Pub Date : 2017-06-01DOI: 10.1525/aft.2017.45.1.17
H. Riches
{"title":"A Handful of Dust: Photography after Man Ray and Marcel Duchamp","authors":"H. Riches","doi":"10.1525/aft.2017.45.1.17","DOIUrl":"https://doi.org/10.1525/aft.2017.45.1.17","url":null,"abstract":"","PeriodicalId":443446,"journal":{"name":"Comparative Technology Transfer and Society","volume":"45 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129791009","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 : 2017-06-01DOI: 10.1525/AFT.2017.45.1.12
Jody Zellen
{"title":"Now Then: Chris Killip and the Making of in Flagrante","authors":"Jody Zellen","doi":"10.1525/AFT.2017.45.1.12","DOIUrl":"https://doi.org/10.1525/AFT.2017.45.1.12","url":null,"abstract":"","PeriodicalId":443446,"journal":{"name":"Comparative Technology Transfer and Society","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116461868","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 : 2017-05-01DOI: 10.1525/AFT.2017.44.6.25
K. Bowles
{"title":"Review: José Maçãs de Carvalho: Archive and Democracy","authors":"K. Bowles","doi":"10.1525/AFT.2017.44.6.25","DOIUrl":"https://doi.org/10.1525/AFT.2017.44.6.25","url":null,"abstract":"","PeriodicalId":443446,"journal":{"name":"Comparative Technology Transfer and Society","volume":"137 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114455229","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 : 2017-05-01DOI: 10.1525/AFT.2017.44.6.30.1
Charlesia McKinney
{"title":"Review: College Media: Learning in Action, edited by Gregory Adamo and Allan DiBiase","authors":"Charlesia McKinney","doi":"10.1525/AFT.2017.44.6.30.1","DOIUrl":"https://doi.org/10.1525/AFT.2017.44.6.30.1","url":null,"abstract":"","PeriodicalId":443446,"journal":{"name":"Comparative Technology Transfer and Society","volume":"5 4 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126146921","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 : 2017-05-01DOI: 10.1525/AFT.2017.44.6.26
A. Chase
{"title":"Review: Last Standing: Linn Underhill","authors":"A. Chase","doi":"10.1525/AFT.2017.44.6.26","DOIUrl":"https://doi.org/10.1525/AFT.2017.44.6.26","url":null,"abstract":"","PeriodicalId":443446,"journal":{"name":"Comparative Technology Transfer and Society","volume":"14 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131935704","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 : 2017-05-01DOI: 10.1525/AFT.2017.44.6.31
Matthew D. Moore
{"title":"Review: The Extraordinary Image: Orson Welles, Alfred Hitchcock, Stanley Kubrick, and the Reimagining of Cinema, by Robert P. Kolker","authors":"Matthew D. Moore","doi":"10.1525/AFT.2017.44.6.31","DOIUrl":"https://doi.org/10.1525/AFT.2017.44.6.31","url":null,"abstract":"","PeriodicalId":443446,"journal":{"name":"Comparative Technology Transfer and Society","volume":"22 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124962635","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 : 2017-05-01DOI: 10.1525/AFT.2017.44.6.12
T. Dafoe
Anne Doran is best known as a second-wave Pictures Generation artist. Her large, wall-mounted photo-sculptures appropriate found images from sources such as ads, porn magazines, and military literature, juxtaposing them in formally playful ways that at once recall the pop collages of James Rosenquist or Richard Hamilton and the angular designs of the Constructivists. However, Doran's artworld footprint is much more expansive than her visual art. For nearly three decades now, she has split her time working as an artist, a critic, an editor, and a curator. After showing at 303 Gallery in the 1980s, alongside such artists as Richard Prince, Liz Lamer, and Thomas Ruff, the economic recession led Doran to take a break from making art--a hiatus that, with a few exceptions, ended up lasting twenty-plus years. However, her visual work was rediscovered several years ago by gallerists Benjamin Tischer and Risa Needleman of the upstart New York City gallery Invisible Exports, and in 2014 they showed Doran's sculptures for the first time since they were on view in the 1990s. The exhibition garnered a great deal of reception and critical praise, helping introduce her prescient work to a new generation of artists interested in appropriation, image production, and the materiality of photographs. Now Doran is back to making work regularly. Her second show with the gallery, Analogs, was on view January 6-February 12 of this year, and coincided with the 11th White Columns Annual, which she curated--both exhibitions received more positive reviews. In February, Doran sat down with me in Brooklyn to talk about her work, the hiatus she took from making visual art, and the many artworld hats she's worn since. TAYLOR DAFOE: Let's start with your early work from the 1980s. At that time, how much did you know about the work of the Pictures artists, who were also appropriating found images? ANNE DORAN: I moved to New York City on the advice of Martha Wilson, who had seen my senior show at the Corcoran School of Art in Washington, DC. I was working at a place called d.c. space, which was a restaurant and jazz venue that also occasionally hosted performance art. Howard Halle, an old friend and one of my mentors, was a partner in the club and scheduled the art performances. He brought people like Martha, Vito Acconci, Laurie Anderson, and Robert Longo down from New York. I was living upstairs, and I'd put people up. I remember I once had the entire World Saxophone Quartet crashed out in my apartment. So I already knew some people. I moved to Brooklyn in 1979, in a snowstorm. [ILLUSTRATION OMITTED] A friend and fellow artist, Gretchen Bender, had moved to New York City a bit earlier, and through her I got to know some of the Pictures Generation artists early on. Their work really excited me. I hadn't realized that you could use found images as your own. But, like Gretchen, I was part of a slightly younger generation that was working with multiple images rather than a single im
{"title":"Artworld Analog: A Conversation with Anne Doran","authors":"T. Dafoe","doi":"10.1525/AFT.2017.44.6.12","DOIUrl":"https://doi.org/10.1525/AFT.2017.44.6.12","url":null,"abstract":"Anne Doran is best known as a second-wave Pictures Generation artist. Her large, wall-mounted photo-sculptures appropriate found images from sources such as ads, porn magazines, and military literature, juxtaposing them in formally playful ways that at once recall the pop collages of James Rosenquist or Richard Hamilton and the angular designs of the Constructivists. However, Doran's artworld footprint is much more expansive than her visual art. For nearly three decades now, she has split her time working as an artist, a critic, an editor, and a curator. After showing at 303 Gallery in the 1980s, alongside such artists as Richard Prince, Liz Lamer, and Thomas Ruff, the economic recession led Doran to take a break from making art--a hiatus that, with a few exceptions, ended up lasting twenty-plus years. However, her visual work was rediscovered several years ago by gallerists Benjamin Tischer and Risa Needleman of the upstart New York City gallery Invisible Exports, and in 2014 they showed Doran's sculptures for the first time since they were on view in the 1990s. The exhibition garnered a great deal of reception and critical praise, helping introduce her prescient work to a new generation of artists interested in appropriation, image production, and the materiality of photographs. Now Doran is back to making work regularly. Her second show with the gallery, Analogs, was on view January 6-February 12 of this year, and coincided with the 11th White Columns Annual, which she curated--both exhibitions received more positive reviews. In February, Doran sat down with me in Brooklyn to talk about her work, the hiatus she took from making visual art, and the many artworld hats she's worn since. TAYLOR DAFOE: Let's start with your early work from the 1980s. At that time, how much did you know about the work of the Pictures artists, who were also appropriating found images? ANNE DORAN: I moved to New York City on the advice of Martha Wilson, who had seen my senior show at the Corcoran School of Art in Washington, DC. I was working at a place called d.c. space, which was a restaurant and jazz venue that also occasionally hosted performance art. Howard Halle, an old friend and one of my mentors, was a partner in the club and scheduled the art performances. He brought people like Martha, Vito Acconci, Laurie Anderson, and Robert Longo down from New York. I was living upstairs, and I'd put people up. I remember I once had the entire World Saxophone Quartet crashed out in my apartment. So I already knew some people. I moved to Brooklyn in 1979, in a snowstorm. [ILLUSTRATION OMITTED] A friend and fellow artist, Gretchen Bender, had moved to New York City a bit earlier, and through her I got to know some of the Pictures Generation artists early on. Their work really excited me. I hadn't realized that you could use found images as your own. But, like Gretchen, I was part of a slightly younger generation that was working with multiple images rather than a single im","PeriodicalId":443446,"journal":{"name":"Comparative Technology Transfer and Society","volume":"96 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116629073","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 : 2017-05-01DOI: 10.1525/AFT.2017.44.6.15
C. Albu
Since 2005, Nene Humphrey has been artist-in-residence at Joseph LeDoux's laboratory at the Center for Neural Science at New York University (NYU). As neurosciendsts at this lab have been trying to untangle the synaptic relations that underlie emotion, Humphrey has been hard at work entangling lines, wire threads, and wool fibers in order to render neural communication perceptible. Through her drawing and sculptural practice, she has sought to make sense of incommensurable experiences such as pain or loss. While engaging in interdisciplinary inquiries, Humphrey found observing neural connections under the microscope intriguing, yet insufficient for grasping the dynamic qualities of experience and its deep, longterm imprint on the psyche. Hence, she has transitioned from focusing primarily on drawing the dense texture of neural fibers to enacting multimedia performances that convey the transformations undergone by synaptic relations over the course of time. Humphrey's art practice has pivoted around several major poles of interest, including questions concerning the precariousness of matter, the fragility of memory, and the significant role of tactility in our interaction with the world. Hence, it should come as no surprise that she challenged neuroscientists at the NYU lab to take part in a somewhat atypical mode of inquiry into the materiality of the brain. She asked them to use Plasticine to model the shape of the amygdala--the widely acknowledged center of emotion located in the temporal lobe. This modest act may appear inconsequential, but it actually serves as a key reminder of the visceral materiality of the brain at a time when most neuroscientists focus extensively on mapping mental activity based on functional magnetic resonance imaging (fMRI) technology. Through such material exchanges of knowledge, Humphrey tries to get one step closer to understanding how experiences take shape in the embodied mind. [ILLUSTRATION OMITTED] Starting with the early stages of her artistic career in the 1970s, Humphrey was fascinated with creating material representations of imaginary worlds composed of abstract shapes. Medieval Landscape (1979-81) is a mixed-media installation evocative of a journey to a remote time and place. Fluffy clouds made of cotton and supported by long bamboo stalks guard a seemingly deserted terrain, marked by the presence of an imposing semicircle evocative of the sun and a relatively modest pyramidal shape connotative of the desire for shelter. This perfecdy balanced tableau conveys a sense of mystical order, referencing both a cyclical time of perpetual return and a potentially irretrievable connection to the experience of time of a long past civilization. From an initial interest in conceiving minimalist topologies inspired by her interest in cosmology, Humphrey gradually shifted her attention to an exploration of the complex inner landscape of psychic experience. Her Double Dream series (1989-90) comprises precariously balan
{"title":"Modeling the Psyche: Nene Humphrey’s Multisensory Enactment of Empathetic Entanglement","authors":"C. Albu","doi":"10.1525/AFT.2017.44.6.15","DOIUrl":"https://doi.org/10.1525/AFT.2017.44.6.15","url":null,"abstract":"Since 2005, Nene Humphrey has been artist-in-residence at Joseph LeDoux's laboratory at the Center for Neural Science at New York University (NYU). As neurosciendsts at this lab have been trying to untangle the synaptic relations that underlie emotion, Humphrey has been hard at work entangling lines, wire threads, and wool fibers in order to render neural communication perceptible. Through her drawing and sculptural practice, she has sought to make sense of incommensurable experiences such as pain or loss. While engaging in interdisciplinary inquiries, Humphrey found observing neural connections under the microscope intriguing, yet insufficient for grasping the dynamic qualities of experience and its deep, longterm imprint on the psyche. Hence, she has transitioned from focusing primarily on drawing the dense texture of neural fibers to enacting multimedia performances that convey the transformations undergone by synaptic relations over the course of time. Humphrey's art practice has pivoted around several major poles of interest, including questions concerning the precariousness of matter, the fragility of memory, and the significant role of tactility in our interaction with the world. Hence, it should come as no surprise that she challenged neuroscientists at the NYU lab to take part in a somewhat atypical mode of inquiry into the materiality of the brain. She asked them to use Plasticine to model the shape of the amygdala--the widely acknowledged center of emotion located in the temporal lobe. This modest act may appear inconsequential, but it actually serves as a key reminder of the visceral materiality of the brain at a time when most neuroscientists focus extensively on mapping mental activity based on functional magnetic resonance imaging (fMRI) technology. Through such material exchanges of knowledge, Humphrey tries to get one step closer to understanding how experiences take shape in the embodied mind. [ILLUSTRATION OMITTED] Starting with the early stages of her artistic career in the 1970s, Humphrey was fascinated with creating material representations of imaginary worlds composed of abstract shapes. Medieval Landscape (1979-81) is a mixed-media installation evocative of a journey to a remote time and place. Fluffy clouds made of cotton and supported by long bamboo stalks guard a seemingly deserted terrain, marked by the presence of an imposing semicircle evocative of the sun and a relatively modest pyramidal shape connotative of the desire for shelter. This perfecdy balanced tableau conveys a sense of mystical order, referencing both a cyclical time of perpetual return and a potentially irretrievable connection to the experience of time of a long past civilization. From an initial interest in conceiving minimalist topologies inspired by her interest in cosmology, Humphrey gradually shifted her attention to an exploration of the complex inner landscape of psychic experience. Her Double Dream series (1989-90) comprises precariously balan","PeriodicalId":443446,"journal":{"name":"Comparative Technology Transfer and Society","volume":"107 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123233765","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}
On July 6, 2016, millions of viewers watched Diamond "Lavish" Reynolds's live Facebook video of Philando Castile bleeding to death after having been shot by a Minnesota police officer during a traffic stop. She knew, even as her fiancee sat dying and the police officer continued to point his gun through the car window, how important it was to have proof of that violence and to make that proof public. The first thing she said as she began filming from the passenger seat is "stay with me"--and it is unclear whether she is speaking to Castile or to us, the viewers and complicit witnesses to yet another police shooting of a black man. What is powerful about Reynolds's video is its articulation of the lethal danger faced by marginalized populations in the United States, as well as the video's contextualization within an ever-widening range of documents of state violence--from photojournalism to graphic representations in popular culture--with which viewers are confronted on a daily basis. The proliferation of such visualizations sustains the decades-long debate about images of violence and their ethical and political usefulness, and amid the sheer volume of images it becomes increasingly clear that greater quantities of more graphic images do not necessarily signal a corresponding jump in awareness or attention. This conundrum, fueled by the digital age and widening distribution of images, has unsettled photography at large and placed the photographic treatment of conflict in a state of flux, characterized by both the shifting forms and content of atrocity images. What has been termed "post-photography" (1)--describing, among other things, digital preponderance, the blending of previously discrete photographic approaches, and the rising use of found images, bricolage, and collaborative approaches has emerged increasingly in the documentation of conflict. The landscape of war photography is forced to adapt as journalistic access is restricted, the prosecution of war is increasingly digital and remote, and photographers struggle ethically and aesthetically to make sense of enduring states of conflict. Traditional photojournalism is often unable to respond to the growing discomfort with the hierarchical relationships between photographer, audience, and subject, or to the enduring visual traffic in Western stereotypes about brown and black bodies. The politically influential mode of photojournalism that emerged during the Vietnam War has been steadily dismantled by several material factors within the visual economy, including labor insecurity as secure staff assignments and investigative journalism are replaced by rapid story turnover, the popularity of citizen journalism, the rising dominance of uninsured contract work, and diminishing journalistic freedom. As a result of this shifting landscape, photographing conflict that is characterized by evolving forms of precarity and disguised forms of warfare requires new approaches that engage self-consciously
{"title":"Visualizing Disposability: Photographing Neoliberal Conflict in the United States","authors":"C. Peters","doi":"10.1525/aft.2017.44.6.6","DOIUrl":"https://doi.org/10.1525/aft.2017.44.6.6","url":null,"abstract":"On July 6, 2016, millions of viewers watched Diamond \"Lavish\" Reynolds's live Facebook video of Philando Castile bleeding to death after having been shot by a Minnesota police officer during a traffic stop. She knew, even as her fiancee sat dying and the police officer continued to point his gun through the car window, how important it was to have proof of that violence and to make that proof public. The first thing she said as she began filming from the passenger seat is \"stay with me\"--and it is unclear whether she is speaking to Castile or to us, the viewers and complicit witnesses to yet another police shooting of a black man. What is powerful about Reynolds's video is its articulation of the lethal danger faced by marginalized populations in the United States, as well as the video's contextualization within an ever-widening range of documents of state violence--from photojournalism to graphic representations in popular culture--with which viewers are confronted on a daily basis. The proliferation of such visualizations sustains the decades-long debate about images of violence and their ethical and political usefulness, and amid the sheer volume of images it becomes increasingly clear that greater quantities of more graphic images do not necessarily signal a corresponding jump in awareness or attention. This conundrum, fueled by the digital age and widening distribution of images, has unsettled photography at large and placed the photographic treatment of conflict in a state of flux, characterized by both the shifting forms and content of atrocity images. What has been termed \"post-photography\" (1)--describing, among other things, digital preponderance, the blending of previously discrete photographic approaches, and the rising use of found images, bricolage, and collaborative approaches has emerged increasingly in the documentation of conflict. The landscape of war photography is forced to adapt as journalistic access is restricted, the prosecution of war is increasingly digital and remote, and photographers struggle ethically and aesthetically to make sense of enduring states of conflict. Traditional photojournalism is often unable to respond to the growing discomfort with the hierarchical relationships between photographer, audience, and subject, or to the enduring visual traffic in Western stereotypes about brown and black bodies. The politically influential mode of photojournalism that emerged during the Vietnam War has been steadily dismantled by several material factors within the visual economy, including labor insecurity as secure staff assignments and investigative journalism are replaced by rapid story turnover, the popularity of citizen journalism, the rising dominance of uninsured contract work, and diminishing journalistic freedom. As a result of this shifting landscape, photographing conflict that is characterized by evolving forms of precarity and disguised forms of warfare requires new approaches that engage self-consciously ","PeriodicalId":443446,"journal":{"name":"Comparative Technology Transfer and Society","volume":"48 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132881553","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 : 2017-03-01DOI: 10.1525/AFT.2017.44.5.25
Firoza Elavia
{"title":"Review: Power to the People: Photography and Video of Repression and Black Protest","authors":"Firoza Elavia","doi":"10.1525/AFT.2017.44.5.25","DOIUrl":"https://doi.org/10.1525/AFT.2017.44.5.25","url":null,"abstract":"","PeriodicalId":443446,"journal":{"name":"Comparative Technology Transfer and Society","volume":"9 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124359607","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：