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Three novel liquid crystalline methacrylates have been synthesized and characterized to be tested as comonomers in light‐curing dental resin‐based composites. The selected formulations consist of an alkylammonium or cholesteryl urethane methacrylate and 2,2‐bis[4‐(2‐hydroxy‐3‐methacryloyloxypropyl)phenyl]propane (BisGMA) or a BisGMA derivate modified with urethane methacrylate groups, further diluted with triethyleneglycol dimethacrylate (TEGDMA) and reinforced with 70% filler (zirconium silicate nanopowder, silanized filler). This study addresses the relationships between the LC monomer structure, photopolymerization rates (by differential scanning photo calorimetry), and specific properties of the dental resin composites (volumetric shrinkage, water sorption, water solubility, and hydrophobicity). The investigation of LC properties by differential scanning calorimetry and polarizing microscopy indicated that the LC mesophase is stable to room temperature (cationic monomers) or at 40 °C (cholesteryl methacrylate). It was found that the polymerization rate for LC urethane methacrylates used in combination with BisGMA/TEGDMA (0.122–0.136 s−1) is higher than that of the mesogenic monomers alone (0.085–0.107 s−1). The structures of the urethane monomers and, consequently, the viscosity of the comonomer mixture influence both the rate and the degree of conversion (44.8–67.5 %) of the photopolymerization process. Polymerization shrinkage measured by pycnometry showed lower values for LC monomers (3.25–3.43 vol %) comparatively with the monomer mixture (5.19–6.65 vol %). Preliminarily, the effect of ammonium groups from two resin composites incorporating alkylammonium structures (4.5 wt %) was tested on Streptococcus mutans, and distinct zone of inhibition was observed. © 2011 Wiley Periodicals, Inc. J Polym Sci Part A: Polym Chem, 2011

Synchronicity: Coincidence Detection and Meaningful Life Events E arly therapeutic use of coincidences is described by Carl Jung, who coined the term 'synchronicity,' referring to the low-probability co-occurrence of two different events in a narrow window of time, perceived as striking for the individual experiencing it. 1 It is now accepted that, for coincidences to qualify as a synchronicity, they have to be meaningful, and help one's individuation. 2

The article is an analysis of recent studies of non-governmental organizations (World Economic Forum) which have generated cultural strategies and which are today influencing the relationship between the society and the forms that organize and finance culture. The article also analyses the way in which the cultural strategies generated by these studies are manifesting themselves in the theatrical landscape in Romania: the polarization of the theatrical speech, the standardization of the means of expressing messages on the stage and the offensive brought by the non-governmental organizations. Starting from the context aforementioned, we need a research regarding the way ideological trends are influencing the way we represent things on the stage and are modifying the axiology of the theatre. I’m talking about notions that are necessary to establish a frame and some standards of evaluation regarding the theatrical domain: competence and relevance. How are they defined? How and who can measure them? It is also of utter importance to analyze the terms and notions that are used in the recent and most acid critic reviews of the theatre productions in Romania: independent theatre, state financed theatre, gigantic productions, alternative spaces, the under-financing of the cultural sector, management, cultural management experts, etc. Last but not least, the article mentions the way in which some of the most influent characters involved in the theatre world of the 20th century have looked to what is the problematics of researching the theatrical act: Ariane Mnouchkine and Peter Brook. Is there innovation in a multi-millennial art? Is theatre something else than an art of the present which is serving the city? We are crossing a period of time in which, also due to the restrictions generated by the pandemics, it was debated in the public space (and the authorities have encouraged that idea) to move the theatre in the on line. Starting from the premise that the theatre without an audience stops being theatre, I will analyze, in the context described earlier, the relationship between theatre and the new trends in the Euro-Atlantic culture: progressivism and digitalization.