This theory-based text provides estheticians with advanced training in esthetics, furthering their understanding of the benefits of skin care and enabling them to better communicate these benefits to the client.

Este atlas sintetiza los últimos avances tecnológicos en estética dental y muestra como integrarlos con éxito en la práctica clínica. La parte I comienza con un capítulo sobre fotografía dental centrado en la correcta preparación y uso del equipamiento necesario para obtener imágenes de alta calidad para la documentación y la comunicación con los pacientes y el laboratorio. Los capítulos siguientes presentan los pasos a seguir para el tratamiento estético, que proporciona la oportunidad de experimentar un tratamiento propuesto, y realizar ajustes antes de emprender cualquier tratamiento, incrementando la aceptación y satisfacción del paciente. La Parte II presenta casos clinicos, mostrando las niveles inversos de las técnicas para las restauraciones directas e indirectas, y la Parte III presenta casos clínicos mostrando tanto el uso tradicional cómo el alternativo del disilicato de litio, un material de restauración avanzado con un alto potencial estético y una buena resistencia. Es un excelente recurso para el personal clínico que busca incorporar las últimas técnicas para obtener resultados estéticos predecibles y estables,

Volume I: The development of aesthetics was one of the great accomplishments of eighteenth-century philosophy, as the classical conception of aesthetic experience as a form of knowledge came under pressure from increasing recognition of the emotional impact of art and from increasing emphasis on the value of freedom in the moral and political thought of the century. This opening volume of A History of Modern Aesthetics recounts how philosophers in Britain, France, and Germany developed these new approaches and searched for ways to combine them with the cognitivism of traditional aesthetics. A History of Modern Aesthetics narrates the history of philosophical aesthetics from the beginning of the eighteenth century through the twentieth century. Aesthetics began with Aristotle's defense of the cognitive value of tragedy in response to Plato's famous attack on the arts in The Republic, and cognitivist accounts of aesthetic experience have been central to the field ever since. But in the eighteenth century, two new ideas were introduced: that aesthetic experience is important because of emotional impact - precisely what Plato criticized - and because it is a pleasurable free play of many or all of our mental powers. This book tells how these ideas have been synthesized or separated by both the best-known and lesser-known aestheticians of modern times, focusing on Britain, France, and Germany in the eighteenth century; Germany and Britain in the nineteenth; and Germany, Britain, and the United States in the twentieth.

Using empathy, as established by the Vienna School of Art History, complemented by insights on how the mind processes visual stimuli, as demonstrated by late 19th-century psychologists and art theorists, this book puts forward an innovative interpretative method of decoding the forms and spaces of Modern buildings. This method was first developed as scholars realized that the new abstract art appearing needed to be analysed differently than the previous figurative works. Since architecture experienced a similar development in the 1920s and 30s, this book argues that the empathetic method can also be used in architectural interpretation. While most existing scholarship tends to focus on formal and functional analysis, this book proposes that Modern architecture is too diverse to be reduced to a few common formal or ornamental features. Instead, by relying on the viewer’s innate psycho-physiological perceptive abilities, sensual and intuitive understandings of composition, form, and space are emphasized. These aspects are especially significant because Modern Architecture lacks the traditional stylistic signs. Including building analyses, it shows how, by visually reducing cubical forms and spaces to linear configurations, the exteriors and interiors of Modern buildings can be interpreted via human perceptive abilities as dynamic movement systems commensurate with the new industrial transportation age. This reveals an inner necessity these buildings express about themselves and their culture, rather than just an explanation of how they are assembled and how they should be used. The case studies highlight the contrasts between buildings designed by different architects, rather than concentrating on the few features that relate them to the zeitgeist. It analyses the buildings directly as the objects of study, not indirectly, as designs filtered through a philosophical or theoretical discourse. The book demonstrates that, with technology and science affecting culture