Pub Date : 2019-09-10DOI: 10.7559/citarj.v11i1.597
Ana Filipa Martins, O. Fernández, Ignacio Aguaded, M. Tavares
At the border between information and entertainment, memes and newsgames aresome of the news formats that, made viral in social networks, complement the informational experience and compete with the traditional news media in constructing alternative readings of the real. If in the light of Bakhtine (apud Ponte, 2004) journalism can be understood as a secondary discursive genre that feeds on primary genres, how to understand the circulation of these discourses produced from journalistic events in social networks? On the other hand, how are these narratives appropriated by the media? What functions do they play in media discourse? In this article we present some examples of products created from events of political impact for than register, by the analysis of a set of news stories, how the digital press, in the Iberian context, make use of them. The purpose of this article is to contribute to the reflection on how the information media relate to these new narratives.
{"title":"It's online, it's news: appropriation of viral narratives by the digital press","authors":"Ana Filipa Martins, O. Fernández, Ignacio Aguaded, M. Tavares","doi":"10.7559/citarj.v11i1.597","DOIUrl":"https://doi.org/10.7559/citarj.v11i1.597","url":null,"abstract":"At the border between information and entertainment, memes and newsgames aresome of the news formats that, made viral in social networks, complement the informational experience and compete with the traditional news media in constructing alternative readings of the real. If in the light of Bakhtine (apud Ponte, 2004) journalism can be understood as a secondary discursive genre that feeds on primary genres, how to understand the circulation of these discourses produced from journalistic events in social networks? On the other hand, how are these narratives appropriated by the media? What functions do they play in media discourse? In this article we present some examples of products created from events of political impact for than register, by the analysis of a set of news stories, how the digital press, in the Iberian context, make use of them. The purpose of this article is to contribute to the reflection on how the information media relate to these new narratives. ","PeriodicalId":41151,"journal":{"name":"Journal of Science and Technology of the Arts","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2019-09-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46665122","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 : 2019-09-10DOI: 10.7559/citarj.v11i1.660
Sandra Boto, Maria Guilhermina Castro, Ana Soares
This issue of CITAR (Journal of Arts Science and Technology) is especially devoted to what we designated as Marginalized Narratives. It is a special issue that collects studies published upon the 5th Colloquium on Narrative, Medium and Cognition, held at the University of Algarve in November 2018, and which was focused on that topic.
{"title":"Editorial","authors":"Sandra Boto, Maria Guilhermina Castro, Ana Soares","doi":"10.7559/citarj.v11i1.660","DOIUrl":"https://doi.org/10.7559/citarj.v11i1.660","url":null,"abstract":"This issue of CITAR (Journal of Arts Science and Technology) is especially devoted to what we designated as Marginalized Narratives. It is a special issue that collects studies published upon the 5th Colloquium on Narrative, Medium and Cognition, held at the University of Algarve in November 2018, and which was focused on that topic.","PeriodicalId":41151,"journal":{"name":"Journal of Science and Technology of the Arts","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2019-09-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44755378","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 : 2018-12-18DOI: 10.7559/CITARJ.V10I3.570
A. Ludovico
In the reformulation of the ‘publication’ concept after the electric and then electronic revolution, there is a consequent reformulation of the ‘space of publication’ which finally transcends the page and the binding as the insurmountable limits.Here the history of this process is tracked through the first optical attempts to compress the content in order to overcome those limits, conceptually preparing for a more radical technological shift. Foreseen in early science fiction visions, this shift determined by digital and the networked technologies, is dramatically collapsing the publication space towards a dimension close to the infinite, where the published object disappears in the reading machine, in what becomes a mere but sophisticated ‘container’.
{"title":"Looking for the Spaceless Book, an E-publishing Archaeology","authors":"A. Ludovico","doi":"10.7559/CITARJ.V10I3.570","DOIUrl":"https://doi.org/10.7559/CITARJ.V10I3.570","url":null,"abstract":"In the reformulation of the ‘publication’ concept after the electric and then electronic revolution, there is a consequent reformulation of the ‘space of publication’ which finally transcends the page and the binding as the insurmountable limits.Here the history of this process is tracked through the first optical attempts to compress the content in order to overcome those limits, conceptually preparing for a more radical technological shift. Foreseen in early science fiction visions, this shift determined by digital and the networked technologies, is dramatically collapsing the publication space towards a dimension close to the infinite, where the published object disappears in the reading machine, in what becomes a mere but sophisticated ‘container’.","PeriodicalId":41151,"journal":{"name":"Journal of Science and Technology of the Arts","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2018-12-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48230975","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 : 2018-12-18DOI: 10.7559/CITARJ.V10I3.555
Rodrigo Hernández-Ramírez
Design thinking (DT) has been widely promoted as a powerful approach for systematically achieving innovation, particularly in the world of management. Recently, however, some critical voices from design and science & technology studies have called bullshit on DT, accusing it instead of distorting and trivialising design methods and processes to serve purely commercial goals. Through an analysis of the recent history of design research and an overview of some (philosophical) accounts on the concept of “bullshit”, this paper shows that at least some of the criticism holds. However, it argues that a truly fruitful critique of DT needs to go beyond simple derision. Ultimately, this paper suggests that perhaps we should steer away from the idea that there is a designerly way of thinking, and focus instead on showing how designers, being “doers”, create maker’s knowledge. Designers, educators, managers, and anyone interested in understanding why design goes beyond a simple methodology perhaps might be interested in this account.
{"title":"On Design Thinking, Bullshit, and Innovation","authors":"Rodrigo Hernández-Ramírez","doi":"10.7559/CITARJ.V10I3.555","DOIUrl":"https://doi.org/10.7559/CITARJ.V10I3.555","url":null,"abstract":"Design thinking (DT) has been widely promoted as a powerful approach for systematically achieving innovation, particularly in the world of management. Recently, however, some critical voices from design and science & technology studies have called bullshit on DT, accusing it instead of distorting and trivialising design methods and processes to serve purely commercial goals. Through an analysis of the recent history of design research and an overview of some (philosophical) accounts on the concept of “bullshit”, this paper shows that at least some of the criticism holds. However, it argues that a truly fruitful critique of DT needs to go beyond simple derision. Ultimately, this paper suggests that perhaps we should steer away from the idea that there is a designerly way of thinking, and focus instead on showing how designers, being “doers”, create maker’s knowledge. Designers, educators, managers, and anyone interested in understanding why design goes beyond a simple methodology perhaps might be interested in this account.","PeriodicalId":41151,"journal":{"name":"Journal of Science and Technology of the Arts","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2018-12-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44139264","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 : 2018-12-18DOI: 10.7559/CITARJ.V10I3.569
F. Nake
In many ways, humans in modern societies seem to be occupied to a considerable amount by a longing to establish whatever they do as if it were the first time any human has ever done it. The arts are full of this myth of originality and firstness. However, at closer inspection, there often appear events or activities by someone else that were at least foreshadowing what later appeared as totally new and the first time. The article takes up a few cases of this kind related to digital art.
{"title":"Someone Is Always Already There In Front Of You Even Though You May Not Like It","authors":"F. Nake","doi":"10.7559/CITARJ.V10I3.569","DOIUrl":"https://doi.org/10.7559/CITARJ.V10I3.569","url":null,"abstract":"In many ways, humans in modern societies seem to be occupied to a considerable amount by a longing to establish whatever they do as if it were the first time any human has ever done it. The arts are full of this myth of originality and firstness. However, at closer inspection, there often appear events or activities by someone else that were at least foreshadowing what later appeared as totally new and the first time. The article takes up a few cases of this kind related to digital art.","PeriodicalId":41151,"journal":{"name":"Journal of Science and Technology of the Arts","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2018-12-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44946431","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 : 2018-12-18DOI: 10.7559/CITARJ.V10I3.568
Marta Flisykowska
Transhumanist speculations have been present in intellectual circles since the 1960s. The term "transhumanism" was coined in 1957 by biologist Julian Huxley, who defined it as "man remaining man, but transcending himself by realizing new possibilities of and for his human nature". Will the boundaries of aesthetics remain untouched in face of new achievements, both in medicine and those coming from the need to explore space? In 2017, NASA published the results of the Human Research Program. The aim was to find out more about the impact of long stays in space on the hu-man body, like manned trips to Mars. The human body will have to face new physical conditions on the Red Planet, such as lower temperatures, a less dense atmosphere, significantly higher radiation and many more. The impact of such conditions is visible and highly variable also in other organisms, including mammals that have the best sense of smell. 3D printing technology is developing continuously and already today we are able to print an ear that can be used for transplants. If this is the case, does it have to look the same? Based on the research regarding the impact of climatic conditions on the shape of noses as well as state of the art regarding such areas as mountaineering, biomimetics, plastic surgery and taking into account mental factors, the article presents original nose designs, aesthetic speculations and interpreting the above visual and formal data.
{"title":"Application of Incremental Technologies in Considerations of Transhumanist Aesthetics – Project \"Who nose\"","authors":"Marta Flisykowska","doi":"10.7559/CITARJ.V10I3.568","DOIUrl":"https://doi.org/10.7559/CITARJ.V10I3.568","url":null,"abstract":"Transhumanist speculations have been present in intellectual circles since the 1960s. The term \"transhumanism\" was coined in 1957 by biologist Julian Huxley, who defined it as \"man remaining man, but transcending himself by realizing new possibilities of and for his human nature\". Will the boundaries of aesthetics remain untouched in face of new achievements, both in medicine and those coming from the need to explore space? In 2017, NASA published the results of the Human Research Program. The aim was to find out more about the impact of long stays in space on the hu-man body, like manned trips to Mars. The human body will have to face new physical conditions on the Red Planet, such as lower temperatures, a less dense atmosphere, significantly higher radiation and many more. The impact of such conditions is visible and highly variable also in other organisms, including mammals that have the best sense of smell. 3D printing technology is developing continuously and already today we are able to print an ear that can be used for transplants. If this is the case, does it have to look the same? Based on the research regarding the impact of climatic conditions on the shape of noses as well as state of the art regarding such areas as mountaineering, biomimetics, plastic surgery and taking into account mental factors, the article presents original nose designs, aesthetic speculations and interpreting the above visual and formal data.","PeriodicalId":41151,"journal":{"name":"Journal of Science and Technology of the Arts","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2018-12-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47715544","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 : 2018-12-18DOI: 10.7559/CITARJ.V10I3.565
Graziele Lautenschlaeger
Within the material-immaterial dichotomy structuring the creation of media artworks and its inherent informational aesthetic, one may observe fractures or continuities. Considering media artworks through the notion of translation of materialities, the aim of this paper is to analyse some of the multiple roles that absence play within and surround this sort of aesthetic experimentation. The discussion is unfolded through the articulation of Vilem Flusser’s media theory – namely considering the zero-dimensionality of electronic and digital media and the concept of Mediumsprunge. These concepts are exemplified through historical and contemporary media devices and artworks technically based on light-to-sound translations. The discussed examples were partially selected from references and methodological tools used in a cross-disciplinary practice-based PhD research on photosensitivity in relation to media history and media art history conducted between 2014 and 2018. The methodology combines a historical and analytical approach, through new materialism, media archaeology, cultural techniques and second-order cybernetics. The significance of the discussion is exposing both the artistic freedom (or emancipation) and the arbitrariness (and responsibility) implied in bridging the gaps involved in media artworks.
{"title":"Absences within and surrounding light-to-sound translations","authors":"Graziele Lautenschlaeger","doi":"10.7559/CITARJ.V10I3.565","DOIUrl":"https://doi.org/10.7559/CITARJ.V10I3.565","url":null,"abstract":"Within the material-immaterial dichotomy structuring the creation of media artworks and its inherent informational aesthetic, one may observe fractures or continuities. Considering media artworks through the notion of translation of materialities, the aim of this paper is to analyse some of the multiple roles that absence play within and surround this sort of aesthetic experimentation. The discussion is unfolded through the articulation of Vilem Flusser’s media theory – namely considering the zero-dimensionality of electronic and digital media and the concept of Mediumsprunge. These concepts are exemplified through historical and contemporary media devices and artworks technically based on light-to-sound translations. The discussed examples were partially selected from references and methodological tools used in a cross-disciplinary practice-based PhD research on photosensitivity in relation to media history and media art history conducted between 2014 and 2018. The methodology combines a historical and analytical approach, through new materialism, media archaeology, cultural techniques and second-order cybernetics. The significance of the discussion is exposing both the artistic freedom (or emancipation) and the arbitrariness (and responsibility) implied in bridging the gaps involved in media artworks.","PeriodicalId":41151,"journal":{"name":"Journal of Science and Technology of the Arts","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2018-12-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43524199","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 : 2018-12-18DOI: 10.7559/CITARJ.V10I3.563
Pedro Carvalho Ferreira da Costa
This paper aims to explore the relationship between gender and artificial intelligence, seeking to understand how and why chatbots and digital assistants appear to be mostly female. To this end, it begins by addressing artificial intelligence and the questions that emerge with its evolution and integration in our daily lives. It then approaches the concept of gender in light of a binary framework, focusing on femininity. These topics are then related, in order to shed some light on how chatbots and digital assistants tend to display feminine attributes. In an attempt to observe these aspects, an analysis of Alexa, Cortana and Siri is developed, focusing on their anthropomorphization, the tasks they perform and their interactions. Complementing this discussion, the project Conversations with ELIZA is presented as an exploration of femininity in AI, through the development of four chatbots integrated into a web-based platform, each performing specific tasks and simulating particular personalities, with the purpose of emphasizing feminine roles and stereotypes. In this manner, this study aims to understand and explore how gender relates to AI, why femininity seems to be often present in AI and which gender roles or stereotypes are reinforced in this process.
{"title":"Conversing with Personal Digital Assistants: on Gender and Artificial Intelligence","authors":"Pedro Carvalho Ferreira da Costa","doi":"10.7559/CITARJ.V10I3.563","DOIUrl":"https://doi.org/10.7559/CITARJ.V10I3.563","url":null,"abstract":"This paper aims to explore the relationship between gender and artificial intelligence, seeking to understand how and why chatbots and digital assistants appear to be mostly female. To this end, it begins by addressing artificial intelligence and the questions that emerge with its evolution and integration in our daily lives. It then approaches the concept of gender in light of a binary framework, focusing on femininity. These topics are then related, in order to shed some light on how chatbots and digital assistants tend to display feminine attributes. In an attempt to observe these aspects, an analysis of Alexa, Cortana and Siri is developed, focusing on their anthropomorphization, the tasks they perform and their interactions. Complementing this discussion, the project Conversations with ELIZA is presented as an exploration of femininity in AI, through the development of four chatbots integrated into a web-based platform, each performing specific tasks and simulating particular personalities, with the purpose of emphasizing feminine roles and stereotypes. In this manner, this study aims to understand and explore how gender relates to AI, why femininity seems to be often present in AI and which gender roles or stereotypes are reinforced in this process.","PeriodicalId":41151,"journal":{"name":"Journal of Science and Technology of the Arts","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2018-12-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45775707","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 : 2018-12-13DOI: 10.7559/CITARJ.V10I1.524
Pedro Neves, Leonel Morgado, Nelson Zagalo
This paper presents a novel descriptive model for agency in videogames as communication. Literature pertaining to interactive works including videogames has identified the need to overcome dyadic perspectives of communication in such works. Research specifically to do with agency has called for agency to no longer be confused with freedom of action, for an integrated perspective of the player and the system, and for that relationship to be viewed as a conversation. The transactional model in this paper achieves this by proposing a nested hierarchy of levels of communication that operate as an implicit contract, negotiated between the system and the player, where the object of the transaction is bio-costs, effected through the signalling of the attainability of understandings. The paper describes research antecedents, a research agenda, the basis for the model, the model itself, examples of how the model can be used to describe videogame designs, and future research.
{"title":"Videogame Agency as a Bio-costs Contract","authors":"Pedro Neves, Leonel Morgado, Nelson Zagalo","doi":"10.7559/CITARJ.V10I1.524","DOIUrl":"https://doi.org/10.7559/CITARJ.V10I1.524","url":null,"abstract":"This paper presents a novel descriptive model for agency in videogames as communication. Literature pertaining to interactive works including videogames has identified the need to overcome dyadic perspectives of communication in such works. Research specifically to do with agency has called for agency to no longer be confused with freedom of action, for an integrated perspective of the player and the system, and for that relationship to be viewed as a conversation. The transactional model in this paper achieves this by proposing a nested hierarchy of levels of communication that operate as an implicit contract, negotiated between the system and the player, where the object of the transaction is bio-costs, effected through the signalling of the attainability of understandings. The paper describes research antecedents, a research agenda, the basis for the model, the model itself, examples of how the model can be used to describe videogame designs, and future research.","PeriodicalId":41151,"journal":{"name":"Journal of Science and Technology of the Arts","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2018-12-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43123007","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 : 2018-11-08DOI: 10.7559/CITARJ.V10I2.424
Kevin El Haddad, Yara Rizk, Louise Heron, Nadine Hajj, Yong Zhao, Jaebok Kim, Trung Ngo Trong, Minha Lee, Marwan Doumit, Payton Lin, Yelin Kim, Hüseyin Çakmak
In this work, we established the foundations of a framework with the goal to build an end-to-end naturalistic expressive listening agent. The project was split into modules for recognition of the user’s paralinguistic and nonverbal expressions, prediction of the agent’s reactions, synthesis of the agent’s expressions and data recordings of nonverbal conversation expressions. First, a multimodal multitask deep learning-based emotion classification system was built along with a rule-based visual expression detection system. Then several sequence prediction systems for nonverbal expressions were implemented and compared. Also, an audiovisual concatenation-based synthesis system was implemented. Finally, a naturalistic, dyadic emotional conversation database was collected. We report here the work made for each of these modules and our planned future improvements.
{"title":"End-to-End Listening Agent for Audiovisual Emotional and Naturalistic Interactions","authors":"Kevin El Haddad, Yara Rizk, Louise Heron, Nadine Hajj, Yong Zhao, Jaebok Kim, Trung Ngo Trong, Minha Lee, Marwan Doumit, Payton Lin, Yelin Kim, Hüseyin Çakmak","doi":"10.7559/CITARJ.V10I2.424","DOIUrl":"https://doi.org/10.7559/CITARJ.V10I2.424","url":null,"abstract":"In this work, we established the foundations of a framework with the goal to build an end-to-end naturalistic expressive listening agent. The project was split into modules for recognition of the user’s paralinguistic and nonverbal expressions, prediction of the agent’s reactions, synthesis of the agent’s expressions and data recordings of nonverbal conversation expressions. First, a multimodal multitask deep learning-based emotion classification system was built along with a rule-based visual expression detection system. Then several sequence prediction systems for nonverbal expressions were implemented and compared. Also, an audiovisual concatenation-based synthesis system was implemented. Finally, a naturalistic, dyadic emotional conversation database was collected. We report here the work made for each of these modules and our planned future improvements.","PeriodicalId":41151,"journal":{"name":"Journal of Science and Technology of the Arts","volume":"10 1","pages":"49-61"},"PeriodicalIF":0.2,"publicationDate":"2018-11-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47886215","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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