This article examines the digital artworks created by three Chinese diaspora artists based in Europe: Berlin-based queer filmmaker Fan Popo’s short digital video Lerne Deutsch in meiner Küche (‘Learn German in my kitchen’), London-based performance artist Zeng Burong’s performance Non-Taster and London-based writer David K. S. Tse’s digital radio play The C Word. All three artworks were created in 2020 during the pandemic and all deal explicitly with the issues of anti-Asian racism and cross-cultural understanding. All these artworks also engage with issues of food and culinary practices. Through an analysis of the three artworks, I suggest that making digital art about food can serve as a creative and culturally sensitive strategy to engage with pandemic politics. Indeed, in an era of rising nationalism and international antagonism, diasporic Chinese artists have turned to seemingly mundane, apolitical and non-confrontational ways such as creating digital artworks about food to engage with the public about important social and political issues. This functions as a creative and culturally sensitive strategy to conduct social and political activism and to enhance cross-cultural understanding. It also showcases the political potential and social relevance of digital art for a pandemic and even a post-pandemic world.
{"title":"Sharing food, vulnerability and intimacy in a global pandemic: The digital art of the Chinese diaspora in Europe","authors":"Hongwei Bao","doi":"10.1386/jcca_00041_1","DOIUrl":"https://doi.org/10.1386/jcca_00041_1","url":null,"abstract":"This article examines the digital artworks created by three Chinese diaspora artists based in Europe: Berlin-based queer filmmaker Fan Popo’s short digital video Lerne Deutsch in meiner Küche (‘Learn German in my kitchen’), London-based performance artist Zeng Burong’s performance Non-Taster and London-based writer David K. S. Tse’s digital radio play The C Word. All three artworks were created in 2020 during the pandemic and all deal explicitly with the issues of anti-Asian racism and cross-cultural understanding. All these artworks also engage with issues of food and culinary practices. Through an analysis of the three artworks, I suggest that making digital art about food can serve as a creative and culturally sensitive strategy to engage with pandemic politics. Indeed, in an era of rising nationalism and international antagonism, diasporic Chinese artists have turned to seemingly mundane, apolitical and non-confrontational ways such as creating digital artworks about food to engage with the public about important social and political issues. This functions as a creative and culturally sensitive strategy to conduct social and political activism and to enhance cross-cultural understanding. It also showcases the political potential and social relevance of digital art for a pandemic and even a post-pandemic world.","PeriodicalId":40969,"journal":{"name":"Journal of Contemporary Chinese Art","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2021-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43365211","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 world during the COVID-19 pandemic became more divided than united, both between states and among individuals. Opinions are polarized partly because, as I have observed in urban China, the public is simultaneously preoccupied by the very near (the self) and the very far (the imagined ‘world’), but neglect the space in between, and as a result fail to recognize how the social world is concretely constituted through interconnected differences. This article advocates a way of perceiving the world by taking ‘the nearby’ (fujin in Chinese) as a central scope. The nearby is a lived space where one encounters people with diverse backgrounds on a regular basis. The nearby brings different positions into one view, thus constituting a ‘scope’ of seeing. Such a scope enables nuanced understandings of reality and facilitates new social relations and actions. The nearby could form a line of resistance against the power of the state, capital and technology, that is turning local communities into units of administrative control and value extraction. This article calls for a ‘First Mile Movement’, in which artists, researchers and activists work together to help facilitate citizens with the construction of their nearby as a basis for reflecting upon life experiences, testing grand ideologies and engaging in public discussion.
{"title":"The nearby: A scope of seeing","authors":"B. Xiang","doi":"10.1386/jcca_00042_1","DOIUrl":"https://doi.org/10.1386/jcca_00042_1","url":null,"abstract":"The world during the COVID-19 pandemic became more divided than united, both between states and among individuals. Opinions are polarized partly because, as I have observed in urban China, the public is simultaneously preoccupied by the very near (the self) and the very far (the imagined ‘world’), but neglect the space in between, and as a result fail to recognize how the social world is concretely constituted through interconnected differences. This article advocates a way of perceiving the world by taking ‘the nearby’ (fujin in Chinese) as a central scope. The nearby is a lived space where one encounters people with diverse backgrounds on a regular basis. The nearby brings different positions into one view, thus constituting a ‘scope’ of seeing. Such a scope enables nuanced understandings of reality and facilitates new social relations and actions. The nearby could form a line of resistance against the power of the state, capital and technology, that is turning local communities into units of administrative control and value extraction. This article calls for a ‘First Mile Movement’, in which artists, researchers and activists work together to help facilitate citizens with the construction of their nearby as a basis for reflecting upon life experiences, testing grand ideologies and engaging in public discussion.","PeriodicalId":40969,"journal":{"name":"Journal of Contemporary Chinese Art","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2021-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45414020","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":"The ornament and other stateless ‘foreigners’: A dialogue on a poetics of unbordering","authors":"Mayumo Inoue, J. Solomon, Lu Pan","doi":"10.1386/jcca_00039_1","DOIUrl":"https://doi.org/10.1386/jcca_00039_1","url":null,"abstract":"","PeriodicalId":40969,"journal":{"name":"Journal of Contemporary Chinese Art","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2021-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42711850","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 2016, between Guangdong strikes in mainland China and Hong Kong’s unionization momentum, Hong Kong artist Wong Ka Ying posted a call on Facebook founding the Hong Kong Artist Union (HKAU). The gesture followed the mischievously named Come Inside, Hong Kong’s ‘first female artist duo’ created by Wong and artist Mak Ying Tung, which declared it would combat art’s ‘formalized system’. Ironically, one of its first actions was to enrol in a course on insurance that could help it formalize healthcare for artists. Come Inside welcomed the idea that opposition to the ‘system’ brings artists into it. HKAU took shape within this ‘trap’ when Wong and Mak started researching trade unions. ‘On Union, Displaced’ explores the past four years of HKAU existing as a union-not-yet-registered-as-an-official-union, a serious gesture of ludic conceptualism that plays with artistic freedom’s relationship to captivity and capture. Through Rey Chow’s theory of conceptual art as trap, it traces HKAU’s entanglement in the history of Hong Kong art groups, regional labour organizing, and efforts to reground the term ‘artist’. Studying HKAU requires various conceptual frameworks: Yuk Hui’s cosmotechnics; Laikwan Pang’s multiple sovereignties; Sandro Mezzandra and Brett Neilson’s border-as-method; Linda Lai Chiu-han’s performative research; and Frank Vigneron’s plastician. The article explores how being ‘plastic’ ‐ a union displaced; a union whose registration with the Hong Kong Special Administrative Region is perpetually negotiated ‐ has helped HKAU pose important questions about solidarity and sovereignty in art.
{"title":"On union, displaced: Capture and captivity with the Hong Kong Artist Union (HKAU)","authors":"E. V. Bovino","doi":"10.1386/jcca_00037_1","DOIUrl":"https://doi.org/10.1386/jcca_00037_1","url":null,"abstract":"In 2016, between Guangdong strikes in mainland China and Hong Kong’s unionization momentum, Hong Kong artist Wong Ka Ying posted a call on Facebook founding the Hong Kong Artist Union (HKAU). The gesture followed the mischievously named Come Inside, Hong Kong’s ‘first\u0000 female artist duo’ created by Wong and artist Mak Ying Tung, which declared it would combat art’s ‘formalized system’. Ironically, one of its first actions was to enrol in a course on insurance that could help it formalize healthcare for artists. Come Inside welcomed\u0000 the idea that opposition to the ‘system’ brings artists into it. HKAU took shape within this ‘trap’ when Wong and Mak started researching trade unions. ‘On Union, Displaced’ explores the past four years of HKAU existing as a union-not-yet-registered-as-an-official-union,\u0000 a serious gesture of ludic conceptualism that plays with artistic freedom’s relationship to captivity and capture. Through Rey Chow’s theory of conceptual art as trap, it traces HKAU’s entanglement in the history of Hong Kong art groups, regional labour organizing, and efforts\u0000 to reground the term ‘artist’. Studying HKAU requires various conceptual frameworks: Yuk Hui’s cosmotechnics; Laikwan Pang’s multiple sovereignties; Sandro Mezzandra and Brett Neilson’s border-as-method; Linda Lai Chiu-han’s performative research; and Frank\u0000 Vigneron’s plastician. The article explores how being ‘plastic’ ‐ a union displaced; a union whose registration with the Hong Kong Special Administrative Region is perpetually negotiated ‐ has helped HKAU pose important questions about solidarity and sovereignty\u0000 in art.","PeriodicalId":40969,"journal":{"name":"Journal of Contemporary Chinese Art","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2021-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46875770","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":"Bordering Hong Kong: Towards a heterotopic ‘elsewhere’","authors":"J. Solomon, Lu Pan","doi":"10.1386/jcca_00034_2","DOIUrl":"https://doi.org/10.1386/jcca_00034_2","url":null,"abstract":"","PeriodicalId":40969,"journal":{"name":"Journal of Contemporary Chinese Art","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2021-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45081241","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 the 1970s, hundreds of thousands of migrant domestic workers from the Philippines have moved to Hong Kong. As they filled the city’s growing demand for care work, they also altered the city’s art practice and cultural landscape. In this article, I propose to consider a double meaning of ‘domesticity’ ‐ in both the language of motherhood and motherland ‐ as a productive framework to investigate the migratory experience of Filipina domestic workers. Focusing on Cedric Maridet’s Filipina Heterotopia and Xyza Cruz Bacani’s We Are Like Air, I examine how ‘domesticity’ has become particularly pertinent to understanding the ‘border’ through the movement of bodies and the global transferral of care labour.
{"title":"Bordering domesticity: Filipina domestic workers in Hong Kong’s contemporary art","authors":"Junting Huang","doi":"10.1386/jcca_00036_1","DOIUrl":"https://doi.org/10.1386/jcca_00036_1","url":null,"abstract":"Since the 1970s, hundreds of thousands of migrant domestic workers from the Philippines have moved to Hong Kong. As they filled the city’s growing demand for care work, they also altered the city’s art practice and cultural landscape. In this article, I propose to consider\u0000 a double meaning of ‘domesticity’ ‐ in both the language of motherhood and motherland ‐ as a productive framework to investigate the migratory experience of Filipina domestic workers. Focusing on Cedric Maridet’s Filipina Heterotopia and Xyza Cruz Bacani’s\u0000 We Are Like Air, I examine how ‘domesticity’ has become particularly pertinent to understanding the ‘border’ through the movement of bodies and the global transferral of care labour.","PeriodicalId":40969,"journal":{"name":"Journal of Contemporary Chinese Art","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2021-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41826573","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 analyses Hong Kong-based choreographer Helen Lai’s work HerStory (2007) in the context of Hong Kong’s handover in 1997 and its impact on modern dance and women’s writing. I examine HerStory’s innovation of a gesture ‐ falling ‐ in multiple registers and argue that the gesture of falling enacts a potential field to articulate the unspeakable, unrecognizable bodily experience. I show the ways HerStory, through falling, undid the boundaries of the rural and urban space, the past and the present, the individual and the collective; and expressed the tensions between women’s corporeal experience and gendered social inscriptions. In the end, I discuss why revisiting these relations can help us better understand Hong Kong’s historical moment.
{"title":"HerStory (2007): Falling with Hong Kong in women’s writing and dance","authors":"Xuefei Ma","doi":"10.1386/jcca_00038_1","DOIUrl":"https://doi.org/10.1386/jcca_00038_1","url":null,"abstract":"This article analyses Hong Kong-based choreographer Helen Lai’s work HerStory (2007) in the context of Hong Kong’s handover in 1997 and its impact on modern dance and women’s writing. I examine HerStory’s innovation of a gesture ‐ falling\u0000 ‐ in multiple registers and argue that the gesture of falling enacts a potential field to articulate the unspeakable, unrecognizable bodily experience. I show the ways HerStory, through falling, undid the boundaries of the rural and urban space, the past and the present, the\u0000 individual and the collective; and expressed the tensions between women’s corporeal experience and gendered social inscriptions. In the end, I discuss why revisiting these relations can help us better understand Hong Kong’s historical moment.","PeriodicalId":40969,"journal":{"name":"Journal of Contemporary Chinese Art","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2021-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47543836","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}
With the radicalization of activism in Hong Kong in the past decade, it has become increasingly common for artists to engage in the political situation through their creative work; the discussion of art and activism has also become popular and the term ‘art activism’ is usually used to describe such practices, referring it with a new political imagination of art. This article takes the discussion of such practices through the concept of art activism as a complex dynamic of discursive practice. It reflects the ways in which politics are constructed through the discourse of art activism, and how such a concept contributes to its political dynamics in social movements. This article attempts to analyse the changing trajectory of the discourse of art activism and to explore how different actors discuss its confrontational relationship in different contexts. Hence, what kind of politics does this concept refer to? This article suggests that the discourse of art activism has been influenced by the theory of New Social Movements in the West, in which the construction of collective emotions and identities are emphasized. It has become a key element in the political composition of art activism, and provided a new impetus to the dynamics of social movement, but at the same time imposed certain limitations later on. This article takes such a review as an attempt to outline the political construction of the discourse of art activism in Hong Kong, tracing its dynamics and changing trajectories, hence the heterogeneous elements in the discourse of art activism that may provide an alternative perspective in deconstructing its boundaries.
{"title":"How is art political? The political construction in the discourse of art activism in Hong Kong","authors":"Lee Chun Fung","doi":"10.1386/jcca_00035_1","DOIUrl":"https://doi.org/10.1386/jcca_00035_1","url":null,"abstract":"With the radicalization of activism in Hong Kong in the past decade, it has become increasingly common for artists to engage in the political situation through their creative work; the discussion of art and activism has also become popular and the term ‘art activism’ is\u0000 usually used to describe such practices, referring it with a new political imagination of art. This article takes the discussion of such practices through the concept of art activism as a complex dynamic of discursive practice. It reflects the ways in which politics are constructed through\u0000 the discourse of art activism, and how such a concept contributes to its political dynamics in social movements. This article attempts to analyse the changing trajectory of the discourse of art activism and to explore how different actors discuss its confrontational relationship in different\u0000 contexts. Hence, what kind of politics does this concept refer to? This article suggests that the discourse of art activism has been influenced by the theory of New Social Movements in the West, in which the construction of collective emotions and identities are emphasized. It has become a\u0000 key element in the political composition of art activism, and provided a new impetus to the dynamics of social movement, but at the same time imposed certain limitations later on. This article takes such a review as an attempt to outline the political construction of the discourse of art activism\u0000 in Hong Kong, tracing its dynamics and changing trajectories, hence the heterogeneous elements in the discourse of art activism that may provide an alternative perspective in deconstructing its boundaries.","PeriodicalId":40969,"journal":{"name":"Journal of Contemporary Chinese Art","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2021-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42218903","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 decades, China has experienced an ‘urban revolution’ (e.g. Wu 2007; Campanella 2008), whose scale and speed are unprecedented in human history for both the increase of construction projects and urban population. Existing scholarship on the topic explores the tangible and quantifiable aspects of the urban transformation, such as policy changes, physical development and expansion of cities including the construction boom, rural-urban migration, and inevitably, widening social inequality (e.g., Friedmann 2005; Hsing 2010; Zhang 2011). At the same time, more attention should be given to the intangible processes of transformation, such as how individual urban residents experience and perceive their changing cities through cultural means for a more holistic and multifaceted understanding of urban aspiration and its consequences in China.
{"title":"Urban transformations and contemporary art in China","authors":"Jiehong Jiang","doi":"10.1386/JCCA_00024_2","DOIUrl":"https://doi.org/10.1386/JCCA_00024_2","url":null,"abstract":"In the recent decades, China has experienced an ‘urban revolution’ (e.g. Wu 2007; Campanella 2008), whose scale and speed are unprecedented in human history for both the increase of construction projects and urban population. Existing scholarship on the topic explores the tangible and quantifiable aspects of the urban transformation, such as policy changes, physical development and expansion of cities including the construction boom, rural-urban migration, and inevitably, widening social inequality (e.g., Friedmann 2005; Hsing 2010; Zhang 2011). At the same time, more attention should be given to the intangible processes of transformation, such as how individual urban residents experience and perceive their changing cities through cultural means for a more holistic and multifaceted understanding of urban aspiration and its consequences in China.","PeriodicalId":40969,"journal":{"name":"Journal of Contemporary Chinese Art","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47791705","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}
Rooted in practice-based research, the article uses the author’s artistic work as a springboard to discuss wider issues of ecology restoration, rewilding and environmental aesthetics. The first section of the article critically reviews and contextualizes the author’s eight-year photographic project, Forest, which investigates the politics of nature restoration projects in two new Chinese cities. Hinged upon contemporary environmental awareness and canonical photography aesthetics such as the topographic, the documentary and the storytelling, the Forest project pictorially and dialectically discusses the complexities of urban nature while beginning to accept urbanized China as a possible homeland. Extending the notion of constructed nature to an international context, within the global conversation efforts of re-naturalization and rewilding, the second section of the article analyses the inherent contradictions of rewilding in the post-wild world. The rewilded landscapes, the neo-wilderness, are brought into attention as a physical space to be investigated. The third section of the paper returns to its roots as practice-based research and tries to understand the neo-wilderness from the perspectives of landscape aesthetic traditions of both the West and China. The article finds commonality between three generations of representative western and male environmental photographers in their aesthetic choices and their philosophical grounding towards the sublime, pristine nature, as well as the binary between nature and culture. Finally, after a cautious discussion around the potential mis-use of Chinese traditional landscape aesthetics within contemporary landscape photography, the article points out the need to find alternative landscape aesthetics in order to critically investigate the meaning of nature now, with the constructed, rewilded landscapes as a crux for artists to produce an informed pictorial understanding.
{"title":"Forest re-seen: From the metropolis to the wilderness","authors":"Y. Preston","doi":"10.1386/JCCA_00033_1","DOIUrl":"https://doi.org/10.1386/JCCA_00033_1","url":null,"abstract":"Rooted in practice-based research, the article uses the author’s artistic work as a springboard to discuss wider issues of ecology restoration, rewilding and environmental aesthetics. The first section of the article critically reviews and contextualizes the author’s eight-year photographic project, Forest, which investigates the politics of nature restoration projects in two new Chinese cities. Hinged upon contemporary environmental awareness and canonical photography aesthetics such as the topographic, the documentary and the storytelling, the Forest project pictorially and dialectically discusses the complexities of urban nature while beginning to accept urbanized China as a possible homeland. Extending the notion of constructed nature to an international context, within the global conversation efforts of re-naturalization and rewilding, the second section of the article analyses the inherent contradictions of rewilding in the post-wild world. The rewilded landscapes, the neo-wilderness, are brought into attention as a physical space to be investigated. The third section of the paper returns to its roots as practice-based research and tries to understand the neo-wilderness from the perspectives of landscape aesthetic traditions of both the West and China. The article finds commonality between three generations of representative western and male environmental photographers in their aesthetic choices and their philosophical grounding towards the sublime, pristine nature, as well as the binary between nature and culture. Finally, after a cautious discussion around the potential mis-use of Chinese traditional landscape aesthetics within contemporary landscape photography, the article points out the need to find alternative landscape aesthetics in order to critically investigate the meaning of nature now, with the constructed, rewilded landscapes as a crux for artists to produce an informed pictorial understanding.","PeriodicalId":40969,"journal":{"name":"Journal of Contemporary Chinese Art","volume":"1 1","pages":""},"PeriodicalIF":0.4,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45633044","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：