No tratamento endodôntico nos deparamos com a necessidade de privar pelo bom estado pós-operatório do paciente. Dessa forma, devemos minimizar os efeitos que uma instrumentação pode causar sobre os tecidos periapicais. Nesse dilema, o presente estudo tem como objetivo comparar a quantidade de material sólido extruído além do forame apical através de duas técnicas de instrumentação manuais: técnica Step-Back ou Escalonada regressiva e técnica de Oregon e três técnicas de instrumentação mecânicorotatórias preconizadas pelos fabricantes dos instrumentos: Sistema ProTaper, Sistema K3 Endo e Sistema FKG RaCeTM. Setenta e cinco dentes unirradiculados foram utilizados, sendo 15 dentes para cada técnica. O material sólido extruído foi coletado por um filtro de papel (Whatman®). Tais filtros foram, após a instrumentação, submetidos a secagem em estufa e posterior pesagem em balança digital de alta precisão. A massa de resíduo extruído foi dada pela diferença entre a massa inicial e a massa final. A análise dos resultados mostrou extrusão de material sólido além do forame apical em todas as técnicas de instrumentação utilizadas, porém foi observado que a técnica Step-Back promoveu maior quantidade de material extruído quando comparada às outras técnicas e que não houve diferença significante entre as técnicas de Oregon e as dos Sistemas rotatórios. As técnicas foram assim classificadas em ordem crescente de material sólido extruído além do forame apical: Sistema K3 Endo, Sistema ProTaper, Sistema FKGRaCe, técnica de Oregon e Técnica Step Back. / Patient\'s general health is fundamental during endodontic therapy. Thus, we must minimize the harmful instrumentation effects in the periapical tissues. The aim of this study was to compare the amount of solid material extruded beyond the apical foramen among 2 manual instrumentation techniques: Step-Back and the Oregon\'s technique, as well as 3 mechanorotary techniques preconized by the manufacturers of the following instruments: ProTaper, K3 Endo, and FKG RaCeTM Systems. Seventy-five unirradicular teeth were used, being 15 teeth in each technique. The solid material extruded was collected with a paper filter (Whatman). Afterward, the filters were dry in the oven and weighted in an analytical balance. The extruded material was considered as the difference between final and initial mass values. Data analysis showed extrusion for all instrumentation techniques; however, the Step-back technique provided greater values than the other techniques, and no differences were seen among the Oregon and the rotary techniques. Progressive classification for the extruded material was the following: K3 Endo, ProTaper, FKGRaCe, Oregon, and The Step-back technique.

No tratamento endodôntico nos deparamos com a necessidade de privar pelo bom estado pós-operatório do paciente. Dessa forma, devemos minimizar os efeitos que uma instrumentação pode causar sobre os tecidos periapicais. Nesse dilema, o presente estudo tem como objetivo comparar a quantidade de material sólido extruído além do forame apical através de duas técnicas de instrumentação manuais: técnica Step-Back ou Escalonada regressiva e técnica de Oregon e três técnicas de instrumentação mecânicorotatórias preconizadas pelos fabricantes dos instrumentos: Sistema ProTaper, Sistema K3 Endo e Sistema FKG RaCeTM. Setenta e cinco dentes unirradiculados foram utilizados, sendo 15 dentes para cada técnica. O material sólido extruído foi coletado por um filtro de papel (Whatman®). Tais filtros foram, após a instrumentação, submetidos a secagem em estufa e posterior pesagem em balança digital de alta precisão. A massa de resíduo extruído foi dada pela diferença entre a massa inicial e a massa final. A análise dos resultados mostrou extrusão de material sólido além do forame apical em todas as técnicas de instrumentação utilizadas, porém foi observado que a técnica Step-Back promoveu maior quantidade de material extruído quando comparada às outras técnicas e que não houve diferença significante entre as técnicas de Oregon e as dos Sistemas rotatórios. As técnicas foram assim classificadas em ordem crescente de material sólido extruído além do forame apical: Sistema K3 Endo, Sistema ProTaper, Sistema FKGRaCe, técnica de Oregon e Técnica Step Back. / Patient\'s general health is fundamental during endodontic therapy. Thus, we must minimize the harmful instrumentation effects in the periapical tissues. The aim of this study was to compare the amount of solid material extruded beyond the apical foramen among 2 manual instrumentation techniques: Step-Back and the Oregon\'s technique, as well as 3 mechanorotary techniques preconized by the manufacturers of the following instruments: ProTaper, K3 Endo, and FKG RaCeTM Systems. Seventy-five unirradicular teeth were used, being 15 teeth in each technique. The solid material extruded was collected with a paper filter (Whatman). Afterward, the filters were dry in the oven and weighted in an analytical balance. The extruded material was considered as the difference between final and initial mass values. Data analysis showed extrusion for all instrumentation techniques; however, the Step-back technique provided greater values than the other techniques, and no differences were seen among the Oregon and the rotary techniques. Progressive classification for the extruded material was the following: K3 Endo, ProTaper, FKGRaCe, Oregon, and The Step-back technique.

Nous définissons l’instant plasticien en céramique comme l’unité temporelle d’un processus formel – à la main - d’une pièce d’argile qui subira une cuisson. Maillon syntaxique du présent plasticien, il est geste cogito-sculpteur qui recouvre différentes modalités. Habité de multiples composantes, nous analyserons son contenu en exposant d'abord ses contraintes techniques. Nous prendrons appui sur un exemple personnel pour expliquer sa composante lest cognitif – les connaissances techniques, artistiques, scientifiques et historiques -, nous analyserons également les constituants de la culture gestuelle. Ces deux composantes distinctes modèlent plus ou moins sciemment cet instant spécifique comme l’esthétique des formes qu’il promeut. Nous préciserons la spécificité de celui personnel en puisant dans l’Histoire de l’Art céramique ; nous aborderons la culture raku du Japon médiéval d’où provient le mode de cuisson employé pour les œuvres personnelles en référence. Si depuis le début de l’Art céramique, chacun des domaines qui constituent le contexte sociétal a autant modelé ses arguments poïétiques que l’esthétique qu'il promeut, celui personnel puise ses arguments créatifs et sa posture d’apologie des beautés de la planète, d’un questionnement sur l’origine des désordres et déséquilibres environnementaux qui forment le fond de notre contemporanéité. Motivé d'une intention réceptionnelle – autre composante -, celui personnel espère susciter chez le regardeur une réflexion sur les causes probables de la dégradation des biotopes existants comme sur la gestion actuelle d’une entité qui est au fondement du faire technique céramique, à savoir le respect du temps de la nature. / We define the plastician instant in ceramic work as temporal unit of a formal process - by hand – of a work in clay, which will necessarily be subjected to firing. Syntactic link of the plastician present, it is a cogito-sculptor's gesture which covers different modalities. Filled with multiple components, we’ll analyze its content by first exposing its technical constraints. We'll refer to a personal example to explain its lest cognitive component – the technical, artistic, historical and scientific knowledges -, and we'll analyze the constituents of the gestural culture. These two distinct components model more or less knowingly this specific instant, as well as the resulting aesthetic shapes. We will identify the specificity of the personal one by exploring the History of ceramic Art ; we will address the raku culture's past, born in medieval Japan where the firing technique used for personal art works in refer comes from. If, since the beginning of Ceramic Art, each of the domains that constitute the societal context modeled its poïetic arguments as well as the aesthetic this special instant constitutes, this particular one on which we’ll base our analysis draws its creative arguments and its planet beauty's vindication posture from a questioning about the origin of disturbances and environmental imbalances which are the essence of our contemporary world. Filled with a receptional intention – another component –, this personal one intents rouse the viewer to reflect on the probable causes of the existing biotopes' degradation, as well as on the current management of an entity which is fundamental in the ceramic technical work, namely the respect of nature's time.