Pub Date : 2022-06-01DOI: 10.1109/NicoInt55861.2022.00014
Akinobu Maejima, Hiroyuki Kubo, Seitaro Shinagawa, Takuya Funatomi, T. Yotsukura, Satoshi Nakamura, Y. Mukaigawa
Improving the efficiency of a colorization process in anime productions is necessary to enhance the quality of animes. In this paper, we introduce a semi-automatic anime character colorization pipeline based on few-shot patch-based learning which is specific to the anime style. Our pipeline requires only a small number of line-drawings and their colorized images, which is intermediate products in their current workflow as training data. The advantage of our method is that it is possible to complete the training process of a sequence-specific colorization model on the fly. To evaluate the effectiveness of our pipeline, we conduct a questionnaire survey for colorization artists after several trials of our colorization pipeline in an actual anime production. As a result, our pipeline has proven to be effective in improving the colorization process efficiency.
{"title":"Semi-Automatic Colorization Pipeline for Anime Characters and its Evaluation in Production","authors":"Akinobu Maejima, Hiroyuki Kubo, Seitaro Shinagawa, Takuya Funatomi, T. Yotsukura, Satoshi Nakamura, Y. Mukaigawa","doi":"10.1109/NicoInt55861.2022.00014","DOIUrl":"https://doi.org/10.1109/NicoInt55861.2022.00014","url":null,"abstract":"Improving the efficiency of a colorization process in anime productions is necessary to enhance the quality of animes. In this paper, we introduce a semi-automatic anime character colorization pipeline based on few-shot patch-based learning which is specific to the anime style. Our pipeline requires only a small number of line-drawings and their colorized images, which is intermediate products in their current workflow as training data. The advantage of our method is that it is possible to complete the training process of a sequence-specific colorization model on the fly. To evaluate the effectiveness of our pipeline, we conduct a questionnaire survey for colorization artists after several trials of our colorization pipeline in an actual anime production. As a result, our pipeline has proven to be effective in improving the colorization process efficiency.","PeriodicalId":328114,"journal":{"name":"2022 Nicograph International (NicoInt)","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132124034","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 : 2022-06-01DOI: 10.1109/NicoInt55861.2022.00017
Kaisei Sakurai, K. Miyata
Ghosting artifacts unexpectedly appear resultant of crosstalk in multi-view displays. In this paper, we propose an algorithm that controls ghosting, assuming that crosstalk occurs. The target of this paper is a barrier-based multi-view display. Our method generates a pattern for the back layer on the display. Many previous methods attempted to reduce crosstalk, and consequently, it reduces ghosting. In contrast, we will focus only on reducing ghosts in displaying images. We assume that ghosting occurs when crosstalk makes a distribution of colors in displaying images. So, if the distribution will become small, then the ghosts are reduced. From our assumption, we develop an optimization that does not change structures in displaying images. In this paper, we only discuss how to generate the pattern on the back layer. We will show the results of our method as a simulation.
{"title":"Color Optimization for Reducing Artifacts on Barrier-Based Multi-View Displays","authors":"Kaisei Sakurai, K. Miyata","doi":"10.1109/NicoInt55861.2022.00017","DOIUrl":"https://doi.org/10.1109/NicoInt55861.2022.00017","url":null,"abstract":"Ghosting artifacts unexpectedly appear resultant of crosstalk in multi-view displays. In this paper, we propose an algorithm that controls ghosting, assuming that crosstalk occurs. The target of this paper is a barrier-based multi-view display. Our method generates a pattern for the back layer on the display. Many previous methods attempted to reduce crosstalk, and consequently, it reduces ghosting. In contrast, we will focus only on reducing ghosts in displaying images. We assume that ghosting occurs when crosstalk makes a distribution of colors in displaying images. So, if the distribution will become small, then the ghosts are reduced. From our assumption, we develop an optimization that does not change structures in displaying images. In this paper, we only discuss how to generate the pattern on the back layer. We will show the results of our method as a simulation.","PeriodicalId":328114,"journal":{"name":"2022 Nicograph International (NicoInt)","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127128258","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 : 2022-06-01DOI: 10.1109/nicoint55861.2022.00027
M. Addoum, Daniel Alonso, Hugo Broissiat, Valentin Denat, Maxime Leroux, Sébastien Oddon, Florent Raynaud, Samuel Touati, Loïc Prenovault, Mathieu Kennedy, Stéphane Rampin, Azad Lusbaronian
A new inclusive video game is designed to provide autonomy for autistic users in understanding the game objectives and to promote social cooperation. The players' experiences show that the game-play is well accessible and adapted for autistics while begin enjoyable and engaging.
{"title":"An Inclusive Video Game For Players With Autism Spectrum Disorders","authors":"M. Addoum, Daniel Alonso, Hugo Broissiat, Valentin Denat, Maxime Leroux, Sébastien Oddon, Florent Raynaud, Samuel Touati, Loïc Prenovault, Mathieu Kennedy, Stéphane Rampin, Azad Lusbaronian","doi":"10.1109/nicoint55861.2022.00027","DOIUrl":"https://doi.org/10.1109/nicoint55861.2022.00027","url":null,"abstract":"A new inclusive video game is designed to provide autonomy for autistic users in understanding the game objectives and to promote social cooperation. The players' experiences show that the game-play is well accessible and adapted for autistics while begin enjoyable and engaging.","PeriodicalId":328114,"journal":{"name":"2022 Nicograph International (NicoInt)","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133168033","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 : 2022-06-01DOI: 10.1109/NicoInt55861.2022.00016
Yoshiki Funahashi, W. Omori, Shogo Yoshida, Yichen Peng, Haoran Xie, S. Okada, K. Miyata
Decorative sushi rolls are produced to look like flowers or cartoon characters at their cross-sections. They are prepared by placing vinegared rice and other ingredients on a laver, which is then rolled. To create unique decorative sushi rolls, it is difficult to come up with a recipe containing descriptions regarding the number and size of the laver, the amount of vinegared rice, and the arrangement of ingredients. To address this issue, we propose using Sketch2Makizushi, an interactive guidance system that allows users to make their desired decorative sushi rolls using a sketch as an input. The proposed system can automatically calculate the recipe for the decorative sushi rolls according to the input sketch and present the cooking process. The proposed system enables the free design of decorative sushi rolls compared with conventional production approaches. We conducted an evaluation study to assess the proposed system to confirm its effectiveness and obtain information on user experience.
{"title":"Sketch2Makizushi: Interactive Guidance System for Decorative Sushi Rolls with User Sketches","authors":"Yoshiki Funahashi, W. Omori, Shogo Yoshida, Yichen Peng, Haoran Xie, S. Okada, K. Miyata","doi":"10.1109/NicoInt55861.2022.00016","DOIUrl":"https://doi.org/10.1109/NicoInt55861.2022.00016","url":null,"abstract":"Decorative sushi rolls are produced to look like flowers or cartoon characters at their cross-sections. They are prepared by placing vinegared rice and other ingredients on a laver, which is then rolled. To create unique decorative sushi rolls, it is difficult to come up with a recipe containing descriptions regarding the number and size of the laver, the amount of vinegared rice, and the arrangement of ingredients. To address this issue, we propose using Sketch2Makizushi, an interactive guidance system that allows users to make their desired decorative sushi rolls using a sketch as an input. The proposed system can automatically calculate the recipe for the decorative sushi rolls according to the input sketch and present the cooking process. The proposed system enables the free design of decorative sushi rolls compared with conventional production approaches. We conducted an evaluation study to assess the proposed system to confirm its effectiveness and obtain information on user experience.","PeriodicalId":328114,"journal":{"name":"2022 Nicograph International (NicoInt)","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130346845","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 : 2022-06-01DOI: 10.1109/NicoInt55861.2022.00030
Naoto Yoshii, S. Saito
In 3D computer graphics, less is better if reducing the number of polygons in a model has no visual impact. In this paper, assuming a method that controls polygon subdivision level to reduce the rendering computational cost, we propose a method that uses a Support Vector Machine (SVM) to choose one from two subdivision levels by the perceptibility difference between the adjacent level of detail. The SVM takes four features obtained in the rendering procedure as input and performs a binary classification to determine whether a polygon should be divided or not. Our experimental results show that the trained SVM performs a binary classification with 72% accuracy.
{"title":"Polygon Subdivision Control Using SVM With CSF","authors":"Naoto Yoshii, S. Saito","doi":"10.1109/NicoInt55861.2022.00030","DOIUrl":"https://doi.org/10.1109/NicoInt55861.2022.00030","url":null,"abstract":"In 3D computer graphics, less is better if reducing the number of polygons in a model has no visual impact. In this paper, assuming a method that controls polygon subdivision level to reduce the rendering computational cost, we propose a method that uses a Support Vector Machine (SVM) to choose one from two subdivision levels by the perceptibility difference between the adjacent level of detail. The SVM takes four features obtained in the rendering procedure as input and performs a binary classification to determine whether a polygon should be divided or not. Our experimental results show that the trained SVM performs a binary classification with 72% accuracy.","PeriodicalId":328114,"journal":{"name":"2022 Nicograph International (NicoInt)","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130100650","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 : 2022-06-01DOI: 10.1109/NicoInt55861.2022.00039
Takumu Matsushita, A. Soga
In this study, we developed a prototype of a dance motion creation system by experiencing an augmented body in a VR space for the purpose of supporting dance creation. The aim is to provide new perspectives and inspirations that can trigger the creation of new dance choreography by experiencing an augmented body in a VR space. As an example of a motion, we implemented Bind, a motion in which one body part is moved in relation to another body part.
{"title":"Prototype System of Dance Movement Creation by VR Experience of Augmented Human Body","authors":"Takumu Matsushita, A. Soga","doi":"10.1109/NicoInt55861.2022.00039","DOIUrl":"https://doi.org/10.1109/NicoInt55861.2022.00039","url":null,"abstract":"In this study, we developed a prototype of a dance motion creation system by experiencing an augmented body in a VR space for the purpose of supporting dance creation. The aim is to provide new perspectives and inspirations that can trigger the creation of new dance choreography by experiencing an augmented body in a VR space. As an example of a motion, we implemented Bind, a motion in which one body part is moved in relation to another body part.","PeriodicalId":328114,"journal":{"name":"2022 Nicograph International (NicoInt)","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124769431","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 : 2022-06-01DOI: 10.1109/NicoInt55861.2022.00015
Haruka Kanayama, S. Hidaka
There is a class of line drawings, called impossible objects, that are perceived as 3D structures but are impossible to completely construct in 3D space. Sugihara [1] proposes a systematic method for creating a type of impossible objects. This method provides a way to judge the existence of possible three-dimensional (3D) coordinate for a line drawing, and a way to compute it, if possible. There are, however, some technical difficulties in using Sugihara's method. Firstly, Sugihara's method requires to introduce a large number of variables for use in a set of equations, which requires some intense labor for a designer of impossible objects when programming. Secondly, in theory, there are an infinite number of possible 3D coordinates for the same line drawing, but Sugihara's method can only determine one of them for a pre-defined set of parameters. In practice, a designer of impossible objects may also wish to arrange the 3D coordinates' undetermined degree of freedom for a given two-dimensional (2D) line drawing. Given these technical issues in Sugihara's method, we propose a new method to explore not just some but all 3D coordinates for a 2D line drawing that the designer can use at will. The proposed method requires both a minimal number of variables in its computation, resulting in it being computationally cheap, and less manual programming. Moreover, the proposed method provides a user interface that the designer can use to manually adjust the degree of freedom in the class of constructible impossible objects. This allows the designer to create impossible objects that reflect their tastes.
{"title":"Impossible Objects of Your Choice: Designing Any 3D Objects from a 2D Line Drawing","authors":"Haruka Kanayama, S. Hidaka","doi":"10.1109/NicoInt55861.2022.00015","DOIUrl":"https://doi.org/10.1109/NicoInt55861.2022.00015","url":null,"abstract":"There is a class of line drawings, called impossible objects, that are perceived as 3D structures but are impossible to completely construct in 3D space. Sugihara [1] proposes a systematic method for creating a type of impossible objects. This method provides a way to judge the existence of possible three-dimensional (3D) coordinate for a line drawing, and a way to compute it, if possible. There are, however, some technical difficulties in using Sugihara's method. Firstly, Sugihara's method requires to introduce a large number of variables for use in a set of equations, which requires some intense labor for a designer of impossible objects when programming. Secondly, in theory, there are an infinite number of possible 3D coordinates for the same line drawing, but Sugihara's method can only determine one of them for a pre-defined set of parameters. In practice, a designer of impossible objects may also wish to arrange the 3D coordinates' undetermined degree of freedom for a given two-dimensional (2D) line drawing. Given these technical issues in Sugihara's method, we propose a new method to explore not just some but all 3D coordinates for a 2D line drawing that the designer can use at will. The proposed method requires both a minimal number of variables in its computation, resulting in it being computationally cheap, and less manual programming. Moreover, the proposed method provides a user interface that the designer can use to manually adjust the degree of freedom in the class of constructible impossible objects. This allows the designer to create impossible objects that reflect their tastes.","PeriodicalId":328114,"journal":{"name":"2022 Nicograph International (NicoInt)","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128077845","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 : 2022-06-01DOI: 10.1109/NicoInt55861.2022.00013
Yao-Feng Huang, Peng Jiang, Takamitsu Tanaka
This study designed two experiments to determine whether consumers in countries and region where Chinese characters are used in Japan, China, and Taiwan have different preferences for the packaging of the same written Chinese character font. Experiment 1 integrated 16 types of fonts and conducted a font-impression survey on 90 participants from each country and region through a frequency allocation survey. The results of Experiment 1 were used to further analyze the font preferences through Experiment 2. The one-way ANOVA was used to analyze the two samples from the survey on 60 participants from the countries and region. The results shown in Experiment 1 were as follows: (1) most Japanese people can distinguish their own fonts, (2) bold or handwritten fonts are generally considered non-Japanese font, and (3) some fonts are mixed with other fonts and will not interfere with the judgment of the font. The results of Experiment 2, show that the Japanese have a greater preference for Mincho and Meiryo; the Chinese for Microsoft YaHei, Song, and MingLiu; and the Taiwanese for Round, Official Script, and Art Nouveau. Therefore, future packaging applications can use these font designs for original and regional packaging in specific region.
{"title":"A Study On The Recognition Typefaces Of Chinese Characters In Package Design","authors":"Yao-Feng Huang, Peng Jiang, Takamitsu Tanaka","doi":"10.1109/NicoInt55861.2022.00013","DOIUrl":"https://doi.org/10.1109/NicoInt55861.2022.00013","url":null,"abstract":"This study designed two experiments to determine whether consumers in countries and region where Chinese characters are used in Japan, China, and Taiwan have different preferences for the packaging of the same written Chinese character font. Experiment 1 integrated 16 types of fonts and conducted a font-impression survey on 90 participants from each country and region through a frequency allocation survey. The results of Experiment 1 were used to further analyze the font preferences through Experiment 2. The one-way ANOVA was used to analyze the two samples from the survey on 60 participants from the countries and region. The results shown in Experiment 1 were as follows: (1) most Japanese people can distinguish their own fonts, (2) bold or handwritten fonts are generally considered non-Japanese font, and (3) some fonts are mixed with other fonts and will not interfere with the judgment of the font. The results of Experiment 2, show that the Japanese have a greater preference for Mincho and Meiryo; the Chinese for Microsoft YaHei, Song, and MingLiu; and the Taiwanese for Round, Official Script, and Art Nouveau. Therefore, future packaging applications can use these font designs for original and regional packaging in specific region.","PeriodicalId":328114,"journal":{"name":"2022 Nicograph International (NicoInt)","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133234559","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 : 2022-06-01DOI: 10.1109/NicoInt55861.2022.00022
K. Ishibashi, Shuta Uchiyama, Hiroshi Goto
Recently, there have been several collaborations between new projection mapping projects and various performances. To remake it, we collaborated with a traditional Japanese drum performance. Since unity is an essential factor for a drum performance, we developed two systems to increase the sense of unity between a drum performance and visual effects on projection mapping. One of the systems employed an acceleration sensor and classified different drumming patterns using deep learning. The system synchronized each drumming pattern with a corresponding visual effect. The other system was used for floor projection visual effects. In our collaborated performance, we were unable to install any sensors due to the restrictions of the event. Thus, we used an optical see-through device to operate some visual effects interactively. This system enabled an operator to place and relocate each visual effect according to the location of each performer. These two systems will help in improving the sense of unity in a collaborated performance.
{"title":"Visual Effect System for Projection Mapping with Japanese Drum Performance","authors":"K. Ishibashi, Shuta Uchiyama, Hiroshi Goto","doi":"10.1109/NicoInt55861.2022.00022","DOIUrl":"https://doi.org/10.1109/NicoInt55861.2022.00022","url":null,"abstract":"Recently, there have been several collaborations between new projection mapping projects and various performances. To remake it, we collaborated with a traditional Japanese drum performance. Since unity is an essential factor for a drum performance, we developed two systems to increase the sense of unity between a drum performance and visual effects on projection mapping. One of the systems employed an acceleration sensor and classified different drumming patterns using deep learning. The system synchronized each drumming pattern with a corresponding visual effect. The other system was used for floor projection visual effects. In our collaborated performance, we were unable to install any sensors due to the restrictions of the event. Thus, we used an optical see-through device to operate some visual effects interactively. This system enabled an operator to place and relocate each visual effect according to the location of each performer. These two systems will help in improving the sense of unity in a collaborated performance.","PeriodicalId":328114,"journal":{"name":"2022 Nicograph International (NicoInt)","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115478910","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 : 2022-06-01DOI: 10.1109/NicoInt55861.2022.00035
Seitaro Inagaki, Kenji Funahashi
The development of HMDs for home use has progressed, and many people can now enjoy VR easily at home. Most VR services for 360-degree image viewing are used in a seated position. However, it is difficult for humans to look rearward in a seated position while rotating the neck and hips [1]. Although it is easy to look rearward when sitting in a swivel chair, it has been reported that the rotation of the seat surface amplifies the user's body movements and increases sensory discrepancy when viewing a 360-degree video with an HMD [2]. In this paper, we propose a new method that enables rearward visibility while sitting in a chair. The direction in which you are looking is called the eye direction. A rearward scenery that is different from the actual eye direction will be presented on the HMD to enable to look rearward without lifting the hips.
{"title":"Facilitating rearward visibility by controlling eye direction in HMD viewing of panoramic images","authors":"Seitaro Inagaki, Kenji Funahashi","doi":"10.1109/NicoInt55861.2022.00035","DOIUrl":"https://doi.org/10.1109/NicoInt55861.2022.00035","url":null,"abstract":"The development of HMDs for home use has progressed, and many people can now enjoy VR easily at home. Most VR services for 360-degree image viewing are used in a seated position. However, it is difficult for humans to look rearward in a seated position while rotating the neck and hips [1]. Although it is easy to look rearward when sitting in a swivel chair, it has been reported that the rotation of the seat surface amplifies the user's body movements and increases sensory discrepancy when viewing a 360-degree video with an HMD [2]. In this paper, we propose a new method that enables rearward visibility while sitting in a chair. The direction in which you are looking is called the eye direction. A rearward scenery that is different from the actual eye direction will be presented on the HMD to enable to look rearward without lifting the hips.","PeriodicalId":328114,"journal":{"name":"2022 Nicograph International (NicoInt)","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116722502","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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