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Kaitlyn M Enright,1 Steven F Weiner,2 Kalpna K Durairaj,3 Mirko S Gilardino,4 Andreas Nikolis5 1Clinical Research Unit, Erevna Innovations Inc, Westmount, Quebec, Canada; 2The Aesthetic Clinique, New York, NY, USA; 3Beauty by Dr. Kay, Pasadena, CA, USA; 4Division of Plastic Surgery, McGill University, Montreal, Quebec, Canada; 5Clinical Research Unit, Erevna Innovations Inc, Westmount, Quebec, Canada; Department of Plastic Surgery, McGill University, Montreal, Quebec, CanadaCorrespondence: Kaitlyn M Enright, Clinical Research Unit, Erevna Innovations Inc, 376 Victoria Ave., Suite 400A, Westmount, QC, H3Z 1C3, Canada, Tel +1 514-488-0163 Ext 256, Email research@vicpark.comBackground: Hyaluronic acid (HA) fillers are used to treat an array of aesthetic indications. Proper filler selection is paramount for successful patient outcomes. However, many important physiochemical and physical properties that impact HA gel behavior remain undefined.Purpose: To evaluate the hydrophilicity, cohesivity and particle size of eight commercial HA fillers manufactured by either Non-Animal Stabilized Hyaluronic Acid (NASHA) or Optimal Balance Technology (OBT) techniques.Methods and Materials: Three individual in vitro experiments were performed to assess HA swelling capacity, cohesion, and particle size. Image analyses, blinded evaluation using the Gavard-Sundaram Cohesivity Scale, and laser diffraction technology were utilized, respectively.Results: Compared to fillers manufactured with NASHA technology, OBT products demonstrated greater swelling capacity, cohesion, and wider particle size distributions. Strong positive correlations between swelling factor, degree of cohesivity, and increasing widths of the particle size distributions were observed.Conclusions: The hydrophilicity, cohesivity and particle size distributions vary among HA fillers manufactured with different techniques. The creation of new labels identifying products based on their unique combination of physiochemical and physical characteristics may help guide appropriate selection of HA fillers to optimize patient outcomes.Keywords: Optimal balance technology, OBT, Non-animal stabilized hyaluronic acid, NASHA, aesthetics

The current study takes experiences accumulated in the research, teaching and extension fields at Vale do Gurguéia Center for Agroecology and Arts - which is linked to the Undergraduate Course in Rural Education of Federal University of Piauí - as basis to reflect about the performance of the aforementioned Center, mainly in its cultural aspect. Its aim is to understand the role played by art in building a cultural agroecological education. In methodological terms, the present study has action-research features and takes into consideration actions carried out by NAGU in two different languages – i.e., the theater and audiovisual language -, for qualitative analysis purposes. The current research, which is inserted in a field of conflict between peasantry and agribusiness, highlights agroecology as element of resistance and popular education, whereas art is considered a constitutive and fundamental element of agroecological culture. Thus, aesthetics is herein depicted as front to be occupied in the construction for a popular educational project focused on the countryside and on its subjects. This project involves learning about collective struggles and the process to elaborate a political culture shared between universities and communities.

Günümüzde teknolojik temeller başta olmak üzere farklı altyapı politikalarının uygulamaya konulması, kültür altyapılarının da gelişimini etkilemiştir. Yeni nesil teknolojilerin gelişmesi ve dijital altyapıların hızlandırılmış uygulaması kültürel dönüşümün yükselme ve değişme eğilimine girmesine neden olmuştur. Dijital teknolojinin derin entegrasyonu ve yeni çağın niteliksel özelliği olan hızlanma neticesinde edebiyat, sanat ve estetiğe yönelik eleştiri, ilgi ve beğenide önemli dönüşümler meydana gelmiştir. Dijital düzenleme, ekranın mobil dönüşümü ve hızlanma insan eylemlerinden edebiyat, sanat ve estetik de dahil olmak üzere genel olarak dünyayı anlama biçimi yeniden şekillenmiştir. Bu çalışmada, hızlanma neticesinde mikro edebiyat, sanat ve estetiğin dönüşümüne dair tartışmalar sistematik bir yöntemle derlenmiştir. Çalışmada, mikro estetik, sanat, edebiyat ve nihayetinde kültür alanının yayılımı veya hızlanmayla dönüşüp dönüşmediği, bu dönüşümün genç neslin özne veya nesne olma bilincini nasıl etkilediğine ilişkin tartışmalara cevap aranması amaçlanmaktadır. Çağdaş figüratif kültürün özellikleri dikkate alınarak yürütülen tartışmada, genç neslin sosyokültürel öğreniciler olmaktan ve evcilleştirilmiş insanlardan farklılaşarak uzaklaşmaya, yeni kamusal söylemin kurucuları ile liderlerine dönüşmeye başlayıp başlamadığı iddialarına cevap aranmıştır.

By reconstructing the connections between different artistic forms, such as Art Sociologique, cybernetic, media and digital art, the paper addresses of how the concept of interactivity has evolved in relation to the development of aesthetic paradigms. Firstly, the paper problematizes the concept of interactive art, by discussing connections and differences with media and digital art. Secondly, the paper shows how Flussers’ concept of participatory media, influenced by the artistic work of Fred Forest, together with the theoretical perspective developed by members of the “Group for an Aesthetics of Communication”, contributed to the development of new perspectives in interactive art. Thirdly, the paper shows how theoretical perspectives such as “Relational aesthetics” and the “Aesthetics of Communication” constituted the basis for the successive reflection on the potentialities of virtuality and immateriality from an artistic perspective. By drawing on such premises, the paper addresses the issue of the meta-operational processes involved in the use of Text-to-Image technologies (TTI), discussing the level of interactivity and the creative processes involved in its use. Finally, the paper problematizes the features of interactivity that characterize emerging forms of art made possible by virtual devices.

The 722 cantos and 247,766 lines of poetry in the Sĕrat Cĕnthini, composed in Surakarta by Ki Ng. Ronggasutrasna, R.Ng. Yasadipura II, and Ki Ng. Sastradipura under the direction of the Crown Prince of Surakarta (later Pakubuwana V, r.1820-1823) in 1815 during the British occupation of Java (1811- 1816), are arguably the greatest expression of literary art ever written in Javanese. The earliest version of the Sĕrat Cĕnthini comes from Cirebon at the beginning of the seventeenth century. When the poem reached Surakarta in the late eighteenth to early nineteenth century, court poets rewrote it, greatly expanding the number of episodes and characters, as well as the kinds of information and literary style to be found in the text. My interest in the excerpt I have translated from Canto 364 focuses on two aspects of this process of literary revision: characterization and the representation of everyday life.

The article analyzes the content, sources, and contexts of Vyacheslav Ivanov’s essay “Forma Formans and Forma Formata” (1947). It discusses the concept of “formative” form in the aesthetics and philosophy of art in Plotinus, Proclus, Michelangelo, and Goethe. It also argues that E.V. Anichkov’s article “L’esthétique au Moyen Age” published in the Parisian newsletter Le Moyen Age in 1917 is Vyacheslav Ivanov’s source of reference when he quotes from the “Thomistic” treatise De Pulchro. Another important source of Ivanov’s essay is Erwin Panofsky’s “Idea” (1924), and this essay draws similarities between the latter and “Forma Formans.” It is shown that in “Forma formans,” Ivanov reproduces his own concepts developed in the years between 1908 and 1914, but now embeds them in historically and philosophically structured discourse. Without essentially changing his teaching marked by the notion of the dualism of spirit and matter (male and female origins), he now expounds it in the terms of Christian Neo-Platonism where such dualism is denied. The essay also highlights Ivanov’s acquaintance with Lucretius’ ideas and vocabulary and shows parallels between Ivanov’s “Forma Formans” and James Joyce’s Stephen Hero in relation to the Thomistic concepts of beauty and the notion of “epiphany.”

Objectvie: The population of the United States continues to grow in diversity, particularly within sex and gender. In recent years, there has been a surge in aesthetic procedures in the Lesbian, Gay, Bisexual (LGB) community. Herein, we discuss a tailored approach to these patient populations and offer guidance to address their concerns both safely and effectively based on a comprehensive review of the literature as well as a roundtable series focusing on diversity in aesthetics., Methods: A literature search was conducted on PubMed using the following terms: "aesthetics," "cosmetics," "lesbian," "gay," and "bisexual." Additionally, an eight-part roundtable series focusing on diversity in aesthetics was conducted from August 2021 to August 2022., Results: The results of the literature search as well as the discussion from the roundtable series addressing the LGB community are reviewed within., Limitations: We are limited by the paucity of data available in the existing literature. We also acknowledge differences within LGB subgroups and a need for individualization., Conclusion: A tailored approach to the LGB patient with regards to fillers, neuromodulators, and energy-based devices may offer improved patient satisfaction and safety., Competing Interests: DISCLOSURES.: Dr. Witfill is a speaker for Galderma. Dr. Somenek is a speaker and investigator for Merz, a speaker, investigator, and consultant for Galderma, a speaker and investigator for Cutera, a consultant for Allergan, and an investigator for Rion. Dr. Fabi is an investigator, speaker, and consultant for Abbvie, Galderma, Merz, Revance, Croma, Endo, and Solta. Dr. Bay is a speaker and trainer for Allergan, Galderma, Merz, Prollenium, Solta, Beneve, DP derm, and Revision., (Copyright © 2024. Matrix Medical Communications. All rights reserved.)

Moving from a definition of his « mythical method», the essay aims to outline the so-called «Philosophy of Art» of Paul Valéry. It sketches a portrait of the French author as an authentic philosopher of phenomenology able to define in a non-abstract way what must be intended with «aesthetics».

The starting point of this paper is the intriguing observation that Goodman has defended a phenomenalist point of view in his epistemological works and a physicalist one in aesthetics. In fact, it would certainly be more accurate to say that his focus was anti-physicalist in epistemology and anti phenomenalist in aesthetics. In any case a majority of interpreters would spontaneously have waited for a diametrically opposite choice, more consistent indeed with the positions taken by the representatives in these fields. Yet Goodman’s strategy is not arbitrary, it has deep roots in the general context of the philosophy in the twentieth century and in return contributes to clarify some of its features and motivation.

This article uses the concept of aesthetic identity to interrogate the relationship among musical genres, social movements and racial identity. American folk music has at some times subverted and other times reinforced the categorical boundaries between blacks and whites in twentieth-century United States. Aesthetic identity is the cultural alignment of artistic genres to social groups by which groups come to feel that genres represent “our” or “their” art, music, and literature. Genre boundaries then become social boundaries. Folk music inverts the usual relationship of genre and social boundaries. Folk music is always the culture of some “other,” either racial, regional, class, or national. Before it was called folk music, American vernacular music was much more racially integrated than the society around it, creolized across a spectrum from predominantly European to predominantly African- influenced, but with most exhibiting both. Before the era of commercial recording, black and white musicians sang the same music, learned techniques and songs from each other, and shared a social world of performance. The concept of folk music was created by academic elites, but remained unfamiliar to most people until the organized left took it on as a cultural project in the late 1930s and 1940s. Both academic elites and political activists constructed the genre as an alternative to the racialized genres that the commercial recording industry had dubbed “race records” and “hillbilly music.” American communists and their allies were especially self-conscious about using folk music as an instrument of racial solidarity in a particularly racially polarized era. Submerged by McCarthyism until the 1960s, folk music was revived as a racially unified genre, but quickly became whitened. My explanation for why the folk revival was so white revolves around three factors: the continuing legacy of commercial racial categories, the failure of the New Left to control music through a cultural infrastructure as effectively as had the old left, and the cultural momentum of an understanding of folk music as the music of the “other” at a time when blacks were trying to enter a system that white middle-class youth were rejecting. [ABSTRACT FROM AUTHOR]

The prevalence of dental fluorosis for children both from fluoridated and non-fluoridated communities has increased dramatically in some regions of North America. This study evaluated the aesthetics of dental fluorosis for schoolaged children from a reference population of 1131 children. The methodology from the Social Acceptability Scale of Occlusal Conditions (SASOC), part of the Dental Aesthetics Index (DAI), was used to assess fluorosis-related aesthetics. Pairs of semantic differentiated adjectives adapted from SASOC were used to rate fifty 35 mm slides of anterior teeth. Sampling of children from the different categories of the Tooth Surface Index of Fluorosis (TSIF) on anterior permanent teeth was weighted to permit sufficient numbers of slides for the different classifications of the TSIF. Each slide was presented to a stratified random sample of pairs of parents and children who were participants in the original study. A convenience sample of dental professionals was also included. Analysis compared different classifications of "affected" slides (non-zero TSIF scores), with the mean aesthetic score computed from all "non-affected" slides (TSIF=0). Results from children, parents, and professionals showed that there were highly significant differences between ratings of low and high TSIF scores. The only non-significant differences were between TSIF 4 and TSIF 5 & 6, which all three groups did not distinguish, as well as TSIF I versus TSIF 2 & 3, which children could not distinguish. [ABSTRACT FROM AUTHOR]