Integração dos componentes curriculares Escultura Dental e Prótese Parcial Removível no desenvolvimento de material didático auxiliar para a pré-clínica / Integración de los componentes curriculares Escultura Dental y Prótesis Parcial Removible en el desarrollo de material didáctico auxiliar para el preclínico / Integration of Dental Sculptureand Removable Partial Denture courses in developing instructional material for pre-clinical use

O objetivo deste relato de experiência foi integrar os componentes curriculares Escultura Dental e Prótese Parcial Removível por meio da confecção de macromodelos com nichos em dentes anteriores e posteriores a serem usados como material didático auxiliar.A metodologia teve abordagem descritiva. Foram confeccionados macromodelos em cera dos seguintes elementos dentários: caninos superiores e inferiores, pré-molar superior e molares superiores e inferiores. Em seguida, nichos foram preparados nos elementos,reproduzindo as características da etapa de Preparo de Boca Tipo II ou Protético. Macromodelos com as características individuais de nichos oclusais simples e duplo (interdental) em dentes posteriores foram obtidos, bem como com nichos em cíngulos, tanto confecionados por desgaste como por acréscimo. Diante do conhecimento da anatomia dental e a habilidade manual desenvolvidos na Escultura Dental, os macromodelos confeccionados permitiram uma melhor visualização das características morfológicas dos nichos,sendo considerado um recurso complementar no processo ensino-aprendizagem em Prótese Parcial Removível (AU).

El objetivo de este relato de experiencia fue integrar los componentes curriculares Escultura Dental y Prótesis Parcial Removible mediante la creación de macromodelos con nichos en dientes anteriores y posteriores para ser utilizados como material didáctico auxiliar. La metodología tuvo un enfoque descriptivo. Se realizaron macromodelos en cera de los siguientes dientes: caninos superiores e inferiores, premolares superiores y molares superiores e inferiores. A continuación, se prepararon nichos en los elementos, reproduciendo las características de la etapa de Preparación de la Boca Tipo II o Prótesis. Se obtuvieron macromodelos con las características individuales de nichos oclusales simples y dobles (interdentales) en dientes posteriores, así comonichos en cingulados, ambos creados por desgaste y adición. Dado el conocimiento de la anatomía dental y la habilidad manual desarrollada en la Escultura Dental, los macromodelos realizados permitieron una mejor visualización de las características morfológicas de los nichos, considerándose un recurso complementario en el proceso de enseñanza-aprendizaje en Prótesis Parcial Removible (AU).

The objective of this experience report was to integrate the curricular components of Dental Sculpture and Removable Partial Dentures through the creation of macromodels with rest seat in anterior and posterior teeth to be used as auxiliary teaching material. The methodology had a descriptive approach. Wax macromodels were made of the following teeth: upper and lower canines, upper premolar and upper and lower molars. Next, rest seats were prepared in the elements, reproducing the characteristics of the Type II or Prosthetic Mouth Preparation stage. Macromodels with the individual characteristics of single and double (interdental) occlusal rest seats in posterior teeth were obtained, as well as rest seats in cingulum, both created by wear and with composites. Given the knowledge of dental anatomy and the manual skill developed in Dental Sculpture, the macromodels made enabled better visualization of the morphological characteristics of the rest seats, being considered a complementary resource in the teaching-learning process in Removable Partial Prosthesis (AU).

Técnicas para prática de escultura dental / Techniques for the practice of dental sculpture / Técnicas para la práctica de la escultura dental

Objetivo: Caracterizar e diferenciar as técnicas de escultura dental, bem como descrever as etapas da ceroplastia de dentes. Revisão Bibliográfica: As principais técnicas encontradas foram: Técnica de escultura regressiva de dentes isolados em cera; técnica progressiva; técnica de ceroplastia em dentes articulados no manequim; enceramento progressivo em molde de gesso; enceramento progressivo com a oclusão dente-a-dente, cúspide-fossa; técnica de escultura de dentes articulados (restaurações unitárias); técnica de escultura de dentes articulados (restaurações múltiplas). No geral, o material e instrumental utilizados nas práticas de escultura são definidos pelo corpo docente do componente curricular Escultura Dental, e alguns desses diferem de uma universidade para outra, assim como o passo a passo seguido. Para o alcance da completa e correta escultura, faz-se necessário seguir a sequência evitando ultrapassar uma etapa sem antes haver cumprido com plena observância dos detalhes o passo imediatamente anterior. Considerações finais: Não houve uma técnica de escultura dental padrão a ser aplicada, entretanto acredita-se que a técnica de ceroplastia em dentes articulados no manequim destaca-se na prática laboratorial, pois os dentes a serem esculpidos precisaram respeitar o tamanho, a relação de oclusão, a relação interdental e o alinhamento, de forma a simular um procedimento clínico.

Objective: To characterize and differentiate dental carving techniques, as well as describe the stages of wax-up of teeth. Bibliographic Review: The main techniques found were: Technique of regressive sculpture of isolated teeth in wax; progressive technique; wax-up technique on articulated teeth on the dummy; progressive waxing in plaster mold; progressive waxing with tooth-to-tooth, cusp-fossa occlusion; articulated teeth sculpting technique (single restorations); articulated teeth sculpting technique (multiple restorations). In general, the material and instruments used in sculpting practices are defined by the faculty of the Dental Sculpture curricular component, and some of these differ from one university to another, as well as the step by step followed. In order to achieve a complete and correct sculpture, it is necessary to follow the sequence, avoiding going beyond a stage without first having completed the immediately preceding step in full observance of the details. Final considerations: There was no standard dental sculpting technique to be applied, however, it is believed that the wax-up technique on articulated teeth on the dummy stands out in laboratory practice, as the teeth to be sculpted needed to respect the size, the relationship of occlusion, interdental relationship and alignment, in order to simulate a clinical procedure.

Objetivo: Caracterizar y diferenciar las técnicas de tallado dental, así como describir las etapas del encerado de los dientes. Revisión Bibliográfica: Las principales técnicas encontradas fueron: Técnica de escultura regresiva de dientes aislados en cera; técnica progresiva; técnica de encerado en dientes articulados en el maniquí; encerado progresivo en molde de yeso; encerado progresivo con oclusión cúspide-fosa diente a diente; técnica de esculpido de dientes articulados (restauraciones individuales); Técnica de esculpido de dientes articulados (restauraciones múltiples). En general, los materiales e instrumentos utilizados en las prácticas de escultura son definidos por la facultad del componente curricular de Escultura Dental, y algunos de estos difieren de una universidad a otra, así como el paso a paso seguido. Para lograr una escultura completa y correcta, es necesario seguir la secuencia, evitando pasar de una etapa sin haber completado antes el paso inmediatamente anterior con total atención a los detalles. Consideraciones finales: No existía una técnica de esculpido dental estándar a aplicar, sin embargo, se cree que la técnica de encerado sobre dientes articulados sobre el maniquí se destaca en la práctica de laboratorio, ya que los dientes a esculpir debían respetar el tamaño, la relación de oclusión, relación interdental y alineación, con el fin de simular un procedimiento clínico. PALABRAS CLAVE: Corona del Diente; Escultura; Anatomía Artística.

Una escultura de Juan José Sicre Vélez para honrar al doctor Carlos J. Finlay Barrés / One sculpture of Juan José Sicre Vélez to honor Doctor Carlos J. Finlay Barrés

Los artistas cubanos han dedicado obras de variados géneros para homenajear al doctor Carlos J. Finlay Barrés y su meritorio trabajo investigativo sobre la fiebre amarilla, enfermedad causante de epidemias y defunciones, en su época, en Cuba y otros países. Las artes plásticas tienen una sustancial impronta en reconocimientos al sabio, lo que hace usual su presencia en obras escultóricas del paisaje urbanístico cubano. Entre estas, se destaca por su belleza y localización, la del escultor Juan J. Sicre Vélez. Este trabajo tiene como objetivo contribuir al conocimiento de la obra escultórica dedicada por Sicre al sabio y destacar su trascendental significación para la medicina y la ciencia cubana. La escultura y su temática por su significación para la medicina y la ciencia realzan la identidad cultural de la nación cubana. Su emplazamiento en áreas del Hospital Militar Central Dr. Carlos J. Finlay, en Marianao, tiene simbolismo por ser la localidad donde Finlay desarrolló la mayor parte de las investigaciones conducentes a su teoría sobre el modo de contagio y el agente transmisor de la fiebre amarilla. La obra escultórica es también un hermoso homenaje a los médicos y trabajadores de la salud que prestan servicios médicos humanitarios en Cuba y en otros países. Por su contenido estético y temático, la escultura es un estimable recurso didáctico para desarrollar las estrategias educativas en la formación del personal de la salud(AU)

Cuban artists have dedicated works of various genres to honor Dr. Carlos J. Finlay Barrés and his meritorious investigative work on yellow fever, a disease that causes epidemics and deaths, in its time, in Cuba and other countries. The plastic arts have a substantial mark in recognizing the sage, which makes their presence usual in sculptural works of the Cuban urban landscape. Among these, the one of the sculptor Juan J. Sicre Vélez stands out for its beauty and location. This work aims to contribute to the knowledge of the sculptural work dedicated by Sicre to the sage and highlight its transcendental significance for Cuban medicine and science. The sculpture and its theme due to its significance for medicine and science enhance the cultural identity of the Cuban nation. Its location in areas of the Central Military Hospital Dr. Carlos J. Finlay, in Marianao, has symbolism for being the town where Finlay developed most of the research leading to his theory on the mode of contagion and the transmitting agent of yellow fever. The sculptural work is also a beautiful tribute to the doctors and health workers who provide humanitarian medical services in Cuba and in other countries. Due to its aesthetic and thematic content, sculpture is a valuable didactic resource to develop educational strategies in the training of health personnel(AU)

The developmental variations of the sagitta otolith in the young and mature male of a hermaphrodite polynemidae fish, Eleutheronema tetradactylum (Shaw, 1804)

The Eleutheronema tetradactylum is a protandrous, hermaphrodite, marine perciformes fish. The body length of this fish acts as an important diagnostic marker for male and female discrimination. The present study describes for the first time the ultrastructural characteristics on the medial surface of the sagitta otolith in different body size groups of males of E. tetradactylum (Polynemidae: Perciformes) using scanning electron microscopy. The sagitta is a spindle-shaped structure that includes a well-developed rostrum and a poorly developed antirostrum. The sulcus is ostio-pseudocaudal type, almost straight and devoid of the collum. The ostium is a well-developed, vase-shaped structure. The cauda includes the colliculum and a well-developed caudal bulb with several distinct growth stripes. The length of the caudal bulb is significantly correlated to the growth of the body size of the fish. The excisura major is indistinct and the excisura minor is absent. The cristae are distinct on both sides of the sulcus. The one-way ANOVA test revealed that the development of several sagitta features shows significant differences in various body size groups of E. tetradactylum. The growth of the sagitta length is more closely related to the fork length than the sagitta width. Therefore, the sagitta length and the caudal bulb length can be used as important predictors to evaluate the fish size. The cauda region of the sagitta in E. tetradactylum is unique as well as more decorative than those of another Polynemidae fish and other hermaphrodite, marine perciformes fishes. The sagitta characteristics of E. tetradactylummight be advantageous in the identification of the sex and the taxonomy of the hermaphrodite fish species.(AU)

The developmental variations of the sagitta otolith in the young and mature male of a hermaphrodite polynemidae fish, Eleutheronema tetradactylum (Shaw, 1804)

Abstract The Eleutheronema tetradactylum is a protandrous, hermaphrodite, marine perciformes fish. The body length of this fish acts as an important diagnostic marker for male and female discrimination. The present study describes for the first time the ultrastructural characteristics on the medial surface of the sagitta otolith in different body size groups of males of E. tetradactylum (Polynemidae: Perciformes) using scanning electron microscopy. The sagitta is a spindle-shaped structure that includes a well-developed rostrum and a poorly developed antirostrum. The sulcus is ostio-pseudocaudal type, almost straight and devoid of the collum. The ostium is a well-developed, vase-shaped structure. The cauda includes the colliculum and a well-developed caudal bulb with several distinct growth stripes. The length of the caudal bulb is significantly correlated to the growth of the body size of the fish. The excisura major is indistinct and the excisura minor is absent. The cristae are distinct on both sides of the sulcus. The one-way ANOVA test revealed that the development of several sagitta features shows significant differences in various body size groups of E. tetradactylum. The growth of the sagitta length is more closely related to the fork length than the sagitta width. Therefore, the sagitta length and the caudal bulb length can be used as important predictors to evaluate the fish size. The cauda region of the sagitta in E. tetradactylum is unique as well as more decorative than those of another Polynemidae fish and other hermaphrodite, marine perciformes fishes. The sagitta characteristics of E. tetradactylum might be advantageous in the identification of the sex and the taxonomy of the hermaphrodite fish species.

The developmental variations of the sagitta otolith in the young and mature male of a hermaphrodite polynemidae fish, Eleutheronema tetradactylum (Shaw, 1804)

Abstract The Eleutheronema tetradactylum is a protandrous, hermaphrodite, marine perciformes fish. The body length of this fish acts as an important diagnostic marker for male and female discrimination. The present study describes for the first time the ultrastructural characteristics on the medial surface of the sagitta otolith in different body size groups of males of E. tetradactylum (Polynemidae: Perciformes) using scanning electron microscopy. The sagitta is a spindle-shaped structure that includes a well-developed rostrum and a poorly developed antirostrum. The sulcus is ostio-pseudocaudal type, almost straight and devoid of the collum. The ostium is a well-developed, vase-shaped structure. The cauda includes the colliculum and a well-developed caudal bulb with several distinct growth stripes. The length of the caudal bulb is significantly correlated to the growth of the body size of the fish. The excisura major is indistinct and the excisura minor is absent. The cristae are distinct on both sides of the sulcus. The one-way ANOVA test revealed that the development of several sagitta features shows significant differences in various body size groups of E. tetradactylum. The growth of the sagitta length is more closely related to the fork length than the sagitta width. Therefore, the sagitta length and the caudal bulb length can be used as important predictors to evaluate the fish size. The cauda region of the sagitta in E. tetradactylum is unique as well as more decorative than those of another Polynemidae fish and other hermaphrodite, marine perciformes fishes. The sagitta characteristics of E. tetradactylum might be advantageous in the identification of the sex and the taxonomy of the hermaphrodite fish species.

Macromodelos odontológicos impressos em 3D como recurso complementar ao ensino em escultura dentária / 3D printed dental macromodels as a complementary resource for teaching dental sculpture

A diversificação das práticas pedagógicas visa o aprimoramento do processo de ensino. Novas metodologias, que favoreçam o interesse dos alunos e que proporcionem melhor compreensão, podem ser ferramentas importantes no processo ensino-aprendizagem. O objetivo desse estudo foi avaliar a percepção dos estudantes sobre o uso de macromodelos odontológicos, confeccionados com impressora 3D, como recurso complementar de ensino na disciplina Escultura Dentária, no curso de graduação em Odontologia da FACIPLAC. A amostra foi composta por 44 estudantes, matriculados no quinto período. Foram produzidos 44 conjuntos com quatro macromodelos, sendo um incisivo central, um canino, um primeiro pré-molar e um primeiro molar, todos superiores, confeccionados em material plástico colorido e resistente. Os conjuntos foram entregues aos estudantes no início de cada aula e utilizados para demonstração das estruturas anatômicas, visando à melhor fixação do conhecimento, sendo recolhidos posteriormente. Ao final do semestre letivo foi aplicado um questionário relativo ao aproveitamento do uso dos macromodelos, com resposta de 38 estudantes. Os resultados indicam que o uso dos macromodelos foi válido como recurso facilitador da compreensão da técnica de escultura dentária; contribuindo com o processo de aprendizagem em comparação ao uso de diapositivos; destacando as dificuldades no aprendizado; auxiliando na sedimentação dos conceitos das formas geométricas das estruturas dentárias. Os estudantes indicam seu uso, contudo consideram que não substitui a demonstração prática pelo docente (AU).

The diversification of pedagogical practices aimed at improving the teaching process. New methodologies, which favor the interests of tudents and to provide better understanding, can be important tools in the teaching and learning process. The aim of this study was to evaluate the perception of undergraduate dental students regarding the use of 3D-printed dental models as an additional resource for teaching dental sculpture at FACIPLAC. The sample consisted of 44 students enrolled in the fifth semester. A total of 44 sets were printed using four threedimensional models: maxillary central incisor, canine, first premolar and first molar, printed in plastic, resistant and colorful material. The sets were delivered to students at the beginning of each class and used to demonstrate the anatomical structures, collected at the end of the class, for improved memorization of knowledge. A questionnaire was applied regarding the use of the 3D models at the end of the school semester, and 38 answers were obtained. The research results indicated that the use of 3D models was a valid resource for facilitating technical understanding of dental sculpture; improved the learning process when compared to the use of slideshows; identified areas of greater difficulty in learning; contributed to the memorization of concepts and geometric shapes of tooth structures. Although students approved the use of 3D models, they did not replace practical demonstration (AU).

Teaching tools in dental carving: models, virtual resources, and interactivity / Ferramentas de ensino na escultura dentária: modelos, recursos virtuais e interatividade

This study aimed to access students' perception evaluating the usefulness of the Three-Stages Sculpture Geometric Technique and auxiliary tools to learn dental anatomy and the impact of this on their grades. Wax models and resources in the virtual environment, such as demonstration videos of carving technique, classes' files, online tests, and forums were offered to two groups of students. Students' perception was collected using a questionnaire. A comparison between their grades and the virtual resources' frequency use was made; between the grades of the two groups and between theirs and those obtained by a third group, which did not use these tools. Students rated favorably the technique, the wax models, the videos and the other resources offered in a virtual environment. The models were considered more efficient as an aid to learning than were the videos, with a significant difference. There was no relation between the frequency to the videos and also to the other virtual resources offered, and the results in grades of the students of Group A and B. The mean grade of both Groups did not differ. There was a positive difference on final grade of Group B students who visited all the virtual resources offered compared with those that didn't. The applied carving technique provided and facilitated learning of dental anatomy and the aid given by the models was more efficient. Interactivity seemed expendable to improve results in grades (AU).

O objetivo desse estudo foi o de verificar a percepção do aluno quanto à utilidade da Técnica Geométrica de Escultura em Três Fases e de alguns recursos auxiliares para aprender anatomia dentária e o impacto desse uso no resultado em notas. Modelos de cera e recursos no ambiente virtual, como vídeos de demonstração da técnica de escultura, arquivos das aulas, testes online e fóruns foram oferecidos a dois grupos de estudantes. A opinião dos alunos foi coletada usando um questionário. Foi realizada a comparação entre as notas obtidas e a frequência do uso dos recursos virtuais; entre as notas dos dois grupos e entre essas e as obtidas por um terceiro grupo, que não teve acesso a nenhuma dessas ferramentas. Os alunos avaliaram positivamente a técnica, os modelos, os vídeos e os demais recursos oferecidos no ambiente virtual. Os modelos foram considerados mais eficientes no auxílio ao aprendizado, com uma diferença significante. Não houve diferença entre a frequência aos vídeos e aos demais recursos virtuais oferecidos e o resultado em notas obtidas pelos estudantes dos Grupos A e B. Não houve diferença entre as médias entre os dois grupos. Houve uma discreta diferença positiva entre a nota final dos estudantes do Grupo B que visitaram todos os recursos virtuais oferecidos quando comparada aos demais, que não o fizeram. A técnica de escultura utilizada proporcionou e facilitou o aprendizado da anatomia dental e a ajuda oferecida pelos modelos foi considerada mais eficiente. A interatividade pareceu dispensável para o alcance desse objetivo (AU).

The art and neurology of Paul Richer / A arte e a neurologia de Paul Richer

ABSTRACT In the 1890s, one of Charcot's most important protégés, Dr. Paul Richer (1849-1933), drew and sculpted a series of representations of the main types of nerve pathology. That series included drawings of pleomorphic hysterical crises and sculptures depicting patients suffering from labio-glosso-laryngeal paralysis and myopathy, as well as Parkinson's disease. Richer was a resident at La Salpêtrière and, in 1882, became head of the Charcot museum. Early in his career, despite having no formal artistic training, he could represent masterfully, in drawings and sculptures, people's tragic suffering from neurological diseases. Later on, with the same tools, he expressed the beauty of human movements in health.

RESUMO Nos anos 1890, um dos mais importantes protegidos de Charcot, o doutor Paul Richer (1849-1933), desenhou e esculpiu uma série de representações figurativas dos principais tipos de patologia nervosa. Essa série incluiu desenhos de crises histéricas pleomórficas e esculturas de bustos representando pacientes que sofriam de doenças tais como: paralisia labio-glosso-laríngea, miopatia e doença de Parkinson. Richer foi residente de La Salpêtrière e, em 1882, foi nomeado chefe do museu de Charcot. Na primeira parte de sua carreira e sem qualquer treinamento artístico formal, ele conseguiu representar, como ninguém, em desenhos e esculturas, o trágico sofrimento das doenças neurológicas. Mais adiante, com as mesmas ferramentas, ele concebeu a beleza do movimento humano na saúde.

Morphology variation of Lutzomyia cruciata eggs (Diptera: Psychodidae: Phlebotominae) in southern Mexico.

The sand fly Lutzomyia cruciata has been associated with the transmission of Leishmania mexicana to humans in Mexico. This species has a wide distribution in Mexico occupying different microhabitats and environments. In this work comparisons of the egg exochorion of Lu. cruciata from different physiographic areas are presented. Study sites are from different states of southern Mexico. Exochorion analysis was carried out using scanning electron microscopy (SEM). Results show differences in the exochorionic pattern among samples from Veracruz (AVER), Yucatán (HOYU) and Chiapas (TACH). The morphotype "Chiapas" has a polygonal crest pattern, the morphotype "Veracruz" shows parallel and longitudinal crests with some or few connections, and the morphotype "Yucatán" has weak connections between crest ridges. These morphological differences could be the result of local adaptations or evidence of divergence within the nominal unit Lutzomyia cruciata.

Comparison Among Manual Facial Approximations Conducted by Two Methodological Approaches of Face Prediction.

This study verified the difference between two methods of forensic facial approximation (FFA) regarding recognition and resemblance rates. Three-dimensional models of skulls were obtained from computerized tomography (CT) scans of two subjects (targets). Two manual FFAs were performed for each target, by applying two different guidelines for the facial structures (what we called "American method" (AM) and "Combined method" (CM)). Unfamiliar assessors evaluated the sculptures by recognition and resemblance tests. The AM was that which allowed more correct responses of recognition and higher resemblance's scores for the male target (p < 0.001). Regarding guidelines for modeling characteristics of the face, the ones that are practical and easily performed for sculptures, such as the length of the anterior nasal spine multiplied by 3 for nose prediction, may offer better results in terms of resemblance.

Virtuous colours for Mary. Identification of lapis lazuli, smalt and cochineal in the Andean colonial image of Our Lady of Copacabana (Bolivia).

The image of Our Lady of Copacabana, a gilded polychrome sculpture carved in maguey wood in 1583, is one of the most important devotions in the Americas. In former research, we have identified the use of gypsum, Armenian bole, cerussite and atacamite in its polychromy. In this study, a red sample taken from the Virgin's tunic and a blue sample extracted from the cloak have been analysed with the aim to identify both pigments and offer insights into the painting technique. Analysis by micro-Raman spectroscopy complemented with scanning electron microscopy-energy dispersive spectroscopy and high-performance liquid chromatography allowed the identification of carmine lake in the red sample. Analysis by micro-Raman spectroscopy of the surface of the blue sample and its cross section showed the presence of smalt-the blue-glass pigment-over a cerussite layer, bathed by a very thin ultramarine layer-from a probable native origin-following a pictorial tradition that would last even until the eighteenth century. This is the first time that lapis lazuli has been scientifically identified in a Spanish American colonial painted layer.This article is part of the themed issue 'Raman spectroscopy in art and archaeology'.

Analysis of a Brazilian baroque sculpture using Raman spectroscopy and FT-IR.

In this study, samples were taken from the sculpture of Our Lady of Sorrows and analyzed by Raman spectroscopy and FT-IR. This sculpture has been dated to the early eighteenth century. Samples were also examined using optical microscopy and Energy Dispersive Spectroscopy (EDS). Based on chemical analysis, the pigments vermilion [HgS], massicot [PbO] and azurite [Cu3(CO3)2(OH)2]were found in the sculpture polychrome. The results indicate that the green polychrome of the sculpture's mantle comes from the blending of massicot and azurite. Because the literature reports that the mantle of the Our Lady of Sorrows sculpture is blue, the mixing of these pigments results from a production error. The results also indicate the presence of Au in the sculpture, which indicates the originality of the piece. The results from this study helped restorers to choose the appropriate procedures for intervening in the sculpture and contributed to the knowledge about the manufacturing process of Brazilian baroque sculptures.

El cuerpo humano en el "Moisés" de Miguel Ángel / The human body in Michelangelo's Moses

What grips us so powerfully to a work of art is the artist's intention, if he succeeds to express it in his work and we are able to understand it. Michelangelo's Moses established the essential structures of an animate organism and the embodiment of consciousness in the world. Since the body is an expressive unit, it is possible to reconstruct a highly feasible sequence of movements that might have preceded the moment caught in the statue. It is an expression of the highest ideal of mental and spiritual achievement through the controlled tension between action and restraint. The phenomenon of embodiment and feeling the body as own is the basis of concrete human existence.

A new species of Nassarius (Gastropoda, Nassariidae) from Canopus Bank, off Northeast Brazil

Nassarius levis sp. nov. is described from Canopus Bank, off Ceará, Northeast Brazil, based on shell morphology. It differs from other Brazilian species of the genus in having a more elongate shell, with a weakly developed parietal shield and a notably smooth surface. This last trait has not yet been described among the Western Atlantic Nassarius, but it is common to other congeners from the Eastern Atlantic, such as Nassarius elatus (Gould, 1845) and the Indo-Pacific, such as Nassarius excellens (Kuroda & Habe, 1961).(AU)

Nassarius levis sp. nov. é descrita para o banco de Canopus, estado do Ceará, Brasil com base na morfologia da concha. Difere das outras espécies locais por apresentar uma concha mais alongada, com um escudo parietal pouco desenvolvido e uma superfície notavelmente lisa. Essa última característica ainda não foi descrita entre as espécies de Nassarius do Atlântico oeste, mas é comum a outros congêneres do Atlântico leste, como Nassarius elatus (Gould, 1845) e Indo-Pacífico, como Nassarius excellens (Kuroda & Habe, 1961).(AU)

A new species of Nassarius (Gastropoda, Nassariidae) from Canopus Bank, off Northeast Brazil

Nassarius levis sp. nov. is described from Canopus Bank, off Ceará, Northeast Brazil, based on shell morphology. It differs from other Brazilian species of the genus in having a more elongate shell, with a weakly developed parietal shield and a notably smooth surface. This last trait has not yet been described among the Western Atlantic Nassarius, but it is common to other congeners from the Eastern Atlantic, such as Nassarius elatus (Gould, 1845) and the Indo-Pacific, such as Nassarius excellens (Kuroda & Habe, 1961).

Nassarius levis sp. nov. é descrita para o banco de Canopus, estado do Ceará, Brasil com base na morfologia da concha. Difere das outras espécies locais por apresentar uma concha mais alongada, com um escudo parietal pouco desenvolvido e uma superfície notavelmente lisa. Essa última característica ainda não foi descrita entre as espécies de Nassarius do Atlântico oeste, mas é comum a outros congêneres do Atlântico leste, como Nassarius elatus (Gould, 1845) e Indo-Pacífico, como Nassarius excellens (Kuroda & Habe, 1961).

O design inteligente e a estratificação biomimética em restaurações diretas posteriores: consolidando a era pós-amálgama / Rational design and biomimetic layering of posterior composite restorations: consolidating the postamalgam era

No campo da dentística restauradora, muitas conquistas têm sido alcançadas, principalmente em relação à crescente conscientização dos pacientes quanto à possibilidade de se obterem restaurações mais funcionais e estéticas. O grande dilema tem sido como raciocinar clinicamente com esses novos conceitos, ou seja, modificar a abordagem antiga, que era baseada na ausência da verdadeira união. Quais conceitos clássicos devem permanecer vigentes nesse novo contexto? Mimetizar, em ciência, envolve permitir a cópia de um modelo que, na área odontológica, sem dúvida, é o dente intacto. Este artigo aborda a associação desse conceito com a técnica e a seleção dos materiais na prática clínica.

The increased awareness of patients for more functional and esthetic restorations led to a number of archievements that occurred in Restorative Dentistry. A major concern is how to clinically thinking on these new concepts, changing the old approach which was based on the lack of true adhesion. Which classical concepts should be maintained in this new context? Mimicking in science, involves a process of copying a model that, in the dental field, is in most cased an intact tooth. This article discusses the association of this concept with the technique and selection of materials in clinical practice.

O nosso círculo: fragmentos de uma escuta psicanalítica

O artigo apresenta o resultado de um ano de trabalho em um seminário clínico de formação de psicanalistas, do curso Formação em Psicanálise do Instituto Sedes Sapientiae. Nossa experiência, produções artísticas forma instrumentos para a construção da escuta do analista em formação. Três escutas de um caso clínico discutido pelo grupo evocaram diferentes ilustrações artísticas da literatura, da escultura e da música, respectivamente. Tais imagem, emergentes do singular e também do grupo, compuseram o processo de escuta uma experiência sensorial e associativa fundamental na formação de um escuta psicanalítica sensível(AU)

The article presentes the results of a full year´work in a clinical seminar for psychoanalysts´s traing, from the course “Formação em Psicanálise” in “Instituto Sedes Sapientae”. In this experience, artistic productions were instruments in the construction of the psychoanalyst listening. Theree distinct listenings of a clinical case discussed by the group evoked diferente artistic illustrations from literature, sculpture and music, respectively. The resulting images, which emerged from individuals and also from the group, made up the processo f listening and develop a narrative that transcendes the original case, setting up a sensory and associoative experience that is crucial to he constituition of a sensitive psychoanalytic listening

Sobre desertos, pedras, ilhas, vulcões / About deserts, rocks, islands, volcanoes

Este artigo trata da experiência dos personagens do filme A aventura, de Michelangelo Antonioni, na paisagem escultural da ilha Lisca Bianca, e traz como contraponto a experiência da obra Double negative, de Michael Heizer.

This article deals with the experience of the characters from Michelangelo Antonioni’s film The adventure at the sculptural landscape of the island Lisca Bianca, and has as a counterpoint the experience of Michael Heizer’s work Double negative.

Lygia Reinach responde / Lygia Reinach replies

Os processos de criação da obra da escultora Lygia Reinach são revelados pelas respostas que ela oferece às perguntas de arquitetos, artistas plásticos, paisagistas, críticos e arte, escritores, curadores, fotógrafos.

The creation processes of the work of the sculptress Lygia Reinach are revealed by the answers she provides to the questions raised by architects, plastic artists, landscapers, art critics, writers, curators, photographers.