Evaluation of Aesthetic Abdominal Surgery Using a New Clinical Scale

Evaluation of outcomes after aesthetic surgery still is a challenge in plastic surgery. The evaluation frequently is based on subjective criteria. This study used a new clinical grading scale to evaluate aesthetic results for plastic surgeries to the abdomen. The method scores each of the following five parameters: volume of subcutaneous tissue, contour, excess of skin, aspect of the navel, and quality of the scar on the abdominal wall. The scale options are 0 (poor), 1 (fair), and 2 (good), and the total rate can range from 0 to 10. The study included 40 women ages 18-53 years. Of these 40 women, 20 underwent traditional abdominoplasty, and 20 had liposuction alone. Preoperatively and at least 1 year later, photographic results were analyzed and scored by three independent plastic surgeons. In the abdominoplasty group, the average grade rose from 2.9 +/- A 0.4 to 6.8 +/- A 0.4 postoperatively. In the liposuction group, the average grade was 5.3 +/- A 0.5 preoperatively and 7.7 +/- A 0.4 postoperatively. In both groups, the average postoperative grade was significantly higher than the preoperative grade. The mean scores for groups A and L were significantly different, demonstrating that the scale was sensitive in identifying different anatomic abnormalities in the abdomen. The rating scale used for the aesthetic evaluation of the abdomen was effective in the analysis of two different procedures: conventional abdominoplasty and liposuction. Abdominoplasty provided the greater gain according to a comparison of the pre- and postoperative scores.

Aesthetic tensions : evaluating outcomes for practice-led research and industry

This paper explores principles of contemporary aesthetics to suggest a basis for determining qualitative outcomes of artistic works in two contexts: the arts industry and the academy setting of practice-led research. Commonly articulated measures of quality—creativity and innovation—are questioned as mere rhetoric if not framed in specific ways in the two discrete settings. The paper also interrogates generally held assumptions that a longer time to develop work and greater periods of self-reflexivity will produce higher calibre artistic outcomes. The unease produced by apparent differences in qualitative outcomes between art works created in an industry setting and those created through practice-led research is analysed through three interconnected framing devices: intention, contextual parameters and criteria for evaluation, in conjunction with the relationships between the art work, the artist and the audience/viewer/listener. Common and differentiated criteria in the two contexts are explored, leading to the conclusion that innovation is more likely to be revealed in the end product in an industry context whereas in practice-led research it may be in the methodological processes of creating the work. While identifying and acknowledging that the two contexts encourage and produce distinctive qualitative artistic outcomes, both of value to the arts and the academy, the paper recommends ways in which closer formal liaison between industry artists and practice-led artists and supervisors might occur in order to ensure ongoing mutual influence and relevance.

Modeling the Aesthetic Axis of Information Organization Frameworks, Part 1: Theoretical Basis

Purpose – The purpose of this paper is to propose a theoretical framework, based on contemporary philosophical aesthetics, from which principled assessments of the aesthetic value of information organization frameworks may be conducted.Design/methodology/approach – This paper identifies appropriate discourses within the field of philosophical aesthetics, constructs from them a framework for assessing aesthetic properties of information organization frameworks. This framework is then applied in two case studies examining the Library of Congress Subject Headings (LCSH), and Sexual Nomenclature: A Thesaurus. Findings – In both information organization frameworks studied, the aesthetic analysis was useful in identifying judgments of the frameworks as aesthetic judgments, in promoting discovery of further areas of aesthetic judgments, and in prompting reflection on the nature of these aesthetic judgments. Research limitations/implications – This study provides proof-of-concept for the aesthetic evaluation of information organization frameworks. Areas of future research are identified as the role of cultural relativism in such aesthetic evaluation and identification of appropriate aesthetic properties of information organization frameworks.Practical implications – By identifying a subset of judgments of information organization frameworks as aesthetic judgments, aesthetic evaluation of such frameworks can be made explicit and principled. Aesthetic judgments can be separated from questions of economic feasibility, functional requirements, and user-orientation. Design and maintenance of information organization frameworks can be based on these principles.Originality/value – This study introduces a new evaluative axis for information organization frameworks based on philosophical aesthetics. By improving the evaluation of such novel frameworks, design and maintenance can be guided by these principles.Keywords Evaluation, Research methods, Analysis, Bibliographic systems, Indexes, Retrieval languages

Modeling the Aesthetic Axis of Information Organization Frameworks, Part 2: Case Studies

Purpose – The purpose of this paper is to propose a theoretical framework, based on contemporary philosophical aesthetics, from which principled assessments of the aesthetic value of information organization frameworks may be conducted.Design/methodology/approach – This paper identifies appropriate discourses within the field of philosophical aesthetics, constructs from them a framework for assessing aesthetic properties of information organization frameworks. This framework is then applied in two case studies examining the Library of Congress Subject Headings (LCSH), and Sexual Nomenclature: A Thesaurus. Findings – In both information organization frameworks studied, the aesthetic analysis was useful in identifying judgments of the frameworks as aesthetic judgments, in promoting discovery of further areas of aesthetic judgments, and in prompting reflection on the nature of these aesthetic judgments. Research limitations/implications – This study provides proof-of-concept for the aesthetic evaluation of information organization frameworks. Areas of future research are identified as the role of cultural relativism in such aesthetic evaluation and identification of appropriate aesthetic properties of information organization frameworks.Practical implications – By identifying a subset of judgments of information organization frameworks as aesthetic judgments, aesthetic evaluation of such frameworks can be made explicit and principled. Aesthetic judgments can be separated from questions of economic feasibility, functional requirements, and user-orientation. Design and maintenance of information organization frameworks can be based on these principles.Originality/value – This study introduces a new evaluative axis for information organization frameworks based on philosophical aesthetics. By improving the evaluation of such novel frameworks, design and maintenance can be guided by these principles.Keywords Evaluation, Analysis, Bibliographic systems, Indexes, Retrieval languages, Philosophy

The Innocent Pleasure : A Study on Luther's theology of music

The aim of the study is to examine Luther s theology of music from the standpoint of pleasure. The theological assessment of musical pleasure is related to two further questions: the role of emotions in Christianity and the apprehension of beauty. The medieval discussion of these themes is portrayed in the background chapter. Significant traits were: the suspicion felt towards sensuous gratification in music, music as a mathematical discipline, the medieval theory of emotions informed by Stoic apatheia and Platonic-Aristotelian metriopatheia, the notion of beauty as an attribute of God, medieval aesthetics as the aesthetic of proportion and the aesthetic of light and the emergence of the Aristotelian view of science that is based on experience rather than speculation. The treatment of Luther s theology of music is initiated with the notion of gift. Luther says that music is the excellent (or even the best) gift of God. This has sometimes been understood as a mere music-lover s enthusiasm. Luther is, however, not likely to use the word gift loosely. His theology can be depicted as a theology of gift. The Triune God is categorically giving. The notion of gift also includes reciprocity. When we receive the gifts of God, it evokes praise in us. Praising God is predominantly a musical phenomenon. The particular benefit of music in Luther s thought is that it can move human emotions. This emphasis is connected to the overall affectivity of Luther s theology. In contrast to the medieval discussion, Luther ascribes to saints not just emotions but particularly warm and tender affections. The power of music is related to the auditory and vocal character of the Word. Faith comes through hearing the Word that is at once musical and affective perception. Faith is not a mere opinion but the affective trust of the heart. Music can touch the human heart and persuade with its sweetness, like the good news of the Gospel. Music allows us to perceive Luther s theology as a theology of joy and pleasure. Joy is for Luther a gift of the Holy Spirit that fills the heart and bursts out in voice and gestures. Pleasure appears to be a central aspect to Luther s theology. The problem of the Bondage of the Will is precisely the human inability to feel pleasure in God s will. To be pleased in the visible and tangible creation is not something a Christian should avoid. On the contrary, if one is not pleased with the world that God has created, it is a sign of unbelief and ingratitude. The pleasure of music is aesthetic perception. This in turn necessitates the investigation of Luther s aesthetics. Aesthetic evaluation is not just a part of Luther s thought. Eventually his theology as a whole could be portrayed in aesthetic terms. Luther s extremely positive appreciation of music illutrates his theology as an affective acknowledgement of the goodness of the Creation and faith as an aesthetic contentment.

Genetic Programming for Non-Photorealistic Rendering

This thesis focuses on developing an evolutionary art system using genetic programming. The main goal is to produce new forms of evolutionary art that filter existing images into new non-photorealistic (NPR) styles, by obtaining images that look like traditional media such as watercolor or pencil, as well as brand new effects. The approach permits GP to generate creative forms of NPR results. The GP language is extended with different techniques and methods inspired from NPR research such as colour mixing expressions, image processing filters and painting algorithm. Colour mixing is a major new contribution, as it enables many familiar and innovative NPR effects to arise. Another major innovation is that many GP functions process the canvas (rendered image), while is dynamically changing. Automatic fitness scoring uses aesthetic evaluation models and statistical analysis, and multi-objective fitness evaluation is used. Results showed a variety of NPR effects, as well as new, creative possibilities.

Turismo, percepción del paisaje y planificación del territorio

The perception of the landscape is a broad, multidisciplinary. complex field of study, but one which is vital for systematic landscape planning. This is especially true with regard to tourism, which is particularly sensitive to landscape considerations. Both the article's analysis from the point of view of human geography, and the process by which the individual and the collective group perceive and engage in an aesthetic evaluation of the landscape, are of fundamental importance to any interaction with the landscape

Esporte como experiência estética e educativaEsporte educativa: uma abordagem fenomenológica

This paper deals with sport as a possibility of disclosing the sensible, and defends the idea that being a sportsperson equals living an aesthetic and educative experience in which one can interacts with the sensible by the athletic body s reverberation of sensations in the dimension of the experienced. We try to answer, in our work, basically three questions: what moves the athlete when practicing a sport? Which are the meanings and motivations for the practice of sports? At what measure the athlete s experience gains an educational character? Sport is debated in this work as an extension of the living, as long as it tries to understand the meanings inherent to sport itself as well as to the sportive experience as a kind of education. In support of our argument, we give a theoretic and philosophical approach to our thesis, based on thinkers like Maurice Merleau-Ponty, Walter Benjamin, Marcel Mauss and Friedrich Schiller. For this purpose, we get support on the phenomenology of the French philosopher Maurice Merleau-Ponty. Our reference is the living world of the athlete and his experience as a field of the sensible. Our point of departure is the analysis of the narratives of sport experiences, including five aesthetic elements; time and space of the body in the sports courts; the look on the sportive context; the contact with the adversary; victory and defeat; the technical gesture. Besides it, we worked out an aesthetic evaluation of the movies Olympia and Invictus , what let us discuss three thematic categories: sensibility, emotions and the play paradox. Subsequently, we point sport as an optimizer of the sensible education, present on the body s processes, like the body in movement. It was also made clear along this paper that we tried to accomplish an analysis on sports centered in the athlete s body as an outfit of the senses to things related to the sensible, whose aesthetic experience overpasses any deterministic conception that should sum up the sportive world to mercantilization, discipline practices and mechanicism. This approach franchises gateways to a Physical Education which, containing sports as one of its support, let pupils enjoy the pleasure of constructing common objectives, incorporating the capacity of replicating, re-making and playing as a field of possibilities offered by an education characterized as being moving, sensible and fitful to a body in movement

Avaliação de uma nova abordagem cirúrgico-restauradora para tratamento de recessões gengivais associadas à lesão cervical não-cariosa: estudo clínico controlado randomizado

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

Appreciation of cleft lip and palate treatment outcome by professionals and laypeople

The aim of the study was to analyse the aesthetic evaluation of head photographs of treated individuals with clefts by laypeople and professionals and to investigate how certain cephalometric variables could be related to their rating. A set of five standardized head photos (frontal, both laterals, three-quater right and left) of 12 Caucasian patients with treated unilateral cleft lip and palate were presented to 12 adult laypeople, 12 orthodontists, and 12 maxillofacial surgeons. For each set of photos the judges had to answer four questions on a visual analogue scale (VAS). The answers were analysed for intra- and inter-panel level of agreement and correlations of assessments with certain cephalometric parameters were determined. There was a high level of agreement for all assessments of each panel of raters. However, laypeople were less satisfied with lip and nose aesthetics compared to professionals. The three groups were similarly satisfied with the aesthetics of the jaws and the face. The anterior position of the maxilla (SNA) influenced positively professionals' ratings of facial aesthetics. Orthodontists were negatively influenced when the vertical dimension of the face or the distance of the lower lip to E-plane were relatively increased. The latter was the only cephalometric parameter correlated with lower aesthetic scores obtained from laypeople. Professionals report greater satisfaction from the treatment outcome and evaluate cleft consequences with less severity than laypeople. According to cephalometric findings, the relative positions of the lips seem to dominate facial aesthetics' appreciation by laypeople, while specialists appear to focus on different features of the face.

"When we like what we know – A parametric fMRI analysis of beauty and familiarity"

This paper presents a neuroscientific study of aesthetic judgments on written texts. In an fMRI experiment participants read a number of proverbs without explicitly evaluating them. In a post-scan rating they rated each item for familiarity and beauty. These individual ratings were correlated with the functional data to investigate the neural correlates of implicit aesthetic judgments. We identified clusters in which BOLD activity was correlated with individual post-scan beauty ratings. This indicates that some spontaneous aesthetic evaluation takes place during reading, even if not required by the task. Positive correlations were found in the ventral striatum and in medial prefrontal cortex, likely reflecting the rewarding nature of sentences that are aesthetically pleasing. On the contrary, negative correlations were observed in the classic left frontotemporal reading network. Midline structures and bilateral temporo-parietal regions correlated positively with familiarity, suggesting a shift from the task-network towards the default network with increasing familiarity.

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.

Aesthetic correction of a hypertrophic sinus frontalis: A long-term follow-up evaluation and refinement of the method

Two cases treated for hypertrophy of the frontal sinus are presented. In both patients, the excised frontal bone was inverted, and the resultant cavity was filled with either bone dust from the parietal region or Medpor. The first patient is shown with an excellent result after a follow-up period of 16 years. The second patient, who also achieved an excellent result, is presented after a follow-up period of 5 years. Using Medpor instead of bone dust resulted in the advantage that the operation could be performed with the patient under local anesthesia with sedation and prevention of an additional donor site. The use of Medpor has certain advantages over the use of hydroxyapatite, not least of which is its significant lower cost.