Pub Date : 2011-02-01DOI: 10.1111/J.1476-8070.2011.01692.X
Christine A. Jones
{"title":"Primary Prints – Creative Printmaking in the Classroom","authors":"Christine A. Jones","doi":"10.1111/J.1476-8070.2011.01692.X","DOIUrl":"https://doi.org/10.1111/J.1476-8070.2011.01692.X","url":null,"abstract":"","PeriodicalId":296132,"journal":{"name":"International Journal of Art and Design Education","volume":"227 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2011-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114226352","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}
Pub Date : 2011-02-01DOI: 10.1111/J.1476-8070.2011.01669.X
Sy-Chyi Wang
Education reforms from teacher-centred to student-centred courses usually come with the adoption of new teaching strategies. However, following the growing design and development of student-centred teaching and learning innovations in many fields of study, not many efforts have been found in the field of software application teaching. Therefore, this study aims to develop a new strategy for creating a student-centred learning environment for software applications, in which students learn in a more active, collaborative environment with reduced reliance on teachers. This study puts forward a teaching innovation, called Expert Panel, designed in three stages of activities: exploration, experimentation and reflection. Thirty-eight college students and one teacher participated in the implementation of the innovation. This article describes the design specifications of the innovation, and reports the preliminary findings of the implementation. The findings show that the teacher derived a certain degree of pleasure and surprise at being a true ‘facilitator’ rather than solely an instructor. Students felt engaged in the activities and motivated throughout the learning process. However, the student-centred learning method challenged the students’ understanding of the traditional teacher's role. Therefore, accommodating not only teachers but also students in the acquisition of new concepts of teaching and learning was suggested. Several possible solutions for the drawbacks and pitfalls in the strategy were drawn up at the end for further development of the strategy.
{"title":"Expert Panel: A New Strategy for Creating a Student-Centred Learning Environment for Software Applications.","authors":"Sy-Chyi Wang","doi":"10.1111/J.1476-8070.2011.01669.X","DOIUrl":"https://doi.org/10.1111/J.1476-8070.2011.01669.X","url":null,"abstract":"Education reforms from teacher-centred to student-centred courses usually come with the adoption of new teaching strategies. However, following the growing design and development of student-centred teaching and learning innovations in many fields of study, not many efforts have been found in the field of software application teaching. Therefore, this study aims to develop a new strategy for creating a student-centred learning environment for software applications, in which students learn in a more active, collaborative environment with reduced reliance on teachers. This study puts forward a teaching innovation, called Expert Panel, designed in three stages of activities: exploration, experimentation and reflection. Thirty-eight college students and one teacher participated in the implementation of the innovation. This article describes the design specifications of the innovation, and reports the preliminary findings of the implementation. The findings show that the teacher derived a certain degree of pleasure and surprise at being a true ‘facilitator’ rather than solely an instructor. Students felt engaged in the activities and motivated throughout the learning process. However, the student-centred learning method challenged the students’ understanding of the traditional teacher's role. Therefore, accommodating not only teachers but also students in the acquisition of new concepts of teaching and learning was suggested. Several possible solutions for the drawbacks and pitfalls in the strategy were drawn up at the end for further development of the strategy.","PeriodicalId":296132,"journal":{"name":"International Journal of Art and Design Education","volume":"16 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2011-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127869221","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}
Pub Date : 2011-02-01DOI: 10.1111/J.1476-8070.2011.01671.X
S. Alden, Vl Pollock
It is generally accepted that art and design related disciplines attract a higher proportion of students with dyslexia than traditional academic counterparts. Combined with this is a prevalent perception that dyslexia predominantly affects students’ writing and linguistic ability and it is this, as well as an increased visual-spatial sensibility, that attracts students to art and design disciplines. This article examines these ideas through the experience of fine art students on a degree course with a mandatory written element. Drawing on focus groups and interviews with students, it argues that the studio component, in terms of its learning environment and teaching methods, presents an equally challenging context for students with dyslexia and that the written element or lecture-based studies can provide students with a valuable counterpoint to their studio practice.
{"title":"Dyslexia and the Studio: Bridging the Gap between Theory and Practice","authors":"S. Alden, Vl Pollock","doi":"10.1111/J.1476-8070.2011.01671.X","DOIUrl":"https://doi.org/10.1111/J.1476-8070.2011.01671.X","url":null,"abstract":"It is generally accepted that art and design related disciplines attract a higher proportion of students with dyslexia than traditional academic counterparts. Combined with this is a prevalent perception that dyslexia predominantly affects students’ writing and linguistic ability and it is this, as well as an increased visual-spatial sensibility, that attracts students to art and design disciplines. This article examines these ideas through the experience of fine art students on a degree course with a mandatory written element. Drawing on focus groups and interviews with students, it argues that the studio component, in terms of its learning environment and teaching methods, presents an equally challenging context for students with dyslexia and that the written element or lecture-based studies can provide students with a valuable counterpoint to their studio practice.","PeriodicalId":296132,"journal":{"name":"International Journal of Art and Design Education","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2011-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"120337436","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}
Pub Date : 2011-02-01DOI: 10.1111/J.1476-8070.2011.01673.X
G. J. Daichendt
‘Artist-teacher’ is a conceptually rich term in the field of art and design education used to describe the professionally distinct roles of artist and teacher. George Wallis (1811–91), a nineteenth-century artist and teacher, the subject of this article, first used the term ‘artist-teacher’ to describe himself and his theories of art education. To better understand this new term, the researcher organised the diverse aspects of Wallis's life from 1811 to 1845 as a network of enterprises to track the streams of thinking that contributed to this professional statement. Through comparison, ordering and sequencing the various enterprises, a deeper and reflective understanding of Wallis's teaching developed. In fact, the network of enterprises displays the growth of Wallis's thought as a slow and evolving process, eventually highlighting the turbulent situation that provoked Wallis to defend his theories and practices when he conjured the new term.
{"title":"The Nineteenth-Century Artist-Teacher: A Case Study of George Wallis and the Creation of a New Identity.","authors":"G. J. Daichendt","doi":"10.1111/J.1476-8070.2011.01673.X","DOIUrl":"https://doi.org/10.1111/J.1476-8070.2011.01673.X","url":null,"abstract":"‘Artist-teacher’ is a conceptually rich term in the field of art and design education used to describe the professionally distinct roles of artist and teacher. George Wallis (1811–91), a nineteenth-century artist and teacher, the subject of this article, first used the term ‘artist-teacher’ to describe himself and his theories of art education. To better understand this new term, the researcher organised the diverse aspects of Wallis's life from 1811 to 1845 as a network of enterprises to track the streams of thinking that contributed to this professional statement. Through comparison, ordering and sequencing the various enterprises, a deeper and reflective understanding of Wallis's teaching developed. In fact, the network of enterprises displays the growth of Wallis's thought as a slow and evolving process, eventually highlighting the turbulent situation that provoked Wallis to defend his theories and practices when he conjured the new term.","PeriodicalId":296132,"journal":{"name":"International Journal of Art and Design Education","volume":"50 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2011-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"120727159","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}
Pub Date : 2011-02-01DOI: 10.1111/J.1476-8070.2011.01685.X
T. Winters
Art and design programmes are educationally unique in that students themselves play a central role in determining their own learning needs. To be successful in their study, art and design students are required to operate with a high degree of independence and self-direction. Developing the skills for greater self-reliance requires students to become aware of their conceptions of the subject of study, and of themselves as learners in a particular learning context. Developing greater self-awareness as a learner and becoming more independent in one's learning is captured by the concept of meta-learning. In this article I present an alternative strategy to prevalent diagnostic approaches to assist in developing a student's capacity for meta-learning in the subject context of art and design. An inquiry cycle was created to provide a structure within which to facilitate generative thinking about learning through engaging with fundamental questions related to the subject of learning (art and design) rather than the learning subject (i.e. the student). This method represents a departure from existing approaches to engaging students in meta-learning. A pilot study used to trial the effectiveness of this strategy is also presented here. The inquiry map, and the conceptual base upon which it was developed, were found to be useful ways to structure reflective thinking about learning and to assist in developing a student's conception of the subject.
{"title":"Facilitating Meta‐learning in Art and Design Education","authors":"T. Winters","doi":"10.1111/J.1476-8070.2011.01685.X","DOIUrl":"https://doi.org/10.1111/J.1476-8070.2011.01685.X","url":null,"abstract":"Art and design programmes are educationally unique in that students themselves play a central role in determining their own learning needs. To be successful in their study, art and design students are required to operate with a high degree of independence and self-direction. Developing the skills for greater self-reliance requires students to become aware of their conceptions of the subject of study, and of themselves as learners in a particular learning context. Developing greater self-awareness as a learner and becoming more independent in one's learning is captured by the concept of meta-learning. \u0000 \u0000 \u0000 \u0000In this article I present an alternative strategy to prevalent diagnostic approaches to assist in developing a student's capacity for meta-learning in the subject context of art and design. An inquiry cycle was created to provide a structure within which to facilitate generative thinking about learning through engaging with fundamental questions related to the subject of learning (art and design) rather than the learning subject (i.e. the student). This method represents a departure from existing approaches to engaging students in meta-learning. A pilot study used to trial the effectiveness of this strategy is also presented here. The inquiry map, and the conceptual base upon which it was developed, were found to be useful ways to structure reflective thinking about learning and to assist in developing a student's conception of the subject.","PeriodicalId":296132,"journal":{"name":"International Journal of Art and Design Education","volume":"106 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2011-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124099382","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}
Pub Date : 2010-10-01DOI: 10.1111/J.1476-8070.2010.01655.X
Linda Knight
It is a common acceptance that contemporary schoolchildren live in a world that is intensely visual and commercially motivated, where what is imagined and what is experienced intermingle. Because of this, contemporary education should encourage a child to make reference to, and connection with their ‘out-of-school’ life. The core critical underpinnings of curriculum-based arts appreciation and theory hinge on educators and students taking a historical look at the ways artists have engaged with, and made comment upon, their contemporary societies. My article uses this premise to argue for the need to persist with pushing for critique of/through the visual, that it be delivered as an active process via the arts classroom rather than as visual literacy, here regarded as a more passive process for interpreting and understanding visual material. The article asserts that visual arts lessons are best placed to provide fully students with such critique because they help students to develop a ‘critical eye’, an interpretive lens often used by artists to view, analyse and independently navigate and respond to contemporary society.
{"title":"Why a Child Needs a Critical Eye, and Why the Art Classroom is Central in Developing it","authors":"Linda Knight","doi":"10.1111/J.1476-8070.2010.01655.X","DOIUrl":"https://doi.org/10.1111/J.1476-8070.2010.01655.X","url":null,"abstract":"It is a common acceptance that contemporary schoolchildren live in a world that is intensely visual and commercially motivated, where what is imagined and what is experienced intermingle. Because of this, contemporary education should encourage a child to make reference to, and connection with their ‘out-of-school’ life. \u0000 \u0000The core critical underpinnings of curriculum-based arts appreciation and theory hinge on educators and students taking a historical look at the ways artists have engaged with, and made comment upon, their contemporary societies. My article uses this premise to argue for the need to persist with pushing for critique of/through the visual, that it be delivered as an active process via the arts classroom rather than as visual literacy, here regarded as a more passive process for interpreting and understanding visual material. \u0000 \u0000The article asserts that visual arts lessons are best placed to provide fully students with such critique because they help students to develop a ‘critical eye’, an interpretive lens often used by artists to view, analyse and independently navigate and respond to contemporary society.","PeriodicalId":296132,"journal":{"name":"International Journal of Art and Design Education","volume":"34 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2010-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"119496518","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}
Pub Date : 2010-06-01DOI: 10.1111/J.1476-8070.2010.01641.X
A. Clarke, Kylie Budge
The current tertiary education climate in Australia and other Organisation for Economic Co-operation and Development (OECD) countries is one where class numbers are increasing and contact hours between students and teachers are reducing to keep them financially viable. In this context increasing pressure is being placed on teachers to essentially 'do more with less' and to perform well, despite the changing conditions. Students, too, are challenged to learn in an environment where they have less time with their teachers. What seems surprising is that all of this is occurring whilst the rhetoric of tertiary institutions is being more closely aligned with contemporary constructivist theories of learning with a focus on producing creative graduates.This pressure is now being keenly felt in creative disciplines where studio models of teaching, which require small classes and substantial contact hours, are seriously under threat. If tertiary institutions genuinely want to produce creative graduates there needs to be more widespread understanding of how creative processes are nurtured and creative minds are fostered. Many experienced teachers in creative disciplines have developed such understanding. Their voices need to be encouraged and supported so that the artistry of their creative pedagogies may be articulated and heard above the cacophony of fiscal complaint.We do not naively suggest that financial issues should be disregarded. We do, however, call for a middle way where sophisticated conversations, about both the quality and viability of creative educational practice, amongst all stakeholders can allow for an authentically creative future to emerge.
{"title":"Listening for creative voices amid the cacophony of fiscal complaint about art and design education","authors":"A. Clarke, Kylie Budge","doi":"10.1111/J.1476-8070.2010.01641.X","DOIUrl":"https://doi.org/10.1111/J.1476-8070.2010.01641.X","url":null,"abstract":"The current tertiary education climate in Australia and other Organisation for Economic Co-operation and Development (OECD) countries is one where class numbers are increasing and contact hours between students and teachers are reducing to keep them financially viable. In this context increasing pressure is being placed on teachers to essentially 'do more with less' and to perform well, despite the changing conditions. Students, too, are challenged to learn in an environment where they have less time with their teachers. What seems surprising is that all of this is occurring whilst the rhetoric of tertiary institutions is being more closely aligned with contemporary constructivist theories of learning with a focus on producing creative graduates.This pressure is now being keenly felt in creative disciplines where studio models of teaching, which require small classes and substantial contact hours, are seriously under threat. If tertiary institutions genuinely want to produce creative graduates there needs to be more widespread understanding of how creative processes are nurtured and creative minds are fostered. Many experienced teachers in creative disciplines have developed such understanding. Their voices need to be encouraged and supported so that the artistry of their creative pedagogies may be articulated and heard above the cacophony of fiscal complaint.We do not naively suggest that financial issues should be disregarded. We do, however, call for a middle way where sophisticated conversations, about both the quality and viability of creative educational practice, amongst all stakeholders can allow for an authentically creative future to emerge.","PeriodicalId":296132,"journal":{"name":"International Journal of Art and Design Education","volume":"3 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2010-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"119599722","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}
Pub Date : 2010-02-01DOI: 10.1111/J.1476-8070.2010.01629.X
Cynthia B. Loza, A. B. Guzman, R. T. Jose
This article presents the second segment of a qualitative study on the integration of traditional arts in tertiary level art and design education in the Philippines. It is focused on the experience of artist-teachers as participants in an in-service teacher training programme that aimed to prepare the teachers for the trial integration of traditional Filipino arts in art and design courses. Taking the view of the participants, journals written by the artist-teachers were sourced for their reflections about their encounter with traditional Filipino artists during field visits. This phase of the study takes the form of action research as it involves the participants in gathering data that could inform the methods and content of the learning of traditional Filipino arts in the schools of art and design. The findings reveal that artist-teachers acknowledge the traditional artist as a valuable source of traditional knowledge and expertise. They also recognise their own essential role in the transmission of learning between the traditional artists and the students. The prerequisites of the course take the artist-teachers beyond teaching in the classroom and extend their tasks to research.
{"title":"Encounters of the Traditional Kind: Reflections on the In-Service Teacher Training of Traditional Filipino Arts","authors":"Cynthia B. Loza, A. B. Guzman, R. T. Jose","doi":"10.1111/J.1476-8070.2010.01629.X","DOIUrl":"https://doi.org/10.1111/J.1476-8070.2010.01629.X","url":null,"abstract":"This article presents the second segment of a qualitative study on the integration of traditional arts in tertiary level art and design education in the Philippines. It is focused on the experience of artist-teachers as participants in an in-service teacher training programme that aimed to prepare the teachers for the trial integration of traditional Filipino arts in art and design courses. Taking the view of the participants, journals written by the artist-teachers were sourced for their reflections about their encounter with traditional Filipino artists during field visits. This phase of the study takes the form of action research as it involves the participants in gathering data that could inform the methods and content of the learning of traditional Filipino arts in the schools of art and design. \u0000 \u0000 \u0000 \u0000The findings reveal that artist-teachers acknowledge the traditional artist as a valuable source of traditional knowledge and expertise. They also recognise their own essential role in the transmission of learning between the traditional artists and the students. The prerequisites of the course take the artist-teachers beyond teaching in the classroom and extend their tasks to research.","PeriodicalId":296132,"journal":{"name":"International Journal of Art and Design Education","volume":"179 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2010-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"119744881","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}
Pub Date : 2010-02-01DOI: 10.1111/J.1476-8070.2010.01634.X
Randall Teal
From the late Middle Ages onward an emphasis on the rational and the technical aspects of design and design drawing gained hold of architectural practice. In this transformation, the phenomenon of mood has been frequently overlooked or seen as something to be added on to a design; yet the fundamental grounding of mood, as described in Martin Heidegger's philosophy, is anything but secondary to our experience of the world. In fact, other facilities such as embodied experience, tactile and spatial awareness, and temporal perception all spring from the basic encounter with mood. In this article I describe how a lack of attunement to, and limited ability with, the various manifestations of mood perpetuates a disconnection between the architectural drawing and real buildings. I argue that as long as educational frameworks relegate the emotional and experiential to the place of a supplement, then our design processes will continue to unconsciously promote environments of thinness and superficiality.
{"title":"Dismantling the Built Drawing: Working with Mood in Architectural Design.","authors":"Randall Teal","doi":"10.1111/J.1476-8070.2010.01634.X","DOIUrl":"https://doi.org/10.1111/J.1476-8070.2010.01634.X","url":null,"abstract":"From the late Middle Ages onward an emphasis on the rational and the technical aspects of design and design drawing gained hold of architectural practice. In this transformation, the phenomenon of mood has been frequently overlooked or seen as something to be added on to a design; yet the fundamental grounding of mood, as described in Martin Heidegger's philosophy, is anything but secondary to our experience of the world. In fact, other facilities such as embodied experience, tactile and spatial awareness, and temporal perception all spring from the basic encounter with mood. In this article I describe how a lack of attunement to, and limited ability with, the various manifestations of mood perpetuates a disconnection between the architectural drawing and real buildings. I argue that as long as educational frameworks relegate the emotional and experiential to the place of a supplement, then our design processes will continue to unconsciously promote environments of thinness and superficiality.","PeriodicalId":296132,"journal":{"name":"International Journal of Art and Design Education","volume":"52 5 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2010-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"120000461","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}
Pub Date : 2009-10-01DOI: 10.1111/J.1476-8070.2009.01614.X
S. Rowley
{"title":"Writing on Drawing","authors":"S. Rowley","doi":"10.1111/J.1476-8070.2009.01614.X","DOIUrl":"https://doi.org/10.1111/J.1476-8070.2009.01614.X","url":null,"abstract":"","PeriodicalId":296132,"journal":{"name":"International Journal of Art and Design Education","volume":"60 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2009-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"120066169","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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