An important task in archaeological research is the comparison of painted motifs on ancient vessels and the analysis of their painting style. Ideally, the pottery objects are available as scanned 3D models, from which the painted surface can be unrolled and potential distortions minimized, so that the vase painting and its individual motifs can be directly inspected. Unfortunately, the percentage of digitally captured vessels is small compared to the large body of cataloged photographs. In this paper, we present a method that creates distortion-minimized unrollings of painted pottery surfaces directly from a small set of photographs. We achieve this by exploiting prior knowledge about the data, namely that most objects exhibit rotational symmetry and that strict guidelines were followed when capturing photographs of the ancient vases. Based on the distinctly visible object silhouettes in the photographs we are able to extract proxy geometries of the objects which we encode as per-view geometric maps. By stitching the single-view data, we obtain a combined map capturing the geometry and texture of the entire painted surface. This enables us to minimize typical projective distortions by elastic relaxation. Our pipeline works entirely in 2D image space, circumventing time-consuming 3D scans and surface reconstructions of (often inaccessible) vessels. Using a combination of CPU-based image processing and GPU-based relaxation, results are produced in only a few minutes.
{"title":"Direct Elastic Unrollings of Painted Pottery Surfaces from Sparse Image Sets","authors":"Peter Houska, S. Lengauer, S. Karl, R. Preiner","doi":"10.2312/GCH.20211417","DOIUrl":"https://doi.org/10.2312/GCH.20211417","url":null,"abstract":"An important task in archaeological research is the comparison of painted motifs on ancient vessels and the analysis of their painting style. Ideally, the pottery objects are available as scanned 3D models, from which the painted surface can be unrolled and potential distortions minimized, so that the vase painting and its individual motifs can be directly inspected. Unfortunately, the percentage of digitally captured vessels is small compared to the large body of cataloged photographs. In this paper, we present a method that creates distortion-minimized unrollings of painted pottery surfaces directly from a small set of photographs. We achieve this by exploiting prior knowledge about the data, namely that most objects exhibit rotational symmetry and that strict guidelines were followed when capturing photographs of the ancient vases. Based on the distinctly visible object silhouettes in the photographs we are able to extract proxy geometries of the objects which we encode as per-view geometric maps. By stitching the single-view data, we obtain a combined map capturing the geometry and texture of the entire painted surface. This enables us to minimize typical projective distortions by elastic relaxation. Our pipeline works entirely in 2D image space, circumventing time-consuming 3D scans and surface reconstructions of (often inaccessible) vessels. Using a combination of CPU-based image processing and GPU-based relaxation, results are produced in only a few minutes.","PeriodicalId":203827,"journal":{"name":"Eurographics Workshop on Graphics and Cultural Heritage","volume":"356 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-11-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122803084","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}
Vincent Baillet, Pascal Mora, Corentin Cou, Sarah Tournon-Valiente, M. Volait, Xavier Granier, R. Pacanowski, Gaël Guennebaud
3D restitution is now a well-known tool to validate hypotheses on historical buildings that do not exist anymore. The present project takes the method a step further in order to explore the art historical topic of ornament reuse in 19th century revival architecture, particularly in Cairo. The case study is the Saint-Maurice residence, built 1875-79, for which an extensive collection of documents in varied formats, and from multiple locations and disciplines, has been conducted. The paper presents some preliminary results on the 3D restitution, the remaining open questions and the challenges they raise.
{"title":"3D for Studying Reuse in 19th Century Cairo: the Case of Saint-Maurice Residence","authors":"Vincent Baillet, Pascal Mora, Corentin Cou, Sarah Tournon-Valiente, M. Volait, Xavier Granier, R. Pacanowski, Gaël Guennebaud","doi":"10.2312/GCH.20211414","DOIUrl":"https://doi.org/10.2312/GCH.20211414","url":null,"abstract":"3D restitution is now a well-known tool to validate hypotheses on historical buildings that do not exist anymore. The present project takes the method a step further in order to explore the art historical topic of ornament reuse in 19th century revival architecture, particularly in Cairo. The case study is the Saint-Maurice residence, built 1875-79, for which an extensive collection of documents in varied formats, and from multiple locations and disciplines, has been conducted. The paper presents some preliminary results on the 3D restitution, the remaining open questions and the challenges they raise.","PeriodicalId":203827,"journal":{"name":"Eurographics Workshop on Graphics and Cultural Heritage","volume":"11 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-11-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128457386","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 describes a Cultural Heritage related project concerned with developing computer technology for reimagining a 2D painted still portrait made in a distinctive fine art style as an animated 3D sculpture whilst preserving the principal features of the initial painting yet resulting in an artefact of original quality. This work explores both artistic and technological aspects of a production pipeline. The case-study to prove the concept relies on Francis Bacon’s “Study for Portrait (Michel Leiris)”. A supplementary video shows the resulting animated piece with Bacon’s voice-over.
{"title":"Reimagining a 2D Painted Portrait as a Kinetic 3D Sculpture","authors":"E. C. Ellis, V. Adzhiev","doi":"10.2312/GCH.20211409","DOIUrl":"https://doi.org/10.2312/GCH.20211409","url":null,"abstract":"This paper describes a Cultural Heritage related project concerned with developing computer technology for reimagining a 2D painted still portrait made in a distinctive fine art style as an animated 3D sculpture whilst preserving the principal features of the initial painting yet resulting in an artefact of original quality. This work explores both artistic and technological aspects of a production pipeline. The case-study to prove the concept relies on Francis Bacon’s “Study for Portrait (Michel Leiris)”. A supplementary video shows the resulting animated piece with Bacon’s voice-over.","PeriodicalId":203827,"journal":{"name":"Eurographics Workshop on Graphics and Cultural Heritage","volume":"56 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-11-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116569869","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}
K. Rodriguez-Echavarria, M. Samaroudi, John L. Lloyd, T. Weyrich
{"title":"Interactive 3D Artefact Puzzles to Support Engagement Beyond the Museum Environment","authors":"K. Rodriguez-Echavarria, M. Samaroudi, John L. Lloyd, T. Weyrich","doi":"10.2312/GCH.20211403","DOIUrl":"https://doi.org/10.2312/GCH.20211403","url":null,"abstract":"","PeriodicalId":203827,"journal":{"name":"Eurographics Workshop on Graphics and Cultural Heritage","volume":"29 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123920393","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}
Sofiane Horache, Jean-Emmanuel Deschaud, Franccois Goulette, K. Gruel, Thierry Lejars, O. Masson
Clustering coins with respect to their die is an important component of numismatic research and crucial for understanding the economic history of tribes (especially when literary production does not exist, in celtic culture). It is a very hard task that requires a lot of times and expertise. To cluster thousands of coins, automatic methods are becoming necessary. Nevertheless, public datasets for coin die clustering evaluation are too rare, though they are very important for the development of new methods. Therefore, we propose a new 3D dataset of 2 070 scans of coins. With this dataset, we propose two benchmarks, one for point cloud registration, essential for coin die recognition, and a benchmark of coin die clustering. We show how we automatically cluster coins to help experts, and perform a preliminary evaluation for these two tasks. The code of the baseline and the dataset will be publicly available at https://www.npm3d.fr/coins-riedones3d and https: //www.chronocarto.eu/spip.php?article84&lang=fr.
{"title":"Riedones3D: a celtic coin dataset for registration and fine-grained clustering","authors":"Sofiane Horache, Jean-Emmanuel Deschaud, Franccois Goulette, K. Gruel, Thierry Lejars, O. Masson","doi":"10.2312/GCH.20211410","DOIUrl":"https://doi.org/10.2312/GCH.20211410","url":null,"abstract":"Clustering coins with respect to their die is an important component of numismatic research and crucial for understanding the economic history of tribes (especially when literary production does not exist, in celtic culture). It is a very hard task that requires a lot of times and expertise. To cluster thousands of coins, automatic methods are becoming necessary. Nevertheless, public datasets for coin die clustering evaluation are too rare, though they are very important for the development of new methods. Therefore, we propose a new 3D dataset of 2 070 scans of coins. With this dataset, we propose two benchmarks, one for point cloud registration, essential for coin die recognition, and a benchmark of coin die clustering. We show how we automatically cluster coins to help experts, and perform a preliminary evaluation for these two tasks. The code of the baseline and the dataset will be publicly available at https://www.npm3d.fr/coins-riedones3d and https: //www.chronocarto.eu/spip.php?article84&lang=fr.","PeriodicalId":203827,"journal":{"name":"Eurographics Workshop on Graphics and Cultural Heritage","volume":"220 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-09-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130483634","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}
Restoration of archaeological artefacts is an important task for cultural heritage preservation. However traditional restoration processes are difficult, costly and sometimes risky for the artefact itself, due to poor restoration choices for example. To avoid this, it is interesting to turn to virtual restoration, which allows to test restoration hypotheses, that can be later carried out on the real artefact. In this paper, we introduce a restoration framework for completing missing parts of archaeological statues, with a focus on human sculptures. Our approach proceeds by registering an anatomical model to a statue, identifying the missing parts. Compatible statues are then provided by the users and their poses are changed to match the broken statue, using a point-cloud specific skinning technique. The modified statues provide replacement parts which are blended in the original statue.
{"title":"Anatomy Changes and Virtual Restoration of Statues","authors":"Tong Fu, R. Chaine, Julie Digne","doi":"10.2312/gch.20201290","DOIUrl":"https://doi.org/10.2312/gch.20201290","url":null,"abstract":"Restoration of archaeological artefacts is an important task for cultural heritage preservation. However traditional restoration processes are difficult, costly and sometimes risky for the artefact itself, due to poor restoration choices for example. To avoid this, it is interesting to turn to virtual restoration, which allows to test restoration hypotheses, that can be later carried out on the real artefact. In this paper, we introduce a restoration framework for completing missing parts of archaeological statues, with a focus on human sculptures. Our approach proceeds by registering an anatomical model to a statue, identifying the missing parts. Compatible statues are then provided by the users and their poses are changed to match the broken statue, using a point-cloud specific skinning technique. The modified statues provide replacement parts which are blended in the original statue.","PeriodicalId":203827,"journal":{"name":"Eurographics Workshop on Graphics and Cultural Heritage","volume":"146 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-11-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122605414","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}
3D Modeling of this kind of draped clothes worn by a virtual human body is a particularly challenging task in computer graphics primarily due to the combined difficulty of creating layers of numerous fine folds and draping a person with a procedure quite different from dressing modern clothes. We propose a procedural approach for synthesizing a toga draped around a virtual body by starting from a flat fabric. We recreate visible and invisible folds as well as layers of the garment. This approach is composed into different stages inspired by movements made by roman people as they put on their toga. To adjust the toga to the morphology of the 3D model, we present a technique to create the mesh of the toga that adapts to certain parameters of the human body. Using a physical-based simulator allows us to reach our final goal: A 3D model wearing a realistic toga.
{"title":"3D Design Of Ancient Garments","authors":"M. Carrière, M. Skouras, S. Hahmann","doi":"10.2312/GCH.20191351","DOIUrl":"https://doi.org/10.2312/GCH.20191351","url":null,"abstract":"3D Modeling of this kind of draped clothes worn by a virtual human body is a particularly challenging task in computer graphics primarily due to the combined difficulty of creating layers of numerous fine folds and draping a person with a procedure quite different from dressing modern clothes. We propose a procedural approach for synthesizing a toga draped around a virtual body by starting from a flat fabric. We recreate visible and invisible folds as well as layers of the garment. This approach is composed into different stages inspired by movements made by roman people as they put on their toga. To adjust the toga to the morphology of the 3D model, we present a technique to create the mesh of the toga that adapts to certain parameters of the human body. Using a physical-based simulator allows us to reach our final goal: A 3D model wearing a realistic toga.","PeriodicalId":203827,"journal":{"name":"Eurographics Workshop on Graphics and Cultural Heritage","volume":"49 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-11-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114024506","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}
K. Rodriguez-Echavarria, T. Weyrich, Neil Brownsword
Abstract World-renowned for its perfection of Bone China and underglaze blue printing techniques, the historic Spode Works in Stoke- on-Trent was one of the few ceramic factories in Britain to have operated continuously on its original site until the company ceased trading in 2008. Since then the site has undergone many transitions with much of its former production infrastructure being discarded. Currently the site holds an estimated 70,000 moulds once used in ceramic production dating from the mid 19th century to 2008, which remain as critical elements of British industrial history at risk of disappearing. This paper presents on-going research which explores the application of 3D technologies to create digital surrogates to support the preservation of these Cultural Heritage artefacts, and ways through which their form and context can be explored to creatively disseminate the associated histories of their production. Given the complex nature of ceramic manufacturing as well as the large-scale of the problem, this is not an easy challenge. Hence, the research investigates workflows and technologies which can support creating a digital, and potentially physical, archive with a selection of mould typologies, shapes and complexities. To further understand the complexities of industrial craft practices, the resultant dataset also aims to elucidate material and craft knowledge embodied within such objects. For this, the research looks into novel manufacturing processes, such as 3D printing, to re-invent the physical shapes documented in these moulds in new interpretations of this historic legacy.
{"title":"Preserving Ceramic Industrial Heritage Through Digital Technologies","authors":"K. Rodriguez-Echavarria, T. Weyrich, Neil Brownsword","doi":"10.2312/GCH.20191355","DOIUrl":"https://doi.org/10.2312/GCH.20191355","url":null,"abstract":"Abstract \u0000World-renowned for its perfection of Bone China and underglaze blue printing techniques, the historic Spode Works in Stoke- on-Trent was one of the few ceramic factories in Britain to have operated continuously on its original site until the company ceased trading in 2008. Since then the site has undergone many transitions with much of its former production infrastructure being discarded. Currently the site holds an estimated 70,000 moulds once used in ceramic production dating from the mid 19th century to 2008, which remain as critical elements of British industrial history at risk of disappearing. This paper presents on-going research which explores the application of 3D technologies to create digital surrogates to support the preservation of these Cultural Heritage artefacts, and ways through which their form and context can be explored to creatively disseminate the associated histories of their production. Given the complex nature of ceramic manufacturing as well as the large-scale of the problem, this is not an easy challenge. Hence, the research investigates workflows and technologies which can support creating a digital, and potentially physical, archive with a selection of mould typologies, shapes and complexities. To further understand the complexities of industrial craft practices, the resultant dataset also aims to elucidate material and craft knowledge embodied within such objects. For this, the research looks into novel manufacturing processes, such as 3D printing, to re-invent the physical shapes documented in these moulds in new interpretations of this historic legacy.","PeriodicalId":203827,"journal":{"name":"Eurographics Workshop on Graphics and Cultural Heritage","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-10-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128985573","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}
Elmedin Selmanovic, S. Rizvić, Carlo Harvey, D. Boskovic, Vedad Hulusic, Malek Chahin, Sanda Sljivo
Interactive digital storytelling has become a popular method for virtual cultural heritage presentations. Combinations of stories and 3D virtual reconstructions are attractive for the audience and have high edutainment values. In this paper we investigate if 360◦ VR videos further contribute to user immersion in the preservation of intangible cultural heritage. It describes a case study of the Mostar bridge diving project, aimed to present and preserve the bridge diving tradition from the Old Bridge in Mostar, Bosnia and Herzegovina. It is a virtual reality application which enables the user to virtually jump off the bridge after watching 360◦ video stories about its history and the bridge diving tradition and upon successfully completing the quiz evaluation of the knowledge gained from the stories. The user experience evaluation study shows that our method was successful in preserving a form of intangible heritage and posits suggestions that can be used in developing an intangible heritage preservation framework.
{"title":"VR Video Storytelling for Intangible Cultural Heritage Preservation","authors":"Elmedin Selmanovic, S. Rizvić, Carlo Harvey, D. Boskovic, Vedad Hulusic, Malek Chahin, Sanda Sljivo","doi":"10.2312/gch.20181341","DOIUrl":"https://doi.org/10.2312/gch.20181341","url":null,"abstract":"Interactive digital storytelling has become a popular method for virtual cultural heritage presentations. Combinations of stories and 3D virtual reconstructions are attractive for the audience and have high edutainment values. In this paper we investigate if 360◦ VR videos further contribute to user immersion in the preservation of intangible cultural heritage. It describes a case study of the Mostar bridge diving project, aimed to present and preserve the bridge diving tradition from the Old Bridge in Mostar, Bosnia and Herzegovina. It is a virtual reality application which enables the user to virtually jump off the bridge after watching 360◦ video stories about its history and the bridge diving tradition and upon successfully completing the quiz evaluation of the knowledge gained from the stories. The user experience evaluation study shows that our method was successful in preserving a form of intangible heritage and posits suggestions that can be used in developing an intangible heritage preservation framework.","PeriodicalId":203827,"journal":{"name":"Eurographics Workshop on Graphics and Cultural Heritage","volume":"44 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-11-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132700197","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}
R. Gaugne, M. Samaroudi, T. Nicolas, Jean-Baptiste Barreau, L. Garnier, K. Rodriguez-Echavarria, V. Gouranton
Increasingly, the incorporation of 3D printed artefacts into Virtual Reality (VR) and Augmented Reality (AR) experiences is of interest to Cultural Heritage professionals. This is because virtual environments, by themselves, cannot convey information such as the physical properties of artefacts within the environments. This paper presents a methodology for the development of VR experiences which incorporate 3D replicas of artefacts as user interfaces. The methodology is applied on the development of an experience to present various interpretations of an urn which was found at the edge of a cliff on the south east coastal area of the United Kingdom in 1910. In order to support the understanding of the multiple interpretations of this artefact, the system deploys a virtual environment and a physical replica to allow users to interact with the artefacts and the environment. Feedback from heritage users suggests VR technologies along with digitally fabricated replicas can meaningfully engage audiences with multiple interpretations of cultural heritage artefacts.
{"title":"Virtual Reality (VR) Interactions With Multiple Interpretations of Archaeological Artefacts","authors":"R. Gaugne, M. Samaroudi, T. Nicolas, Jean-Baptiste Barreau, L. Garnier, K. Rodriguez-Echavarria, V. Gouranton","doi":"10.2312/gch.20181339","DOIUrl":"https://doi.org/10.2312/gch.20181339","url":null,"abstract":"Increasingly, the incorporation of 3D printed artefacts into Virtual Reality (VR) and Augmented Reality (AR) experiences is of interest to Cultural Heritage professionals. This is because virtual environments, by themselves, cannot convey information such as the physical properties of artefacts within the environments. This paper presents a methodology for the development of VR experiences which incorporate 3D replicas of artefacts as user interfaces. The methodology is applied on the development of an experience to present various interpretations of an urn which was found at the edge of a cliff on the south east coastal area of the United Kingdom in 1910. In order to support the understanding of the multiple interpretations of this artefact, the system deploys a virtual environment and a physical replica to allow users to interact with the artefacts and the environment. Feedback from heritage users suggests VR technologies along with digitally fabricated replicas can meaningfully engage audiences with multiple interpretations of cultural heritage artefacts.","PeriodicalId":203827,"journal":{"name":"Eurographics Workshop on Graphics and Cultural Heritage","volume":"63 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-11-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132566235","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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