Facial attractiveness of patients with unilateral cleft lip and palate and of controls assessed by laypersons and professionals.

OBJECTIVES The aim of the study was to identify differences in the aesthetic evaluation of profile and frontal photographs of (1) patients treated for complete left-sided cleft lip and palate and (2) control patients by laypeople and professionals. MATERIALS, SUBJECTS, AND METHODS Left-side profile and frontal photographs of 20 adult patients treated for complete left-sided cleft lip and palate (10 men, 10 women, mean age: 20.5 years) and of 10 control patients with a class I occlusion (five men, five women, mean age: 22.1 years) were included in the study. The post-treatment photographs were evaluated by 15 adult laypeople, 14 orthodontists, and 10 maxillofacial surgeons. Each photograph was judged on a modified visual analogue scale (VA S, 0-10; 0 'very unattractive' to 10 'very attractive'). A four-level mixed model was fitted in which the VA S score was the dependent variable; cases, profession, view, and rater were independent variables. RESULTS Compared with laypersons, orthodontists gave higher VA S scores (+0.69, 95% confidence interval (CI) [0.53, 0.84]; P < 0.001), followed by surgeons (+0.21, 95% CI [0.03, 0.38], P = 0.02). Controls were given significantly higher scores than patients with clefts for profile and frontal photographs (+1.97, 95% CI [1.60; 2.35], P < 0.001). No significant difference was found between the scores for the frontal and lateral views (P = 0.46). CONCLUSIONS All the different rater panels were less satisfied with the facial aesthetics of patients with clefts compared with that of control patients. Further research should evaluate whether these findings correlate with patients' self-perception and to what extent it affects the patients' psychosocial well-being.

Captar lo sensible estéticamente : solución bonaventuriana al reto aristotélico

La llegada del Corpus aristotelicum al mundo occidental suscitó numerosas reacciones, tantas como eran las sensibilidades receptoras. San Buenaventura no es ajeno al pensamiento del Estagirita, y junto a las fuentes patrísticas y bíblicas, los argumentos filosóficos formarán parte en la solución de los problemas. Y si todo el edificio filosófico se vio tocado por la filosofía griega de Aristóteles, y en todo se necesitaba una respuesta, más aún aconteció con el mundo de lo sensible, sobre todo, en los pensadores de la llamada Escuela franciscana, que de una u otra manera manejaron este tema con delicada pericia, toda vez, que el espíritu franciscano reverenciaba la «Hermana naturaleza» y lo sensible como manifestación del Amor de Dios. En especial, nos fijamos en san Buenaventura, y en su esfuerzo por realizar una respuesta original desde las fuentes escolásticas al pensamiento nuevo de la filosofía de la naturaleza aristotélica en el espíritu de Asís. Creemos que es posible realizar una lectura de la epistemología y antropología de la captación de lo sensible en san Buenaventura desde una metafísica-estética de la naturaleza, como alternativa a la filosofía de la naturaleza de corte aristotélico.

Examination of the quality of spinach leaves using hyperspectral imaging

The present research is focused on the application of hyperspectral images for the supervision of quality deterioration in ready to use leafy spinach during storage (Spinacia oleracea). Two sets of samples of packed leafy spinach were considered: (a) a first set of samples was stored at 20 °C (E-20) in order to accelerate the degradation process, and these samples were measured the day of reception in the laboratory and after 2 days of storage; (b) a second set of samples was kept at 10 °C (E-10), and the measurements were taken throughout storage, beginning the day of reception and repeating the acquisition of Images 3, 6 and 9 days later. Twenty leaves per test were analyzed. Hyperspectral images were acquired with a push-broom CCD camera equipped with a spectrograph VNIR (400–1000 nm). Calibration set of spectra was extracted from E-20 samples, containing three classes of degradation: class A (optimal quality), class B and class C (maximum deterioration). Reference average spectra were defined for each class. Three models, computed on the calibration set, with a decreasing degree of complexity were compared, according to their ability for segregating leaves at different quality stages (fresh, with incipient and non-visible symptoms of degradation, and degraded): spectral angle mapper distance (SAM), partial least squares discriminant analysis models (PLS-DA), and a non linear index (Leafy Vegetable Evolution, LEVE) combining five wavelengths were included among the previously selected by CovSel procedure. In sets E-10 and E-20, artificial images of the membership degree according to the distance of each pixel to the reference classes, were computed assigning each pixel to the closest reference class. The three methods were able to show the degradation of the leaves with storage time.

Modernist Ecology: Modernism and the Reimagination of Nature

Countering the trend in contemporary ecocriticism to advance realism as an environmentally responsible mode of representation, this essay argues that the anti-realist aesthetics of literary modernism were implicitly “ecological.” In order to make this argument I distinguish between contemporary and modernist ecological culture (both of which I differentiate in turn from ecological science); while the former is concerned primarily with the practical reform characteristic of what we now call “environmentalism,” the latter demanded an all-encompassing reimagination of the relationship between humanity and nature. “Modernist ecology,” as I call it, attempted to envision this change, which would be ontological or metaphysical rather than simply social, through thematically and formally experimental works of art. Its radical vision, suggestive in some ways of today’s “deep” ecology, repudiated modern accounts of nature as a congeries of inert objects to be manipulated by a sovereign subject, and instead foregrounded the chiasmic intertexture of the subject/object relationship. In aesthetic modernism we encounter not “objective” nature, but “nature-being” – a blank substratum beneath the solid contours of what philosopher Kate Soper calls “lay nature” – the revelation of which shatters historical constructions of nature and alone allows for radical alternatives. This essay looks specifically at modernist ecology as it appears in the works of W. B. Yeats, D. H. Lawrence, and Samuel Beckett, detailing their attempts to envision revolutionary new ecologies, but also their struggles with the limited capacity of esoteric modernist art to effect significant ecological change on a collective level.

Reception and care planning guidance for host communities /

Issued Mar. 1977.

The Chatter of the Visible : Montage and Narrative in Weimar Germany /

'The Chatter of the Visible' examines the paradoxical narrative features of the photo montage aesthetics of artists associated with Dada, Constructivism, and the New Objectivity.

Investigating tiredness and ad complexity effects on visual processing of advertisements:an eye-tracking study

Although advertising is pervasive in our daily, it proves to be not necessarily efficient all the times due to bad conditions or bad contexts of reception. Indeed, the communication process might be jeopardized at its very last stage because of advertising exposure quality. However critical it may be, ad exposure quality is not very much examined by researchers or practitioners. In this paper, we investigate how tiredness combined with ad complexity might influence the way consumers extract and process ad elements. Investigating tiredness is useful because it is a common daily state experienced by everyone at various moments of the day. And although it might drastically alter ad reception, it has not been studied in advertising for the moment. In this regards, we observe eye movement patterns of consumers viewing simple or complex advertisements being tired or not. We surprisingly find that tired subjects viewing complex ads don’t adopt a lessening effort visual strategy. They rather use a resource demanding one. We assume that the Sustained Attention strategy occurring is a kind of adaptive strategy allowing to deal with an anticipated lack of resource.

The Human Face of Architecture

Lecture given by Dr. John Stuart, Professor of Architecture and Department Chair of Architecture and the Arts at Florida International University. This lecture focuses on the aesthetics of edifices. Event held on April 18, 2012 at the Green Library, Modesto Maidique Campus, Florida International University.

Modernist Ecology: Modernism and the Reimagination of Nature

Countering the trend in contemporary ecocriticism to advance realism as an environmentally responsible mode of representation, this essay argues that the anti-realist aesthetics of literary modernism were implicitly “ecological.” In order to make this argument I distinguish between contemporary and modernist ecological culture (both of which I differentiate in turn from ecological science); while the former is concerned primarily with the practical reform characteristic of what we now call “environmentalism,” the latter demanded an all-encompassing reimagination of the relationship between humanity and nature. “Modernist ecology,” as I call it, attempted to envision this change, which would be ontological or metaphysical rather than simply social, through thematically and formally experimental works of art. Its radical vision, suggestive in some ways of today’s “deep” ecology, repudiated modern accounts of nature as a congeries of inert objects to be manipulated by a sovereign subject, and instead foregrounded the chiasmic intertexture of the subject/object relationship. In aesthetic modernism we encounter not “objective” nature, but “nature-being” – a blank substratum beneath the solid contours of what philosopher Kate Soper calls “lay nature” – the revelation of which shatters historical constructions of nature and alone allows for radical alternatives. This essay looks specifically at modernist ecology as it appears in the works of W. B. Yeats, D. H. Lawrence, and Samuel Beckett, detailing their attempts to envision revolutionary new ecologies, but also their struggles with the limited capacity of esoteric modernist art to effect significant ecological change on a collective level.

Leitora-criadora: a experiência situada na construção dramatúrgica

This study has the purpose of investigating the term reader-creator , on the textual aspects of the dramatical works A Morte nos Olhos , A Memória Ferida and Na Outra Margem (2010) by Antonia Pereira Bezerra. In this sense, we propose an analysis of these works based on author‟s life experience as creative matter for a autofictional narrative, highlighting the relations between the autobiographical elements (LEJEUNE, 2008; DOSSE, 2009) and fictional elements in the construction of dramatic narratives. The theoretical analysis pervades the studies fields of Reception Aesthetics (ISER, 1996), memory (RICOUER, 2007) and narrative (RICOEUR, 2010), evidencing the relation between the author and the pursuit of her memories and life experiences, the matter to elaboration of writing. Then we intend thinking a reader-creator of herself, that at the same time she seeks in her memories the biographic aspects to her narrative, she converts this reality with the insertion of fictional elements from the imagination (SARTRE, 2008)

Receção estética do texto e promoção da educação literária : trabalho colaborativo interdisciplinar

Dissertação apresentada à Escola Superior de Educação do Instituto Politécnico de Castelo Branco para cumprimento dos requisitos necessários à obtenção do grau de Mestre em Supervisão e Avaliação Escolar.

Leitora-criadora: a experiência situada na construção dramatúrgica

This study has the purpose of investigating the term reader-creator , on the textual aspects of the dramatical works A Morte nos Olhos , A Memória Ferida and Na Outra Margem (2010) by Antonia Pereira Bezerra. In this sense, we propose an analysis of these works based on author‟s life experience as creative matter for a autofictional narrative, highlighting the relations between the autobiographical elements (LEJEUNE, 2008; DOSSE, 2009) and fictional elements in the construction of dramatic narratives. The theoretical analysis pervades the studies fields of Reception Aesthetics (ISER, 1996), memory (RICOUER, 2007) and narrative (RICOEUR, 2010), evidencing the relation between the author and the pursuit of her memories and life experiences, the matter to elaboration of writing. Then we intend thinking a reader-creator of herself, that at the same time she seeks in her memories the biographic aspects to her narrative, she converts this reality with the insertion of fictional elements from the imagination (SARTRE, 2008)

Portfolio of compositions with commentaries 2012-2015

This writing forms part of a portfolio of works which gathers together notations and recordings made between 2012 and 2015. The writing divides into four chapters. The first chapter undertakes an examination of abstraction. From the proposition obtained therein, that it is possible to extend within abstraction beyond a correspondence between its terms and concrete manifestations, I ask in what way abstraction may be considered to function therefrom. The second chapter performs an analysis of radical music notations from the nineteenth, twentieth, and twenty-first centuries. The central analysis identifies what is essentially an evolution of what I call ''figuration'' throughout three non-chronological phases of Christian Wolff's notations. The chapter closes by questioning what form of understanding might yet be pursued in respect of this work given (a) its nature, and (b) the nature of our inquiry. The third chapter reflects on some of the philosophical problematics raised in the preceding chapters, at the same time as it prepares for those that follow in the final chapter. The final chapter is a record of the development of my thought appertaining to my compositional work. It sets out two case studies (prepared piano and postcard notations) before proceeding to a selected set of commentaries. Finally, the notion of the functioning of written and acoustical ''marks'' developed in the preceding commentaries is generalised as I develop an aesthetics of scriptural experience.