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Modern ballroom dance is actively developed as a sport whereas the art of dancing, which is characterized by emotions, is disappearing now. The causes are dealt with the low level of performing Latin American ballroom dance as an art and the necessity to develop the origins of this dance. It is also important to perform a particular Ballroom dance emotionally considering its historical roots.
It is fact that now the great number of competitive dance couples give a lot of attention to the physical training of choreographic compositions with a large number of acrobatic tricks and little respect to the aesthetic aspects of dance. Otherwise, they simply do not know how to express the depth of the emotional content of the dance. Dance couples are lack of understanding how to perform a particular ballroom dance. The issue of this study is relevant in Latin American ballroom dance studies as well as should be solved by experienced instructors and their desire to show dancers the importance of aesthetically emotional aspects of dance.
The purpose of this study is to explore the historical origins and stylistic features of Latin American ballroom dance which became the basis of modern Latin American ballroom dance.
The methodology. The author provides an analysis of specific features of the Latin American ballroom dance.
The results. It is shown that according to the history of the origin and standardization of ballroom dance each dance has its own unique style and characteristics as well as its individual emotional features. Cha-cha-cha is characterized by easy flirtation and pleasure. Samba is a dance of celebration, ardour and expression. Rumba is full of passion, impressing and love. Pasodoble is emotional and dramatic-theatrical dance. Jive is light, cheerful and carefree. And these are general features of the emotional and aesthetic component of dance that are very desirable to see in dance and experience them together with the performers.
The scientific novelty. An attempt is made in this paper to show the presence of historical stylistic and emotional features of the Latin American ballroom dances, which are danced as a competition all over the world, are not sufficiently developed in the performance skills of the dancer. Ballroom dances have diverse origins, rhythms, tempos and aesthetics, but have one thing in common: they are all danced emotionally.
A recommendation for further research is the perspective of improving the methodology of teaching the emotional component of Latin American ballroom dance by suggesting the development of aspects such as: active ways of spreading information about the importance of the creative, emotional component of dance (e.g. seminars, master classes), teaching acting skills, developing training exercises for performing the emotional part of the dance, and conducting research in sports psychology.
The practical significance. The material of this article can be used in the practical activities of choreographers, ballroom dance performers and Latin American ballroom dance competition dancers.

Vladimir Nikolaevich Maksimovski (1887–1941) — professor, Soviet party and government worker; together with A. K. Dzhivelegov, he began the local study of Machiavelli's legacy in the early 1930s. His documentary historical story about an Italian politician of the late Middle Ages "Cola di Rienzo" was published in the series "The Lives of wonderful People" in 1936 [1]. During the period of political repression in 1937, V. M. Maksimovski was arrested and died in exile. The text is a re-publication of Vladimir Maksimovski's article "The Aesthetic views of Giambattista Vico". The article was published only once in 1935 in the journal "Literary Critic" [2]. The presented research is a somewhat shortened version of the preface to the failed edition of The New Science [3] by the famous Neapolitan thinker of the Age of Enlightenment translated by A. A. Huber. The preparation of the Russian language edition of Giambattista Vico's treatise (1668–1744) was carried out by the publishing house "Academia" of the St. Petersburg (Leningrad) Philosophical Society, which existed in 1921–1937, and was interrupted. The publishing house "Academia" ceased to exist after the arrest of the last head J. D. Janson in 1937. Only a few signal copies of the "New Science" with a preface by V. N. Maksimovski were released. At the end of the article itself there is a link to the original plans for its publication in this capacity. The changes of the activity and the huge contribution of the publishing house and the author of the unpublished preface to the study of Italian culture in the USSR of those years are described in detail in K. S. Landa's article "On the reception of Italian literature in the USSR: The preparation of an edition of Giambattista Vico's Scienza Nuova (New Science) Giambattista Vico" [4]. K. S. Landa concludes that "the attention of the author of the article was focused primarily on Vico's ideas about language, poetics and rhetoric" [4. C. 232], while we know the legacy of J. Vico, first of all, as a theory of the cycle — the development of all nations in cycles consisting of three epochs, and his theory of the state. Subsequent articles about Vico published in the Soviet Union were much more critical: the author of "Science" was declared almost a scholastic, aesthetic views were forgotten, considering him only in the socio-political context of materialistic dialectics. This is another reason why V.N. Maksimovski's preface should be considered as an important element in the overall picture of the reception of the legacy of the Neapolitan thinker in Russia, whom he called even an earlier founder of aesthetics than I.-G. Baumgarten. Maksimovski' reflections on the aesthetic views of J. Vico came out as a separate publication [2], and since the "New Science" was published in 1940 by another publishing house with an introductory article by M. Lifshits [5], the compilers of this issue of "Studia Culturae — Italian Studies" considered it their duty to once again introduce everyone connected with the study of Italian culture, to a part of a forgotten article by the very first editor of the edition of the treatise of Vico in Russian.

SUMMARY: The article looks at the ways in which different forms of imperialism and neo-Eurasianism in contemporary Russian art and politics have combined geopolitical notions with a neoclassical aesthetics and, at the same time, with a vision of the Soviet past and the late Soviet underground as a closed space untainted by consumerism and globalization. It focuses, in particular, on the work of the postmodern imperialist writer Pavel Krusanov and the public performances of the group he led, the Petersburg Fundamentalists. By looking at the sources of this group's artistic strategies, to be found in the work of the cult underground artists and performers Timur Novikov and Sergey Kuryokhin, the article argues that, among some nationalist circles, perestroika and the 1990s are associated with the disaster produced by a "Western cultural colonization" of Russia – but are also seen, nostalgically, as a time of intellectual freedom, creativity, and radicalism not yet contaminated by the boredom and conformism of the neoliberal world order. The paradoxical combination of conservatism and postmodern irony informing the Fundamentalists' imperial imagination is indicative of a transitional moment within post-Soviet literature and public culture, when fringe political ideas move farther and farther into the mainstream, and when the irony, aesthetic provocations, and performativity of the late Soviet underground – originally oriented toward a deconstruction of Soviet grand narratives – develop into new political technologies and forms of mass manipulation. The article concludes that although the Petersburg Fundamentalists anticipated these larger cultural trends, their work should not simply be seen as a symptom of Russia's decline into populism, but rather as an experiment in political imagination and a reaction to the fundamental disengagement and depoliticization of Russian society after the end of the Soviet Union. Резюме: В статье рассказывается о том, как различные формы имперских фантазий и неоевразийства в современном российском искусстве и политике сочетают геополитические проекции с неоклассической эстетикой и одновременно со взглядом на советское прошлое и позднесоветский андеграунд как закрытое пространство, незапятнанное потребительством и глобализацией. Конкретнее, речь идет о творчестве постмодернистского писателя-имперца Павла Крусанова и публичных выступлениях возглавляемой им группы "Петербургских фундаменталистов". Истоки художественной стратегии этой группы обнаруживаются в творчестве культовых художников и музыкантов андеграунда Тимура Новикова и Сергея Курехина. Анализируя эту генеалогию, автор утверждает, что в некоторых националистических кругах перестройка и 1990-е годы воспринимаются как катастрофа, связанная с "западной культурной колонизацией" России. Но одновременно эта эпоха вызывает у них ностальгию по интеллектуальной свободе, творчеству и радикализму, еще не загрязненным скукой и конформизмом неолиберального мирового порядка. Парадоксальное сочетание консерватизма и постмодернистской иронии, питающее имперское воображение фундаменталистов, свидетельствует о переходном моменте в постсоветской литературе и общественной культуре. Маргинальные политические идеи становятся все более мейнстримными, а ирония, эстетические провокации и перформативность позднесоветского андеграунда, изначально ориентированные на деконструкцию советских больших нарративов, трансформируются в политические технологии и формы массовой манипуляции. В статье делается вывод, что, хотя петербургские фундаменталисты предвосхитили эти масштабные культурные тренды, их работу следует рассматривать не просто как симптом скатывания России к популизму, а скорее как эксперимент политического воображения и реакцию на фундаментальное размежевание и деполитизацию российского общества после распада СССР.

The public relations activity is defined as an area of strategic communication which acts on building mutually beneficial relationships between organizations and their audiences. Constant social transformations have an impact on the social perception of different themes, which in turn also directly affects the positioning of organizations. In this scenario, we discuss the term "astroturfing" and its similarities and/or differences concerning public relations based on a relational perspective of communication. This article is characterized as an exploratory research based on a bibliographic analysis. The object of study is astroturfing in the context of public relations; therefore, a qualitative approach has been used. We observed that the extreme usage of digital social networks has contributed to numerous scenarios of misinformation which, therefore, end up encouraging deceptive or simulated practices arising from different social institutions. Thus, it is in such a context that the practice of astroturfing can be seen. This practice emerged in the 1980s in the United States during an election campaign in which there were disputes for a favourable public opinion. The term is an analogy to the word "grassroots, that is, how spontaneous popular manifestations are known in the US, and AstroTurf is a brand of artificial grass created by Monsanto in the 1960s, which is famous for its similarity to the appearance of real grass" (Silva, 2013: 14). The phenomenon can be seen as the creation of public manifestations by an audience that does not exist in order to achieve a favourable scenario for organizational objectives. In a practical way, communication processes can act as astroturfing drivers, thus contributing to the emergence of artificial contexts. In this article, we investigate the communication process by reflecting on the importance of the PR professional who looks at the public from a relational perspective. The connection of such a phenomenon with the field of public relations derives from the practices of international agencies that have subtly used astroturfing to achieve the goals of their clients in such a way that organizational ethics committees do not clearly perceive it. This is one of the aspects that leads professionals in the area to question what would or would not be ethical. Public relations, as an expression of strategic communication, has the ability to observe scenarios, mobilize forces and elaborate narratives that enable the construction of an organizational image and reputation. Perhaps an adequate translation of these strategic efforts is to recognize the connections among public relations, its audiences and the public opinion. In this scenario, there are ample information flows from the mediatized context that sometimes can create gaps for the practice of astroturfing. We understand that the phenomenon is consolidated as a contemporary challenge in the market, mainly in communication. Therefore, we highlight on how the ethical dimensions of public relations permeate the purpose of balance and harmony of interests. It is urgent to act, not only for the aesthetics but also for the ethics of the profession, in favour of the strengthening of the subjects and, consequently, the quality of the established social relations.

A beleza pode ser definida como uma combinação de qualidades que dão prazer aos sentidos ou a mente. Cirurgiões plásticos acreditam que o volume da bochecha é um importante determinante da beleza facial e aparência jovem. Na Ortodontia, não é suficiente apenas perceber o que interfere no sorriso, é necessário diagnosticar o que se encontra fora da normalidade, para que se possa estabelecer um plano de tratamento. Assim como nos problemas funcionais seguimos condutas que nos levam ao diagnóstico das anomalias, os problemas estéticos também necessitam de parâmetros para que encontremos os defeitos. Nesse âmbito, as investigações científicas sobre os critérios utilizados pelo ortodontista e pacientes para definir um sorriso ou uma face como esteticamente agradável poderiam edificar uma sólida escada para o entendimento das diferenças entre a percepção do profissional e a do paciente. Durante a execução do tratamento, a consulta de pesquisas cientificas que norteiem a situação favorece seu decurso. Nortear a identificação e manejo no diagnóstico e indicação adequada da bichectomia foi o objetivo desta revisão de literatura realizada nas bases de dados científicas National Library of Medicine, Washington, DC (MEDLINE: Pubmed) e Scientific Electronic Library Online (SciELO). Foram recuperados 1710 artigos científicos, que após seleção resultaram em 48 artigos relacionados à descrição e manejo no diagnóstico e indicação adequada da Bichectomia, escolhidos para elaboração desta revisão de literatura. A existência de materiais de fácil consulta com embasamento científico adequado para orientação aos pacientes na tomada de decisões enquanto a Bichectomia favorece manejo do tratamento.

Palavras-chave: Bichectomia. Gordura de Bichat. Estética. Diagnostico. Ortodontia.

Abstract
Beauty can be defined as a combination of qualities that give pleasure to the senses or the mind. Plastic surgeons believe that cheek volume is an important determinant of facial beauty and youthful appearance. In orthodontics, it is not enough to just understand what interferes with the smile, it is necessary to diagnose what is out of the ordinary, so that a treatment plan can be established. Just as in functional problems we follow conducts that lead us to the diagnosis of anomalies, aesthetic problems also need parameters in order to find the defects. In this context, scientific investigations on the criteria used by orthodontists and patients to define a smile or face as aesthetically pleasing could build a solid ladder for understanding the differences between the professional's and the patient's perception. During the execution of the treatment, the consultation of scientific research that guides the situation favors its course. To guide the identification and management in the diagnosis and adequate indication of bichectomy was the objective of this literature review carried out in the scientific databases National Library of Medicine, Washington, DC (MEDLINE: Pubmed) and Scientific Electronic Library Online (SciELO). 1710 scientific articles were retrieved, which after selection resulted in 48 articles related to the description and management in the diagnosis and adequate indication of Bichectomy, chosen for the elaboration of this literature review. The existence of easy-to-consult materials with an adequate scientific basis to guide patients in making decisions while Bichectomy favors treatment management.

Keywords: Bichectomy. Buccal Fat Pad. Aesthetics. Diagnostics. Orthodontics

This contribution proposes a methodological framework for empirical research into visual practices on social media. The framework identifies practices, pictures and platforms as relevant dimensions of analysis. It is mainly developed within, and is compatible with qualitative, interpretive approaches which focus on visual communication as part of everyday personal communicative practices. Two screenshots from Instagram and Facebook are introduced as empirical examples to investigate collaborative practices of meaning-making relating to pictures on social media. While social media seems to augment reflexive, processual practices of negotiating identities, visual media, in particular, amps up aesthetic, ambivalent and embodied dimensions within these practices.

"Der Beitrag widmet sich den Aktphotographien von Chambre Close und stellt heraus, dass Chambre Close zu Unrecht eine Degradierung und Schaustellung der Frau vorgeworfen wurde. Dabei soll vor allem der Vorwurf einer Objektwerdung der porträtierten Frau und eine Auslieferung an den männlichen Betrachter relativiert werden. Der Beitrag möchte zeigen, dass die Wirkungsmacht von Chambre Close gerade aus dem Zusammenspiel von Photographien und literarischem Zeugnis des Monsieur X. erwächst. Durch die künstlerischen Inszenierungsstrategien von Bild und Text gelingt es Bettina Rheims und Serge Bramly, einen zusätzlichen Reflexionsraum für den Betrachter zu schaffen, der Fragen nach dem Künstler-Modell- Verhältnis, der Selbstdarstellung der Frauen, der Blickbeziehungen, der Möglichkeit einer weiblichen Ästhetik und einer veränderten Rezeptionsweise eröffnet." (Autorenreferat)

'Das Internet hält zunehmend Einzug in die Kinderkulturwelt. Bisher existieren jedoch nur wenige Erkenntnisse darüber, welche Bedürfnisse und Interessen Kinder mit dem Medium verbinden. Der vorliegende Beitrag stellt medienbezogene Zeichnungen in Verbindung mit anschließenden erzählgenerierenden Interviews als geeignete Verfahren vor, mit denen im Rahmen der qualitativen Kindheitsforschung subjektive Sinnstrukturen von Kindern in Bezug auf das Internet nachvollzogen werden können und die damit verbundene Konstitution von Bedeutung rekonstruierbar wird. Durch Fallvergleich und Fallkontrastierung generierte Sinn- und Bedeutungsbereiche (Kinderkulturen und Medienverbund, Kommunikation und Freunde, ästhetische Erfahrungen, Vertiefung eigener Interessen) werden aufgezeigt und im Zusammenhang mit (medien-)pädagogischen Ansätzen der letzten Jahre diskutiert.' (Autorenreferat)

Der Beitrag beschäftigt sich mit dem Verhältnis der Sphären des Technischen und des Ästhetischen. Technik und Ästhetik stehen sich spätestens seit der Industrialisierung diametral gegenüber, nicht weniger als Arbeit und Spiel. Eine vom Dualismus geprägte Denkweise stellt das Reich der Freiheit dem Reich der Notwendigkeit gegenüber, separiert eine ästhetische Welt von der technischen. Arbeit wird zur Technik gezählt. In deren Zweckorientierung und Determiniertheit sieht man - konträr zur Sphäre des Ästhetischen - in der ästhetischen Erziehung bzw. Bildung und darüber hinaus immer wieder die kreative Eigentätigkeit und damit die Freiheit des Menschen gefährdet - unabhängig davon, dass durch Technik der Mensch sich lebenserleichternde Maschinen und technische Systeme schafft. So werden schließlich die Künste und Spiel einerseits, Arbeit und Technik andererseits als sich prinzipiell ausschließende Tätigkeiten bewertet. Diese Ansicht gilt es jedoch zu überwinden, indem Mensch und Maschine in so genannten Spielräumen verortet werden. Die Ausführungen gliedern sich inhaltlich in zwei Abschnitte: In einem ersten Schritt wird das Verhältnis von Mensch und Maschine bzw. zwischen Spiel und Technik auf theoretischer Ebene erörtert. Dabei finden medien- und ingenieurswissenschaftliche (F. Rötzer), (technik-)soziologische (M. Weber, J. Baudrillard) und philosophische (H. Marcuse, G. Vattimo) Positionen Erwähnung. Im Anschluss folgt die Beschreibung von zwei Projekten der Gestaltung von Arbeit und Technik, in denen ein wechselseitiges Zusammenspiel zwischen Ästhetik und Technik angestrebt wird. So stellt die ästhetische Erziehung Spielräume in Form von Möglichkeitsräumen bereit. Sie erlauben ein Handeln auf Probe, was nichts anderes heißt als eine Praxis auf Gegenseitigkeit. Die erste Fallstudie umfasst die Computersimulation eines Containerhafens (1995). Bei dem zweiten Projekt handelt es sich um die Umsetzung eines 'Theaters der Maschinen' (1998-2000).

Purpose. The main purpose of the study is to examine Kant's first experience in creating a methodology for determining the holistic, spiritual nature of man, firstly, in terms of identifying the range of phenomena that should be included in the analysis of the spiritual essence of man, and secondly, this experience may be indicative for identifying dead ends in the research of spirituality of modern philosophers. Theoretical basis. The study is based on the methodology of philosophical anthropology formulated by M. Scheler, which, on the one hand, integrates the achievements of philosophy of life, phenomenology, existentialism and philosophical hermeneutics, and on the other hand, is based on the premise of the initial direct unity of the opposition of mental and physiological processes of human life. The basis for further expansion of the theoretical framework is the experience of spiritual practices of the Ancient East and religious practices of the Christian Middle Ages. Particularly noteworthy is the experience of modern psychotherapeutic practices, which, for all their diversity, have their roots in the depths of primitive beliefs and mysteries of ancient civilisations, and the tips of their branches reaching to the ideas of modern transpersonal psychology. Originality. Firstly, the author uses M. Scheler's ideas about the spiritual nature of man and the unity of his essential forces: corporeality, senses, feelings, thinking, values of worldview principles and the Absolute to analyse Kant's anthropological concept. Secondly, Kant's position on the way of describing human nature reveals contradictions. These contradictions are caused, on the one hand, by the prevailing mechanistic picture of the world, and, on the other hand, by the philosopher's intuitive assumptions that did not follow from the provisions of his dualistic position (the concepts of mind and soul as used in Kant's work "Anthropology from a Pragmatic Point of View"). Thirdly, the author identifies those fragments of the said work where Kant assumes the presence of corporeality, but does not clearly formulate its role in building the integral nature of the spiritual man. Conclusions. Immanuel Kant was one of the first to raise the issue of the primary study of human nature in comparison with issues of ontology, epistemology, morality, etc. However, the philosopher failed to create a concept of holistic human nature, the essence of which would be its spiritual core. Kant based his methodology of studying human nature on the dualistic opposition of the essential forces of man. This methodology was conditioned by the dominant mechanistic picture of the world. Kant's researches in the field of morality, aesthetics, and science were carried out in the cognitive-theoretical plane, so they were unable to reach a true synthesis of the essential forces of man by their methodology. Such a synthesis is possible on the basis of spiritual practice. The results of the study of the experience of the achievements and mistakes of the outstanding philosopher in the study of human nature open up the possibility of further refinement and development of philosophical and anthropological methodology in understanding the spiritual nature of man as a whole through comprehension of the mechanism of spiritual practice and, on this basis, understanding of the phenomenon of spirituality in all historical forms of its manifestation.

El objetivo de este artículo es problematizar la manera en que la emergencia de demandas y su inscripción de un nuevo espacio de representación pueden dislocar el carácter instituyente de la política. En primer lugar, plantea que lo político opera sobre los límites del demos, expandiendo o restringiendo las diferencias, contadas como diferencias significativas en la comunidad. En segundo lugar, argumenta que esa cuenta se estructura a través de la asignación de ciertas capacidades sensibles a las diferencias que pueden significar un cambio respecto a la definición de lo común de la comunidad. En tercer lugar, el artículo señala que ese reparto de lo sensible está vinculado a un sujeto que puede hablar y ser escuchado en tanto portador de una palabra legítima, una diferencia que puede decir la verdad a través de prácticas parresiastas. En un contexto en el que todo el mundo puede hablar, porque la institucionalidad democrática así lo determina, aparece el riesgo de una mala parrhesía y de que se pierda la oportunidad de identificar la palabra veraz, dispersa en la masa.Palabras clave: Identidades, Estética, ParrhesíaThe political and the identification processesAbstractThe objective of this article is to problematize the way in which the emergence of lawsuits and their inscription of a new space of representation can dislocate the instituting character of politics. First, it lays out that the political operates on the limits of the demos, expanding or restricting the differences, counted as significant differences in the community. Second, it argues that this account is structured through the allocation of certain capacities sensitive to the differences that can mean a change with respect to the definition of the common of the community. Third, the article points out that this distribution of the sensible is linked to a subject who can speak and be heard as the bearer of a legitimate word, a difference that can tell the truth through parresiastas practices. In a context in which everyone can speak, because the democratic institutionality so determines, the risk of bad parrhesia appears and that the opportunity to identify the truthful word, dispersed in the mass, is lost.Keywords: Identities, Aesthetics, ParrhesiaLe politique et les processus d'identificationRésuméL'objectif de cet article est de problématiser la manière dans laquelle l'émergence de demandes et leur inscription d'un nouvel espace de représentation peut disloquer le caractère instituant qui possède la politique. En premier lieu, il propose que le politique opère sur les limites des demos, en étendant ou en restreignant les différences qui sont comptées comme des différences significatives dans la communauté. En deuxième lieu, il argumente que cette compte-là est structurée à travers l'assignation de certaines capacités sensibles aux différences qui peuvent signifier un changement concernant la définition du courant de la communauté. En troisième lieu, l'article signale que cette répartition du sensible est liée à un sujet qui peut parler et peut être écouté en tant que porteur d'une parole légitime, une différence qui peut dire la vérité à travers les pratiques parrhésistes.Dans un contexte dans lequel tout le monde peut parler, parce que l'institutionnalité démocratique ainsi le détermine, il apparaît le risque d'une mauvaise parrhésie et que la chance d'identifier le mot véridique se perde, dispersé dans la masse.Mots clé: Identités, Esthétique, Parrhésie

PurposeThe purpose of this paper is to focus upon some important prerequisites for a qualitative good life for people who are users of signalling devices, prerequisites that at the same time represent barriers for communication, mobility and partaking in ordinary activities. It is also to discuss usability and user satisfaction from a new angle by combining disability studies with STS‐perspectives (Science, Technology and Society) in order to grasp the connection between disability as a social phenomenon and technology as a social actor. The paper discusses reasons for abandonment of AT‐devices (assistive technology‐devices) and the shaping of action by technologies.Design/methodology/approachA qualitative approach is used by the way of semi‐structured interviews with users and public and private service providers in the Norwegian hearing aid market. A bottom‐up strategy is used for data collection. First, users of signaling devices were interviewed about their experiences on how to get and use devices. Then service providers were interviewed about important issues that users raised. A keyword analysis was used in order to highlight barriers for use in daily life. Users were recruited through their interest organization and at an AT exhibition. All the interviews were conducted at cafeterias or at work places.FindingsThe article points at lack of information at companies' websites, professional power, the construction of "end user", routines of everyday life, as well as the matching of devices to age, gender and lifestyle along with attitudes of family, friends and neighbours as important barriers. The article shows how cultural norms and values about gender and disability are inscribed into the technologies. The end product, the polar bear, the watch or the wireless alert system, can be described as a "script" that is supposed to help the individual to perform actions, but as shown – can also limit actions or relations.Research limitations/implicationsThe design of AT‐devices as pointed at in this article not only deals with utility and functionality, but also with usability and human communication. More research on usability is needed, as well as on the user‐expert relationship and how devices function in society as identity markers. In sum, more research on AT is needed in order to develop more knowledge on how to reduce individual risks and societal costs related to abandonment or non‐use.Practical implicationsAlthough changes are taking place in AT services today, the article shows that issues of usability such as the aesthetical side of design, identity and user satisfaction are important but neglected issues by service providers and producers.Social implicationsDespite the ongoing, but slow process from a patient‐oriented system to a more user‐ or customer‐oriented AT system still represents a challenge for services as well as for the welfare state.Originality/valueThe article combines STS‐perspectives, disability studies perspectives and Silverstone's integrative framework on how to get and integrate mainstream ICT‐objects in private households, in order to discuss reasons for abandonment of AT‐devices for people who are hard of hearing. The approach highlights what is special with the integration of AT devices into private homes, as compared to mainstream ICT‐objects, and important reasons for abandonment are discussed that emphasize professional power, aesthetics, identity, as well as attitudes of others.

The article is devoted to the peculiarities of the concert-piano style of A. Karamanov, an outstanding Ukrainian composer, whose works have only recently become the subject of musicological discourse. The "curve" of style and language evolution is outlined, the stages of which are marked by three large-scale concerts of the composer, the last of which called "Ave Maria" has already gained worldwide popularity and entered the repertoire of outstanding performers both in Ukraine and abroad. Based on a comprehensive analysis of the genre-stylistic complex of the phenomenon of "piano concert", a definition of the concept of "concert-piano style" is offered, which is extrapolated to the author's style of A. Karamanov in this genre. The characteristic features of the composer's three piano concerts are highlighted and generalized, a kind of triptych cycle, in which through the work of A. Karamanov as a composer-pianist, constant and individually innovative features of the genre are embodied, which became symphonic conceptual model not only in his work, but also in the styles of other authors of the late XX — early XXI centuries.
The relevance of the chosen topic is determined by the need for a systematic consideration of the triptych of piano concerts by A. Karamanov as a significant phenomenon of Ukrainian and world pianism at the turn of the XX–XXI centuries.
The purpose of the research is to reveal the peculiarities of the style and language evolution of A. Karamanov's work, the stages of which are represented by his three piano concerts.
The methodology is a combination of general scientific and special musicological approaches to the disclosure of the stated topic. Among them are: the method of deduction, which determines the movement of research from the general (concert as a principle of musical thinking) to special (piano concert) and specific phenomenon (triptych piano concerts by A. Karamanov); methods of genre and stylistic analysis used in considering the drama and form of all three concerts; methods of performance and texture analysis aimed at identifying the features of Karamanov's concert pianism.
The results of the research reveal the combination of traditions and innovations in the interpretation of the genre in the concert-piano style of A. Karamanov. All three of his piano concertos are based on different models of drama and form, but common to them is the attraction to the symphonic concept, which brings the concert forms in his music closer to the symphony as a genre of "high generalizations" (Asafiev, 1971).
The scientific topicality of this research is determined by the fact that for the first time In Ukrainian musicology it presents a comprehensive review of the aesthetics and poetics of three piano concerts by A. Karamanov, which reflect the characteristics of modern interpretation of the genre with a tendency to symphonization.
The practical significance of this scientific research is determined by the possibility of applying its provisions and conclusions in the further study of the laws of modern concert-piano style in the works of other composers. The article can be useful for performers who turn to interpretations of Karamanov's piano concerts, as well as for teachers and students of piano departments and branches of art universities of Ukraine.
Conclusions. The review carried out in this article showed that the concert-piano style of A. Karamanov is an original phenomenon of world piano culture, and therefore requires more in-depth study and performance attention. After all, it embodies the characteristics of a new worldview paradigm, formed on the basis of classical traditions and it is considered as a "bridge" between them and modernity.

PurposeDue to the lack of relevant literatures on the application of mobile augmented reality (AR) service in beauty industry, the purpose of this study is to explore the impact of the mobile AR service on consumers' purchase behavior and brand awareness in beauty industry. And this study also wants to identify the different effects of the relationship among flow experience (concentration, playfulness and exploratory behavior), decision comfort and purchase intention moderated by different levels of consumer characteristics (individualism and fashion innovativeness).Design/methodology/approachThis study set up a research model based on SOR model. The study used AR mobile app named "Youcam Makeup" as stimulus to do the questionnaire survey. First, the authors describe the way to use this AR mobile app and make sure each participant experience this app for about 5 min to understand AR well and finally, finished the questionnaire. SPSS and AMOS were used to do data analysis.FindingsThe results of this study showed that first, in the field of fashion and beauty makeup, compared with the ability to control or modify virtual contents – the perception of vividness, reality and aesthetics – are more relevant to consumers. Second, besides the playfulness that AR provides, AR technology can also encourage exploratory behavior in consumers, which will directly affect their intention to purchase. Finally, when using mobile AR technology, consumers with different levels of individualism or fashion innovativeness will gain different perceptions of their purchase intention.Research limitations/implicationsFirst, the study targets millennial female consumers. The future studies can be conducted on consumers of different age groups. Second, the sampling of this study is insufficient; if it had more samples, the results would be more accurate. Finally, AR is integrated into people's lives; therefore, to not be limited to millennial consumers, demographic characteristics need to be applied to future research.Practical implicationsThis study provides a theoretical basis for marketers to formulate marketing strategies. First of all, marketers can use this technology to provide consumers with a more vivid and specific online shopping experience. Second, technical developers can focus on developing the features of AR with the strongest consumer perception based on the results of this study. Finally, this study researched consumer traits that can deepen understanding of both emerging technologies and consumer behavior as compared to research only on mobile AR services. Marketers need to understand the characteristics of consumers when making marketing plans and expand the characteristics of AR technology corresponding to the characteristics of consumers to attract consumers with different attributes.Social implicationsBy using interactive technology, the brand can be closer to consumers and provide help and fun for consumers when they consume online. AR can also lead to future tool reuse behavior, thus establishing long-term relationships with consumers. More than that, AR can be used with the mobile phone, which can be used anytime and anywhere, eliminating space and time constraints. Therefore, the brand can establish cheap and extensive technology as a marketing strategy. Also, it can become one of the most common marketing tools.Originality/valueThis research fills the gap in the literature on mobile AR technology in the beauty industry. Such knowledge will not only facilitate the online development of brands but also help support retailers' development in the beauty industry, providing necessary capabilities for the expansion and application of this new technology. With regard to marketing strategies, the study on consumer characteristic provides the knowledge foundation for marketers to create marketing strategies, which is easier for them to formulate marketing schemes favorable to the brand for varying consumers.