Abramson, Daniel Achrati, Ahmed Alibaigi, Sajjad Altan, Hasim Bahn, Paul G. Barletta, Barbara Bedard, Jean-Francois Bensen-Cain, R. Biglari, Fereidoun Blanton, John Brown, Kathryn Challis, Sam Clements-Croome, Derek Clottes, Jean Danos, Antonis Dimendberg, Edward Dobrez, Livio Dobrez, Patricia Dyson, Stephen L. Emmer, Michele Fair, Alistair Faulstich, Paul Gaggadis-Robin, Vassiliki García, José Julio Gunn, Robert Hanan, Himasari Hansen, Joseph Helvenston, Patricia Hernandez-Moreno, Silverio Holden, Susan Hollmann, Jeremy Karimi, Ebrahim Khan, Majeed Kite, Stephen Koprulu Bagbanci, Ozlem Kristensen, Stine Kumar, Giriraj Le Quellec, Jean Loic Lorenzi, Marcella Giulia Montelle, Yann-Pierre Moore, Steven A. Nasab, Hamed V. Nègre, Valérie Ockman, Joan Oosterbeek, Luiz Polk, Kenneth Querejazu Lewis, Roy Ralfonso, Ralfonso Rodwell, Dennis Ross, Bruce Ruiz López, Juan F. Sadler, Simon Sassi, Paola Searight, Susan Seglie, Dario Siswantoa, Ari Solomone, Ann Strecker, Matthias Swartz, Anne Swirski, Peter Timpano, Nathan Tiso, Elisabeth Watson, Ben Zeitoun, Valery
{"title":"Acknowledgement to Reviewers of Arts in 2014","authors":"Arts Office","doi":"10.3390/ARTS4010023","DOIUrl":"https://doi.org/10.3390/ARTS4010023","url":null,"abstract":"Abramson, Daniel Achrati, Ahmed Alibaigi, Sajjad Altan, Hasim Bahn, Paul G. Barletta, Barbara Bedard, Jean-Francois Bensen-Cain, R. Biglari, Fereidoun Blanton, John Brown, Kathryn Challis, Sam Clements-Croome, Derek Clottes, Jean Danos, Antonis Dimendberg, Edward Dobrez, Livio Dobrez, Patricia Dyson, Stephen L. Emmer, Michele Fair, Alistair Faulstich, Paul Gaggadis-Robin, Vassiliki García, José Julio Gunn, Robert Hanan, Himasari Hansen, Joseph Helvenston, Patricia Hernandez-Moreno, Silverio Holden, Susan Hollmann, Jeremy Karimi, Ebrahim Khan, Majeed Kite, Stephen Koprulu Bagbanci, Ozlem Kristensen, Stine Kumar, Giriraj Le Quellec, Jean Loic Lorenzi, Marcella Giulia Montelle, Yann-Pierre Moore, Steven A. Nasab, Hamed V. Nègre, Valérie Ockman, Joan Oosterbeek, Luiz Polk, Kenneth Querejazu Lewis, Roy Ralfonso, Ralfonso Rodwell, Dennis Ross, Bruce Ruiz López, Juan F. Sadler, Simon Sassi, Paola Searight, Susan Seglie, Dario Siswantoa, Ari Solomone, Ann Strecker, Matthias Swartz, Anne Swirski, Peter Timpano, Nathan Tiso, Elisabeth Watson, Ben Zeitoun, Valery","PeriodicalId":187290,"journal":{"name":"The Artist and Journal of Home Culture","volume":"32 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2015-01-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115775437","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This paper is inspired by the manuscript of Philip Kitcher’s forthcoming book Deaths in Venice: The Cases of Gustav von Aschenbach, in which he offers a brilliant, philosophically inspired reading of Thomas Mann’s novel, as well as his views on the relationship between literature and philosophy. One of Kitcher’s claims, which is my starting point, is that philosophy can be done not only by philosophers but also within some art forms, such as literature and music. Within the literary text, Kitcher claims, philosophy lies in the showing and the text can influence the way readers think and perceive the world. Due to this claim, I see Kitcher as pertaining to the group of literary cognitivists. He offers some powerful arguments in support of the cognitive value of literature, although his approach is substantially different from the arguments usually put forward in defence of literary cognitivism. In this paper, my aim is twofold: firstly, I want to analyse the relationship between philosophy and literature with the aim of showing that despite some overlap between the two disciplines, we have to keep them separate. Secondly, I want to explore what ramifications this has for literary cognitivism.
{"title":"Literature and Philosophy: Intersection and Boundaries","authors":"I. Vidmar","doi":"10.3390/ARTS4010001","DOIUrl":"https://doi.org/10.3390/ARTS4010001","url":null,"abstract":"This paper is inspired by the manuscript of Philip Kitcher’s forthcoming book Deaths in Venice: The Cases of Gustav von Aschenbach, in which he offers a brilliant, philosophically inspired reading of Thomas Mann’s novel, as well as his views on the relationship between literature and philosophy. One of Kitcher’s claims, which is my starting point, is that philosophy can be done not only by philosophers but also within some art forms, such as literature and music. Within the literary text, Kitcher claims, philosophy lies in the showing and the text can influence the way readers think and perceive the world. Due to this claim, I see Kitcher as pertaining to the group of literary cognitivists. He offers some powerful arguments in support of the cognitive value of literature, although his approach is substantially different from the arguments usually put forward in defence of literary cognitivism. In this paper, my aim is twofold: firstly, I want to analyse the relationship between philosophy and literature with the aim of showing that despite some overlap between the two disciplines, we have to keep them separate. Secondly, I want to explore what ramifications this has for literary cognitivism.","PeriodicalId":187290,"journal":{"name":"The Artist and Journal of Home Culture","volume":"4 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2014-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130486892","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This paper addresses auto-destructive artworks by Jean Tinguely, Homage to New York (1960) and Study for an End of the World No. 2 (1962), to explore a changing consciousness of time in a period of technological transition from modern industrial machines towards the domestication of televisual devices. One effect of these is works is a contribution to a turbulent consciousness of time by orchestrating new perceptions of temporality with mechanical and tele-communicational media. Tinguely’s kineticism is useful for articulating how different technologies can be used to rationalize time in different ways and highlight an incompatibility between the expression of time as an unfolding duration with mechanical media, and the temporal demands of televisual broadcast media.
本文以Jean Tinguely的作品《致敬纽约》(Homage to New York, 1960)和《为世界末日而研究No. 2》(Study for an End of World No. 2, 1962)为例，探讨从现代工业机器向电视设备驯化的技术转型时期的时间意识变化。这些作品的一个效果是通过机械和远程通信媒体编排对时间性的新看法，为动荡的时间意识做出贡献。Tinguely的运动主义有助于阐明不同的技术如何以不同的方式使时间合理化，并强调时间作为机械媒体展开的持续时间的表达与电视广播媒体的时间需求之间的不兼容性。
{"title":"Movement and Time in the Nexus between Technological Modes with Jean Tinguely’s Kineticism","authors":"Christina Chau","doi":"10.3390/ARTS3040394","DOIUrl":"https://doi.org/10.3390/ARTS3040394","url":null,"abstract":"This paper addresses auto-destructive artworks by Jean Tinguely, Homage to New York (1960) and Study for an End of the World No. 2 (1962), to explore a changing consciousness of time in a period of technological transition from modern industrial machines towards the domestication of televisual devices. One effect of these is works is a contribution to a turbulent consciousness of time by orchestrating new perceptions of temporality with mechanical and tele-communicational media. Tinguely’s kineticism is useful for articulating how different technologies can be used to rationalize time in different ways and highlight an incompatibility between the expression of time as an unfolding duration with mechanical media, and the temporal demands of televisual broadcast media.","PeriodicalId":187290,"journal":{"name":"The Artist and Journal of Home Culture","volume":"8 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2014-12-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131904424","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Affordances necessary for the making of hand traces in the form of stencils and prints—primarily the availability of pigment and a suitable surface—bear on our understanding of their emergence as early exograms. Matters relating to the question of how pigment was/is applied, the placement and embellishment of images, the procurement and preparation of ochre, and the selecting and priming of surfaces, are discussed here—as well as the intriguing occurrence of variant hands. Advantage is taken of Australia’s position as a zone of ongoing hand-marking practice to suggest what can be learned from ethnography. Finally, avenues for future research are proposed with a view to opening out a discussion of external information storage possibilities in relation to hand traces.
{"title":"Hand Traces: Technical Aspects of Positive and Negative Hand-Marking in Rock Art","authors":"Patricia Dobrez","doi":"10.3390/ARTS3040367","DOIUrl":"https://doi.org/10.3390/ARTS3040367","url":null,"abstract":"Affordances necessary for the making of hand traces in the form of stencils and prints—primarily the availability of pigment and a suitable surface—bear on our understanding of their emergence as early exograms. Matters relating to the question of how pigment was/is applied, the placement and embellishment of images, the procurement and preparation of ochre, and the selecting and priming of surfaces, are discussed here—as well as the intriguing occurrence of variant hands. Advantage is taken of Australia’s position as a zone of ongoing hand-marking practice to suggest what can be learned from ethnography. Finally, avenues for future research are proposed with a view to opening out a discussion of external information storage possibilities in relation to hand traces.","PeriodicalId":187290,"journal":{"name":"The Artist and Journal of Home Culture","volume":"434 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2014-12-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116009784","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract: In some discourses on sustainability, modernism in architecture is blamed for its technocratic beliefs that supposedly generated a lot of the social and environmental problems the world is facing today. At the same time, many architectural critics seem to be convinced that the present call for sustainability with its “green buildings”, is but another screen behind which well-known old power structures hide. In this paper, we react to these viewpoints in different ways. First we clarify the issues that are haunting current architectural discourses by unraveling the logics behind the viewpoints of the critics of the “environmental doctrine” on the one hand and the technical environmentalists on the other hand. We will offer, secondly, a new framing to these debates by relying upon the modal sphere theory of the Dutch philosopher Herman Dooyeweerd. This new framing will allow us to reconnect, thirdly, with the discourse of modernism, which, we will argue, is all too often conflated with a technocratic paradigm—a partial, incomplete and even misleading representation. In conclusion, we present a different framing of modernism, which allows understanding of it as a multilayered and multifaceted response to the challenges of modernity, a response that formulated a series of ideals that are not so far removed from the ideals formulated today by many advocates of sustainability. We are, thus, suggesting that the sustainability discourse should be conceived as a more mature and revised version of the paradigm of modernism, rather than its absolute counterpoint.
{"title":"Sustainable Development, Architecture and Modernism: Aspects of an Ongoing Controversy","authors":"Han Vandevyvere, Hilde Heynen","doi":"10.3390/ARTS3040350","DOIUrl":"https://doi.org/10.3390/ARTS3040350","url":null,"abstract":"Abstract: In some discourses on sustainability, modernism in architecture is blamed for its technocratic beliefs that supposedly generated a lot of the social and environmental problems the world is facing today. At the same time, many architectural critics seem to be convinced that the present call for sustainability with its “green buildings”, is but another screen behind which well-known old power structures hide. In this paper, we react to these viewpoints in different ways. First we clarify the issues that are haunting current architectural discourses by unraveling the logics behind the viewpoints of the critics of the “environmental doctrine” on the one hand and the technical environmentalists on the other hand. We will offer, secondly, a new framing to these debates by relying upon the modal sphere theory of the Dutch philosopher Herman Dooyeweerd. This new framing will allow us to reconnect, thirdly, with the discourse of modernism, which, we will argue, is all too often conflated with a technocratic paradigm—a partial, incomplete and even misleading representation. In conclusion, we present a different framing of modernism, which allows understanding of it as a multilayered and multifaceted response to the challenges of modernity, a response that formulated a series of ideals that are not so far removed from the ideals formulated today by many advocates of sustainability. We are, thus, suggesting that the sustainability discourse should be conceived as a more mature and revised version of the paradigm of modernism, rather than its absolute counterpoint.","PeriodicalId":187290,"journal":{"name":"The Artist and Journal of Home Culture","volume":"25 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2014-10-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116420661","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Since the latter part of 19th century photography has played a central role in the development of architecture for its persuasive visual impact. But, despite this clear interaction, there is still reluctance from scholars in accepting less rigid approaches to the two disciplines. Indeed, the combination of the subjects, with the necessary rigour, can open up new and effective horizons for architectural history, with a potential influence on the perceived reality: this could gradually establish attention towards less known heritage. In the case we present here, by means of a provocative exhibition on Cambridge’s buildings after the Second World War, we have used photography to re-evaluate modern architecture. Cambridge in Concrete. Images from the RIBA British Architectural Library Photographs Collection, was held on the occasion of the University of Cambridge Department of Architecture’s Centenary (1912-2012). The cues for our task were contained in the collections of the Royal Institute of British Architects: the photographic archive is the world’s biggest holding of architectural images which, since 2012, has been renamed in honour of Robert Elwall (1953-2012), first curator of the collection. As part of the exhibition we published a limited edition catalogue; we have here revisited, combined and enlarged our original essays.
{"title":"The Cambridge Experiment","authors":"Marco Iuliano, F. Penz","doi":"10.3390/ARTS3030307","DOIUrl":"https://doi.org/10.3390/ARTS3030307","url":null,"abstract":"Since the latter part of 19th century photography has played a central role in the development of architecture for its persuasive visual impact. But, despite this clear interaction, there is still reluctance from scholars in accepting less rigid approaches to the two disciplines. Indeed, the combination of the subjects, with the necessary rigour, can open up new and effective horizons for architectural history, with a potential influence on the perceived reality: this could gradually establish attention towards less known heritage. In the case we present here, by means of a provocative exhibition on Cambridge’s buildings after the Second World War, we have used photography to re-evaluate modern architecture. Cambridge in Concrete. Images from the RIBA British Architectural Library Photographs Collection, was held on the occasion of the University of Cambridge Department of Architecture’s Centenary (1912-2012). The cues for our task were contained in the collections of the Royal Institute of British Architects: the photographic archive is the world’s biggest holding of architectural images which, since 2012, has been renamed in honour of Robert Elwall (1953-2012), first curator of the collection. As part of the exhibition we published a limited edition catalogue; we have here revisited, combined and enlarged our original essays.","PeriodicalId":187290,"journal":{"name":"The Artist and Journal of Home Culture","volume":"36 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2014-09-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126689313","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
From the perspective of a specialist in environmental health and as a son of an architectural and architectural photography innovator, the author of this essay reviews the ways that photographers approach architecture. It argues that the Internet and digital technology should be used to document how architecture accommodates what clients do and how they interact as well as documenting brief esthetic experiences in and around architecture.
{"title":"On the Past and Future Tensions Between Documentation and Esthetics in Architectural Photography","authors":"R. Neutra","doi":"10.3390/ARTS3030335","DOIUrl":"https://doi.org/10.3390/ARTS3030335","url":null,"abstract":"From the perspective of a specialist in environmental health and as a son of an architectural and architectural photography innovator, the author of this essay reviews the ways that photographers approach architecture. It argues that the Internet and digital technology should be used to document how architecture accommodates what clients do and how they interact as well as documenting brief esthetic experiences in and around architecture.","PeriodicalId":187290,"journal":{"name":"The Artist and Journal of Home Culture","volume":"62 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2014-09-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130901263","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This review of The Solar House: Pioneering Sustainable Design, by Anthony Denzer, discusses the important contributions of this book to the history of midcentury modern architecture, and considers the role of solar houses in the context of current debates over sustainability.
{"title":"The Solar House: Pioneering Sustainable Design. By Anthony Denzer. New York: Rizzoli, 2013","authors":"K. Koehler","doi":"10.3390/ARTS3030303","DOIUrl":"https://doi.org/10.3390/ARTS3030303","url":null,"abstract":"This review of The Solar House: Pioneering Sustainable Design, by Anthony Denzer, discusses the important contributions of this book to the history of midcentury modern architecture, and considers the role of solar houses in the context of current debates over sustainability.","PeriodicalId":187290,"journal":{"name":"The Artist and Journal of Home Culture","volume":"26 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2014-07-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"117353921","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
While there is a long well-documented tradition of poets walking and writing about the landscape, for at least the past fifty years visual artists have been laying out walks as various kinds of artwork. More recently, with the technology of mapping morphing into electronic devices, artists have begun using these tools to develop entirely new genres.
{"title":"Walking and Mapping: Artists as Cartographers. By Karen O’Rourke. Cambridge, MA. MIT Press, 2013.","authors":"J. Weishaus","doi":"10.3390/ARTS3020298","DOIUrl":"https://doi.org/10.3390/ARTS3020298","url":null,"abstract":"While there is a long well-documented tradition of poets walking and writing about the landscape, for at least the past fifty years visual artists have been laying out walks as various kinds of artwork. More recently, with the technology of mapping morphing into electronic devices, artists have begun using these tools to develop entirely new genres.","PeriodicalId":187290,"journal":{"name":"The Artist and Journal of Home Culture","volume":"50 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2014-06-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129012725","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The Metabolist movement, with its radical and visionary urban and architectural schemes, drew the attention of an international architecture community to Japan in the 1960s and 1970s. Seen from a contemporary perspective, the movement’s foremost concern was cultural resilience as a notion of national identity. Metabolism responded to the human and environmental catastrophe that followed the atomic bombing of Japan and vulnerability to natural disasters such as earthquakes, with architecture envisioning the complete transformation of Japan as a system of political, social, and physical structures into resilient spatial and organizational patterns adaptable to change. Projecting a utopia of resilience, Metabolism employed biological metaphors and recalled technoscientific images which, together with the vernacular, evoked the notion of a genetic architecture able to be recreated again and again. A specific concern was to mediate between an urbanism of large, technical and institutional infrastructures and the freedom of the individual. My aim is to critically examine the notion of sustainable architecture by rereading Metabolist theories and products, such as terms, models, projects, and buildings. For a better understanding of the present discourse, this text searches for a possible history of sustainable architecture, a subject mostly presented ahistorically.
{"title":"The Architecture of Metabolism. Inventing a Culture of Resilience","authors":"M. Schalk","doi":"10.3390/ARTS3020279","DOIUrl":"https://doi.org/10.3390/ARTS3020279","url":null,"abstract":"The Metabolist movement, with its radical and visionary urban and architectural schemes, drew the attention of an international architecture community to Japan in the 1960s and 1970s. Seen from a contemporary perspective, the movement’s foremost concern was cultural resilience as a notion of national identity. Metabolism responded to the human and environmental catastrophe that followed the atomic bombing of Japan and vulnerability to natural disasters such as earthquakes, with architecture envisioning the complete transformation of Japan as a system of political, social, and physical structures into resilient spatial and organizational patterns adaptable to change. Projecting a utopia of resilience, Metabolism employed biological metaphors and recalled technoscientific images which, together with the vernacular, evoked the notion of a genetic architecture able to be recreated again and again. A specific concern was to mediate between an urbanism of large, technical and institutional infrastructures and the freedom of the individual. My aim is to critically examine the notion of sustainable architecture by rereading Metabolist theories and products, such as terms, models, projects, and buildings. For a better understanding of the present discourse, this text searches for a possible history of sustainable architecture, a subject mostly presented ahistorically.","PeriodicalId":187290,"journal":{"name":"The Artist and Journal of Home Culture","volume":"25 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2014-06-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132628524","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：