Chorus re-writes Albert Hay Malotte’s choral rendering of ‘The Lord’s Prayer’ using hashtagged words appropriated from existing Instagram posts connected to the ‘clean eating’ food and lifestyle trend. The dyad of contemporary food culture and the musical score for one of the most well-known prayers in Christianity signals the collectivity and influence that the hashtagging of specific words and phrases can carry in certain online contexts. All the hashtags used in Chorus also featured in Worth’s previous year-long Instagram based performance-drawing titled A Drawing Made by Cutting Up My Body Weight in Celery (2016–17). A karaoke version of Chorus featured in Worth’s 2018 exhibition FEED at Vane, Newcastle upon Tyne, this version was originally created for Instagram as a series of videos: returning the recomposed language to the site from which it was sourced.
{"title":"Chorus","authors":"Zara Worth","doi":"10.1386/jwcp.13.1.101_3","DOIUrl":"https://doi.org/10.1386/jwcp.13.1.101_3","url":null,"abstract":"Chorus re-writes Albert Hay Malotte’s choral rendering of ‘The Lord’s Prayer’ using hashtagged words appropriated from existing Instagram posts connected to the ‘clean eating’ food and lifestyle trend. The dyad of contemporary food culture and the\u0000 musical score for one of the most well-known prayers in Christianity signals the collectivity and influence that the hashtagging of specific words and phrases can carry in certain online contexts. All the hashtags used in Chorus also featured in Worth’s previous year-long Instagram based\u0000 performance-drawing titled A Drawing Made by Cutting Up My Body Weight in Celery (2016–17). A karaoke version of Chorus featured in Worth’s 2018 exhibition FEED at Vane, Newcastle upon Tyne, this version was originally created for Instagram as a series of videos:\u0000 returning the recomposed language to the site from which it was sourced.","PeriodicalId":38498,"journal":{"name":"Journal of Writing in Creative Practice","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46794708","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}
Are you attracted to me? is part of Larry Walker-Tonks’ on-going GRUNDER series which he began during his MA at the University of Salford after growing tired of having feeling that his body was treated as a commodity by other users on dating apps. The following text is appropriated from messages that the artist himself has received through dating apps Grindr and Tinder. Walker-Tonks’ GRUNDER series reflects upon how we present ourselves online; how we use dating apps like Grindr and Tinder; the consequences of a highly sexualized western culture; and how new-found online anonymity has torn down the boundaries between what is and is not acceptable public discourse, which has resulted in an accepted laddish camaraderie and ‘send nudes’ culture in the Facebook age. In this context Are you attracted to me? and the wider GRUNDER project serve as an intervention and warning. The text from Are you attracted to me? provided a script used as an audio element accompanying a ‘speaking sculpture’ shown during an immersive GRUNDER event in Manchester in 2017. The text is complete with original spelling mistakes and grammatical errors for your reading pleasure.
{"title":"GRUNDER: Are you attracted to me?","authors":"Larry Walker-Tonks","doi":"10.1386/jwcp.13.1.63_3","DOIUrl":"https://doi.org/10.1386/jwcp.13.1.63_3","url":null,"abstract":"Are you attracted to me? is part of Larry Walker-Tonks’ on-going GRUNDER series which he began during his MA at the University of Salford after growing tired of having feeling that his body was treated as a commodity by other users on dating apps. The following text is appropriated from messages that the artist himself has received through dating apps Grindr and Tinder. Walker-Tonks’ GRUNDER series reflects upon how we present ourselves online; how we use dating apps like Grindr and Tinder; the consequences of a highly sexualized western culture; and how new-found online anonymity has torn down the boundaries between what is and is not acceptable public discourse, which has resulted in an accepted laddish camaraderie and ‘send nudes’ culture in the Facebook age. In this context Are you attracted to me? and the wider GRUNDER project serve as an intervention and warning. The text from Are you attracted to me? provided a script used as an audio element accompanying a ‘speaking sculpture’ shown during an immersive GRUNDER event in Manchester in 2017. The text is complete with original spelling mistakes and grammatical errors for your reading pleasure.","PeriodicalId":38498,"journal":{"name":"Journal of Writing in Creative Practice","volume":"13 1","pages":"63-75"},"PeriodicalIF":0.0,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66735653","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}
I am interested in the possibilities of redressing the absence of feminine subjectivity in the discourses surrounding Iris Murdoch’s philosophical and fictional writing. @cartography_for_girls is an Instagram account set up to share some of the expressions of feminine subjectivity sourced from within Murdoch’s 26 novels, originally published between 1954 and 1995. Murdoch’s incorporation of her particular metaphysical thinking into the reflections, deliberations and doubts of her fictional women characters made me wonder how these philosophically loaded impressions might fare on the affect- and information-driven social networking platform Instagram. ‘I think I’m happy, she thought, but am I real?’, for example, is an interior thought that resonates in ways more than metaphysical against the backdrop of Web 2.0, and is one of 100 posts shared daily from 21 October 2017 to 23 January 2018.
{"title":"I think I’m happy, she thought, but am I real?","authors":"Carol Sommer","doi":"10.1386/jwcp.13.1.111_3","DOIUrl":"https://doi.org/10.1386/jwcp.13.1.111_3","url":null,"abstract":"I am interested in the possibilities of redressing the absence of feminine subjectivity in the discourses surrounding Iris Murdoch’s philosophical and fictional writing. @cartography_for_girls is an Instagram account set up to share some of the expressions of feminine subjectivity sourced from within Murdoch’s 26 novels, originally published between 1954 and 1995. Murdoch’s incorporation of her particular metaphysical thinking into the reflections, deliberations and doubts of her fictional women characters made me wonder how these philosophically loaded impressions might fare on the affect- and information-driven social networking platform Instagram. ‘I think I’m happy, she thought, but am I real?’, for example, is an interior thought that resonates in ways more than metaphysical against the backdrop of Web 2.0, and is one of 100 posts shared daily from 21 October 2017 to 23 January 2018.","PeriodicalId":38498,"journal":{"name":"Journal of Writing in Creative Practice","volume":"13 1","pages":"111-116"},"PeriodicalIF":0.0,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66735471","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}
G. Wade, Paul Conneally, Emma Bolland, Tina Francis, Patrick Goodall, Brenda Hickin, James Kennedy, Mathew Parkin, Alison L. Raybould, Sid Sidowski, Yvette Greslé, Cathy Wade
‘Between Clean Sheets’ is a 100-verse #Twenga written by twelve ‘poets’ over a 63-day period on Twitter. It is the eighth #Twenga led by Paul Conneally and Gavin Wade hosted by Eastside Projects (@eprjcts). #Twenga is a Renga (linked verse) – a 1000-year-old Japanese form of extended haiku written by multiple authors – written live on Twitter. It is an incredibly successful shared artform displaying complex and sophisticated ways of collaborating and organizing space, time and thinking. The 100 verses are written to a hyakuin schema, adapted by Wade from the schema suggested by Conneally for their seventh #Twenga, originally used by the poet Sōgi in his ‘Solo Sequence of 1492’. The schema provides a theme for each verse such as Autumn, moon, love, equality and urgent actions. The themes provide an underpinning position and combine with a ‘link and shift’ reflection upon context, memory and imagination always written in the present.
{"title":"‘Between Clean Sheets’: Twenga #8","authors":"G. Wade, Paul Conneally, Emma Bolland, Tina Francis, Patrick Goodall, Brenda Hickin, James Kennedy, Mathew Parkin, Alison L. Raybould, Sid Sidowski, Yvette Greslé, Cathy Wade","doi":"10.1386/jwcp.13.1.27_3","DOIUrl":"https://doi.org/10.1386/jwcp.13.1.27_3","url":null,"abstract":"‘Between Clean Sheets’ is a 100-verse #Twenga written by twelve ‘poets’ over a 63-day period on Twitter. It is the eighth #Twenga led by Paul Conneally and Gavin Wade hosted by Eastside Projects (@eprjcts). #Twenga is a Renga (linked verse) – a 1000-year-old Japanese form of extended haiku written by multiple authors – written live on Twitter. It is an incredibly successful shared artform displaying complex and sophisticated ways of collaborating and organizing space, time and thinking. The 100 verses are written to a hyakuin schema, adapted by Wade from the schema suggested by Conneally for their seventh #Twenga, originally used by the poet Sōgi in his ‘Solo Sequence of 1492’. The schema provides a theme for each verse such as Autumn, moon, love, equality and urgent actions. The themes provide an underpinning position and combine with a ‘link and shift’ reflection upon context, memory and imagination always written in the present.","PeriodicalId":38498,"journal":{"name":"Journal of Writing in Creative Practice","volume":"13 1","pages":"27-46"},"PeriodicalIF":0.0,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66735591","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}
Recently, a number of artists and theorists have been writing about the algorithmic, infrastructural and economic aspects of the contemporary media world. Such writing shifts the conversation about social media away from considerations of novel discourse and instead places emphasis on the power structures, profit motives and political machinations that undergird networked reality. Social media platforms are designed to feel like autonomous arenas of free signification, rather than highly controlled and tightly monitored corporate/governmental spaces. In other words, these platforms make the Internet feel like it is built on discourse, rather than on code, servers, fibre-optic cables and the hyper-exploited labour involved in the mining of rare metals. This article examines writings by Hito Steyerl, Trevor Paglen, Jackie Wang and others to argue that artist-writers are using open-ended and flexible metaphors, along with other literary techniques, to articulate the connections between the largely invisible systems of code, surveillance and economics.
{"title":"Invisible language: Metaphors for networked technology in artists’ writings on media","authors":"Steven Zultanski","doi":"10.1386/jwcp.13.1.13_1","DOIUrl":"https://doi.org/10.1386/jwcp.13.1.13_1","url":null,"abstract":"Recently, a number of artists and theorists have been writing about the algorithmic, infrastructural and economic aspects of the contemporary media world. Such writing shifts the conversation about social media away from considerations of novel discourse and instead places emphasis on the power structures, profit motives and political machinations that undergird networked reality. Social media platforms are designed to feel like autonomous arenas of free signification, rather than highly controlled and tightly monitored corporate/governmental spaces. In other words, these platforms make the Internet feel like it is built on discourse, rather than on code, servers, fibre-optic cables and the hyper-exploited labour involved in the mining of rare metals. This article examines writings by Hito Steyerl, Trevor Paglen, Jackie Wang and others to argue that artist-writers are using open-ended and flexible metaphors, along with other literary techniques, to articulate the connections between the largely invisible systems of code, surveillance and economics.","PeriodicalId":38498,"journal":{"name":"Journal of Writing in Creative Practice","volume":"13 1","pages":"13-25"},"PeriodicalIF":0.0,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66735531","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}
‘CHORUS: Collective subjectivity in quotational writing practices’ is a ‘poet’s essay’ that examines new ways to consider subjectivity and personal affect through the use of found language. Through several examples in contemporary poetry, the essay asserts that a collective voice or ‘chorus’ or an avatar-like found voice as a protagonist can articulate the emotional zeitgeist of a cultural moment. The essay argues that this quotational response to personal and public trauma is no less legitimate than the singular articulation of a more conventional lyric poem. Further, the essay emphasizes that the boundaries between original material and found material have become increasingly blurred. As a poet’s essay, and one that addresses quotational writing, ‘CHORUS’ intentionally omits the scholarly use of proper citation.
{"title":"CHORUS: Collective subjectivity in quotational writing practices","authors":"Robert Fitterman","doi":"10.1386/jwcp.13.1.77_3","DOIUrl":"https://doi.org/10.1386/jwcp.13.1.77_3","url":null,"abstract":"‘CHORUS: Collective subjectivity in quotational writing practices’ is a ‘poet’s essay’ that examines new ways to consider subjectivity and personal affect through the use of found language. Through several examples in contemporary poetry, the essay asserts that a collective voice or ‘chorus’ or an avatar-like found voice as a protagonist can articulate the emotional zeitgeist of a cultural moment. The essay argues that this quotational response to personal and public trauma is no less legitimate than the singular articulation of a more conventional lyric poem. Further, the essay emphasizes that the boundaries between original material and found material have become increasingly blurred. As a poet’s essay, and one that addresses quotational writing, ‘CHORUS’ intentionally omits the scholarly use of proper citation.","PeriodicalId":38498,"journal":{"name":"Journal of Writing in Creative Practice","volume":"13 1","pages":"77-90"},"PeriodicalIF":0.0,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66735685","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 : 2019-04-01DOI: 10.1386/JWCP.12.1-2.167_1
Réa de Matas
By combining the sensorial and narrative ways of knowing, I consider sensory embodied experiences and autobiographical narrative as a means of producing ‘academic knowledge’, as described in Sarah Pink’s Doing Sensory Ethnography (2015). Sensory embodied experiences and autobiographical narrative not only expose us to the life of the researcher, but also to a culture and to those being researched and how they are making and remaking meaning. In this article, I explore my use of a reflexive approach and my autobiographical narrative to tell the story of my experiences of Caribbean diaspora festive culture and tradition in the United Kingdom. I consider my sensory embodied experiences in both culture and academia, seeking to discover the making of self in culture and academia.
{"title":"Sensory autoethnography: Engaging the senses, emotions and autobiographical narrative towards a transformative pedagogical practice in higher education","authors":"Réa de Matas","doi":"10.1386/JWCP.12.1-2.167_1","DOIUrl":"https://doi.org/10.1386/JWCP.12.1-2.167_1","url":null,"abstract":"By combining the sensorial and narrative ways of knowing, I consider sensory embodied experiences and autobiographical narrative as a means of producing ‘academic knowledge’, as described in Sarah Pink’s Doing Sensory Ethnography (2015). Sensory embodied experiences and autobiographical narrative not only expose us to the life of the researcher, but also to a culture and to those being researched and how they are making and remaking meaning. In this article, I explore my use of a reflexive approach and my autobiographical narrative to tell the story of my experiences of Caribbean diaspora festive culture and tradition in the United Kingdom. I consider my sensory embodied experiences in both culture and academia, seeking to discover the making of self in culture and academia.","PeriodicalId":38498,"journal":{"name":"Journal of Writing in Creative Practice","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47882901","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 : 2019-04-01DOI: 10.1386/JWCP.12.1-2.201_1
A. M. Martínez García
This article explores the storytelling practices employed in Malala Yousafzai’s life-writing texts as examples of collaboration in the co-construction of an activist agenda. It tracks the narrative ‘I’ and its movements in and out of the plural pronoun ‘we’ as it moves across communities and embraces the legacy of testimonial accounts by both former and contemporary human rights activists. In line with that tradition, it is necessary to include the stories of other victimized people in the life-writing text, so that the result advocates for change on a sociopolitical, not just individual, level. The fact that the texts are mediated by editors, translators, co-authors and collaborators every step of the way paves the collaborative path Global South young women activists traverse, a path fraught with potential pitfalls and ethical difficulties for them and for scholars alike.
{"title":"Construction and collaboration in life-writing projects: Malala Yousafzai’s activist ‘I’","authors":"A. M. Martínez García","doi":"10.1386/JWCP.12.1-2.201_1","DOIUrl":"https://doi.org/10.1386/JWCP.12.1-2.201_1","url":null,"abstract":"This article explores the storytelling practices employed in Malala Yousafzai’s life-writing texts as examples of collaboration in the co-construction of an activist agenda. It tracks the narrative ‘I’ and its movements in and out of the plural pronoun ‘we’ as it moves across communities and embraces the legacy of testimonial accounts by both former and contemporary human rights activists. In line with that tradition, it is necessary to include the stories of other victimized people in the life-writing text, so that the result advocates for change on a sociopolitical, not just individual, level. The fact that the texts are mediated by editors, translators, co-authors and collaborators every step of the way paves the collaborative path Global South young women activists traverse, a path fraught with potential pitfalls and ethical difficulties for them and for scholars alike.","PeriodicalId":38498,"journal":{"name":"Journal of Writing in Creative Practice","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47462772","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 : 2019-04-01DOI: 10.1386/JWCP.12.1-2.151_1
J. Cresswell
In this article I explore my creative textile practice as an auto/ethnographical investigation into my work. I examine how my work methodologies have altered over the past few years as a result of research through practice and as I have attempted to hide, yet reveal stories through my pieces. I note how my work has become more concerned with finding ways to express my own personal story visually through the medium of second-hand garments, in particular dresses. I show how, as I attempt to illustrate narratives through my work, each dress also reveals a story of its own through its deconstruction or embellishment within the piece; the wear and tear of the dress hinting at its past lives and stories. In turn this multilayered medium allows me to hide my own stories in plain sight and also allows viewers of the pieces to draw their own narratives from the whole.
{"title":"Hidden messages and revealing stories","authors":"J. Cresswell","doi":"10.1386/JWCP.12.1-2.151_1","DOIUrl":"https://doi.org/10.1386/JWCP.12.1-2.151_1","url":null,"abstract":"In this article I explore my creative textile practice as an auto/ethnographical investigation into my work. I examine how my work methodologies have altered over the past few years as a result of research through practice and as I have attempted to hide, yet reveal stories through my pieces. I note how my work has become more concerned with finding ways to express my own personal story visually through the medium of second-hand garments, in particular dresses. I show how, as I attempt to illustrate narratives through my work, each dress also reveals a story of its own through its deconstruction or embellishment within the piece; the wear and tear of the dress hinting at its past lives and stories. In turn this multilayered medium allows me to hide my own stories in plain sight and also allows viewers of the pieces to draw their own narratives from the whole.","PeriodicalId":38498,"journal":{"name":"Journal of Writing in Creative Practice","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45448904","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 : 2019-04-01DOI: 10.1386/JWCP.12.1-2.109_1
Trish Osler, Isabelle Guillard, Arianna Garcia-Fialdini, S. Côté
This article traces the experience of four arts educators as they consider ‘self as subject-matter’ through living inquiry. Anchored in arts-based approaches, storying the self four ways offers both an individual perspective and an a/r/tographic métissage of becoming through the weaving of narratives that derive from sociocultural and historical contexts. The practice of narrative as research considers the following questions: how does the presentation/communication component of life writing colour a narrative? What common and potentially universal experiences occur within life writing research? Through the collaborative exchange of four narratives, a fifth emerges: in response to the creative journey of others, and in documenting our entanglements with them, we open spaces. Illustrating how the introspective and extrospective interact with the visual or performative as a vehicle for revealing the self, this article posits that the self-in-relation to theory and practice becomes a way of knowing that broadens educational discourse among artists/researchers/teachers.
{"title":"An a/r/tographic métissage: Storying the self as pedagogic practice","authors":"Trish Osler, Isabelle Guillard, Arianna Garcia-Fialdini, S. Côté","doi":"10.1386/JWCP.12.1-2.109_1","DOIUrl":"https://doi.org/10.1386/JWCP.12.1-2.109_1","url":null,"abstract":"This article traces the experience of four arts educators as they consider ‘self as subject-matter’ through living inquiry. Anchored in arts-based approaches, storying the self four ways offers both an individual perspective and an a/r/tographic métissage of becoming through the weaving of narratives that derive from sociocultural and historical contexts. The practice of narrative as research considers the following questions: how does the presentation/communication component of life writing colour a narrative? What common and potentially universal experiences occur within life writing research? Through the collaborative exchange of four narratives, a fifth emerges: in response to the creative journey of others, and in documenting our entanglements with them, we open spaces. Illustrating how the introspective and extrospective interact with the visual or performative as a vehicle for revealing the self, this article posits that the self-in-relation to theory and practice becomes a way of knowing that broadens educational discourse among artists/researchers/teachers.","PeriodicalId":38498,"journal":{"name":"Journal of Writing in Creative Practice","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43798978","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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