Tradução, adaptação cultural e propriedades psicométricas da versão brasileira do mobility assessment tool physical activity (MAT-PA) em idosos comunitários brasileiros

Objetivo: Traduzir e avaliar as propriedades psicométricas do Mobility Assessment Tool Physical Activity (MAT-PA) em idosos comunitários brasileiros. Métodos: Trata-se de um estudo tradução, adaptação cultural, e acurácia do instrumento MAT-PA, no qual foram avaliados 329 idosos, com idade mínima de 60 anos, residentes na comunidade. Os indivíduos submeteram-se a um formulário de avaliação composto por: questionário sócio-demográfico e de saúde percebida; avaliação física; Prova Cognitiva de Leganés (PCL); Center for Epidemiologic Studies Depression Scale (CES-D); International Physical Activity Questionnaire (IPAQ); Mobility Assessment Tool Physical Activity (MAT-PA). Dessa amostra total, 42 idosos utilizaram o acelerômetro durante 8 dias. Para verificar a confiabilidade teste-reteste do MAT-PA, reaplicou-se esse instrumento em 34 idosos 8 dias após a primeira avaliação. A análise estatística utilizada foi a correlação de Spearman, o Coeficiente de Correlação Intra-classe, o coeficiente α de Cronbach, o Bland-Altman e o teste T pareado. Resultados: As correlações dos dados IPAQ e acelerômetro versus o escore total do MAT-PA foram significativas e apresentaram um coeficiente de correlação de Spearman de 0,13 e 0,41, respectivamente. Analisou-se também a confiabilidade que apresentou as seguintes medidas: consistência interna, pelo coeficiente alfa de Cronbach (α= 0,70); Concordância teste-reteste, pelo coeficiente de correlação intra-classe (CCI=0,53; p<0,001). Conclusão: A versão brasileira do Mobility Assessment Tool Physical Activity (MAT-PA) como um instrumento de avaliação da atividade física de idosos, mostrou ser um método válido e confiável.

Requiescat in park: o Central Park de Nova Iorque sob a ótica do cinema Norte - americano

Taking into account the Environmental Restorative Theory (ERT) , created by Fre derick Law Olmsted in mid XIX ce ntury , according which, urban parks can contribute to solve problems arisen from crowding , particularly urban stress, we analize how the ERT arrived at XXI century, having as approach the evaluation of New York Central Park (CP). Considering that the CP and the cinema were born around at the same, we question if the North American cinema produced between 1960 and 2013 show the ideals, which engendered the CP. By answering this question we defend the hypothesis that, even though has existed adjusts and modificati ons in the CP plan through time, it kept reasonably faithful to the ERT premises, propitiating to the XX and XXI centuries cinema identify and bring forth the presence of the Olmsted’s Ideals in the present days. The thesis main objective was nonetheless u nderstand similarities and/or differences between the XIX century ideals (that gave birth to CP) and the way the cinema represents the present uses of the place, taking into account that the Olmstedian ERT proposal have survived to the context changes (soc ial, economic, political and cultural). Methodologically , we drew upon bibliographical and documental analysis to build the first chapters and to the cinema as analytical lenses to investigate the ERT. The results point that although the CP plan has kept r elatively intact and faithful to the ERT – with the presence of natural elements in the films (notably vegetation and water) – many of contemporary behaviors were not foreseen previously, especially in relation to sports practice, the massive feminine pres ence, as well as criminality.

História para "ver" e entender o passado: cinema e livro didático no espaço escolar (2000-2008)

This study aims to diagnose and analyze the use of film in school space, more precisely, in the teaching of history, from the theoretical perspective of the German historian Jörn Rüsen and thus try to observe together with the assumptions of the Didactics of History elements such as public uses that are made for cinema history. In this sense, research propositions movies found in textbooks of history, paths to offer insights about the impacts caused by learning the historical film narrative, this being a learning also occurs in everyday life of students and not just in school space. For both, the textbooks present in Memorial do Programa Nacional do Livro Didático (PNLD), approved in the following editions PNLD/2005 and PNLD/2008 were used. To perform this diagnostic use, in addition to books, the Call Notices and Guides Textbook PNLD as a way to understand how to perform the theoretical and methodological discussions and recommendations about the potential of cinematic narrative for history lessons and these possible approaches to the theory of history.

AdaptMCloud: uma estratégia para adaptação dinâmica de aplicações Multi-Cloud

Multi-Cloud Applications are composed of services offered by multiple cloud platforms where the user/developer has full knowledge of the use of such platforms. The use of multiple cloud platforms avoids the following problems: (i) vendor lock-in, which is dependency on the application of a certain cloud platform, which is prejudicial in the case of degradation or failure of platform services, or even price increasing on service usage; (ii) degradation or failure of the application due to fluctuations in quality of service (QoS) provided by some cloud platform, or even due to a failure of any service. In multi-cloud scenario is possible to change a service in failure or with QoS problems for an equivalent of another cloud platform. So that an application can adopt the perspective multi-cloud is necessary to create mechanisms that are able to select which cloud services/platforms should be used in accordance with the requirements determined by the programmer/user. In this context, the major challenges in terms of development of such applications include questions such as: (i) the choice of which underlying services and cloud computing platforms should be used based on the defined user requirements in terms of functionality and quality (ii) the need to continually monitor the dynamic information (such as response time, availability, price, availability), related to cloud services, in addition to the wide variety of services, and (iii) the need to adapt the application if QoS violations affect user defined requirements. This PhD thesis proposes an approach for dynamic adaptation of multi-cloud applications to be applied when a service is unavailable or when the requirements set by the user/developer point out that other available multi-cloud configuration meets more efficiently. Thus, this work proposes a strategy composed of two phases. The first phase consists of the application modeling, exploring the similarities representation capacity and variability proposals in the context of the paradigm of Software Product Lines (SPL). In this phase it is used an extended feature model to specify the cloud service configuration to be used by the application (similarities) and the different possible providers for each service (variability). Furthermore, the non-functional requirements associated with cloud services are specified by properties in this model by describing dynamic information about these services. The second phase consists of an autonomic process based on MAPE-K control loop, which is responsible for selecting, optimally, a multicloud configuration that meets the established requirements, and perform the adaptation. The adaptation strategy proposed is independent of the used programming technique for performing the adaptation. In this work we implement the adaptation strategy using various programming techniques such as aspect-oriented programming, context-oriented programming and components and services oriented programming. Based on the proposed steps, we tried to assess the following: (i) the process of modeling and the specification of non-functional requirements can ensure effective monitoring of user satisfaction; (ii) if the optimal selection process presents significant gains compared to sequential approach; and (iii) which techniques have the best trade-off when compared efforts to development/modularity and performance.

O cinema como educação do olhar

The knowledge is only possible due to we exist bodily. However, during the educational experience, the epistemic potency of the body is neglected, declining the registers of the intelligibility. The current thesis approaches that problem obliquely: from a body and image philosophy which has revealed other ways of doing those registers in the modernity – understood not as period itself, but as a qualification for the negotiations between the real and the intelligible. The referred ways are explored through Merleau- Ponty’s and Michel Foucault’s works, which offer a spectrum about that new negotiation of the real. In order to approach the studied problem, the visibility and the human body motricity in the cinema are taken as analysis object. The mentioned objects have been analyzed through a corpus of movies of which plots are centered at the formal education and they require from the characters and the spectators engagement into a visual performance. Aiming to approach the object, it is questioned how the Education phenomenon is represented by the cinema; how the body is exposed and how spectators can see it. Analyzing the corpus and articulating Merleau- Ponty’s and Michel Foucault’s theories, it has been possible to state the following thesis: the cinema as an education of the gaze. The general objective of this study is to reveal the educational potency of the filmic experience, which provides a new path of intelligibility for Education. In that sense, the body as a visual operator widens the capacity of understanding the real. The current work is divided in three chapters. The first one brings the methodological approach: it is pointed how the theoretical articulation is properly arranged; it explains the method of using the images as indirect language as part of the reality description; the filmic corpus is presented, as well the criteria for the films choices and for the construction of instrument adopted during the object analysis are described. In the second chapter, it is problematized the incapacity of the western society of formulating the real discursively by debating Merleau-Ponty’s and Foucault’s theoretical contributions about the visual performance displayed on the images while the films are watched and analyzed. In the third chapter, the implications of the education of the gaze provided by the cinema are developed, mainly concerning about the place attributed to the visibility during the formulation of the real. Finally, paths are designed for the construction of another approach for the visibility in Education. Assuming the gaze as an experience of knowledge, this study aims to present other ways of being, seeing, thinking and feeling the world. Therefore, it is a proposal to reset the epistemic and subjectification patterns at the educational context.

A linguagem audiovisual do cinema como elemento integrador da arte e ciência na formação cultural dos professores de ciências e matemática

This work aims to study about the importance of cinema for cultural and professional training of teachers of Natural Sciences and Mathematics. The educational potential of cinema is emphasizing by different authors, which also reveal the teachers' training gap in this issue (media). In this study, we defend the audiovisual language of cinema as an integrating element of Arts and Science for cultural and professional training of teachers. This subject has been developed by different authors, in which the emphasis has been the importance of intelligent dialogue with the world. Specifically, the training of science teachers and mathematics, by the approach of Cinema in its formation, It envisions the possibility of minimizing the dichotomy between humanistic and scientific training, already much discussed by some researchers. Educational products contribute to an effective experience and reflection on the cultural and educational role of the Seventh Art. Considering the Cinema as a possible "bridge" between the two cultures (scientific culture and humanistic culture) and promoting ownership of audiovisual language in teacher training It was accomplished the I Exhibition - Cultural Spring: Cinema and Science Education in UFRN. The production of the booklet "Topics of History, Language and Art of Cinema for Science and Mathematics Teachers," and its application in a short course in the XXI National Symposium on Physics Teaching also aimed to contribute to the approximation of Science and Art in training teachers.

O som ao redor do baile: retomada e pós-retomada no cinema produzido em Pernambuco

This dissertation uncovers the path of Pernambuco’s independent cinema of the Retomada, of its production in the second half of the 1990s until mid 2012 when the sector manages to secure a funding edict (Funcultura) for its films and at the same time establishes a few symbolic mechanisms which contributed to the consolidation of a new cycle, the post-Retomada, namely: cinephilia and brodagem. Because it is a cinematography (pernambucana) outside the Rio-São Paulo axis, that is, outside the great center of the brazillian culture industry, the cinema produced in Pernambuco built a very specific modus operandi, in which a material basis, the consolidation of Funcultura, intercrossed with two symbolic practices feeding on each other, cinephilia and brodagem. In this regard, we seek not to establish the material perspective as the primary determination as opposed to the symbolic one. Futhermore, we followed the path of cinephilia in its direct commucation with the brodagem, and how both these logics pressured authorities to institute an incentive funding separated from other artforms in the state. From this point of view, we attempted to trace the trajectory of this cinematography in its external nuances, but also taking into account the internal nuances of its works of art (films). Following this, we created categories to define and distinguish the nuances of the Retomada and post-Retomada productions regarding ethical and aesthetical choices made by directors from both generations.

O som ao redor do baile: retomada e pós-retomada no cinema produzido em Pernambuco

This dissertation uncovers the path of Pernambuco’s independent cinema of the Retomada, of its production in the second half of the 1990s until mid 2012 when the sector manages to secure a funding edict (Funcultura) for its films and at the same time establishes a few symbolic mechanisms which contributed to the consolidation of a new cycle, the post-Retomada, namely: cinephilia and brodagem. Because it is a cinematography (pernambucana) outside the Rio-São Paulo axis, that is, outside the great center of the brazillian culture industry, the cinema produced in Pernambuco built a very specific modus operandi, in which a material basis, the consolidation of Funcultura, intercrossed with two symbolic practices feeding on each other, cinephilia and brodagem. In this regard, we seek not to establish the material perspective as the primary determination as opposed to the symbolic one. Futhermore, we followed the path of cinephilia in its direct commucation with the brodagem, and how both these logics pressured authorities to institute an incentive funding separated from other artforms in the state. From this point of view, we attempted to trace the trajectory of this cinematography in its external nuances, but also taking into account the internal nuances of its works of art (films). Following this, we created categories to define and distinguish the nuances of the Retomada and post-Retomada productions regarding ethical and aesthetical choices made by directors from both generations.

Para um cinema da crueldade em Antonin Artaud

Antonin Artaud (1896-1948) est un poète, acteur, dramaturge et écrivain français né à Marseille, mais dont la vie artistique se développe principalement à Paris. Artaud est l'auteur de la notion bien connue de Théâtre de cruauté, qui inspire encore aujourd'hui de nombreux groupes de théâtre dans différents coins du monde. Il a écrit sur le théâtre, la poésie, l'art, la philosophie, entre autres. De 1924-1935 est également dédié au cinéma, à la fois dans son théorique et pratique. Une étape un peu inconnu et peu exploré dans sa vie. Elle a joué dans 22 films avec certains des réalisateurs les plus importants dans le monde, et a laissé huit scénarios, dont un seul a été realizé, et huit écrits théoriques sur le cinéma. Cette thèse cherche à examiner précisément cette période insuffisamment étudié dans sa carrière, à partir de trois questions initiales: Artaud développé un sens de la cruauté au-delà du théâtre? Nous pouvons penser à la culture de la cruauté envers les films, en d‘autres termes, un cinéma de la cruauté ? Nous pouvons penser sur le sujet contemporain de cette culture? La réponse à ces trois questions est oui. L'idée de la pensée de la cruauté au cinéma est intervenue concomitamment à leurs expériences et élaborations de ce qu'il a appelé Théâtre de la cruauté. Les deux réflexions sont donnés concomitamment et de manière récursive. Plus que cela, toutes ses productions artistiques, dont la poésie et la peinture, ont été traversés par la notion de cruauté. Nous concluons que leurs élaborations sur un cinéma de la cruauté a eté interrompu au moment même que le développement technique a souligné la possibilité de sa réalisation. De plus, à l'enquête de son travail, nous pouvons voir que presque toute sa pensée a été préparé sous les images, de sorte que nous pouvons même parler d'une pensée cinématographique d‘Antonin Artaud. En conséquence, nous ne concevons pas sa théorie au septième art comme secondaire à leurs intérêts, comme le rapporte la plupart de ses commentateurs, mais absolument essentiel dans le développement de ses écrits, qui jusqu'à maintenant accumulé plus de deux mille pages. En outre, Artaud ne pense pas l'art pour l'art, mais seulement comme un dialogue fructueux et intensif avec l'homme et la culture. L‘art était l'instrument privilégié de proposer un diagnostic et une nouvelle façon de voir la société contemporaine. À travers le film il a imaginé la possibilité d'une reprise de forces éthico-esthétique-politiques perdus sous les décombres de la civilisation occidentale. L'établissement d'une nouvelle relation avec l'image, le sujet de la (post-) modernité pourrait sauver une puissance esthétique du corps et de la pensée que, réinterprété, agiraient envers eux-mêmes et le monde à réinventer.

Para um cinema da crueldade em Antonin Artaud

Antonin Artaud (1896-1948) est un poète, acteur, dramaturge et écrivain français né à Marseille, mais dont la vie artistique se développe principalement à Paris. Artaud est l'auteur de la notion bien connue de Théâtre de cruauté, qui inspire encore aujourd'hui de nombreux groupes de théâtre dans différents coins du monde. Il a écrit sur le théâtre, la poésie, l'art, la philosophie, entre autres. De 1924-1935 est également dédié au cinéma, à la fois dans son théorique et pratique. Une étape un peu inconnu et peu exploré dans sa vie. Elle a joué dans 22 films avec certains des réalisateurs les plus importants dans le monde, et a laissé huit scénarios, dont un seul a été realizé, et huit écrits théoriques sur le cinéma. Cette thèse cherche à examiner précisément cette période insuffisamment étudié dans sa carrière, à partir de trois questions initiales: Artaud développé un sens de la cruauté au-delà du théâtre? Nous pouvons penser à la culture de la cruauté envers les films, en d‘autres termes, un cinéma de la cruauté ? Nous pouvons penser sur le sujet contemporain de cette culture? La réponse à ces trois questions est oui. L'idée de la pensée de la cruauté au cinéma est intervenue concomitamment à leurs expériences et élaborations de ce qu'il a appelé Théâtre de la cruauté. Les deux réflexions sont donnés concomitamment et de manière récursive. Plus que cela, toutes ses productions artistiques, dont la poésie et la peinture, ont été traversés par la notion de cruauté. Nous concluons que leurs élaborations sur un cinéma de la cruauté a eté interrompu au moment même que le développement technique a souligné la possibilité de sa réalisation. De plus, à l'enquête de son travail, nous pouvons voir que presque toute sa pensée a été préparé sous les images, de sorte que nous pouvons même parler d'une pensée cinématographique d‘Antonin Artaud. En conséquence, nous ne concevons pas sa théorie au septième art comme secondaire à leurs intérêts, comme le rapporte la plupart de ses commentateurs, mais absolument essentiel dans le développement de ses écrits, qui jusqu'à maintenant accumulé plus de deux mille pages. En outre, Artaud ne pense pas l'art pour l'art, mais seulement comme un dialogue fructueux et intensif avec l'homme et la culture. L‘art était l'instrument privilégié de proposer un diagnostic et une nouvelle façon de voir la société contemporaine. À travers le film il a imaginé la possibilité d'une reprise de forces éthico-esthétique-politiques perdus sous les décombres de la civilisation occidentale. L'établissement d'une nouvelle relation avec l'image, le sujet de la (post-) modernité pourrait sauver une puissance esthétique du corps et de la pensée que, réinterprété, agiraient envers eux-mêmes et le monde à réinventer.

Vernaculares: a casa de fazenda seridoense do século XIX como exemplo de adaptação ao clima semiárido

The farm’s rural dwellings of creation from the Seridó Potiguar microregion, built in the nineteenth century, became a reference by its vernacular character, i.e. these buildings, besides having recognized relevance to the identity of the region, they are adapted to the conditions of the place in many aspects (economic, cultural, construction, physical, et.) and consist in protective spaces in relation to hostile characteristics of Seridó’s climate. Considering the above premise, the following question arises: What characteristics of the nineteenth century Seridó Potiguar’s cattle farms are crucial for them to be a protective space in relation to the semiarid climate? In order to answer the question, this research aim to identify which particularities of the Seridó’s farmhouses that contribute to adaptability in these buildings to semiarid climate, as protection environments; and contribute to the stock valuation of the architectural heritage concerned. Therefore, procedures were adopted divided into two stages. Were first identified the recurring characteristics in the studied buildings, through typological study performed from existing inventories (DINIZ, 2008; FEIJÓ, 2002; IPHAN, 2012). To define the type it worked up with the concept that merges Durand’s analytical typology that identifies the similarities and differences to classify buildings, having the character of historical survey and architectural documentation, with the definition proposed by Argan (1963) that the type is not defined a priory, but the deduction from a number of illustrative cases which have formal and functional similarity with each other. Then worked up in a sample of five different types with each other, defined by the possibility of access to the interior of the houses, proximity to other copies, good state of conservation and preservation. The contemplated farms were: Pitombeiras, Agenus e Garrotes in Acari’s town, and the municipality of Caicó, Palma and Penedo. The second stage consists of the architectural survey, photographic record, digital three-dimensional modeling (aiming to expand the existing documentation and registration) and thermal monitoring over approximately a representative day in five farmhouses, relating the thermal performance of the houses with their individual characteristics. The selected variables for analysis monitoring are based on the thermal comfort adaptive model (SPAGNOLO and DE DEAR, 2003 apud NEGREIROS, 2010). The characteristics of the houses were analyzed as meeting the passive thermal conditioning strategies recommended by NBR 15220 (ABNT, 2005), for the bioclimatic zone 7 where the municipalities of Caicó and Acari are located. The house’s analysis of the operating temperatures revealed that 90% of the times of day the environments are within the comfort range. The farmhouses, which had a higher degree of compliance with recommended bioclimatic strategies, had the best thermal performance. In environments (usually the kitchen and rooms with low ceiling heights, exposed to west radiation) which still had discomfort hours, the thermal comfort can be reached with air movement approximately 1,0 m/s.

Vernaculares: a casa de fazenda seridoense do século XIX como exemplo de adaptação ao clima semiárido

The farm’s rural dwellings of creation from the Seridó Potiguar microregion, built in the nineteenth century, became a reference by its vernacular character, i.e. these buildings, besides having recognized relevance to the identity of the region, they are adapted to the conditions of the place in many aspects (economic, cultural, construction, physical, et.) and consist in protective spaces in relation to hostile characteristics of Seridó’s climate. Considering the above premise, the following question arises: What characteristics of the nineteenth century Seridó Potiguar’s cattle farms are crucial for them to be a protective space in relation to the semiarid climate? In order to answer the question, this research aim to identify which particularities of the Seridó’s farmhouses that contribute to adaptability in these buildings to semiarid climate, as protection environments; and contribute to the stock valuation of the architectural heritage concerned. Therefore, procedures were adopted divided into two stages. Were first identified the recurring characteristics in the studied buildings, through typological study performed from existing inventories (DINIZ, 2008; FEIJÓ, 2002; IPHAN, 2012). To define the type it worked up with the concept that merges Durand’s analytical typology that identifies the similarities and differences to classify buildings, having the character of historical survey and architectural documentation, with the definition proposed by Argan (1963) that the type is not defined a priory, but the deduction from a number of illustrative cases which have formal and functional similarity with each other. Then worked up in a sample of five different types with each other, defined by the possibility of access to the interior of the houses, proximity to other copies, good state of conservation and preservation. The contemplated farms were: Pitombeiras, Agenus e Garrotes in Acari’s town, and the municipality of Caicó, Palma and Penedo. The second stage consists of the architectural survey, photographic record, digital three-dimensional modeling (aiming to expand the existing documentation and registration) and thermal monitoring over approximately a representative day in five farmhouses, relating the thermal performance of the houses with their individual characteristics. The selected variables for analysis monitoring are based on the thermal comfort adaptive model (SPAGNOLO and DE DEAR, 2003 apud NEGREIROS, 2010). The characteristics of the houses were analyzed as meeting the passive thermal conditioning strategies recommended by NBR 15220 (ABNT, 2005), for the bioclimatic zone 7 where the municipalities of Caicó and Acari are located. The house’s analysis of the operating temperatures revealed that 90% of the times of day the environments are within the comfort range. The farmhouses, which had a higher degree of compliance with recommended bioclimatic strategies, had the best thermal performance. In environments (usually the kitchen and rooms with low ceiling heights, exposed to west radiation) which still had discomfort hours, the thermal comfort can be reached with air movement approximately 1,0 m/s.

Paulo Emílio Salles Gomes e a eficácia discursiva de sua intepretação histórica: reflexões sobre história e historiografia do cinema brasileiro

We intend with this research to contribute to the contemporary debate pertinent to the history of Brazilian cinema, its historiography and its writing procedures. Thereunto, we sustain the view that the historical interpretation composed by the essays Panorama do Cinema Brasileiro: 1896/1966 (1966) and Cinema: trajetória no subdesenvolvimento (1973) arranged by the critic and historian Paulo Emilio Salles Gomes, due to their epistemological postulates and narrative strategies, constitutes a version about the history of national cinema of expressive discursive efficacy.

Eficácia política de uma crítica: Paulo Emílio Salles Gomes e a constituição de uma teia interpretativa da história do cinema brasileiro

This work aims to contribute to theoretical and methodological analysis of writing the history of Brazilian cinema. The object of this study the trilogy of articles in Cinema: the trajectory of underdevelopment regimented, the critic and historian Paulo Emílio Salles Gomes, seeks to understand the process of setting up a web interpretative history of our film based on this work and how to rescue its historicity.

Avaliação da adaptação marginal de diferentes tipos de restaurações obtidas por CAD/CAM e métodos convencionais

The past few decades have brought many changes to the dental practice and the technology has become ready available. The result of a satisfactory rehabilitation treatment basically depends on the balance between biological and mechanical factors. The marginal adaptation of crowns and prosthetic structures is vital factor for long-term success. The development of CAD / CAM technology in the manufacture of dental prostheses revolutionized dentistry, this technology is capable of generating a virtual model from the direct digital scanning from the mouth, casts or impressions. It allows the planning and design of the structure in a computered software. The virtual projects are obtained with high precision and a significant reduction in clinical and laboratory time. Thus, the present study (Chapters 1, 2 and 3) computed microtomography was used to evaluate, different materials, different CAD/CAM systems, different ways of obtaining virtual model (with direct or indirect scanning), and in addition, also aims to evaluate the influence of cementing agent in the final adaptation of crowns and copings obtained by CAD / CAM. Furthermore, this study (Chapter 4, 5 and 6) also aims to evaluate significant differences in vertical and horizontal misfits in abutment-free frameworks on external hexagon implants (HE) using full castable UCLAs, castable UCLAs with cobalt-chromium pre-machined bases and obtained by CAD / CAM with CoCr or Zirconia by different scanning and milling systems. For this, the scanning electron microscopy and interferometry were used. It was concluded that the CAD / CAM technology is capable to produce restorations, copings and screw-retained implant-supported frameworks in different materials and systems offering satisfactory results of marginal accuracy, with significative reduction in clinical and laboratory time.