This article addresses one of the leading challenging areas for those studying performance art today: its temporal dynamic, linked to the present, to the here and now. This temporal inscription is effectively at the core of the ontology of these pieces, which has repercussions in the relationship this art form has with the physical and conceptual spaces it occupies, and in the management of art collections that include them. Analysis of performance art temporalities will lead to a discussion of the spaces this genre has been occupying in artistic institutions. The values held by these spaces will be explored, and new ways of understanding them, especially in the relationship between university, museum and theatre will be proposed. This is the triad discussed by Jan Naderveen Pieterse in 1997 will serve as an analogy to reflect upon these issues. In this context, performance art pieces, artistic projects, and curatorial programmes from the Portuguese panorama will be presented as examples.
The removal of necrotic and vital pulp substrates and microorganisms and their toxins from the root canal system (RCS) has been found to be the basis for a successful endodontic treatment. In this study, our aim was to evaluate the effect of passive ultrasonic irrigation (PUI) on the elimination of the organic remnant tissue from infected, narrow and curved mandibular root canals during their instrumentation. For this purpose, mesiobuccal canals from mandibular first molars were instrumented with the RaCe rotary system, using PUI activation or conventional irrigation (CI) and two apical diameters (#25 and #35). The root canal cleanness of the samples was evaluated by microscopy and using a modified Langeland’s ordinal scale. Parametric and non-parametric statistical analyses and principal coordinates analysis (PCoA) of the samples were performed. When PUI was used, there was a significant reduction of the organic remnant in the apical enlargement of 25 at 2 mm from the apex (p < 0.001). After pooling the groups, regardless of the depth of the observation (2 and 4 mm from the apex), the pair #35 + PUI vs. #25 + CI showed statistically significant differences (p < 0.001). The effect of PUI explained 65% of the overall variance when compared with the CI samples. The use of PUI reduced the organic material of narrow infected and curved root canals with an apical enlargement of #25 and #35. When PUI is not used, a biomechanical instrumentation up to a diameter ≥#35 is recommended.
Determinar la estabilidad dimensional de las siliconas por adición en diversos periodos una vez pasada su fecha de caducidad. Este estudio tuvo un alcance explicativo y un diseño de tipo experimental, serie cronológicas múltiples en un contexto de laboratorio. Se evaluaron 20 modelos obtenidos de impresiones tomadas a un modelo maestro impreso en 3D. Las impresiones se realizaron con siliconas por adición marca President®- Coltene, con diferentes fechas de caducidad. Se efectuaron mediciones en los modelos obtenidos y posteriormente se compararon con las medidas del modelo maestro. No se encontraron diferencias estadísticamente significativas entre las medidas tomadas en los diferentes tiempos de vaciado. No obstante, sí se encontraron diferencias estadísticamente significativas entre las medidas tomadas con diferentes fechas de caducidad de las siliconas estudiadas. Se demostró que la estabilidad dimensional sí se ve afectada mientras más vencido se encuentre el material, sin embargo, al analizar todas las siliconas evaluadas el coeficiente de variación fue inferior al 0.5%, valor permitido por la Asociación Dental Americana.
Na relação dialética entre o lugar do museu e da performance, o conceito de memória, as suas políticas e performatividades são elementos fulcrais para repensar os seus campos de ação na contemporaneidade. Este texto pretende constituir laços e afetividades entre estes conceitos e as suas práticas, não só no contexto institucional bem como no que à s práticas artísticas diz respeito. Estruturado entre a teoria e a prática, assume o desafio de procurar e interpelar outras perspectivas sobre os processos de institucionalização e das políticas institucionais relacionadas com a memória, através de uma metodologia de montage, presente, de distintas formas, nos casos de estudo apresentados.
Can reenactments be a way to create counter-narratives in and for the museum? Through the analysis of political performance (or what the artist Tania Bruguera calls ‘political-timing-specific’ artworks), this essay discusses the potential of reenactment as both a practice of materializing memories and narratives of oppression and of rethinking museum policies in terms of preservation and display. Its main argument is that, while the archive can be regarded as a form of materializing the memory of these works, reenactment is more than a way of recovering the past; it is also a device for reconstructing memories of activism and oppression. This essay further suggests that reenactments of political-timing-specific works demand a change in accessioning, conservation, and presentation practices, which might be inclined to erase decentralized art-historical and material narratives.
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