasses. This set of circumstances allows a large part of the audience an opportunity to relate to religious messages that, at this day and age, are intrinsically linked to culture and mass communication. The individual integrates them into this life and so feels included in the social dynamics since the decodification of religious messages makes the sharing of meanings possible and produces communities. The investigation we carried out in our research does not limit itself to method, but also proposes a methodological approach which captures information about the object through several forms within the scenario at hand. Although the focal point of this thesis is analythical rather than descriptive, a bibliographical research on radio communication, its associated worshipping practices and its structural elements interfering in production and in reception was conducted by us / Esta tese é resultado de uma investigação sobre os meandros do processo da recepção das mulheres, ouvintes do programa de rádio Momento de Fé , do padre Marcelo Rossi, transmitido de segunda a sábado, das 9 às 10 horas da manhã, pela Rádio Globo AM, na cidade de São Paulo. Parte-se de estudos da estética da recepção, tais como os propostos por autores como Wolfgang Iser, Hans Robert Jauss e Raymond Williams, que apontam a ambivalência das mensagens da comunicação e também a sua característica mediadora entre o real empírico e o imaginário. O que viabiliza entender a intervenção criativa que ocorre tanto no ato da produção dessas mensagens, quanto na sua recepção. O imaginário é ativado em todos os agentes envolvidos no processo da comunicação. Em suas instâncias, a realidade é algo a ser construído. É um processo no qual não raro ocorre conflito e contradição, tanto para produzir efeito estético quanto reflexivo e, no caso deste estudo, o religioso. O significado é elaborado por quem codifica as mensagens e também por quem as interpreta. Assim, a mensagem é uma obra coletiva, a partir do confronto entre os agentes dessa série de ações comunicacionais, que produzem distintas formas de subjetividade e de relações. Nessa interação entre público e veículo, vice-versa, são acionadas camadas profundas da subjetividade, e também culturais, capazes de proporcionar conforto, explicação para os males, curas para as doenças e solução para os impasses individuais, familiares e coletivos. Esse conjunto de circunstâncias fornece a ocasião para que grande parcela do público se identifique com as mensagens religiosas que, no contexto atual, estão intensamente articuladas à cultura e à comunicação de massa. O indivíduo as integra à sua vida e assim sente-se participante da dinâmica social, que envolve a decodificação das mensagens religiosas, viabiliza o compartilhamento dos significados produzidos e, assim, constitui comunidades. A investigação realizada neste estudo não se restringe ao método e sim a uma abordagem metodológica que capta informações sobre o objeto por diversas maneiras dentre todo o cenário que compõe a problemática. Embora o foco desta tese seja analítico, mais do que descritivo, foi efetuada uma pesquisa bibliográfica sobre a comunicação radiofônica, as práticas devocionais agregadas e os elementos estruturantes que interagem na produção e na recepção radiofônica