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INTRODUCTION The patient who suffers from a dentofacial deformity experiences functional, aesthetic and psychological alterations which constitute the main reasons for requesting surgical orthodontic treatment. Pre-surgical assessment includes an examination of the hard and soft tissues of the mouth and face, as well as of masticatory function. Several diagnostic aids such as intra and extra oral clinical photographs, stereolithographic, plaster or plastic models mounted on a semi-adjustable articulator, panoramic radiographs, postero-anterior and lateral cephalograms among others are included in the pre-surgical records set.

It is important to perform a post-surgical prediction and submit it to the patient with enough anticipation to evaluate their expectations, listen to his or her opinion, doubts and fears regarding the treatment that will aim to achieve a facial change. There are different methods for performing a surgical prediction: • 1. Pre and post-surgical cephalometric tracing based on a standardized lateral headfilm. Photographic images printed on paper or captured by software.

Plaster or stereolithographic models. The clinician and student who uses these procedures for the first time, may find it difficult to obtain them and manage the specific software. This causes that the most commonly used prediction procedure is the lateral cephalometric tracing performed on tracing paper. This article intends to describe a two-dimensional technique for surgical prediction by means of an accessible software based on mean values and techniques already described in the literature by several authors. MATERIALS AND METHODS A computer, lateral cephalograms in JPG format, and the Microsoft Office software Power Point( ®) in addition to iDraw( ®) are used. Once the lateral cephalogram in JPG format is placed in a blank document of the Power Point software, a line of 5 or 1 cm is drawn over it which will standardize in a 1:1 ratio the cephalometric tracing with respect to the reference rule in the cephalostat, increasing or decreasing the image until both of them match ( ). Once the relationship of the radiograph is equal to the reference, it is saved as JPG format image in order to open it later with the iDraw( ®) program.

This program allows easy location of the anatomical structures, by manipulating the image contrast as well as the zoom, without losing sight of the structures that are being worked with. The outline of the bony and soft structures is performed with the pencil tool by making solid lines or intermittent points of the anatomical structures in the cephalogram. It is important to select the structures that are going to change their position in order to make intervals between mouse clickings (as seen in ): between each blue dot there is a line that may be changed in position and shape, with the opportunity to decide the number of blue dots. In the event of a mistake during the tracing of the bony and facial contour the tracing segment or dotted lines to be erased are selected and with the Delete key the structures are removed, leaving the rest of the tracing without modifications. Once the tracing of the bony and facial contour is completed, all segments are selected without the cephalogram image thus the format of bony structures and facial contours to perform the cephalometric tracing are obtained. The tracing may be printed as many times as necessary in the event requiring more than one cephalometric tracing without having to repeat multiple tracing papers thus avoiding variations when duplicating the procedures manually and having the additional advantage of not needing a cephalometric tracing and view box ( ). With the clinical occlusal and cephalometric diagnosis the surgical prediction is performed using the format created in iDraw( ®).

The structures that will not change their position are selected copied and pasted in the Microsoft Office Power Point software( ®). Subsequently the structures that change position are marked, with the option of modifying their color in order to best exemplify their movements, and placed in the Microsoft Office Power Point software( ®) as shown in. All the structures are placed in the document and based on the results of the diagnosis they may be moved to the desired position since this program allows minutely calculated antero-posterior, vertical and rotational movements ( ). DISCUSSION Technological advancements always play an important role in the evolution of surgical techniques and planning methods. Currently digital three-dimensional surgical predictions require highly specialized software and occasionally, the collaboration of trained technicians for their elaboration, by which at times, they are not considered as a first option.

Computer-based surgical simulation has the potential to replace completely the reference standard both in surgical prediction as well as in plaster models surgery. However, studies comparing three-dimensional techniques with specific software and traditional methods are the only ones who have reported its accuracy and advantages. It is necessary to perform external studies that show a cost-benefit analysis as well as its indications and accuracy. It is not possible to adapt or standardize three-dimensional predictions with specific software which makes traditional techniques a standard that continues to be used. Pokemon Season 15 Torrent. CONCLUSIONS The surgical prediction hereby described aims to reduce errors that commonly occur when the clinician is confronted for the first time with patients with severe dentofacial deformities.

It achieves to simplify steps such as the manual development of multiple tracing papers, errors regarding size of the X-ray or related with the identification of anthropometric o cephalometric points. The present technique allows, by means of a computer, to draw the facial contour freehand with the mouse, following the anatomical structures, changing the contrast, approaching or moving away from a specific area and in this way makes it easier to observe in more detail. The elaboration of straight lines, selecting a starting point for all of them, the minutely measured rotation and vertical, anterior and posterior movements facilitates tracing a surgical prediction since it is impossible to perform all these on tracing paper, radiographic film or digital radiography printing.

Beauty and ugliness in Olmec monumental sculpture. Since our Western art tradition has put such a prize on naturalism, we tend to think that other civilizations valued it as much as we did and do. I contend that Olmec monumental art illustrates the opposite, and suggest that the Olmecs most appreciated the anthropomorphic statues that incorporated feline features, and disliked the very naturalistic style of the colossal heads. The latter represented the severed heads of opponents who probably were losers in ritual battles. Therefore they could not claim the divine patronage of the jaguar, and had to appear just as « plain », ugly people. « Drawings of captives from other cities emphasize the intention to degrade these unfortunates, and by contrast to emphasize the beauty and splendor of the victors. » (Spinden 1916, p. 444) 1 Since our Western art tradition has put such a prize on naturalism, we tend to think that other civilizations valued it as much as we did and do.

Naturalism or realism is often seen as the top end of the evolution of any art; as a consequence, it is also assumed that conventional, conceptual, stylized or abstract art came first, before developing into realism. When naturalism and conventionalism coexist, it is then expected that the most important subjects will be given naturalistic treatment, while the lesser ones will be expressed through conventions. The purpose of this paper is to show that this is not always the case, especially in the pre-Columbian civilizations of Mesoamerica, such as the Olmec and the Maya. • 2 Graham reminds me that this idea was first suggested by Stirling (1965, p. 734). 8 A simple alternative to Porter’s theory is to suggest that the back of the heads is flat and plain because it was not intended to be seen, as if the heads were standing in rows (suggested in San Lorenzo as well as at La Venta), against a wall or an earth embankment.

9 Although no two of the seventeen heads are identical, all of them have much in common. They are spheroid with a flat back, either left plain or carved only at the top. The hemispherical helmet takes up a third of the total height, and stops just above eyes’ level. A chinstrap is in part visible on the heads’ sides.

The headgear often carries insignia on its front, such as parrot heads on San Lorenzo head 2 (Figure 2c), two paws or talons on San Lorenzo head 5. The narrow space between the eyes is anvil-shaped; the eyes, framed by two heavy eyelids, are large, almond-shaped and drooping; they are wide open, except on the head from La Cobata (Figure 3b), where they are closed. Round pupils are indicated as relieves or hollows and, to some scholars, the heads are squinting. The nose is broad even at its base and, at the end, it is flattened with two nostrils indicated by round depressions.

Deep seams flank the nose. Cheeks and chin are slightly prominent. The lips are thick, sometimes parted, showing teeth. Two heads (San Lorenzo 9 and La Venta Mon. 2, Figure 3c) are smiling. • 6 Conceptual art is when people represent what they imagine; perceptual art or naturalism is when pe 34 Although disagreeing with Pasztory (2000; 2005) when she shares the general opinion that the colossal heads are portraits of rulers, I think she is absolutely right when stating, « not all Olmec art is equally naturalistic ». She observes that in Olmec art coexist both the perceptual and the conceptual modes as defined by Gombrich (1960). The realism of the colossal heads contrasts with the conceptual approach used by the Olmec carvers when dealing with other sculptures. Spectrasonics Omnisphere Vst Keygen Air.

Pasztory states that since « conventionalized styles keep their viewers at an emotional distance », the portraits of rulers (i.e. The colossal heads) are made realistic « to create intimacy » and « eradicate the distance (of the rulers) with their subjects ». This conclusion is most surprising from Pasztory (2005) who in her last book claims that, in chiefdoms as well as in states, many « things » are created « to enhance the ruler’s persona » and « to make status visible », that is to create « distance » between the ruler and his subjects. While agreeing with her that the realistic style of the heads « eradicate distance » with the viewers, I think that no distance, nor respect of any consideration is due to the heads if these are trophies of the enemy. On the other hand, the conceptual mode used when dealing with power figures creates the « distance » required between supernatural and political figures and their believers or subjects.

I will go further by suggesting that in Olmec art the conceptual or conventional mode is positively biased, and was probably seen as « beautiful »; on the contrary, the perceptual or realistic was the negative, ugly mode. • 9 « [] most Danzantes do have extremely thick lips which protrude to meet the tip of the nose.

Thes 41 Some five centuries after La Venta, a similar situation existed in Oaxaca, according to the differential treatment of representations associated with power and religion on one hand, and images of sacrificed victims on the other. The anthropomorphic faces of Monte Alban I and II generally display the arched Olmec jaguar mouth, while the Danzantes have rounded heads, flat noses and thick lips. 42 I think the Classic Maya also had beauty canons for the representations of their rulers and nobles and in contrast to these canons, had criteria for ugliness that they applied to the people they could despise, such as war captives or sacrificed victims. Since the foes of every Maya kingdom were generally fellow Mayas from another neighboring kingdom, there is no reason to think that they could be of a distinct physical type. It is not a situation comparable, for instance, to Nubians and Egyptians.

Therefore the iconographic differences between Maya victors and vanquished were purely cultural. They were treated in opposite features: narrow/broad, short/long, thin/thick, shaved/bearded or mustachioed, etc.