english version(pg40to78) - Pr. François Duret

F Duret and Coll. Principes de fonctionnement et applications techniques de l’empreinte optique dans l’exercice de cabinet
(traduction Anglaise)
Page 108
The manufacturing give access to all materials while freeing us of
extremely frustrating constraints of the fabrication of a volume by
moulding or lost wax. The possession of a biomaterial with rigorously
defined and constant performances will help the operator to better
“reason” his action depending on the only requirements imposed by
the clinical circumstances.
CONCLUSION
The realisation of a prosthesis mustn’t, today, anymore be considered
an artistic action but a scientific realisation. It is necessary to delete
from our vocabulary the term dental art which makes us certainly
dreamy but opens the door to dangerous artistic “uncertainty”. The art
zone seems to us more of a scientific no man’s land rather than a pure
aesthetic creation zone.
Despite the very high technology used for the fabrications, the
prosthetic technique stays fundamentally arbitrary. Working with
CAD/CAM enables us to have access to a multitude of interactions
and manage the communications between the different realisation subsystems.
As well as having a productive ensemble minimising the risks on
traditional steps which we will keep, we are thinking of suppressing
certain complex steps such as the use of articulators. Past the
traditional production, we are given the choice of a multitude of new
materials surpassing by far, by their mechanical and aesthetic
qualities, the bodies which we know today.
The hope which animates us mustn’t hide the extreme difficulty of
realising such a set. However, even if for some we are in the dream
zone, we all think we have opened a new way bringing high level
techniques to our profession, that is to say electro optics, electronics,
3D computer science and robotics. We also think that few methods
today give us the same hope.
The work presented by the teams such as B. TOUATI’s confirm our
immense hope associated to materials as well as luting mode.
Les Cahiers de Prothèse (50) pp 73 – 110, 1985