T. Agostini, Fabrizio Sors, Serena Mingolo, G. Baldassi, Mauro Murgia
Summary Recent studies explored the contribution of auditory information in ecological contexts to biological motion perception and its influence on movement execution. This work provides an overview of the most influential scientific contributions in this domain and analyzes the most recent findings, both in sport and motor rehabilitation. Overall, the literature indicates that ecological sounds associated with movements are relevant for perceiving some important features of sport movements. Auditory information is also relevant during performance execution, and can be used to create training protocols. Also, similarly auditory information can be used in clinical contexts to provide rhythmic information to enhance the efficacy of motor rehabilitation protocols. In conclusion, we can say that the role of ecological sounds of movements is examined in conveying complexity of information from a gestalt perspective.
{"title":"Perception and Action in Complex Movements: The Emerging Relevance of Auditory Information","authors":"T. Agostini, Fabrizio Sors, Serena Mingolo, G. Baldassi, Mauro Murgia","doi":"10.2478/gth-2020-0021","DOIUrl":"https://doi.org/10.2478/gth-2020-0021","url":null,"abstract":"Summary Recent studies explored the contribution of auditory information in ecological contexts to biological motion perception and its influence on movement execution. This work provides an overview of the most influential scientific contributions in this domain and analyzes the most recent findings, both in sport and motor rehabilitation. Overall, the literature indicates that ecological sounds associated with movements are relevant for perceiving some important features of sport movements. Auditory information is also relevant during performance execution, and can be used to create training protocols. Also, similarly auditory information can be used in clinical contexts to provide rhythmic information to enhance the efficacy of motor rehabilitation protocols. In conclusion, we can say that the role of ecological sounds of movements is examined in conveying complexity of information from a gestalt perspective.","PeriodicalId":33799,"journal":{"name":"Gestalt Theory","volume":"42 1","pages":"243 - 252"},"PeriodicalIF":0.0,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44746400","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}
Summary I outline an approach to the phenomenology of improvised music which takes typification and the development of multi‐ordered phenomenological structures as central. My approach here is firmly in line with classical Husserlian phenomenology, taking the discussion of types in Experience and Judgment (Husserl, 1973) and Brudzińska (2015) as guide. I provide a phenomenological analysis of musical types as they are found in improvisational contexts, focusing on jazz in the 20th century. Styles are higher‐order musical types. Musical types are structures that are temporally “thick,” relying on sedimented typification and knowledge, driving expectations as definitional. In most forms of music (including improvised music), musical styles involve maintaining a balance between confirming expectations and flouting expectations. I show that improvised music has a phenomenal structure which is enriched by the communicative and “ real‐time” nature of improvised music. Improvised music can be seen as an exploration of a possibility space rendered by the juxtaposition of the musical types afforded by a performance environment (instrumentation, harmonic and melodic traditions, etc.). I show that improvisation in music is a multi‐vectoral form of communication. The communication is founded in what Dieter Lohmar calls “non‐linguistic thinking.” The expression is constituted in the results of active and synthesis. The culmination of improvisational exploration of possibility spaces is the precisification and enrichment of styles‐as‐types, while in some cases developing new styles in the process.
{"title":"Types, Styles, and Spaces of Possibility : Phenomenology and Musical Improvisation","authors":"Mitchell Atkinson","doi":"10.2478/gth-2020-0022","DOIUrl":"https://doi.org/10.2478/gth-2020-0022","url":null,"abstract":"Summary I outline an approach to the phenomenology of improvised music which takes typification and the development of multi‐ordered phenomenological structures as central. My approach here is firmly in line with classical Husserlian phenomenology, taking the discussion of types in Experience and Judgment (Husserl, 1973) and Brudzińska (2015) as guide. I provide a phenomenological analysis of musical types as they are found in improvisational contexts, focusing on jazz in the 20th century. Styles are higher‐order musical types. Musical types are structures that are temporally “thick,” relying on sedimented typification and knowledge, driving expectations as definitional. In most forms of music (including improvised music), musical styles involve maintaining a balance between confirming expectations and flouting expectations. I show that improvised music has a phenomenal structure which is enriched by the communicative and “ real‐time” nature of improvised music. Improvised music can be seen as an exploration of a possibility space rendered by the juxtaposition of the musical types afforded by a performance environment (instrumentation, harmonic and melodic traditions, etc.). I show that improvisation in music is a multi‐vectoral form of communication. The communication is founded in what Dieter Lohmar calls “non‐linguistic thinking.” The expression is constituted in the results of active and synthesis. The culmination of improvisational exploration of possibility spaces is the precisification and enrichment of styles‐as‐types, while in some cases developing new styles in the process.","PeriodicalId":33799,"journal":{"name":"Gestalt Theory","volume":"42 1","pages":"253 - 270"},"PeriodicalIF":0.0,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69209187","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}
Summary The famous essay by Christian von Ehrenfels, Über Gestaltqualitäten (1890), opens up, as is well-known, an important seam not only in the psychology of perception but also of aesthetics, of the psychology and philosophy of music, art and language. Here, in fact, the form understood as ‘Gestalt’ is something concretely audible and visible and not simply a formal abstraction. It is about a pioneering programme rich in ideas and original connections. The author does not mean simply to define the meaning of the concept of Gestalt, but he also sets out a fertile variety of extraordinary applications. In the first place – following a suggestion of Ernst Mach’s – he indicates an application in the field of music, in particular in the exemplary case of melody. In this sense the melody, as a temporal Gestalt, is a more fitting illustration of Gestalt than a spatial Gestalt (e.g. of a geometric figure). But in other cases, as for instance in the case of perception of movement, both temporal and spatial Gestalts are admitted. And a characteristic example is provided by dance. In this article, we shall investigate the comparison between sound movement and visual–gestural movement, and we shall also be discussing the matter by having recourse to the experience of professional dancers.
克里斯蒂安·冯·埃伦费尔斯（Christian von Ehrenfels）的著名文章，Über Gestaltqualitäten（1890），众所周知，不仅在感知心理学方面，而且在美学、音乐、艺术和语言的心理学和哲学方面，开辟了一条重要的接缝。事实上，在这里，被理解为“格式塔”的形式是一种具体的可听和可见的东西，而不仅仅是一种形式抽象。它讲述的是一个富有创意和独创性的项目。作者并不是简单地定义格式塔概念的含义，但他也提出了丰富多彩的非凡应用。首先，根据Ernst Mach的建议，他指出了音乐领域的应用，特别是在旋律的例子中。从这个意义上说，旋律作为时间格式塔，比空间格式塔（例如几何图形）更适合格式塔。但在其他情况下，例如在运动感知的情况下，时间格式塔和空间格式塔都被接受。舞蹈提供了一个典型的例子。在这篇文章中，我们将调查声音动作和视觉手势动作之间的比较，我们也将通过参考专业舞者的经验来讨论这一问题。
{"title":"Gestalt and Movement between Music and Dance","authors":"S. Cattaruzza, W. Coppola","doi":"10.2478/gth-2020-0019","DOIUrl":"https://doi.org/10.2478/gth-2020-0019","url":null,"abstract":"Summary The famous essay by Christian von Ehrenfels, Über Gestaltqualitäten (1890), opens up, as is well-known, an important seam not only in the psychology of perception but also of aesthetics, of the psychology and philosophy of music, art and language. Here, in fact, the form understood as ‘Gestalt’ is something concretely audible and visible and not simply a formal abstraction. It is about a pioneering programme rich in ideas and original connections. The author does not mean simply to define the meaning of the concept of Gestalt, but he also sets out a fertile variety of extraordinary applications. In the first place – following a suggestion of Ernst Mach’s – he indicates an application in the field of music, in particular in the exemplary case of melody. In this sense the melody, as a temporal Gestalt, is a more fitting illustration of Gestalt than a spatial Gestalt (e.g. of a geometric figure). But in other cases, as for instance in the case of perception of movement, both temporal and spatial Gestalts are admitted. And a characteristic example is provided by dance. In this article, we shall investigate the comparison between sound movement and visual–gestural movement, and we shall also be discussing the matter by having recourse to the experience of professional dancers.","PeriodicalId":33799,"journal":{"name":"Gestalt Theory","volume":"42 1","pages":"221 - 232"},"PeriodicalIF":0.0,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46180690","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}
Summary The article briefly introduces a path, that starts from the Franz Boas’ anthropological field research in British Columbia about sound, dance and motion among the Indians until the 1930s to the practice of dance and sound as a therapeutic issue in Franziska Boas’ work in New York.
{"title":"Sound, Dance and Motion from Franz Boas’s Field Research in British Columbia to Franziska Boas’s Dance Therapy","authors":"Irene Candelieri","doi":"10.2478/gth-2020-0020","DOIUrl":"https://doi.org/10.2478/gth-2020-0020","url":null,"abstract":"Summary The article briefly introduces a path, that starts from the Franz Boas’ anthropological field research in British Columbia about sound, dance and motion among the Indians until the 1930s to the practice of dance and sound as a therapeutic issue in Franziska Boas’ work in New York.","PeriodicalId":33799,"journal":{"name":"Gestalt Theory","volume":"42 1","pages":"233 - 242"},"PeriodicalIF":0.0,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45021214","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The first contribution devoted to the complex phenomenon of dance as the significant combination of music and movement provides the gestalttheoretical framework for the analysis. Serena Cattaruzza and Walter Coppola move from Christian von Ehrenfeld’s observations on Gestalt qualities, focusing on his example of melody. They stress the comparison between auditory and visual fields, emphasizing the difference between temporal and spatial Gestalt forms. Based on broad empirical results, Cattaruzza and Coppola uncover the relevance of dance as a phenomenon that bridges the gap between temporal and spatial Gestalt. Dance is also the topic explored by Irene Candelieri with reference to Franz Boas’ anthropological field research. She illustrates the connection between Boas’ results on the significance of dance for Indians’ traditions and rituals and the therapeutic approach developed by Franziska Boas. Here, dance emerges as a free and nonconscious, self-directed movement, which combines active and passive qualities of the human experience of motion. An empirical basis for the investigation of movement in specific ecological contexts is provided by Tiziano Agostini and his research group based at the University of Trieste. In their study of human walking, the relationship between auditory information and physical movement comes into the foreground and its significance for sport and motor rehabilitation is empirically assessed. All three contributions show, in an impressive manner, how movement can be grasped in empirical and gestalttheoretical research beyond any reductionism and physical mechanization.
{"title":"Introduction","authors":"Jagna Brudzińska, A. Pugliese","doi":"10.2478/gth-2020-0027","DOIUrl":"https://doi.org/10.2478/gth-2020-0027","url":null,"abstract":"The first contribution devoted to the complex phenomenon of dance as the significant combination of music and movement provides the gestalttheoretical framework for the analysis. Serena Cattaruzza and Walter Coppola move from Christian von Ehrenfeld’s observations on Gestalt qualities, focusing on his example of melody. They stress the comparison between auditory and visual fields, emphasizing the difference between temporal and spatial Gestalt forms. Based on broad empirical results, Cattaruzza and Coppola uncover the relevance of dance as a phenomenon that bridges the gap between temporal and spatial Gestalt. Dance is also the topic explored by Irene Candelieri with reference to Franz Boas’ anthropological field research. She illustrates the connection between Boas’ results on the significance of dance for Indians’ traditions and rituals and the therapeutic approach developed by Franziska Boas. Here, dance emerges as a free and nonconscious, self-directed movement, which combines active and passive qualities of the human experience of motion. An empirical basis for the investigation of movement in specific ecological contexts is provided by Tiziano Agostini and his research group based at the University of Trieste. In their study of human walking, the relationship between auditory information and physical movement comes into the foreground and its significance for sport and motor rehabilitation is empirically assessed. All three contributions show, in an impressive manner, how movement can be grasped in empirical and gestalttheoretical research beyond any reductionism and physical mechanization.","PeriodicalId":33799,"journal":{"name":"Gestalt Theory","volume":"42 1","pages":"217 - 220"},"PeriodicalIF":0.0,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42933657","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}
Summary Within Husserl’s theory of perception, the role attributed to kinesthetic sensations determines a phase of the perceptive constitution that marks the boundary between pure receptivity and a first form of self-determination of consciousness. Kinesthetic experiences are, in fact, characterized not just as acts that are performed but rather that can be performed, albeit according to predetermined paths. This primitive form of ‘instinctive’ spontaneity of the Ego (linked to primal impulses) as realization of pre-established potentialities, characterizes what Husserl defines the ‘ idiopsychic’ dimension of consciousness (Husserl, 1952, p. 135). However, although this level of consciousness unity presupposes a spontaneous activity, it can be investigated according to the ‘causal’ laws of motivation. The phenomenon of motivation was notoriously introduced by Husserl in §56 of Ideen II, as a specific law of spiritual life. However, there are two possible forms of motivation, one in which the Ego is actively involved, and a second one, called “associative motivation.” The latter basically indicates the passive tendency of creating associations between unities of the immanent sphere. In other terms, Husserl acknowledges the existence of “motivated relations” within the immanent sphere of mental acts which do not necessarily call for an active participation of the Ego. In this sense, the relation between motivating factors and motivated elements could be considered a kind of conditioning of the form “because-therefore,” in which the two elements arrange themselves in a succession of experiences. This work aims to show that this very kind of association is the same that pre-determines the unfolding possibility of kinesthetic chains.
{"title":"Kinesthetic Unity as Motivated Association","authors":"Andrea Lanza","doi":"10.2478/gth-2020-0023","DOIUrl":"https://doi.org/10.2478/gth-2020-0023","url":null,"abstract":"Summary Within Husserl’s theory of perception, the role attributed to kinesthetic sensations determines a phase of the perceptive constitution that marks the boundary between pure receptivity and a first form of self-determination of consciousness. Kinesthetic experiences are, in fact, characterized not just as acts that are performed but rather that can be performed, albeit according to predetermined paths. This primitive form of ‘instinctive’ spontaneity of the Ego (linked to primal impulses) as realization of pre-established potentialities, characterizes what Husserl defines the ‘ idiopsychic’ dimension of consciousness (Husserl, 1952, p. 135). However, although this level of consciousness unity presupposes a spontaneous activity, it can be investigated according to the ‘causal’ laws of motivation. The phenomenon of motivation was notoriously introduced by Husserl in §56 of Ideen II, as a specific law of spiritual life. However, there are two possible forms of motivation, one in which the Ego is actively involved, and a second one, called “associative motivation.” The latter basically indicates the passive tendency of creating associations between unities of the immanent sphere. In other terms, Husserl acknowledges the existence of “motivated relations” within the immanent sphere of mental acts which do not necessarily call for an active participation of the Ego. In this sense, the relation between motivating factors and motivated elements could be considered a kind of conditioning of the form “because-therefore,” in which the two elements arrange themselves in a succession of experiences. This work aims to show that this very kind of association is the same that pre-determines the unfolding possibility of kinesthetic chains.","PeriodicalId":33799,"journal":{"name":"Gestalt Theory","volume":"42 1","pages":"271 - 286"},"PeriodicalIF":0.0,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47280482","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}
Summary In the methodology of science, intersubjectivity is usually associated with replicability of experimental results. A related, judicial conception of objectivity as impartiality has it that a theory or judgment is objective if it covers all the relevant angles of the object or phenomenon in question, ensuring that the latter is not ephemeral and the concepts referring to them are valid. Based on the assumption that in the social sciences, the researcher is also a participant, an alternative view was conceived, according to the notion that intersubjectivity rests on either sharing of a lifeworld and its associated practices or on empathy, or on some form of direct social cognition. My aim in this paper is to bring some elements of the Gestalt theory – and more specifically, Rudolf Arnheim’s (1988) adapted model of field dynamics – to bear on the problematic of intersubjectivity. The proposed model suggests that intersubjectivity is a dynamic phenomenon, best described as a product of two vectors: a vector describing a movement across the circumference combined with a vector describing the movement from the center to the circumference. While the first vector corresponds to impartiality, the second represents the tension between cognitive distancing and direct experience. Overall, it is argued that intersubjectivity cannot be divorced from either subjectivity or objectivity and it amounts to skillful navigation within different frames of reference.
{"title":"From the Self to the Other and Back Again: Intersubjectivity as a Perpetual Motion Around the Self","authors":"A. Michalska","doi":"10.2478/gth-2020-0026","DOIUrl":"https://doi.org/10.2478/gth-2020-0026","url":null,"abstract":"Summary In the methodology of science, intersubjectivity is usually associated with replicability of experimental results. A related, judicial conception of objectivity as impartiality has it that a theory or judgment is objective if it covers all the relevant angles of the object or phenomenon in question, ensuring that the latter is not ephemeral and the concepts referring to them are valid. Based on the assumption that in the social sciences, the researcher is also a participant, an alternative view was conceived, according to the notion that intersubjectivity rests on either sharing of a lifeworld and its associated practices or on empathy, or on some form of direct social cognition. My aim in this paper is to bring some elements of the Gestalt theory – and more specifically, Rudolf Arnheim’s (1988) adapted model of field dynamics – to bear on the problematic of intersubjectivity. The proposed model suggests that intersubjectivity is a dynamic phenomenon, best described as a product of two vectors: a vector describing a movement across the circumference combined with a vector describing the movement from the center to the circumference. While the first vector corresponds to impartiality, the second represents the tension between cognitive distancing and direct experience. Overall, it is argued that intersubjectivity cannot be divorced from either subjectivity or objectivity and it amounts to skillful navigation within different frames of reference.","PeriodicalId":33799,"journal":{"name":"Gestalt Theory","volume":"42 1","pages":"303 - 318"},"PeriodicalIF":0.0,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45258896","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}
Summary This paper deals with the development of Husserl’s and Merleau-Pontys analyses of the affective lived experience of body and space. Both the concept of „flesh“ (Merleau-Ponty) and „Hyle“ (Husserl) stand for a sensuous principle that underlies the original givenness and solidarity of body and world and I claim that this interaction and the concomitant intertwining of body and place make up the existential dimension of architecture, i.e. the, being-here-in-a-place’. In this connection, I argue that the fact that bodily affective experience endows the world with sense has led to a double break: On the one hand with representation and on the other with perspectivity and compossibility of the realms of being in Husserl’s and Merleau-Ponty’s respective approaches. Finally, I will exemplify this break and the development of genetic insights – from an anthropocentric, organic and harmonious space conception to a topologic space made up of incompossibilities expressing an ambiguous sense – with paradigmatic works of architecture, so as to make evident the explanatory potential of phenomenology for architecture.
{"title":"Husserl and Merleau Ponty: The Affective Bodily Experience of Architectural Space","authors":"Irene Breuer","doi":"10.2478/gth-2020-0024","DOIUrl":"https://doi.org/10.2478/gth-2020-0024","url":null,"abstract":"Summary This paper deals with the development of Husserl’s and Merleau-Pontys analyses of the affective lived experience of body and space. Both the concept of „flesh“ (Merleau-Ponty) and „Hyle“ (Husserl) stand for a sensuous principle that underlies the original givenness and solidarity of body and world and I claim that this interaction and the concomitant intertwining of body and place make up the existential dimension of architecture, i.e. the, being-here-in-a-place’. In this connection, I argue that the fact that bodily affective experience endows the world with sense has led to a double break: On the one hand with representation and on the other with perspectivity and compossibility of the realms of being in Husserl’s and Merleau-Ponty’s respective approaches. Finally, I will exemplify this break and the development of genetic insights – from an anthropocentric, organic and harmonious space conception to a topologic space made up of incompossibilities expressing an ambiguous sense – with paradigmatic works of architecture, so as to make evident the explanatory potential of phenomenology for architecture.","PeriodicalId":33799,"journal":{"name":"Gestalt Theory","volume":"42 1","pages":"287 - 302"},"PeriodicalIF":0.0,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69208726","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}
{"title":"Postponement of the next GTA conference to 2022","authors":"","doi":"10.2478/gth-2020-0018","DOIUrl":"https://doi.org/10.2478/gth-2020-0018","url":null,"abstract":"","PeriodicalId":33799,"journal":{"name":"Gestalt Theory","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45471785","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}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：