Aesthetic Desires Research Articles

African-American Rhinoplasty

Increased width, loss of definition, and lack of projection characterize the stereotypical African-American nose. Early rhinoplasty surgeons attempted strict adherence to neoclassical aesthetic ideals. However, in reality, the anatomy and aesthetic desires of these patients are much more complex. Building dorsal height, achieving nasal tip definition amidst thick skin, and producing a more aesthetically pleasing alar base are the major challenges. Surgical planning should be sensitive to both individual and cultural differences in aesthetic perception and expectations. Here we describe the techniques used by the senior author (R.W.H.K.).

Prime Objects and Body Doubles

In an age of historical amnesia, media spin, photo hoaxes, and dilute art criticism, what passes as innovation in the art world's parlance is, to say the least, questionable. What, then, qualifies as “the inventive,” particularly in an experimental system such as visual art? If the practice of art is seen as a dynamic of changing attitudes, perspectives, and aesthetic desires, artists might well turn to George Kubler's notion of “prime objects” for one generative answer.1 Prime objects, in Kubler's formulation, may be considered the material by-products of alternative propositions that have been previously neither stated nor possible. Are such speculative solutions the creative engines often driving the ontological structure of objects, works of art included? Or to pose the question in more cynical guise, do such interrogative suppositions even matter at a time when “art fairs are the new disco”?2

Development of a ubiquitous fashionable computer recording jacket design

The objective of this study is to develop a ubiquitous fashionable computer (UFC), which the customers can conveniently use in a ubiquitous environment and by which their aesthetic desires can be satisfied, thereby making future human life more convenient and abundant. UFC refers to a computer fashion product that is both functional and fashionable, making a ubiquitous environment possible. In this study, in an effort to develop UFC technology, recording jackets with recording and MP3 player functions were made. Following an analysis of the design trends of 2009, two themes were selected and then applied to each type of recording jacket. To reflect customers' detailed needs for the jackets, questionnaires and in-depth interviews were performed to enhance the commercial value of the jackets. On the basis of these results, some revisions and supplements were made to make a final sample.

Jesus tem dentes metal-free no país dos banguelas?: odontologia dos desejos e das vaidades

This paper describes how dentistry in Brazil currently participates in the transformations of the object of its activity into commodities with which consumers can indulge their aesthetic desires. It explores the construction of the dental object of desires and its relationship with the dentist and the patient-consumer in the contemporary world. The paper makes explicit the role of the mega-dental congresses, which provide a biotechnological self-service that allure and seduce, creating uniform consumer values eager for the new offerings from dental surgeons. Also analyzes the role of the media in dental practices. It concludes that the individuation of the dental surgeon has generated a petrified ontology and fragmented epistemology. The paper presents some pressing tasks for the academic and professional sectors and society as a whole, such as the development of strategies and discussion about communication related to oral health.

Finding Cage at Ryōan-ji Through a Re-Modelling of "Variations II"

Finding Cage at Ryoan-ji Through a Re-Modelling of Variations II Michael Fowler John Cage's 1983 work for oboe and percussion, Ryoanji, is a musical analog to a famous dry garden inKyoto and is described by the composer as a musical translation of the karesansui (Japanese rock garden) at the temple. The nature of the work's relationship to the garden presents an interesting paradigm given the work is a musical representation of the site, though not constructed using any information literally sampled from the garden itself.Given the nature of abstraction inherentwithin the garden, Cage's desire for representation inRyoanjTs apparent spatial aesthetics might be equally facilitated through a re modelling of the karesansui using tools the composer developed in his former Variations series. Finding Cage at Ryoan-ji 175 1. Introduction Cage's interest in Japanese aesthetics and Zen Buddhism is perhaps the most cited characteristic of the composer's working method. His early encounters with the venerable Zen scholar Daisetz Suzuki at Columbia University in the early 1950s, and subsequent visits to Japan, have been largelydocumented by numerous writers, aswell as by Cage himself. Nevertheless, the scale and impact with which Zen pervaded the composer's musical output was generally confined to an abstraction of the principles of the religion. Cage chose to focus on concepts he found most valuable to his compositional aesthetic?in using chance methods, one could theoretically compose without intention, in the manner of Zen's no-mindedness (a state that Cage understood as the negation of memory and taste). Indeed, there is a type of Zen devotional music (Honkyoku) with a repertory created for the shakuhachi (Japanese bamboo flute) by Zen monks of the fifteenth Century. This canon was created to facilitate suizen (attaining self-realization through playing the shakuhachi) and was common among the Fuke sect. Interestingly, Cage never drew on this tradition, nor its repertoire specifically, but assumed a musical methodology that approached the act of composition in the same manner: as ritual. The many working methods that Cage used in his music, visual art, and poetry were designed to facilitate open-ended processes thatwere ostensively unintentional. Given the nature of the composer's desire to implement Zen concepts into his musical practise, Cage's encounter with the famous karesansui at the temple of Rydan-ji inKyoto, isunusual in the fact that it resulted in the creation of a purely representational musical object. Ryoanji is a literal translation of the temple's dry garden intomusic, inwhich all the aspects of the space have a composed sonic equivalent. After many years of experimenting wtih a musical method thatwas non-representational and that eschewed any discrete narrative, the lure and impact of the karesansui produced a distinct and significant manifesto to which the musical work Ryoanji points back directly as a media translation of the karesansui at Ryoan-ji. 2. The Garden at Ryoan-ji Many other composers have been equally fascinated with the dry land scape gardens of Japan. Kaija Saariaho and Toru Takemitsu have both composed works based on Japanese gardens and similarly, numerous sound artists have created works in response to the aesthetics of Japanese dry garden design.1 I 76 PerspectivesofNew Music The karesansui at the temple complex of Ryoan-ji (The temple of the peaceful dragon) is a supreme example of a Muromachi (1336-1573) style dry landscape. Created sometime in the late fourteenth Century by anonymous Kawar a mono (garden workers), the garden is a large rectangular area inwhich a bed of raked sand contains fifteen rocks. The groupings of the rocks follows a predilection within Japanese aesthetics for odd numbering: a focal group of five elements, two groups of three elements, and a further two groups of two elements each. The dry garden at Ryoan-ji was perhaps a significant influence forCage, given its uniqueness. The garden represents a divergence in design principles from that of the large classical pond gardens of theHeian period (794 1185). The recently established sect of Zen Buddhism had calmly spread throughout the country, acquiring landscape paintings and painting techniques from China, as well as implementing their physical manifestation in a new form of contemplative garden, the karesansui...

Teaching Victorian Literature in the Context of Photography

Iwould argue that any discussion of realism and its relationship to Vic torian c lture necessitates a conside ation of pho ography; certainly, n helping students to navigate between the strangeness and the intimacy of Victorian literature, I've found putting it in the context of photography to be extremely useful. The camera was a shaping force, and its images served as a site of contest regarding the nature of the real. As evidence of the pervasiveness of that contest, photography's metaphors are to be found throughout Victorian writing. Literally, of course, photographs make tangible our perceptions about the nature of reality; they express philosophical beliefs and aesthetic desires, and offer an acute reminder of shared humanity and mortality. As much as the nineteenth century may be strange and distant to our students, photographs allow them to establish a kind of intimacy with the Victorians, while they may also suggest to us the limits of our own perception. My intention here is to share with you some of the ways that thinking broadly about the advent of photography, and looking specifically at individual Victorian photographs, can prove useful to a range of issues that emerge in the course of teaching nineteenth-century novels and poems. These are not recommendations for a class that is on Victorian photography per se, but are simply reflections on how the subject of photography can inform and assist the teaching of nineteenth-century literature.

The Eurasian Nose: Aesthetic Principles and Techniques for Augmentation of the Asian Nose with Autogenous Grafting

Nasal augmentation is a highly popular technique used among Asian patients to change the characteristic flat Asian nose to a more prominent nose. The extent of augmentation is determined by the aesthetic desires of the patient, and the method of augmentation is provided by the surgeon, who takes into account the technical limitations of his or her preferred technique and the proposed surgical result. Although a silicone prosthesis is the most common implant used to improve the nasal appearance, the author prefers an autogenous approach with the olecranon bone used as a dorsal implant and conchal cartilages used to improve nasal tip projection because of the long-term stable results. A series of 31 cases over 15 years is reviewed. The technique varies little from that described for saddle nose by Hodgkinson in 1992 [5]. The procedure is a variation of the ulnar donor site originally described by Antia et al. [1].

Homosociality and the Aesthetic in Henry James'sRoderick Hudson

In Henry James's Roderick Hudson (1875), the connection between art and life is made manifest by the relationship between the sculptor Roderick Hudson and his repressed, psychically split patron, Rowland Mallet. In this essay I explore the heretofore unnoticed connections between the dynamics of same-sex desire and the aesthetic concerns of James's novel. I argue that the novel's aesthetic is mirrored in its representation of homosocial bonds and Catholicism. For Rowland Mallet aestheticized Catholicism and the homoeroticized patron-artist relationship are means of palliating his psychological and sexual fragmentation. Patronage allows the idle Rowland to become a creator at a remove and to consummate his aesthetic desires. Moreover, patronage confers a socially and contractually sanctioned "right to sight," whereby Rowland can satisfy his scopophilic tendencies by watching his ward and his works. The patron-artist relationship in the novel can therefore be read as a same-sex enactment of the myth of Pygmalion and Galatea, a motif that James had rehearsed in stories preceding Roderick Hudson.

BOTOX use in the mid and lower face and neck.

BOTOX is the universally accepted gold standard treatment for upper facial rejuvenation. BOTOX application in the mid and lower face and neck is a more advanced treatment requiring a detailed knowledge of underlying facial muscular anatomy and function as well as the patient's aesthetic desires and an ability to interpret the effects of BOTOX chemodenervation on their function.

Nostalgia for the Future

Nostalgia for the Future

Aesthetic Guidelines for Older Bridges

As the nation's infrastructure ages, many older bridges face rehabilitation or replacement. Many of these structures have historical significance, and others have become community landmarks. Distinctive metal truss bridges and various concrete arch bridges still grace the nation's highways, but they are rapidly disappearing because they cannot meet the safety requirements of modern highway usage. As a result, where roadway and river crossings were once defined by expressive, sometimes monumental spans that made the passage truly an experience, travelers now speed efficiently over unobtrusive structures, often unaware they were ever on a bridge. Engineers are becoming increasingly aware of the undercurrent of public sentiment for preserving these links to the past. Opposition to replacement can delay needed improvements for months and even years, but it can be overcome by incorporating the existing bridge into alternative solutions that meet both the functional needs and the aesthetic desires of the commun...

Aesthetic Guidelines for Older Bridges

As the nation's infrastructure ages, many older bridges face rehabilitation or replacement. Many of these structures have historical significance, and others have become community landmarks. Distinctive metal truss bridges and various concrete arch bridges still grace the nation's highways, but they are rapidly disappearing because they cannot meet the safety requirements of modern highway usage. As a result, where roadway and river crossings were once defined by expressive, sometimes monumental spans that made the passage truly an experience, travelers now speed efficiently over unobtrusive structures, often unaware they were ever on a bridge. Engineers are becoming increasingly aware of the undercurrent of public sentiment for preserving these links to the past. Opposition to replacement can delay needed improvements for months and even years, but it can be overcome by incorporating the existing bridge into alternative solutions that meet both the functional needs and the aesthetic desires of the community. When an older bridge is to be part of the new crossing solution, what are the aesthetic considerations for the bridge designer or the project manager? The aesthetic impact of various alternative solutions involving older bridges is discussed, including compatibility of parallel structures when different bridge types are involved, importance of viewpoints, and aesthetic impact of various preservation measures such as cathodic protection. In addition, guidelines are provided and examples of various solutions are shown.

Dental plaque ? associated infections and antibacterial oral hygiene products

Synopsis Dental plaque accumulates on hard non-shedding surfaces such as teeth, dentures and orthodontic appliances. This accumulation is facilitated by the absence of adequate oral hygiene procedures. The term 'plaque' describes a mass of microorganisms embedded in an organic matrix of host and microbial origin. In addition to the aesthetic desirability of 'clean teeth, healthy gums and fresh breath' associated with the absence of plaque, obvious consequences of the presence of plaque include tooth decay (dental caries), gingivitis and periodontal (gum) disease and denture associated problems. Thus the prevention of plaque formation, the reduction of plaque accumulation and the effective removal of plaque are considerations of the cosmetic and health professions alike. There are many oral hygiene products available to the general public - toothpastes, mouthwashes, denture cleaners, and, more recently, chewing gums and novel mouthwashes. Several of these products have antimicrobial components. This paper reviews the microbiology of plaque and plaque associated problems, and surveys the type of products currently available for maintenance of good oral hygiene. Potential areas for future development are also explored.

From Patria to Matria: Elizabeth Barrett Browning's Risorgimento

Though some Victorian readers believed that Elizabeth Barrett Browning's partisanship for “the cause of Italy” led to a failure of inspiration, I argue that for a complex of reasons Italy became the embodiment of this woman poet's aesthetic and utopian desires: through her commitment to Italy's revolutionary struggle for political identity, Barrett Browning reenacted her own struggle for identity, a risorgimento that was, like Italy's, both an insurrection and a resurrection. Moreover, by using metaphors of the healing of a wounded woman/land to articulate both the reality and the fantasy of her own revitalization, Barrett Browning located herself in a re-creative female poetic tradition that descends from Christine de Pizan to H. D. Infusing supposedly asexual poetics with the dreams of a distinctively sexual politics, these women imagined nothing less than the transformation of patria into matria and thus the risorgimento of the lost land that Christina Rossetti called the “mother country.”

The value of worldwide pesticide residue monitoring systems

Abstract

Maxwell's displacement current and his theory of light

Every physics student knows Maxwell added a term to Ampere's law. The original law related the magnetic force to the conduction current. Maxwell's new term is the time rate of change of displacement. The resultant version of the law thus relates the magnetic force to the total current, the sum of the conduction and displacement currents.* Yet, though physicists are correctly taught that this addition was Maxwell's, they are usually misinformed about the reasons which led him to make it. Two explanations are particularly common. The first is that Maxwell changed Ampere's law because of an aesthetic desire to give the electromagnetic equations a greater symmetry. The addition of the time rate of change of displacement brings the law into closer analogy with Faraday's law, which relates the time rate of change of magnetic induction to the electric force.** The trouble with this explanation is that Maxwell's equations, as first collected together, exhibit no symmetry between Ampere's and Faraday's laws. This is because Faraday's law does not appear. Instead, there are equations for the magnetic induction and electric force separately, in terms of the vector and scalar potentials [1]. The second explanation commonly offered is that Maxwell compared Ampere's law in its original form with the equation for the continuity of charge, and realized the two were inconsistent*** [2]. Now Maxwell did compare these equations in 1856, as we shall see later, but he did not draw the conclusion that they were incompatible and that consequently Ampere's law must be altered. He did not alter Ampere's law for another five years.

SCULPTURALLY MOLDED SYNTHETIC IMPLANTS IN PLASTIC SURGERY

As plastic surgery has progressed, various materials have been used for surgical implants designed to raise the skin and obliterate facial defects caused by loss of tissue. The materials most commonly used have been: Paraffin. Paraffin has been used in saddle noses in the form of a heavy oil or a wax with a low melting point. It was injected under the skin with a syringe, molded to shape with the fingers and permitted to solidify. This procedure satisfied the esthetic desires of the patient and of the doctor, but the effects were transient at best. The paraffinoma which almost always resulted from this maneuver was difficult to remove and tended to become carcinomatous. As the procedure is a relatively easy one, unskilled and unscrupulous operators have even injected this material into the saddle noses of syphilitic patients (fig. 1). Celluloid. Ivory. Celluloid and ivory, synthetic and animal material,