Participatory city planning led by artists was not in the sightlines of Geddes or Mumford when modern planning practices were born. A century-long trend brings increased requirements and expectations of participation by public stakeholders and growth in neighborhood and district-level planning. Increasingly complex urban environments require cross-sector collaboration and cross-cultural dialogue, in addition to understanding a multitude of culturally speci!c ways people use public and private spaces. Challenges to the profession grow as the role of planner evolves from engineer to facilitator. This paper reviews these trends as well as recent scholarly work calling for more involvement of creative voices and practices in planning. Through a Minneapolis case, this article examines inclusion of a theater artist, choreographer, vocalist/songwriter and muralist in leadership of a district planning project that generates a richer analysis, more robust options, and offers a greater sense of participant ownership through creative placemaking.
{"title":"Artists & Creativity in Urban Placemaking Re!ections on a Downtown Minneapolis Cultural District","authors":"Tom Borrup","doi":"10.14456/JUCR.2013.18","DOIUrl":"https://doi.org/10.14456/JUCR.2013.18","url":null,"abstract":"Participatory city planning led by artists was not in the sightlines of Geddes or Mumford when modern planning practices were born. A century-long trend brings increased requirements and expectations of participation by public stakeholders and growth in neighborhood and district-level planning. Increasingly complex urban environments require cross-sector collaboration and cross-cultural dialogue, in addition to understanding a multitude of culturally speci!c ways people use public and private spaces. Challenges to the profession grow as the role of planner evolves from engineer to facilitator. This paper reviews these trends as well as recent scholarly work calling for more involvement of creative voices and practices in planning. Through a Minneapolis case, this article examines inclusion of a theater artist, choreographer, vocalist/songwriter and muralist in leadership of a district planning project that generates a richer analysis, more robust options, and offers a greater sense of participant ownership through creative placemaking.","PeriodicalId":40637,"journal":{"name":"Journal of Urban Culture Research","volume":"7 1","pages":"96-111"},"PeriodicalIF":0.5,"publicationDate":"2013-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66674809","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}
Tenrikyo, one of the New Japanese Religions, has a charitable tradition of practical voluntary help called hinokishin. The teaching of this tradition translates as selfless actions performed in gratitude for life’s blessings that are usually taken for granted. Hinokishin has been ingrained in Tenrikyo’s philosophy since its inception, as a natural re"ection of Buddhist and Christian norms circulating in Japan at the beginning of the 19th century. In modern Japanese history, Tenrikyo hinokishin provided relief after the earthquakes of Kobe and Sanriku–Minami, and other natural disasters. When the bewildering news was broadcasted on 22 March 2011 that the powerful Tohoku earthquake was followed by a tsunami hitting the coast of Japan, Tenrikyo established a disaster response centre at its headquarters in Tenri and members from all over Japan instantly joined the Disaster Relief Hinokishin Corps.
{"title":"Arts Education and Relief Activism After the 2011 Japanese Tsunami","authors":"Cornelia Buijs-Dragusin","doi":"10.14456/JUCR.2012.3","DOIUrl":"https://doi.org/10.14456/JUCR.2012.3","url":null,"abstract":"Tenrikyo, one of the New Japanese Religions, has a charitable tradition of practical voluntary help called hinokishin. The teaching of this tradition translates as selfless actions performed in gratitude for life’s blessings that are usually taken for granted. Hinokishin has been ingrained in Tenrikyo’s philosophy since its inception, as a natural re\"ection of Buddhist and Christian norms circulating in Japan at the beginning of the 19th century. In modern Japanese history, Tenrikyo hinokishin provided relief after the earthquakes of Kobe and Sanriku–Minami, and other natural disasters. When the bewildering news was broadcasted on 22 March 2011 that the powerful Tohoku earthquake was followed by a tsunami hitting the coast of Japan, Tenrikyo established a disaster response centre at its headquarters in Tenri and members from all over Japan instantly joined the Disaster Relief Hinokishin Corps.","PeriodicalId":40637,"journal":{"name":"Journal of Urban Culture Research","volume":"4 1","pages":"56-63"},"PeriodicalIF":0.5,"publicationDate":"2012-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66674251","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}
During the 60s, Theatre for Development was introduced into several states in Africa. The focus at that time was to utilize theatre as a tool of communication in development projects. During the 80s Tanzania developed their own variant of this genre through the initiative of the University of Dar es Salaam’s Department of Fine and Performing Arts offering lectures on Theatre for Development. They wanted to develop a supportive theatre and theatrical methods to improve the conditions in their communities. Self-determination and participation for the townspeople in the local con"ict resolution process was the department’s keywords. The basic idea was that Theatre for Development should be based on the local and popular theatre traditions. Through popular theatre, the whole population could be gathered whether they be young or old, women, men or disadvantaged. By means of storytelling, dance, drama, music, and songs people were encouraged to express themselves about problems in society. This included both mainstream and marginalized groups that did not usually take part in verbal discussions and express their opinions. The intention was to form a theatre genre that would gather the whole population to contribute to social change and improved living conditions. This introductory paper will focus upon the different methods used in Tanzanian Theatre for Development and will discuss Theatre for Development’s use as a vehicle for social change and increasing awareness about Tanzanian traditions and identity.
{"title":"Theatre for Development – A Tanzanian Road Towards Citizenship and Cultural Renewal","authors":"H. Kvam","doi":"10.14456/JUCR.2012.5","DOIUrl":"https://doi.org/10.14456/JUCR.2012.5","url":null,"abstract":"During the 60s, Theatre for Development was introduced into several states in Africa. The focus at that time was to utilize theatre as a tool of communication in development projects. During the 80s Tanzania developed their own variant of this genre through the initiative of the University of Dar es Salaam’s Department of Fine and Performing Arts offering lectures on Theatre for Development. They wanted to develop a supportive theatre and theatrical methods to improve the conditions in their communities. Self-determination and participation for the townspeople in the local con\"ict resolution process was the department’s keywords. The basic idea was that Theatre for Development should be based on the local and popular theatre traditions. Through popular theatre, the whole population could be gathered whether they be young or old, women, men or disadvantaged. By means of storytelling, dance, drama, music, and songs people were encouraged to express themselves about problems in society. This included both mainstream and marginalized groups that did not usually take part in verbal discussions and express their opinions. The intention was to form a theatre genre that would gather the whole population to contribute to social change and improved living conditions. This introductory paper will focus upon the different methods used in Tanzanian Theatre for Development and will discuss Theatre for Development’s use as a vehicle for social change and increasing awareness about Tanzanian traditions and identity.","PeriodicalId":40637,"journal":{"name":"Journal of Urban Culture Research","volume":"5 1","pages":"44-53"},"PeriodicalIF":0.5,"publicationDate":"2012-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66674269","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}
This paper will give an overview of challenges encountered by the paintings conservatorsat the Munch Museum in Oslo. The collection contains world-famousartworks. Munch’s paintings are often requested for exhibition loans and manytravel all round the world. A great deal of the work required of us is linked withsuch loans. However, the museum also owns approximately 150 canvas sketches,which are even more in need of conservation. Most of them were painted in theperiod 1909–16; the largest measures up to 5 x 11.5 metres. Munch painted andstored many of them outdoors for years; approximately 51 have been stored onrolls since Munch’s day. His handling and painting techniques and storage haveled to extreme deterioration of the sketches and from 2006–12 extensive conservationhas been conducted. The main challenges were concentrated on the consolidationof considerable areas of unstable paint, but soiling, water damages, saltef"orescence etc. were also attended to.
{"title":"Preserving a Master: Edvard Munch and His Painted Sketches","authors":"E. Sandbakken, E. S. Tveit","doi":"10.14456/JUCR.2012.7","DOIUrl":"https://doi.org/10.14456/JUCR.2012.7","url":null,"abstract":"This paper will give an overview of challenges encountered by the paintings conservatorsat the Munch Museum in Oslo. The collection contains world-famousartworks. Munch’s paintings are often requested for exhibition loans and manytravel all round the world. A great deal of the work required of us is linked withsuch loans. However, the museum also owns approximately 150 canvas sketches,which are even more in need of conservation. Most of them were painted in theperiod 1909–16; the largest measures up to 5 x 11.5 metres. Munch painted andstored many of them outdoors for years; approximately 51 have been stored onrolls since Munch’s day. His handling and painting techniques and storage haveled to extreme deterioration of the sketches and from 2006–12 extensive conservationhas been conducted. The main challenges were concentrated on the consolidationof considerable areas of unstable paint, but soiling, water damages, saltef\"orescence etc. were also attended to.","PeriodicalId":40637,"journal":{"name":"Journal of Urban Culture Research","volume":"5 1","pages":"86-104"},"PeriodicalIF":0.5,"publicationDate":"2012-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66674339","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}
This article describes the site-speci!c performance Lucid Dreams of Mr. William Heerlein Lindley in an acoustically unusual old sewage treatment plant in Prague. During this event, different kinds of sounds are combined: recordings from various places in Prague, those which are electronically generated, and actual concrete sounds produced by the participants. A part of the event was also a live EBU satellite broadcast Ecotechnical Museum in Bubenec,10/10/2009, 6 pm. The performance is presented as an example of conceptual music on one hand and as realization of ideas of the Canadian sound-ecological school by Raymond Murray Schafer (emphasizing acoustical characteristics of concrete localities) on the other hand. In connection with such an approach, John Cage and his basic ideas about the nature of sounds, silence and indeterminacy
{"title":"Environmental Aesthetics and Urban Soundscapes – Lucid Dreams of Mr. William Heerlein Lindley","authors":"Zuzana Jurková","doi":"10.14456/JUCR.2012.11","DOIUrl":"https://doi.org/10.14456/JUCR.2012.11","url":null,"abstract":"This article describes the site-speci!c performance Lucid Dreams of Mr. William Heerlein Lindley in an acoustically unusual old sewage treatment plant in Prague. During this event, different kinds of sounds are combined: recordings from various places in Prague, those which are electronically generated, and actual concrete sounds produced by the participants. A part of the event was also a live EBU satellite broadcast Ecotechnical Museum in Bubenec,10/10/2009, 6 pm. The performance is presented as an example of conceptual music on one hand and as realization of ideas of the Canadian sound-ecological school by Raymond Murray Schafer (emphasizing acoustical characteristics of concrete localities) on the other hand. In connection with such an approach, John Cage and his basic ideas about the nature of sounds, silence and indeterminacy","PeriodicalId":40637,"journal":{"name":"Journal of Urban Culture Research","volume":"4 1","pages":"82-95"},"PeriodicalIF":0.5,"publicationDate":"2012-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66674194","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}
Since Occupy Wall Street’s beginnings in September, 2011 on the streets of downtown New York City, play has been key to the success of this protest against corporate destructiveness and irresponsibility. In the initial weeks, Occupiers used play on the occasion of crisis to imagine a future beyond the exploitation of the 99% by the 1%. Having fun while taking responsibility attracted new Occupiers in large numbers and rapidly expanded the Occupy movement to more than 800 cities in the U.S. and worldwide. The author and groups of his friends, using a playful form of activism called Urban Play, improvised movements and roles in their interactions with other Occupiers. Toward the end of 2011, Occupiers became less able to access far from equilibrium states in play, instead turning their attention to how they were perceived in the media. Urban Players continued to imaginatively expand possibility by incorporating what initially threatened their capacity to play. From his experiences of Urban Play at Occupy Wall Street events, the author develops a theory of play as a form of activism. The author suggests that education, psychotherapy, politics, and other soft sciences would bene!t from a greater emphasis on the af!rmation, rather than the management, of crisis.
{"title":"Occupy Wall Street, Urban Play and the Af!rmation of Crisis","authors":"Fred Landers","doi":"10.14456/JUCR.2012.2","DOIUrl":"https://doi.org/10.14456/JUCR.2012.2","url":null,"abstract":"Since Occupy Wall Street’s beginnings in September, 2011 on the streets of downtown New York City, play has been key to the success of this protest against corporate destructiveness and irresponsibility. In the initial weeks, Occupiers used play on the occasion of crisis to imagine a future beyond the exploitation of the 99% by the 1%. Having fun while taking responsibility attracted new Occupiers in large numbers and rapidly expanded the Occupy movement to more than 800 cities in the U.S. and worldwide. The author and groups of his friends, using a playful form of activism called Urban Play, improvised movements and roles in their interactions with other Occupiers. Toward the end of 2011, Occupiers became less able to access far from equilibrium states in play, instead turning their attention to how they were perceived in the media. Urban Players continued to imaginatively expand possibility by incorporating what initially threatened their capacity to play. From his experiences of Urban Play at Occupy Wall Street events, the author develops a theory of play as a form of activism. The author suggests that education, psychotherapy, politics, and other soft sciences would bene!t from a greater emphasis on the af!rmation, rather than the management, of crisis.","PeriodicalId":40637,"journal":{"name":"Journal of Urban Culture Research","volume":"4 1","pages":"40-55"},"PeriodicalIF":0.5,"publicationDate":"2012-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66674204","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}
In this present study, I examine the bene!ts of a Javanese Gamelan programconducted over two months at a juvenile prison in Central Java. The participantswere 40 teenage prisoners between 13 and 19. Many of them exhibited dramaticchanges in behavior, sociability, and self con!dence during the course of thisgamelan program. I also compare this program with a similar one at a prison inEngland. Through this comparison, I explore the signi!cance of using a traditionalperforming art, the Javanese Gamelan in a case where it is a local tradition andone where it is not. In present day Javanese society, due to the effects of globalization,the decline of traditional performing arts is a matter of concern. However, Idemonstrate that it is possible for this type of program to add new value to traditionalperforming arts and re-invigorate this traditional art while simultaneouslyempowering local society.
{"title":"The New Role of Javanese Traditional Performing Arts: A Case Study of Educational and Socially Transformative Gamelan Music Programs in Prisons","authors":"Kaori Okado","doi":"10.14456/JUCR.2012.6","DOIUrl":"https://doi.org/10.14456/JUCR.2012.6","url":null,"abstract":"In this present study, I examine the bene!ts of a Javanese Gamelan programconducted over two months at a juvenile prison in Central Java. The participantswere 40 teenage prisoners between 13 and 19. Many of them exhibited dramaticchanges in behavior, sociability, and self con!dence during the course of thisgamelan program. I also compare this program with a similar one at a prison inEngland. Through this comparison, I explore the signi!cance of using a traditionalperforming art, the Javanese Gamelan in a case where it is a local tradition andone where it is not. In present day Javanese society, due to the effects of globalization,the decline of traditional performing arts is a matter of concern. However, Idemonstrate that it is possible for this type of program to add new value to traditionalperforming arts and re-invigorate this traditional art while simultaneouslyempowering local society.","PeriodicalId":40637,"journal":{"name":"Journal of Urban Culture Research","volume":"5 1","pages":"70-85"},"PeriodicalIF":0.5,"publicationDate":"2012-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66674326","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}
In the recent years, following the boom of the cultural policies at the international level, Thailand has turned to place its emphasize on the idea of “cultural and creative industries” at the academic and policy-making level especially in its art and design institutions. Academic disciplines in arts management, information and technology, communication arts, media studies, and economics are developing into the world where they can be blended together into multiple levels of knowledge management. The policy development, and implementation plans are embracing these industries into its national platforms, integrating the culture and economics together. Therefore, this two-part article aims to illustrate a comparative study of the cultural industries in Thailand and Korea at the level of their operational models and policies. It will demonstrate certain economic values and potential creative industries in Thailand as well as propose recommendations for their development and enhancement.
{"title":"Innovative Management for Asian Futures A Comparative Study of Cultural Industries in Thailand and Korea (Part 2 – Thailand)","authors":"Suppakorn Disatapundhu, Linina Phuttitarnhu","doi":"10.14456/JUCR.2013.12","DOIUrl":"https://doi.org/10.14456/JUCR.2013.12","url":null,"abstract":"In the recent years, following the boom of the cultural policies at the international level, Thailand has turned to place its emphasize on the idea of “cultural and creative industries” at the academic and policy-making level especially in its art and design institutions. Academic disciplines in arts management, information and technology, communication arts, media studies, and economics are developing into the world where they can be blended together into multiple levels of knowledge management. The policy development, and implementation plans are embracing these industries into its national platforms, integrating the culture and economics together. Therefore, this two-part article aims to illustrate a comparative study of the cultural industries in Thailand and Korea at the level of their operational models and policies. It will demonstrate certain economic values and potential creative industries in Thailand as well as propose recommendations for their development and enhancement.","PeriodicalId":40637,"journal":{"name":"Journal of Urban Culture Research","volume":"5 1","pages":"8-25"},"PeriodicalIF":0.5,"publicationDate":"2012-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66674664","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 purpose of this paper is to focus on the social vulnerability of slum residents in times of disaster and to consider the possibilities of self-empowerment by the cultivation of “actual abilities” through theater workshops. The author has focused on the Nang Loeng Community, occupying an urban slum in Bangkok, and with the cooperation of a Japanese theater company, has carried out a four-day theater workshop for elementary school students in the name of an “evacuation drill.” Interviews and questionnaires were conducted to the residents and participants to examine the possibilities of adopting this method in the community. It was found that, in order to utilize theater workshops for self-empowerment, there is a need to investigate concrete means of improving the living environment and solving family discord, as well as a necessity to consider the possibilities of social participation through bottom-up discussions.
{"title":"Empowerment of the Socially Vulnerable Through Theater Workshops – Social Inclusion through Arts Management: A Case Study in an Urban Slum of Bangkok","authors":"Hiroyuki Nobuto","doi":"10.14456/JUCR.2012.1","DOIUrl":"https://doi.org/10.14456/JUCR.2012.1","url":null,"abstract":"The purpose of this paper is to focus on the social vulnerability of slum residents in times of disaster and to consider the possibilities of self-empowerment by the cultivation of “actual abilities” through theater workshops. The author has focused on the Nang Loeng Community, occupying an urban slum in Bangkok, and with the cooperation of a Japanese theater company, has carried out a four-day theater workshop for elementary school students in the name of an “evacuation drill.” Interviews and questionnaires were conducted to the residents and participants to examine the possibilities of adopting this method in the community. It was found that, in order to utilize theater workshops for self-empowerment, there is a need to investigate concrete means of improving the living environment and solving family discord, as well as a necessity to consider the possibilities of social participation through bottom-up discussions.","PeriodicalId":40637,"journal":{"name":"Journal of Urban Culture Research","volume":"4 1","pages":"18-39"},"PeriodicalIF":0.5,"publicationDate":"2012-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66674137","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 megacities are a 20 th century invention made possible by the car and cheappetrol. But cheap energy is no longer an option, and the city of the 21st centuryis challenged in a large number of ways. Peak oil and global warming makes itimperative for the principles of urban development to change profoundly. Zero netenergy consumption, durability, recycling, and food production become the orderof the day. The walkable city, the city of towns may become the new structure.The world is confronted with some of the most serious crises humanity has everencountered, and the world cities are challenged too. A new paradigm must be developed– and rapidly. This article states the challenges and outlines some possibledirections for that paradigm.
{"title":"Sustainable Cities in the Age of Global Warming and Peak Oil","authors":"Pål Steigan","doi":"10.14456/JUCR.2012.10","DOIUrl":"https://doi.org/10.14456/JUCR.2012.10","url":null,"abstract":"The megacities are a 20 th century invention made possible by the car and cheappetrol. But cheap energy is no longer an option, and the city of the 21st centuryis challenged in a large number of ways. Peak oil and global warming makes itimperative for the principles of urban development to change profoundly. Zero netenergy consumption, durability, recycling, and food production become the orderof the day. The walkable city, the city of towns may become the new structure.The world is confronted with some of the most serious crises humanity has everencountered, and the world cities are challenged too. A new paradigm must be developed– and rapidly. This article states the challenges and outlines some possibledirections for that paradigm.","PeriodicalId":40637,"journal":{"name":"Journal of Urban Culture Research","volume":"5 1","pages":"36-43"},"PeriodicalIF":0.5,"publicationDate":"2012-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66674183","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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