EFFICIENCY OF ANESTHESIA DURING RECONSTRUCTIVE AND AESTHETIC SURGERY ON THE BREAST

The purpose of the study – to perform a comparative analysis of anesthesia effectivenessduring reconstructive surgery on the mammary glands.Material and methods. 120 women undergoing aesthetic intervention were divided intoanesthesia groups: intravenous anesthesia with propofol; inhalation with sevoflurane,combined with opioids; combined anesthesia with PECS-block.Results. It has been found that the group of combined anesthesia with PECS- block required the least time for analgesia (p<0,05). The greatest depth of medication sleepwas in the group of propofol, the smallest - in the combination of general anesthesia withPECS-block (p <0,05).It was verified that the largest number of patients with unstable hemodynamics wasin the group of propofol (33,3%), and the smallest number - in the group of combinedanesthesia with opioids (6,7%). Predisposition to tachycardia has been reported withthe use of propofol and the combination of sevoflurane with opioids. Bradycardic type ofsinus rhythm was observed in the group of combined anesthesia with PECS-block.Conclusions. In reconstructive interventions on the mammary glands, combinedinhalation anesthesia with sevoflurane in combination with opioids or single-stage PECSI block is promising.

Impact of Aesthetic Intervention of Discoloured Teeth on Mental Health - A Cross Sectional Study in Guntur

BACKGROUND Tooth discoloration, which is often considered as a deviation from the beauty standards, is one of the significant factors that can affect an individual's mental health and well-being. Therefore, determining the relationship between tooth discoloration, its aesthetic treatment and mental health can provide answers for the improvement of treatment services. METHODS The present study is a cross sectional study. 96 participants meeting the inclusion criteria were assessed via demographic characteristics form and a standardized Goldberg’s general health questionnaire (GHQ) - 28 before starting the treatment. Following the assessment, a standard bleaching protocol was followed. Two weeks after the completion of the treatment, the patients were re-assessed using the same questionnaire. The data obtained were analyzed using the statistical package for social sciences (SPSS) software. The analysis was performed using descriptive statistics and chi square test for correlation analysis. Wilcoxon sign rank test was used to compare the scores before and after the intervention. RESULTS Higher GHQ scores were associated with younger age groups, females, unmarried persons, and lower education levels. The participants mainly showed higher mean social dysfunction scores (17.7), followed by anxiety scores (12.2) compared to somatic (7.7) and depression scores (4). The mean total GHQ scores were significantly decreased after aesthetic intervention. The mean GHQ scores were reduced from 42.5 before the bleaching treatment to 21.4 post-treatment. CONCLUSIONS Tooth discoloration showed a significant impact on mental health, mainly affecting the social functioning and the anxiety of the individuals. Tooth discoloration has a significant impact on the mental health in younger age groups, females, unmarried persons, and education status. The aesthetic intervention had significantly improved the overall mental health of the individuals. KEYWORDS GHQ, Mental Health, Tooth Discoloration

Aesthetic Intervention: Lines of Flight

During the European Congress of Qualitative Inquiry, Edinburgh, 2019, we offered an esthetic intervention: two spaces open to delegates in which they could explore and express their interactions with the conference through the assemblage of paper, paint, crayons, scissors, glue, glitter, bodies, breath, memories, thoughts—ineffable and effable. Delegates were invited to produce either individual journals, individual pieces, or contribute to large collective pieces of art. In this article, we follow the lines of flight to create the event and reflect on the process that led up to and continued after the esthetic intervention.

The Cliffhangers

Over the last couple of decades, workers in China’s vast and poorly regulated construction industry have increasingly turned to suicidal performance as a radical means of securing wage arrears. These so-called suicide shows have drawn attention as expressions of escalating labor unrest in China, and thus have mostly been read through a political science prism. But these displays, precisely in their dramatic dimension, also open themselves up to a culturalist, even aesthetic analysis: they braid together mixed threads, from the Chinese tradition of suicide as righteous remonstrance to present-day forms of creatively embodied protest in the era of Occupy. At the same time, though, these workers have also fashioned an aesthetic intervention that is very much of their own devising. This article draws on an empirical base of two dozen suicide shows posted on video-sharing sites to argue that these performances force a visual rupture in the narcotically identikit Chinese cityscape, as the nation’s new poor, so often invisible to their social others on the street, climb to the highest urban summits and command extreme attention. Once there, they turn the rooftop into a site of performance that acts out the excruciating distinction between those who belong within the polis and the dispossessed: those who are cast out from the circle of humanity and are thus excluded from all avenues to legal and economic redress when they are wronged. As such, “cliffhanging” in China exemplifies what I call the fractious form, in which a tense encounter between different class actors under the regime of precarity becomes the genesis for a volatile cultural practice.

Empathy and nausea: virtual reality and Jordan Wolfson’s Real Violence

Jordan Wolfson’s Real Violence (2017) is a brief virtual reality (VR) piece that depicts the artist beating a man to death with a baseball bat. Wolfson uses the haptic possibilities of VR to rapidly induce nausea in the viewer, an act that both relies on empathetic aspects of VR simulation – ‘empathy’ here linked with its history in German aesthetic psychology as Einfühlung – and is a confrontational distancing that questions the politics of ‘empathetic’ immersion. Real Violence demonstrates how contemporary judgments of VR and empathy repeat debates from the late 19th and early 20th centuries, reinventing and emptying particular political/aesthetic strategies that have long characterized a strain of modernist art that uses the formal possibilities (and limits) of media in order to critique the very same possibilities (and limits). This article, through its discussion of Wolfson’s work, seeks to identify and inhabit the complex contradictions present in any discussion of empathy, transgressive confrontation, and the social function of art and VR today. It examines the limitations of immersion and emotional projection, along with the limitations of interpreting this work (and VR in general) as a means for enacting ‘progressive’ social and ideological change through the immersive, empathetic capacities of media. The article concludes by arguing that judgments of Real Violence (and the politics of ‘transgressive’ art more broadly) require assuming the will or intent of an artist who uses confrontation and transgression to ‘correct’ the experience of the viewer, which is something that cannot be assumed for either Wolfson or Real Violence, and rather his work is exemplary of emptying out the possibilities represented by both VR and critical aesthetic intervention.

Pig Girl: An Indigenous Woman’s Perspective Through “Scriptive Things”

Indigenous representation in various genres has always been questionable in regards to who has a voice, and content that is culturally sensitive and appropriate. This paper critically examines the controversial theatrical play Pig Girl (Murphy, 2013) through the lens of Robin Bernstein’s (2011) “scriptive things” theory. Although Pig Girl sought to give voice to Canada’s missing and murdered Indigenous women, it instead was sharply criticized by Indigenous community members. This paper explores historical ideologies corresponding to the dehumanization of and violence perpetrated against Indigenous women based on the imagery provided by those who created and promoted the Pig Girl stage play. The paper discusses how such imagery can re-inscribe prior beliefs and be interpreted with “things” depicted within the playʼs narrative. The paper also addresses the function of interpellation and imagery, aesthetic intervention, and resulting associations

Strange yet Familiar Sounds in Zosha Di Castri’s String Quartet No. 1

This paper presents a detailed analysis of Zosha Di Castri’s String Quartet No. 1 (2016), situating the work in relation to the composer’s still-nascent oeuvre and showing how it contains a diverse mix of stylistic impulses within its relatively compact form. The concept of defamiliarization, borrowed from literary criticism, provides a useful theoretical basis for understanding the work. By presenting familiar musical figures within strange new contexts, Di Castri effectively bypasses habitual modes of reception and encourages the listener to engage more actively with the work’s multi-coded discourse. This revivification of perceptual awareness is accomplished using a number of compositional techniques, including the juxtaposition or superimposition of contrasting materials, the transformation of motives, and the distortion of formal syntax. Taken together, these defamiliarizing devices mount an aesthetic intervention that playfully subverts compositional norms, allowing Di Castri to take a decisive step forward in the development of her own musical style.