A. Półtorak, Tomasz Węgorzewski, Iza Szostak, Sara Piotrowska, Maciej Szczęśniak
W rozmowie z Arkadiuszem Półtorakiem rezydenci dziewiątej edycji Wydziału Sztuki w Mieście –Tomasz Węgorzewski, Iza Szostak, Sara Piotrowska i Maciej Szczęśniak – dyskutują o poznawczym potencjale praktyk artystycznych opartych na improwizacji.
{"title":"Węzły. O improwizacji jako ćwiczeniu wspólnotowości... rozmawiają Sara Piotrowska, Iza Szostak, Maciej Szczęśniak, Tomasz Węgorzewski i Arkadiusz Półtorak","authors":"A. Półtorak, Tomasz Węgorzewski, Iza Szostak, Sara Piotrowska, Maciej Szczęśniak","doi":"10.24917/20813325.15.3","DOIUrl":"https://doi.org/10.24917/20813325.15.3","url":null,"abstract":"W rozmowie z Arkadiuszem Półtorakiem rezydenci dziewiątej edycji Wydziału Sztuki w Mieście –Tomasz Węgorzewski, Iza Szostak, Sara Piotrowska i Maciej Szczęśniak – dyskutują o poznawczym potencjale praktyk artystycznych opartych na improwizacji.","PeriodicalId":30927,"journal":{"name":"Annales Universitatis Paedagogicae Cracoviensis Studia de Cultura","volume":"29 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-02-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78950756","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}
Tekst poświęcony jest projektowi Bem Przemysława Branasa. Artysta wyruszył w 2016 roku w podróż z Tarnowa do Aleppo, śledząc tym samym trasę, jaką w 1929 roku przebyło ciało Józefa Bema, zmarłego i pochowanego w 1850 roku właśnie na terenie współczesnej Syrii. Autorka artykułu dowodzi, że w swojej twórczości Branas porusza istotne kwestie związane z polską pamięcią zbiorową, ale i problematyką dekolonizacji oraz zwrotu etnograficznego w sztuce współczesnej.
{"title":"Generał Bem powraca... Performowanie tożsamości etnografa i edukacyjny potencjał dekolonizacji","authors":"Anna Batko","doi":"10.24917/20813325.15.4","DOIUrl":"https://doi.org/10.24917/20813325.15.4","url":null,"abstract":"Tekst poświęcony jest projektowi Bem Przemysława Branasa. Artysta wyruszył w 2016 roku w podróż z Tarnowa do Aleppo, śledząc tym samym trasę, jaką w 1929 roku przebyło ciało Józefa Bema, zmarłego i pochowanego w 1850 roku właśnie na terenie współczesnej Syrii. Autorka artykułu dowodzi, że w swojej twórczości Branas porusza istotne kwestie związane z polską pamięcią zbiorową, ale i problematyką dekolonizacji oraz zwrotu etnograficznego w sztuce współczesnej.","PeriodicalId":30927,"journal":{"name":"Annales Universitatis Paedagogicae Cracoviensis Studia de Cultura","volume":"12 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-02-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81710145","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}
Artykuł stanowi próbą refleksji nad wyzwaniami, przed jakimi stoją współcześnie osoby prowadzące zajęcia o krytyce artystycznej w kontekście akademickim. Bazując w duchu autoetnograficznym na własnych doświadczeniach w polu nauczania, autorka wskazuje przede wszystkim na problemy związane z zanikiem kultury eksperckiej, słabnącym zainteresowaniem sztukami wizualnymi wśród młodych odbiorców, a także zjawiskiem konwergencji mediów.
{"title":"Krytyka artystyczna – doświadczenia z pola nauczania","authors":"Justyna Ryczek","doi":"10.24917/20813325.15.6","DOIUrl":"https://doi.org/10.24917/20813325.15.6","url":null,"abstract":"Artykuł stanowi próbą refleksji nad wyzwaniami, przed jakimi stoją współcześnie osoby prowadzące zajęcia o krytyce artystycznej w kontekście akademickim. Bazując w duchu autoetnograficznym na własnych doświadczeniach w polu nauczania, autorka wskazuje przede wszystkim na problemy związane z zanikiem kultury eksperckiej, słabnącym zainteresowaniem sztukami wizualnymi wśród młodych odbiorców, a także zjawiskiem konwergencji mediów.","PeriodicalId":30927,"journal":{"name":"Annales Universitatis Paedagogicae Cracoviensis Studia de Cultura","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-02-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86476087","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}
W eseistycznym tekście autor rozwija oryginalne ujęcie zwrotu pedagogicznego czy edukacyjnego w sztukach i kuratorstwie. Posiłkując się interpretacjami prac artystycznych (jak Museum Highlights: A Gallery Talk Andrei Fraser 1991), wiedzą historyczną oraz analizami pojęć teoretycznych, autor przekonuje, że omawiany zwrot stanowił swoistą odpowiedź na przemiany muzeów w dobie późnego kapitalizmu, w tym na pogłębiającą się specjalizację pracy muzealników. Postuluje też, że związek pomiędzy praktykami wystawienniczymi oraz pedagogiką nie jest wcale novum w historii sztuki, lecz stanowi relację konstytutywną dla sztuki nowoczesnej od samego jej zarania.
{"title":"List do Jane (Dochodzenie w sprawie pewnej funkcji)","authors":"Simon Sheikh","doi":"10.24917/20813325.15.1","DOIUrl":"https://doi.org/10.24917/20813325.15.1","url":null,"abstract":"W eseistycznym tekście autor rozwija oryginalne ujęcie zwrotu pedagogicznego czy edukacyjnego w sztukach i kuratorstwie. Posiłkując się interpretacjami prac artystycznych (jak Museum Highlights: A Gallery Talk Andrei Fraser 1991), wiedzą historyczną oraz analizami pojęć teoretycznych, autor przekonuje, że omawiany zwrot stanowił swoistą odpowiedź na przemiany muzeów w dobie późnego kapitalizmu, w tym na pogłębiającą się specjalizację pracy muzealników. Postuluje też, że związek pomiędzy praktykami wystawienniczymi oraz pedagogiką nie jest wcale novum w historii sztuki, lecz stanowi relację konstytutywną dla sztuki nowoczesnej od samego jej zarania.","PeriodicalId":30927,"journal":{"name":"Annales Universitatis Paedagogicae Cracoviensis Studia de Cultura","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-02-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82933096","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}
AbstractThis paper explores the work of Czech-born Australian artist Petr Herel (1943-), and the ongoing focus in his practice upon, in his words, ‘seeking in chance another world of the unexpected’. Specifically, it will examine the artist’s decision to reprint proofs of his Borges Sequel (1982) portfolio twenty years later to create Tardieu Sequel (2004), despite the plates having rusted. This rusting was not a conscious decision, having occurred while the plates were stored in damp and humid conditions. For many, this rusting would be seen as a disappointing reality, an unintentional and unwelcome disruption of the original compositions. However, upon seeing if reprinting the rusted plates would be a physical possibility, Herel found himself surprised by the way the rust printed ‘like the finest aquatint’, and was fascinated by the erratic and irregular patterns formed by the organic process which had been entirely out of his control—‘and all this just ‘by themselves’. Suddenly, the exquisite corpse monsters that inhabited the compositions were situated within a new environment, an environment that complemented their aberrant grotesque forms but also threatened their very existence on the page. Inspired by Herel’s observation that the interplay between conscious decision making, error, and chance has always had a presence in his work, this paper draws upon Herel’s decision to print the rusted plates as a portal to interrogate how the artist’s embrace of chance and ‘error’ impacts the way viewers might interpret the imagery in question today. This paper reveals and explores the ripe space for new interpretation facilitated by Herel’s printing of the damaged plates, specifically discussing the ways in the notion of ‘error’ can be used to re-frame examinations of the subject matter, composition and themes contained within the Borges Sequel and Tardieu Sequel prints. Herel’s preoccupation with the concepts of ‘Growth’ and ‘Decay’ works in the face of the notion that printing plates should be a reliable source of repeatedly consistent imagery, instead engaging with the nebulous nature of unknowingness. Like the very biological process of rust itself, the artist’s choice to print the rusted plates breaks down convention and creates new matter. This paper proves that, in the case of the Borges Sequel and Tardieu Sequel prints, there is a wealth of growth to be found in decay
{"title":"From Rust: Growth, Decay and the Unknown in the Prints of Petr Herel","authors":"Ella Morrison","doi":"10.24917/20813325.14.2","DOIUrl":"https://doi.org/10.24917/20813325.14.2","url":null,"abstract":"AbstractThis paper explores the work of Czech-born Australian artist Petr Herel (1943-), and the ongoing focus in his practice upon, in his words, ‘seeking in chance another world of the unexpected’. Specifically, it will examine the artist’s decision to reprint proofs of his Borges Sequel (1982) portfolio twenty years later to create Tardieu Sequel (2004), despite the plates having rusted. This rusting was not a conscious decision, having occurred while the plates were stored in damp and humid conditions. For many, this rusting would be seen as a disappointing reality, an unintentional and unwelcome disruption of the original compositions. However, upon seeing if reprinting the rusted plates would be a physical possibility, Herel found himself surprised by the way the rust printed ‘like the finest aquatint’, and was fascinated by the erratic and irregular patterns formed by the organic process which had been entirely out of his control—‘and all this just ‘by themselves’. Suddenly, the exquisite corpse monsters that inhabited the compositions were situated within a new environment, an environment that complemented their aberrant grotesque forms but also threatened their very existence on the page. Inspired by Herel’s observation that the interplay between conscious decision making, error, and chance has always had a presence in his work, this paper draws upon Herel’s decision to print the rusted plates as a portal to interrogate how the artist’s embrace of chance and ‘error’ impacts the way viewers might interpret the imagery in question today. This paper reveals and explores the ripe space for new interpretation facilitated by Herel’s printing of the damaged plates, specifically discussing the ways in the notion of ‘error’ can be used to re-frame examinations of the subject matter, composition and themes contained within the Borges Sequel and Tardieu Sequel prints. Herel’s preoccupation with the concepts of ‘Growth’ and ‘Decay’ works in the face of the notion that printing plates should be a reliable source of repeatedly consistent imagery, instead engaging with the nebulous nature of unknowingness. Like the very biological process of rust itself, the artist’s choice to print the rusted plates breaks down convention and creates new matter. This paper proves that, in the case of the Borges Sequel and Tardieu Sequel prints, there is a wealth of growth to be found in decay","PeriodicalId":30927,"journal":{"name":"Annales Universitatis Paedagogicae Cracoviensis Studia de Cultura","volume":"32 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-01-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77813825","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}
AbstractPermanently emerging new techniques present a growing challenge and an increasing state of excitement. The experimenting artist works against the apparatus; he or she is looking for possibilities to make the program fail. Their aim in doing so is to highlight the significant features; to ask the fundamental questions. There is no such thing as bad, abandoned raw material. The “aesthetics of failure” and/or effect of destroying may become yet more accentuated nowadays. The error is a magical/transcendent strength. The error, the chance work like blood transfusion – they are thrilling. The chance is a coherent mass the components of which are unknown. In this way it appears to us as failure.
{"title":"Against the Apparatus","authors":"Zsolt Gyenes","doi":"10.24917/20813325.14.5","DOIUrl":"https://doi.org/10.24917/20813325.14.5","url":null,"abstract":"AbstractPermanently emerging new techniques present a growing challenge and an increasing state of excitement. The experimenting artist works against the apparatus; he or she is looking for possibilities to make the program fail. Their aim in doing so is to highlight the significant features; to ask the fundamental questions. There is no such thing as bad, abandoned raw material. The “aesthetics of failure” and/or effect of destroying may become yet more accentuated nowadays. The error is a magical/transcendent strength. The error, the chance work like blood transfusion – they are thrilling. The chance is a coherent mass the components of which are unknown. In this way it appears to us as failure.","PeriodicalId":30927,"journal":{"name":"Annales Universitatis Paedagogicae Cracoviensis Studia de Cultura","volume":"237 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-01-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78535601","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}
To make an error is to fail to meet the requirements set by a commonly accepted mode of conduct, defined rules of behaviour, laws of nature, or methods whereby certain goals are achieved. In the perspective proposed below, error is an unintentional action that arises from the lack of skill, knowledge, lack of attention, or simple accident.
{"title":"Endorphins of Error","authors":"Antoni Porczak","doi":"10.24917/20813325.14.6","DOIUrl":"https://doi.org/10.24917/20813325.14.6","url":null,"abstract":"To make an error is to fail to meet the requirements set by a commonly accepted mode of conduct, defined rules of behaviour, laws of nature, or methods whereby certain goals are achieved. In the perspective proposed below, error is an unintentional action that arises from the lack of skill, knowledge, lack of attention, or simple accident.","PeriodicalId":30927,"journal":{"name":"Annales Universitatis Paedagogicae Cracoviensis Studia de Cultura","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-01-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80445017","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}
AbstractWe live in an era that witnesses an increasing significance of artificial intelligence and anticipates increasingly intelligent systems. With artificial intelligence and intelligent robots taking over some of the functions previously performed by humans, there are raised questions about the type and scope of their activity in relation to human abilities. This process raises a number of questions about the possibility of identifying those spheres of human activity that cannot be imitated by intelligent programmes or robots. At first sight, such human qualities include emotionality, feelings, and creativity. In this paper, I examine whether intelligent robots could potentially be artistically creative and supplant humans in these processes? Its thesis is that while it is difficult to find innovative and creative robots at this particular moment, it is equally difficult to deny that robots do create art on some level. This invites a perspective that emphasises that while in this respect, at present, human nature is not imitated by robots and artificial intelligence, yet, at the same time, the homo-centric approach is questioned by the assumption that creativity is merely a temporary human quality rather than its permanent property, and that some form of creativity is indeed performed by artificial intelligence
{"title":"Creative Robots","authors":"Sidey Myoo","doi":"10.24917/20813325.14.3","DOIUrl":"https://doi.org/10.24917/20813325.14.3","url":null,"abstract":"AbstractWe live in an era that witnesses an increasing significance of artificial intelligence and anticipates increasingly intelligent systems. With artificial intelligence and intelligent robots taking over some of the functions previously performed by humans, there are raised questions about the type and scope of their activity in relation to human abilities. This process raises a number of questions about the possibility of identifying those spheres of human activity that cannot be imitated by intelligent programmes or robots. At first sight, such human qualities include emotionality, feelings, and creativity. In this paper, I examine whether intelligent robots could potentially be artistically creative and supplant humans in these processes? Its thesis is that while it is difficult to find innovative and creative robots at this particular moment, it is equally difficult to deny that robots do create art on some level. This invites a perspective that emphasises that while in this respect, at present, human nature is not imitated by robots and artificial intelligence, yet, at the same time, the homo-centric approach is questioned by the assumption that creativity is merely a temporary human quality rather than its permanent property, and that some form of creativity is indeed performed by artificial intelligence","PeriodicalId":30927,"journal":{"name":"Annales Universitatis Paedagogicae Cracoviensis Studia de Cultura","volume":"28 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-01-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73806115","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 : 2021-12-31DOI: 10.24917/20837275.13.4.4
M. Bożek
The review article is an attempt at a media studies analysis of short films made by Polish filmmakers commissioned by the HBO digital platform. They are all in response to the pandemic situation of isolation. The analysis deals with the transgression of artistic attitudes towards danger. In it, I use the tools of contemporary semiology: verbal and non-verbal codes that participate in creating meanings through destruction and a new reading of meanings hidden in film messages. I prove that artists, first of all, commit transgression, negating the existing reality and looking for a new film language that contradicts the Aristotelian structure of the three acts in order to disperse the images and meanings they carry. Secondly, I argue that the deconstruction of codes and the reassembly of meanings proposed by semiologists takes place in the artistic activities in question, as if in the opposite direction. Deconstruction – indeed, but not to discover the truth in a new context, but to look for it in bits of reality that function separately and do not create meanings. They are only separately illuminated and contoured images.
{"title":"Transgressions: film recordings of the isolation period. Media studies analysis of short films inspired by the pandemic (HBO project)","authors":"M. Bożek","doi":"10.24917/20837275.13.4.4","DOIUrl":"https://doi.org/10.24917/20837275.13.4.4","url":null,"abstract":"The review article is an attempt at a media studies analysis of short films made by Polish filmmakers commissioned by the HBO digital platform. They are all in response to the pandemic situation of isolation. The analysis deals with the transgression of artistic attitudes towards danger. In it, I use the tools of contemporary semiology: verbal and non-verbal codes that participate in creating meanings through destruction and a new reading of meanings hidden in film messages. I prove that artists, first of all, commit transgression, negating the existing reality and looking for a new film language that contradicts the Aristotelian structure of the three acts in order to disperse the images and meanings they carry. Secondly, I argue that the deconstruction of codes and the reassembly of meanings proposed by semiologists takes place in the artistic activities in question, as if in the opposite direction. Deconstruction – indeed, but not to discover the truth in a new context, but to look for it in bits of reality that function separately and do not create meanings. They are only separately illuminated and contoured images.","PeriodicalId":30927,"journal":{"name":"Annales Universitatis Paedagogicae Cracoviensis Studia de Cultura","volume":"110 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75861628","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 : 2021-12-31DOI: 10.24917/20837275.13.4.2
Kamila Rączy, Aleksandra Mirek-Rogowska
Pandemia COVID-19 przyczyniła się do aktywacji i rozwoju form komunikacji sieciowej o charakterze towarzysko-kulturalnym. Współczesny człowiek znalazł się w obliczu postępujących wyzwań w czasach, w których kultura stawia czoło wszelkim ograniczeniom pandemicznym dzięki nowym technologiom. Celem niniejszego artykułu jest ukazanie kultury jako systemu społecznych uwarunkowań i determinacji w nowej rzeczywistości postrzeganej jako teatr życia oraz jako międzyludzkich interakcji, której rolą jest komunikacja. Metoda badawcza zaprezentowana w artykule oparta została na obserwacji uczestniczącej oraz na analizie zawartości wybranych platform społecznościowych i komunikacyjnych, analizie krytycznej dostępnej literatury przedmiotu, zasadności desk research wypowiedzi eksperckich.
{"title":"Człowiek w wirtualnym teatrze życia codziennego. Wybrane formy komunikacji sieciowej o charakterze towarzysko-kulturalnym w czasach pandemii","authors":"Kamila Rączy, Aleksandra Mirek-Rogowska","doi":"10.24917/20837275.13.4.2","DOIUrl":"https://doi.org/10.24917/20837275.13.4.2","url":null,"abstract":"Pandemia COVID-19 przyczyniła się do aktywacji i rozwoju form komunikacji sieciowej o charakterze towarzysko-kulturalnym. Współczesny człowiek znalazł się w obliczu postępujących wyzwań w czasach, w których kultura stawia czoło wszelkim ograniczeniom pandemicznym dzięki nowym technologiom. Celem niniejszego artykułu jest ukazanie kultury jako systemu społecznych uwarunkowań i determinacji w nowej rzeczywistości postrzeganej jako teatr życia oraz jako międzyludzkich interakcji, której rolą jest komunikacja. Metoda badawcza zaprezentowana w artykule oparta została na obserwacji uczestniczącej oraz na analizie zawartości wybranych platform społecznościowych i komunikacyjnych, analizie krytycznej dostępnej literatury przedmiotu, zasadności desk research wypowiedzi eksperckich.","PeriodicalId":30927,"journal":{"name":"Annales Universitatis Paedagogicae Cracoviensis Studia de Cultura","volume":"39 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82505277","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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