Innovative Method of Alopecia Treatment by Using Adipose-derived Stromal Vascular Fraction (SVF) Cells

BackgroundAndrogenetic alopecia (AGA) is characterized by progressive reduction of hair density on the scalp through gradual conversion of terminal hairs into vellus hairs. Stromal vascular fraction (SVF) cells harvested from fat cells are one of the latest breakthroughs in the aesthetic field. This study aimed to present clinical cases for the treatment of alopecia areata by transplantation of SVF into the scalp.Objective To evaluate the efficacy of the use of the stromal vascular fraction (SVF) in androgenetic alopecia patients.Methods9 patients (age range 43-64 years; 4 men, grade IV to V and 5 women, grade I to III), who are suffering from AGA, have been treated with a single injection of autologous SVF in the upper scalp. Autologous SVF was generated and characterized before the injection of 7-8 × 106 cells into the scalp of the patient. Hair regeneration was assessed by three clinical tests: hair skin quality, hair thickness, and hair density at 3 and 6 months post-injection and compared to pre-injection results.ResultsHair density was significantly increased after 3 and 6 months post injection (P = 0.01 and P=0.009). The increase in thickness was notably seen at 6 months post injection (P = 0.02). Furthermore, a significant improvement in the score of keratin of scalp was seen in the treated side as compared to the nontreated side (p=0.032). No side effects were noted after treatment.ConclusionsA single treatment of SVF injected into the scalp of patients with AGA significantly increased hair density within 3 to 6 months. The obtained results prove the efficacy and the safety of the treatment, and satisfaction of the patients confirm the quality of the results.

I. Kant: perfection within the structure of the aesthetic field of metaphysics

The subject of this research is the interrelation between aesthetics and metaphysics as it is reflected in the Kantian transcendentalism. In the “Critique of Judgment”, Kant assumes that the representation of perfection does not correlate with such on the sense of delight; thus, in the first introduction to the “Critique of Judgment”, he is far from considering the solutions to the problem of interrelation between perfection and aesthetic sense of delight persuasive. However, the attitude towards perfection transforms in Kant's later works, the analysis of which demonstrates that the idea of perfection, in essence, is conceived as the method for founding the entire aesthetics, its initial category of the beautiful that coincides with the meaning of the aesthetic perfection the beauty is genuine. The metaphysics of perfection, contained in considered Kant’s work, offers a new perspective on the categorical apparatus of Kantian aesthetics, formed in the “Critique of Judgment”, and broadens the representation on Kantian aesthetics as part of transcendental metaphysics. The concept of perfection implies various aspects of metaphysical research, retaining its immanent qualities in the aesthetics. In predication as an act of modern aesthetic expression, it is difficult to determine any stages and structures that can correlate specifically to perfectionism. The question concerning the field of such correlations remains controversial, inclusive of modern Russian philosophy.

INDIVIDUAL EDUCATIONAL TRAJECTORY OF STUDENTS IN THE PROFILE SENIOR SCHOOL OF ART AND AESTHETIC FIELD OF TRAINING

The formula of the New Ukrainian School consists of nine key components, one of which is a personality-oriented model of education based on the child-centered ideas. This implies the maximum approximation of education and upbringing of a particular child to his essence, abilities and life plans, providing moral and psychological comfort, refusal to focus the educational process on the «average» student. Therefore, today in pedagogy the problem of individual educational trajectory of youth is actively discussed, which makes it possible to create conditions for the harmonious development of the individual, to meet his educational needs. In general, the concept of individualization of the educational trajectory of students is associated with the process of identifying and developing their abilities, the realization of their own educational goals that meet the needs, opportunities, motivation, interests of modern youth. The purpose of the article is to reveal the features of the formation of the individual educational trajectory of the student in the profile senior school of artistic and aesthetic field of training. Artistic and aesthetic field of specialized training is connected with the core of creative industries (literature, music, fine arts, cinema, television, radio, video and computer games, advertising, architecture, design, fashion, etc.), so it is important to personalize educational path of gifted students with a focus on unleashing their creative potential. The formation of individual educational trajectories of students of the artistic and aesthetic field of specialized education begins with the definition of their life plans, hopes for the future and consists of four stages. The first stage is the study of needs, interests, requests, personal characteristics of students. The second stage is associated with the creation of an individual educational program, which involves the definition of long-term goals; conceptual strategies and approaches to creative development, indicators of their achievements, as well as the selection of content and forms of training. Within the third stage there is a correction of pedagogical influences, creation of a positive pedagogical environment around students, elimination of organizational shortcomings, psychological and pedagogical support of senior students’ creative development is carried out. The fourth stage is related to pedagogical monitoring, which is carried out in order to ensure the quality of this process.

The Ambiguity of Mimesis: Kierkegaard between Aesthetic Fantasy and Religious Imitation

This paper attempts to investigate Kierkegaard’s thought through the category of mimesis. First, two meanings of the word are distinguished and analyzed: the archaic meaning that links it to the concept of re-enactment, and the traditional meaning that links it to the aesthetic field of art. These two meanings are then considered in relation to Kierkegaard’s opus, showing the oscillation of mimesis as corresponding to that between the aesthetic, which lives in fantasy and in the unfulfilled possibility, and the religious, which finds its identity in the imitation of Christ and in the transparent relationship to God.

Theater museums as a base for excursion and tourism programs

The article discusses excursion work related to theatrical museum collections, which is one of the interesting, but little developed types of activities in the field of tourism. Гhe author refers to the specifics of the theater museums involved in updating knowledge and raising the professional level, developing practical skills and professional competencies of tourism service specialists in the field of a holistic presentation of the history of the development of such a museum as a specific sociocultural institute. It touches on the interesting history of the creation, formation and composition of collections, as well as the modern activities of major museums and the latest museum centers around the world, hosting tourists. It is noted that the purpose of excursion and tourist programs using the collections of theater museums is not only to improve the modern tourist structure, but also to create a special spatial and artistic image that complements the content of the text, overcomes psychological discomfort due to the frequent presence of tourists in the bus or in open spaces , by creating favorable environmental conditions, the realization of the aesthetic potential of the museum atmosphere, capable of Favorably affect the emotional state and enrich the tour. In this regard, today, an important complex of problems that lie in the aesthetic field arises in the context of intensive tourism development processes, along with the need to solve infrastructure and technological issues, problems of implementing socio-economic problems in the tourism sector. Theater museums in excursion programs are considered as a special historical and cultural phenomenon. Their development is a continuation of world and domestic experience and, at the same time, a unique cultural phenomenon, inextricably linked both with the regional traditions of the countries and with the theater school - the academic school, for which the theater exhibit has become the most important area for the realization of creative potential. An attempt is being made to reflect the optimal combination of considering general theoretical and methodological issues and concrete and practical material on museum theater pedagogy.

Šillers, Gēte un Rainis par spēli: kultūrfilozofiski NAIVĀ un SENTIMENTĀLĀ izpratnes krustpunkti

The study attempts to find the common in the cultural philosophy of Friedrich Schiller (1759–1805) and Johann Wolfgang Goethe (1749–1832) and to discover the role of Schiller’s play theory in the formation of Goethe’s tragedy “Faust” in order to clarify subsequently the possible inspiration of Latvian writer Rainis (1865–1929), the first renderer of “Faust” in Latvian, from Schiller through Goethe’s text. The cultural philosophy of Schiller and Goethe is based on the idea of the sick and healthy culture or its cultural and pre-cultural state. The ideal of a healthy culture stems from the achievement of a former pre-cultural state: to synchronize the incompatible, usually separated in time, functioning one by one sense and rational passions with the third passion – the play. In ancient art, the observed balance of passions is permanently lost; one can only aspire to it perpetually and yearn morally. The endless struggle is always represented by the aesthetic play or balancing product – semblance, a characteristic feature of a cultural state, an interplay between reality and truth, nature and thinking. The aesthetic play, creation of individual forms, is the only path to human perfection – the general form (concept and law) because it respects and reconciles the two basic passions. Semblance or art confirms a person’s desire to return to the balance of passions and regain lost perfection. The type of culture can be determined depending on the attitude towards polar passions and the success or failure of a balance between them. Semblance or art offers solutions for finding the essence of a human being and renders it in two ways: 1) selects common forms (concepts) and reveals them with original content (Goethe and Rainis); 2) chooses original shapes (ideas, ideals) and discovers them with recognizable content (Schiller). Images by Goethe and Rainis are characterized by symptoms of lack. To recover the missing element, you have to return to the balance. The direction and sequence of the balancing movement are pointed out by Goethe and Rainis according to Schiller’s vision: nature is at the back, idea – in the front, but between them is the play. The indicator of success or failure of balancing is the followers or descendants. As long as the artist suppresses some of the passions or is satisfied with one at a time, then another, he does not enter the aesthetic field of the play, his perfection does not manifest itself and no one follows him. Faust’s pursuit of perfection is difficult because he is in the power of sensuality and will; he must go a long way of delusion to get into the field of play. Therefore, in the finale of the tragedy, when he finally activates his dormant will, he can only imagine the desirable but he cannot implement it. He marks the shape in the semblance but leaves it without matter. Also, Tots, an image created by Rainis, gets into the field of play (however with the help of others) and finds the willpower within himself, activates it, but is unable to create anything. In the text of Goethe and Rainis, willpower collides with time and freedom clashes with necessity. To return and align passions is only possible in the imagination which is the key to the artist’s immortality.

The Modern Image, I

The argument in this chapter and the next is that the aesthetic field during the modern period is defined by an elastic and differential regime of motion. These two chapters marshal support for this thesis by looking closely at major arts of the modern age: steel, photographic image, and the novel in Chapter 13, and meter, the action arts, and molecular arts in the next chapter. Although empirically quite different and distributed over hundreds of years, each follows a similar kinetic pattern or regime. This chapter looks at the way in which steel architecture, photography, and the novel move elastically by expanding and contracting and open series of frames (steel frames, photographic frames, and print frames).

The Medieval Image, I

Chapter 10 presents a realist aesthetics (versus constructivist) and a kinetic materialism (versus formal idealism) that focuses on the material kinetic structure of the work of art itself, inclusive of milieu and viewer. What the author calls “kinesthetics” is a return to the works of art themselves as fields of images, affects, and sensations. The chapter more specifically offers a focused study of the material kinetic conditions of the dominant aesthetic field of relation during the Middle Ages. The argument here and in the next chapter is that during the Middle Ages, the aesthetic field is defined by a tensional and relational regime of motion. This idea is supported by looking closely at three major arts of the Middle Ages: glassworks, the church, and distillation. The next chapter likewise considers perspective, the keyboard, and epistolography.

Tensional Relation

This chapter argues that the kinetic relation between different aesthetic forms is defined by a “relational image.” Relation, however, is not a distinct autonomous flow that simply occurs between contrasting aesthetic forms. Kinesthetic relations permeate, define, and order the forms themselves. Abstract and concrete forms rise to dominance in antiquity, but the order and relation of these forms to one another only becomes the primary focus of art during the medieval and early modern periods. This chapter offers first a preliminary and more general definition of kinetic relation, which is then historically developed in the next two chapters. In short, kinesthetic relations or linkages keep distinct aesthetic forms or fields of images both together and apart—distinct, contrasted, and yet moving together in ordered correlation. Relation is present in all works of art, but during the medieval and early modern period, relation becomes one of the most primary and constitutive features of the historical aesthetic field. The goal of this chapter is to prepare a description of the conceptual and kinetic features that define this period of the image: tensional motion, illumination, and contrast.

The Field of Art

This chapter argues that matter flows and folds into affects, affects are conjoined into images, and images are arranged or ordered together in an aesthetic field, or art. This is the third concept of kinesthetics. If flows of matter intersect and folds of affect periodically cycle, then aesthetic fields organize them all in a continuous feedback loop. This chapter provides a theory of how conjoined flows become organized according to distinct patterns or fields of art. The author develops a theory of synesthesia, fluxions, emotion, experience, and knot works. This chapter concludes part I of this book and the kinesthetic exposition of the minimal features of the image and its motion. If the image can truly be said to be in motion today more than ever before, it must at least be capable of flowing, folding, and circulating across a field. Kinesthetics gives the theory of the moving image its own proper concepts.