In the U.A.E. (United Arab Emirates), interior design education is often misunderstood as interior decoration, wherein the former is a more comprehensive design approach to spaces formed by structural boundaries and curation of human interaction. The conducted case study addressed a small number of students enrolled in Interior Design Studio I at Zayed University, Abu Dhabi campus. In addition to traditional teaching methods compromised of individual desk critique sessions, group pin-ups and presentations, three innovative methods were implemented as a means of guiding students through the process: direct sequential instruction executed within an assigned time frame, reflection on the surfaced result and use of flat photography or panoramas as means of space communication. Throughout the three implemented stages of the project, and through utilizing the above-described generative methodology, students achieved complex representation and revealed higher spatial order related to human occupation and space inhabitation. This methodology allowed students to channel their work through complex sets of interconnected information and derived an outcome from an accumulative multi-layered resolution. The article presents the process and analyses the achieved outcomes.
{"title":"Prescriptive Methodology as a Generative Tool: A Case Study Conducted at Introductory Interior Design Studio Level in the United Arab Emirates","authors":"Lina Ahmad","doi":"10.3390/ARTS6040017","DOIUrl":"https://doi.org/10.3390/ARTS6040017","url":null,"abstract":"In the U.A.E. (United Arab Emirates), interior design education is often misunderstood as interior decoration, wherein the former is a more comprehensive design approach to spaces formed by structural boundaries and curation of human interaction. The conducted case study addressed a small number of students enrolled in Interior Design Studio I at Zayed University, Abu Dhabi campus. In addition to traditional teaching methods compromised of individual desk critique sessions, group pin-ups and presentations, three innovative methods were implemented as a means of guiding students through the process: direct sequential instruction executed within an assigned time frame, reflection on the surfaced result and use of flat photography or panoramas as means of space communication. Throughout the three implemented stages of the project, and through utilizing the above-described generative methodology, students achieved complex representation and revealed higher spatial order related to human occupation and space inhabitation. This methodology allowed students to channel their work through complex sets of interconnected information and derived an outcome from an accumulative multi-layered resolution. The article presents the process and analyses the achieved outcomes.","PeriodicalId":187290,"journal":{"name":"The Artist and Journal of Home Culture","volume":"33 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-09-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115772964","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 article proposes a non-plural perspective on the analysis of triadic music, offering Sky Macklay’s Many Many Cadences as a case study. Part one is a discussion of the work’s harmony-voice leading nexus, followed by a discussion of the five conditions of correspondence as implied by this string quartet that articulate a single tonal identity. Part three focuses on a strictly kinematic analysis of the work’s harmonic progressions that evinces this identity and establishes its general applicability. In the final section, the data generated by this analysis conveys the inherent possibility of a single, all-encompassing kinematic, thereby pointing beyond the particularities of Many Many Cadences while informing my formal interpretation of the work.
本文提出了一种非复数的视角来分析三和弦音乐，并以Sky Macklay的《Many Many Cadences》为例进行了分析。第一部分讨论了作品的和声和声主导关系，随后讨论了这首弦乐四重奏所暗示的五个对应条件，这些条件表达了一个单一的音调身份。第三部分着重于对作品的谐波进展进行严格的运动学分析，以证明这一身份并建立其一般适用性。在最后一节，分析产生的数据传达了单一的、包罗万象的运动的内在可能性，从而超越了“许多许多节奏”的特殊性，同时为我对作品的正式解释提供了信息。
{"title":"A Model of Triadic Post-Tonality for a Neoconservative Postmodern String Quartet by Sky Macklay","authors":"Zane Gillespie","doi":"10.3390/ARTS6040015","DOIUrl":"https://doi.org/10.3390/ARTS6040015","url":null,"abstract":"This article proposes a non-plural perspective on the analysis of triadic music, offering Sky Macklay’s Many Many Cadences as a case study. Part one is a discussion of the work’s harmony-voice leading nexus, followed by a discussion of the five conditions of correspondence as implied by this string quartet that articulate a single tonal identity. Part three focuses on a strictly kinematic analysis of the work’s harmonic progressions that evinces this identity and establishes its general applicability. In the final section, the data generated by this analysis conveys the inherent possibility of a single, all-encompassing kinematic, thereby pointing beyond the particularities of Many Many Cadences while informing my formal interpretation of the work.","PeriodicalId":187290,"journal":{"name":"The Artist and Journal of Home Culture","volume":"138 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-09-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121501187","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 present paper will translate the term liquid modernity into architecture: What is liquid architecture? In the contemporary world, particularly in big cities, we are observing the spread of a wide range of events that generates sudden demands for transitory and short-term lodgings. International fairs and expos, cultural festivals and sport meets all share the factor of having a strong impact on their urban context with temporary and unstable buildings (forms). These buildings are not just designed by architects but also by artists, graphic designers, musicians, photographers, and even cooks. Therefore, can we call them buildings? How is this liquid architecture?
{"title":"Pop-Up, Liquid Architecture for a Liquid World","authors":"Tiziano Aglieri Rinella, Rubén García Rubio","doi":"10.3390/ARTS6030014","DOIUrl":"https://doi.org/10.3390/ARTS6030014","url":null,"abstract":"The present paper will translate the term liquid modernity into architecture: What is liquid architecture? In the contemporary world, particularly in big cities, we are observing the spread of a wide range of events that generates sudden demands for transitory and short-term lodgings. International fairs and expos, cultural festivals and sport meets all share the factor of having a strong impact on their urban context with temporary and unstable buildings (forms). These buildings are not just designed by architects but also by artists, graphic designers, musicians, photographers, and even cooks. Therefore, can we call them buildings? How is this liquid architecture?","PeriodicalId":187290,"journal":{"name":"The Artist and Journal of Home Culture","volume":"343 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-09-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"117254096","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}
Screen-style frescoes, found in the temples of Gaoping County, Shanxi Province, China, and originating mostly from the Qing Dynasty, present a unique painting form. Folk artists not only painted the screen, a common object in everyday life in ancient China, on the wall surfaces, but also created a variety of paintings inside the screen panels, whereby the viewer sees a painting within a painting. This article, based on multiple field trips, aims to analyze screen-style frescoes in terms of their locations, styles, and unique artistic characteristics such as subject matter, color usage, and brushwork. By studying the influence of literati paintings from the Ming and Qing Dynasties, the author also reveals the aesthetic transition from religious scenes to secular life as presented in the temple frescoes in ancient Gaoping County.
{"title":"The Screen in Fresco Paintings: A Study of the ‘Screen-Style Frescoes’ in the Temples of Gaoping County in China","authors":"Wei Liu","doi":"10.3390/ARTS6030013","DOIUrl":"https://doi.org/10.3390/ARTS6030013","url":null,"abstract":"Screen-style frescoes, found in the temples of Gaoping County, Shanxi Province, China, and originating mostly from the Qing Dynasty, present a unique painting form. Folk artists not only painted the screen, a common object in everyday life in ancient China, on the wall surfaces, but also created a variety of paintings inside the screen panels, whereby the viewer sees a painting within a painting. This article, based on multiple field trips, aims to analyze screen-style frescoes in terms of their locations, styles, and unique artistic characteristics such as subject matter, color usage, and brushwork. By studying the influence of literati paintings from the Ming and Qing Dynasties, the author also reveals the aesthetic transition from religious scenes to secular life as presented in the temple frescoes in ancient Gaoping County.","PeriodicalId":187290,"journal":{"name":"The Artist and Journal of Home Culture","volume":"12 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-09-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121067964","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}
Mobility, Mood and Place explores how places can be designed collaboratively to make pedestrian mobility easy, enjoyable and meaningful for older people. The built environment often excludes marginalised groups such as older people, single mothers and others with special needs. ‘Co-design’ is emerging as an important approach in architectural and urban design, which diversifies stakeholder participation and representation. Participatory co-design approaches can include such stakeholders so as to address their priorities and ensure that other stakeholders empathise with their perspective. This can enhance students’ methodological flexibility and empathy. This paper critically reflects on architecture students’ experiences, together with older adults (including stroke-survivors and those with dementia), in producing co-design research on age-friendly environments and offers some methodological insights. It also discusses competing objectives between a co-design research project that involved students of architecture and landscape design on post-graduate academic programmes. Finally, the paper will offer contributions to architects interested in designing places that take into account the needs of older people.
{"title":"Mobility, Mood and Place—Co-Designing Age-Friendly Cities: A Report on Collaborations between Older People and Students of Architecture","authors":"Iain Scott","doi":"10.3390/ARTS6030012","DOIUrl":"https://doi.org/10.3390/ARTS6030012","url":null,"abstract":"Mobility, Mood and Place explores how places can be designed collaboratively to make pedestrian mobility easy, enjoyable and meaningful for older people. The built environment often excludes marginalised groups such as older people, single mothers and others with special needs. ‘Co-design’ is emerging as an important approach in architectural and urban design, which diversifies stakeholder participation and representation. Participatory co-design approaches can include such stakeholders so as to address their priorities and ensure that other stakeholders empathise with their perspective. This can enhance students’ methodological flexibility and empathy. This paper critically reflects on architecture students’ experiences, together with older adults (including stroke-survivors and those with dementia), in producing co-design research on age-friendly environments and offers some methodological insights. It also discusses competing objectives between a co-design research project that involved students of architecture and landscape design on post-graduate academic programmes. Finally, the paper will offer contributions to architects interested in designing places that take into account the needs of older people.","PeriodicalId":187290,"journal":{"name":"The Artist and Journal of Home Culture","volume":"236 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-08-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121352954","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 contributions of sustainability to architectural designs are steadily increasing in parallel with developments in technology. Although sustainability seems to be a new concept in today’s architecture, in reality, it is not. This is because, much of sustainable architectural design principles depend on references to vernacular architecture, and there are many examples found in different parts of the world to which architects can refer. When the world seeks for more sustainable buildings, it is acceptable to revisit the past in order to understand sustainable features of vernacular architecture. It is clear that vernacular architecture has a knowledge that matters to be studied and classified from a sustainability point of view. This work aims to demonstrate that vernacular architecture can contribute to improving sustainability in construction. In this sense, the paper evaluates specific vernacular housing in Eastern Black Sea Region in Turkey and their response to nature and ecology. In order to explain this response, field work was carried out and the vernacular architectural accumulation of the region was examined on site. The features of the examples have been identified and debated in today’s sustainable architectural concept. This work holistically evaluates this architectural manifestation, in the light of current knowledge, in order to find scientific justification for its knowledge to verify and promote its application in the future.
{"title":"Sustainable Features of Vernacular Architecture: Housing of Eastern Black Sea Region as a Case Study","authors":"B. Salgın, Ömer Bayram, Atacan Akgün, K. Agyekum","doi":"10.3390/ARTS6030011","DOIUrl":"https://doi.org/10.3390/ARTS6030011","url":null,"abstract":"The contributions of sustainability to architectural designs are steadily increasing in parallel with developments in technology. Although sustainability seems to be a new concept in today’s architecture, in reality, it is not. This is because, much of sustainable architectural design principles depend on references to vernacular architecture, and there are many examples found in different parts of the world to which architects can refer. When the world seeks for more sustainable buildings, it is acceptable to revisit the past in order to understand sustainable features of vernacular architecture. It is clear that vernacular architecture has a knowledge that matters to be studied and classified from a sustainability point of view. This work aims to demonstrate that vernacular architecture can contribute to improving sustainability in construction. In this sense, the paper evaluates specific vernacular housing in Eastern Black Sea Region in Turkey and their response to nature and ecology. In order to explain this response, field work was carried out and the vernacular architectural accumulation of the region was examined on site. The features of the examples have been identified and debated in today’s sustainable architectural concept. This work holistically evaluates this architectural manifestation, in the light of current knowledge, in order to find scientific justification for its knowledge to verify and promote its application in the future.","PeriodicalId":187290,"journal":{"name":"The Artist and Journal of Home Culture","volume":"14 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-08-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130243151","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 article analyses the work and presents a portrait of Japanese architect Arata Isozaki. His designs and buildings span six decades and it is suggested that these can be categorised into four distinctively different phases. As a former collaborator of Isozaki during the 1990s, the author is able to draw from first-hand observations and knowledge to explain relevant projects. As the discussion points out, Isozaki’s work is highly unusual, original, complex and personal in its absorption of a multitude of influences and its interdisciplinary approach; thus, one could say that he has created ideas and concepts for spaces that defy characterisation as belonging to any single school of thought.
{"title":"Reappraising the Visionary Work of Arata Isozaki: Six Decades and Four Phases","authors":"Steffen Lehmann","doi":"10.3390/ARTS6030010","DOIUrl":"https://doi.org/10.3390/ARTS6030010","url":null,"abstract":"This article analyses the work and presents a portrait of Japanese architect Arata Isozaki. His designs and buildings span six decades and it is suggested that these can be categorised into four distinctively different phases. As a former collaborator of Isozaki during the 1990s, the author is able to draw from first-hand observations and knowledge to explain relevant projects. As the discussion points out, Isozaki’s work is highly unusual, original, complex and personal in its absorption of a multitude of influences and its interdisciplinary approach; thus, one could say that he has created ideas and concepts for spaces that defy characterisation as belonging to any single school of thought.","PeriodicalId":187290,"journal":{"name":"The Artist and Journal of Home Culture","volume":"6 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-07-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128736810","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 article lists the rock art sites in Morocco with painted images so far published. It updates and includes the inventory of such sites published over 15 years ago. Short descriptions of the situation and contents of both new and old sites are given.
{"title":"Sites with Paintings in Morocco and the Atlantic Sahara","authors":"Susan Searight","doi":"10.3390/arts6030009","DOIUrl":"https://doi.org/10.3390/arts6030009","url":null,"abstract":"This article lists the rock art sites in Morocco with painted images so far published. It updates and includes the inventory of such sites published over 15 years ago. Short descriptions of the situation and contents of both new and old sites are given.","PeriodicalId":187290,"journal":{"name":"The Artist and Journal of Home Culture","volume":"6 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-07-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114385012","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}
T. Morgan, Chukwuemeka Nwigwe, Chukwunonso Uzoagba
Gerald Chukwuma is a prolific Nigerian artist whose creative adaptation and use of media tend to deviate from common practice. This essay draws on his several avant-garde works on display at the Nnamdi Azikiwe Library and at the administrative building of the University of Nigeria Nsukka. These artworks are referred to as ‘paintaglio’ in this essay owing to the convergence of painting, and engraving (or intaglio) processes. This study therefore identifies, critically interprets and analyzes Chukwuma’s artistic inclinations—style, spirit, forms, materials, and techniques. This is in order to lay bare the formal and conceptual properties that foreground the artist’s recent paintaglio experiments. The study relies on personal interviews, literature, and images of Chukwuma’s works as data. Such experimental works which clearly express influences of ‘natural synthesis’ ideology are here examined against the backdrop of their epistemic themes.
{"title":"Visual Language and ‘Paintaglios’ of Gerald Chukwuma: A Critical Analysis","authors":"T. Morgan, Chukwuemeka Nwigwe, Chukwunonso Uzoagba","doi":"10.3390/ARTS6020008","DOIUrl":"https://doi.org/10.3390/ARTS6020008","url":null,"abstract":"Gerald Chukwuma is a prolific Nigerian artist whose creative adaptation and use of media tend to deviate from common practice. This essay draws on his several avant-garde works on display at the Nnamdi Azikiwe Library and at the administrative building of the University of Nigeria Nsukka. These artworks are referred to as ‘paintaglio’ in this essay owing to the convergence of painting, and engraving (or intaglio) processes. This study therefore identifies, critically interprets and analyzes Chukwuma’s artistic inclinations—style, spirit, forms, materials, and techniques. This is in order to lay bare the formal and conceptual properties that foreground the artist’s recent paintaglio experiments. The study relies on personal interviews, literature, and images of Chukwuma’s works as data. Such experimental works which clearly express influences of ‘natural synthesis’ ideology are here examined against the backdrop of their epistemic themes.","PeriodicalId":187290,"journal":{"name":"The Artist and Journal of Home Culture","volume":"43 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-05-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132232926","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}
Elizabeth Durack (1915–2000) was a prolific Australian artist. She spent much of her life in Western Australia. Her subject of choice was most often aboriginal life. The book, Elizabeth Durack, Art & Life, Selected Writings (2016, edited by Perpetua Durack Clancy, Brisbane: Connor Court, 276 pp., A$29.95) presents a chronological selection of her writings in nine chapters, one decade per chapter. There are personal letters and extracts from her diaries, along with some published and unpublished essays. The style is frank, sometimes irreverent, and she rails against political correctness. In her 80th year, Elizabeth was gripped with a manic burst of creativity. She produced a remarkable suite of works in the thrall of her new muse, Eddie Burrup. The book throws light on her relationship with Eddie Burrup and the unfolding controversy. The presenting of art works of a white woman as those of an aboriginal man caused grief for some of the local artocrats. The first 80 years of Elizabeth Durack can be regarded as a long art apprenticeship and at the culmination of which she graduated to be Eddie Burrup. In this guise and in the twilight of her life, she produced the masterworks of her career, scores of remarkable paintings. The Eddie Burrup suite of paintings are big and bold, fresh and expansive, and uniquely Australian. They reveal Australia’s ancient landscape as a playground for the spirits and totems of the land. This book reveals some of the story of Elizabeth Durack and Eddie Burrup.
{"title":"The Incarnation of Eddie Burrup: A Review of Elizabeth Durack, Art & Life, Selected Writings, Perpetua Durack Clancy (Editor), Brisbane: Connor Court","authors":"John Paull","doi":"10.3390/ARTS6020007","DOIUrl":"https://doi.org/10.3390/ARTS6020007","url":null,"abstract":"Elizabeth Durack (1915–2000) was a prolific Australian artist. She spent much of her life in Western Australia. Her subject of choice was most often aboriginal life. The book, Elizabeth Durack, Art & Life, Selected Writings (2016, edited by Perpetua Durack Clancy, Brisbane: Connor Court, 276 pp., A$29.95) presents a chronological selection of her writings in nine chapters, one decade per chapter. There are personal letters and extracts from her diaries, along with some published and unpublished essays. The style is frank, sometimes irreverent, and she rails against political correctness. In her 80th year, Elizabeth was gripped with a manic burst of creativity. She produced a remarkable suite of works in the thrall of her new muse, Eddie Burrup. The book throws light on her relationship with Eddie Burrup and the unfolding controversy. The presenting of art works of a white woman as those of an aboriginal man caused grief for some of the local artocrats. The first 80 years of Elizabeth Durack can be regarded as a long art apprenticeship and at the culmination of which she graduated to be Eddie Burrup. In this guise and in the twilight of her life, she produced the masterworks of her career, scores of remarkable paintings. The Eddie Burrup suite of paintings are big and bold, fresh and expansive, and uniquely Australian. They reveal Australia’s ancient landscape as a playground for the spirits and totems of the land. This book reveals some of the story of Elizabeth Durack and Eddie Burrup.","PeriodicalId":187290,"journal":{"name":"The Artist and Journal of Home Culture","volume":"109 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-05-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115079667","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}
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