Sarahanne M. Field, Noah N N van Dongen, L. Tiokhin
{"title":"Reflections on the Unintended Consequences of the Science Reform Movement","authors":"Sarahanne M. Field, Noah N N van Dongen, L. Tiokhin","doi":"10.36850/ed4","DOIUrl":"https://doi.org/10.36850/ed4","url":null,"abstract":"","PeriodicalId":471449,"journal":{"name":"Journal of trial and error","volume":"73 13","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-05-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141101782","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}
Monika Lind, Michelle Byrne, S. Devine, Nicholas Allen
Background: This study examined the relationship between (1) participant smiling in daily “selfie” videos and (2) self-reported distress. Given the extensive use of digital devices for sharing expressions of non-verbal behavior, and some speculation that these expressions may reveal psychological states—including emotional distress—we wanted to understand whether facial expression in these TikTok-like videos were correlated with standardized measures of psychological distress. Based on the work of Paul Ekman and others, which posits that facial expressions are universal reflections of people’s inner states, we predicted that smiling would be inversely related to psychological distress. Method: Twenty-four undergraduate students, aged 18+ years (M = 18.35, SD = 2.75), were prompted to record a two-minute selfie video each evening during two weeks of data collection (i.e., 14 total days). They were instructed to describe various aspects of their day. They also completed self-report questionnaires at the end of each assessment week, including the Depression Anxiety Stress Scale (DASS), Perceived Stress Scale (PSS), and the Pittsburgh Sleep Quality Index (PSQI). Results: A counterintuitive effect was observed whereby smiling intensity during selfie videos was positively correlated with individual differences in anxiety, depression, and stress. Discussion: This study challenges the common view that facial expressions necessarily reflect our inner emotions. It provides preliminary evidence that a mobile sensing app that captures selfies—along with other naturalistic data—may help elucidate the relationship between facial expressions and emotions.
{"title":"Smile, You’re on Camera: Investigating the Relationship between Selfie Smiles and Distress","authors":"Monika Lind, Michelle Byrne, S. Devine, Nicholas Allen","doi":"10.36850/8716-5abe","DOIUrl":"https://doi.org/10.36850/8716-5abe","url":null,"abstract":"Background: This study examined the relationship between (1) participant smiling in daily “selfie” videos and (2) self-reported distress. Given the extensive use of digital devices for sharing expressions of non-verbal behavior, and some speculation that these expressions may reveal psychological states—including emotional distress—we wanted to understand whether facial expression in these TikTok-like videos were correlated with standardized measures of psychological distress. Based on the work of Paul Ekman and others, which posits that facial expressions are universal reflections of people’s inner states, we predicted that smiling would be inversely related to psychological distress.\u0000\u0000Method: Twenty-four undergraduate students, aged 18+ years (M = 18.35, SD = 2.75), were prompted to record a two-minute selfie video each evening during two weeks of data collection (i.e., 14 total days). They were instructed to describe various aspects of their day. They also completed self-report questionnaires at the end of each assessment week, including the Depression Anxiety Stress Scale (DASS), Perceived Stress Scale (PSS), and the Pittsburgh Sleep Quality Index (PSQI).\u0000\u0000Results: A counterintuitive effect was observed whereby smiling intensity during selfie videos was positively correlated with individual differences in anxiety, depression, and stress.\u0000\u0000Discussion: This study challenges the common view that facial expressions necessarily reflect our inner emotions. It provides preliminary evidence that a mobile sensing app that captures selfies—along with other naturalistic data—may help elucidate the relationship between facial expressions and emotions.","PeriodicalId":471449,"journal":{"name":"Journal of trial and error","volume":"68 10","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-05-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141101506","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}
Sigrid Heinsbroek, Vincent Bontrop, Rutger Chorus, Christian Michel Zwaan
The rationale behind a Medical Research Ethics Committee (MREC) negative decision is always shared directly with the applicants. However, insight into the review process and common reasons for a negative decision may also be valuable for other researchers, clinical research organizations and people with an interest in MREC processes. To our knowledge Medical Research Ethics Committees (MRECs) do generally not report on the negative decisions they issue and on the underlying rationale for such decisions. Here we give insight into the MREC review process by briefly describing procedures and discussing the negative decisions issued by MREC NedMec in the past five years.
{"title":"Issues in Clinical Studies Leading to Medical Research Ethics Committee (MREC) Negative Decisions","authors":"Sigrid Heinsbroek, Vincent Bontrop, Rutger Chorus, Christian Michel Zwaan","doi":"10.36850/21gx-cy60","DOIUrl":"https://doi.org/10.36850/21gx-cy60","url":null,"abstract":"The rationale behind a Medical Research Ethics Committee (MREC) negative decision is always shared directly with the applicants. However, insight into the review process and common reasons for a negative decision may also be valuable for other researchers, clinical research organizations and people with an interest in MREC processes. To our knowledge Medical Research Ethics Committees (MRECs) do generally not report on the negative decisions they issue and on the underlying rationale for such decisions. Here we give insight into the MREC review process by briefly describing procedures and discussing the negative decisions issued by MREC NedMec in the past five years.","PeriodicalId":471449,"journal":{"name":"Journal of trial and error","volume":" 4","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-03-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140214293","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}
M. Linde, M. Pittelkow, Nina Schwarzback, D. van Ravenzwaaij
Practicing open science can have benefits for the career prospects of individual researchers or labs through higher quality work and increased chances of publication. However, being an outspoken advocate of open science might also indirectly benefit individual scientific careers, in the form of status in a scientific community, decisions for tenure, and eligibility for certain kinds of funding. Therefore, it may be profitable for individual labs to appear to engage in open science practices, without actually putting in the associated effort or doing only the bare minimum. In this article, we explore two types of academic behavior through a dynamic computational model (cf. Smaldino & Mcelreath,2016) of an academic community that rewards open science: (1) practicing open science and/or (2) advocating open science. Crossing these two types of behavior leads to four different kinds of labs and we examine which of them thrive in this academic community. We found that labs that practice and advocate open science dominate in a scientific community that values open science. Implications of the model results are discussed.
{"title":"Reputation Without Practice? A Dynamic Computational Model of the Unintended Consequences of Open Scientist Reputations","authors":"M. Linde, M. Pittelkow, Nina Schwarzback, D. van Ravenzwaaij","doi":"10.36850/mr10","DOIUrl":"https://doi.org/10.36850/mr10","url":null,"abstract":"Practicing open science can have benefits for the career prospects of individual researchers or labs through higher quality work and increased chances of publication. However, being an outspoken advocate of open science might also indirectly benefit individual scientific careers, in the form of status in a scientific community, decisions for tenure, and eligibility for certain kinds of funding. Therefore, it may be profitable for individual labs to appear to engage in open science practices, without actually putting in the associated effort or doing only the bare minimum. In this article, we explore two types of academic behavior through a dynamic computational model (cf. Smaldino & Mcelreath,2016) of an academic community that rewards open science: (1) practicing open science and/or (2) advocating open science. Crossing these two types of behavior leads to four different kinds of labs and we examine which of them thrive in this academic community. We found that labs that practice and advocate open science dominate in a scientific community that values open science. Implications of the model results are discussed.","PeriodicalId":471449,"journal":{"name":"Journal of trial and error","volume":"22 5","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-03-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140240414","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}
Women who have experienced their children being permanently removed from their care due to challenging life circumstances often live on the margins of society. The majority have experienced mental and physical health challenges and face many other intersecting issues. The stigma associated with losing children, coupled with a lack of support, means that these women are at risk of serious social exclusion, further exacerbating their feelings of failure, grief, and loss. The existing music therapy literature on women mostly focuses on their experiences in the context of intimate partner violence; music therapy with marginalized mothers appears hitherto unreported. This article aims to explore how notions of musical right and wrong often played into my work with the women as a Nordoff Robbins music therapist. Most of these women come from disadvantaged backgrounds and have received little or no education: involvement in music-making often evoked perceptions of correctness and progress. Women often requested that I taught them songs they liked. This could enhance their sense of failure if they were unable to play the songs as they knew them. The question of how not to perpetuate harm, whilst acknowledging my clients’ needs, became my dilemma as a therapist. The case studies discussed below highlight how, in the context of these women’s lives, experiencing doing something “right” and proving their own capacity to learn through music, could become key themes in their pathway towards recovery. This process is not, however, a straightforward endeavour and involves negotiation and commitment on the part of both therapist and client.
{"title":"\"Towards a Perfect Tune\": Navigating the Notions of Failure, Mistake and Competence in Nordoff-Robbins Music Therapy with Marginalized Mothers","authors":"Afra Jurkiewicz","doi":"10.36850/4jnj-aa33","DOIUrl":"https://doi.org/10.36850/4jnj-aa33","url":null,"abstract":"Women who have experienced their children being permanently removed from their care due to challenging life circumstances often live on the margins of society. The majority have experienced mental and physical health challenges and face many other intersecting issues. The stigma associated with losing children, coupled with a lack of support, means that these women are at risk of serious social exclusion, further exacerbating their feelings of failure, grief, and loss. The existing music therapy literature on women mostly focuses on their experiences in the context of intimate partner violence; music therapy with marginalized mothers appears hitherto unreported. This article aims to explore how notions of musical right and wrong often played into my work with the women as a Nordoff Robbins music therapist. Most of these women come from disadvantaged backgrounds and have received little or no education: involvement in music-making often evoked perceptions of correctness and progress. Women often requested that I taught them songs they liked. This could enhance their sense of failure if they were unable to play the songs as they knew them. The question of how not to perpetuate harm, whilst acknowledging my clients’ needs, became my dilemma as a therapist. The case studies discussed below highlight how, in the context of these women’s lives, experiencing doing something “right” and proving their own capacity to learn through music, could become key themes in their pathway towards recovery. This process is not, however, a straightforward endeavour and involves negotiation and commitment on the part of both therapist and client.","PeriodicalId":471449,"journal":{"name":"Journal of trial and error","volume":"20 8","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138947459","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 piece, I will explore a mistake I made by randomly handing a progress note to a parent at the end of a music therapy session, while overlooking the power imbalances embedded in such an act. I will share a clinical vignette involving Xavier, the father of a little girl named Blossom, who was only 10 months old, had many physical challenges, had severely impaired eyesight, and at the time could only sparsely respond to her loving environment. I will begin by describing a moment in the session when the father expressed his frustration from not being able to understand my handwriting in the progress note handed to him. Then, I will explore the unattended, underlying cultural and relational gaps in therapy that were captured in the virtually unnoticed gesture of handing a parent a scribbled progress note. Finally, I will examine the therapeutic requests expressed in such an important critique, which I failed to acknowledge as the family's therapist, focusing on aspects relating specifically to music therapy.
{"title":"“But I didn’t understand your handwriting!” Uncovering the significance of therapy progress notes for parents in music therapy","authors":"Tamar Hadar","doi":"10.36850/epwz-jj23","DOIUrl":"https://doi.org/10.36850/epwz-jj23","url":null,"abstract":"In this piece, I will explore a mistake I made by randomly handing a progress note to a parent at the end of a music therapy session, while overlooking the power imbalances embedded in such an act. I will share a clinical vignette involving Xavier, the father of a little girl named Blossom, who was only 10 months old, had many physical challenges, had severely impaired eyesight, and at the time could only sparsely respond to her loving environment. I will begin by describing a moment in the session when the father expressed his frustration from not being able to understand my handwriting in the progress note handed to him. Then, I will explore the unattended, underlying cultural and relational gaps in therapy that were captured in the virtually unnoticed gesture of handing a parent a scribbled progress note. Finally, I will examine the therapeutic requests expressed in such an important critique, which I failed to acknowledge as the family's therapist, focusing on aspects relating specifically to music therapy.","PeriodicalId":471449,"journal":{"name":"Journal of trial and error","volume":"44 7","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138946601","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 covers the first part of a group music therapeutic process in the inpatient multidisciplinary, psychoanalytical oriented treatment of a young woman suffering an obsessive-compulsive disorder. After a description of some basic assumptions of the music therapist about risks and mistakes in a music therapeutic framework, the unfolding dynamics in the therapeutic relationship are explained. The combination of strong hidden emotions, unstoppable improvisations and the unspoken reaction of group members, led to a moment where the therapist actively withdrew in a musical improvisation. This particular moment is the climax of the mistake, but it also opened a new door in the therapeutic process. Reflecting on this matter, we find the tension between the importance and the risk of countertransference and the need for supervision and discussion. Suggestions for music therapeutic interventions are made and the impact of the coping strategy and basic assumptions of the therapist are discussed.
{"title":"\"Not again\": When the Therapist Resists","authors":"Nele Fiers","doi":"10.36850/tva4-0m85","DOIUrl":"https://doi.org/10.36850/tva4-0m85","url":null,"abstract":"This article covers the first part of a group music therapeutic process in the inpatient multidisciplinary, psychoanalytical oriented treatment of a young woman suffering an obsessive-compulsive disorder. After a description of some basic assumptions of the music therapist about risks and mistakes in a music therapeutic framework, the unfolding dynamics in the therapeutic relationship are explained.\u0000The combination of strong hidden emotions, unstoppable improvisations and the unspoken reaction of group members, led to a moment where the therapist actively withdrew in a musical improvisation. This particular moment is the climax of the mistake, but it also opened a new door in the therapeutic process.\u0000Reflecting on this matter, we find the tension between the importance and the risk of countertransference and the need for supervision and discussion. Suggestions for music therapeutic interventions are made and the impact of the coping strategy and basic assumptions of the therapist are discussed.","PeriodicalId":471449,"journal":{"name":"Journal of trial and error","volume":"76 17","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138945317","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 reflects my experience facilitating an online music group session with six young autistic women in Indonesia. A participant linked her inclination to talk to what she enjoyed the most from the sessions. As her comment struck me, I pondered upon my music therapy training background and worldview that might have shaped my expectations of the sessions. What I initially perceived as a “mistake” turned into a learning. Defining and redefining the definition and role of music in the shared space should be allowed and nurtured in whichever shape and trajectory contextually fits the experiencer.
{"title":"“I guess I just like talking”: A Reflection From an Online Music Group with Six Young Autistic Women in Indonesia","authors":"Monica Subiantoro","doi":"10.36850/xd47-yz27","DOIUrl":"https://doi.org/10.36850/xd47-yz27","url":null,"abstract":"This article reflects my experience facilitating an online music group session with six young autistic women in Indonesia. A participant linked her inclination to talk to what she enjoyed the most from the sessions. As her comment struck me, I pondered upon my music therapy training background and worldview that might have shaped my expectations of the sessions. What I initially perceived as a “mistake” turned into a learning. Defining and redefining the definition and role of music in the shared space should be allowed and nurtured in whichever shape and trajectory contextually fits the experiencer.","PeriodicalId":471449,"journal":{"name":"Journal of trial and error","volume":"19 8","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138946971","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}
Throughout my 32 years of work as a music therapist, I have wondered whether music therapy sessions should be structured and, if so, how and when to structure them. I was taught to work with clients dynamically, that is, using musical and verbal responses and interventions as the session unfolded, without prior planning. Would structuring sessions stall the therapeutic process? Might it cause clients to avoid expressing themselves? Or would structuring the sessions benefit clients by reducing their anxiety, creating a holding space and increasing their sense of calm, and thus advance the therapeutic process? In the earlier years of my work with clients. I had to rely on my intuition and my supervisor, who tried to help me identify the best approach of working with my clients. In the process, I made mistakes while focusing on the dilemma of whether or not to structure therapy sessions and interventions. In this article I will share some clinical vignettes of mistakes I made myself in my therapy practice, as well as of mistakes made by a student I supervised in her work with a young girl as part of her practicum, and by a music therapist I supervised in his work with elementary-school children. As a result of grappling with this dilemma and through reflection on past errors of this kind, my theoretical orientation has shifted and solidified. I have come to the conclusion that there is a lot to be learnt from making mistakes, and that those mistakes have shaped my therapeutic path.
{"title":"To Structure or not to Structure, That is the Question: Mistakes Made in Music Therapy in Light of the Dilemma Whether or not Therapy Sessions Should be Structured","authors":"Chava Wiess","doi":"10.36850/qjak-1382","DOIUrl":"https://doi.org/10.36850/qjak-1382","url":null,"abstract":"Throughout my 32 years of work as a music therapist, I have wondered whether music therapy sessions should be structured and, if so, how and when to structure them. I was taught to work with clients dynamically, that is, using musical and verbal responses and interventions as the session unfolded, without prior planning. Would structuring sessions stall the therapeutic process? Might it cause clients to avoid expressing themselves? Or would structuring the sessions benefit clients by reducing their anxiety, creating a holding space and increasing their sense of calm, and thus advance the therapeutic process? In the earlier years of my work with clients. I had to rely on my intuition and my supervisor, who tried to help me identify the best approach of working with my clients. In the process, I made mistakes while focusing on the dilemma of whether or not to structure therapy sessions and interventions. \u0000\u0000In this article I will share some clinical vignettes of mistakes I made myself in my therapy practice, as well as of mistakes made by a student I supervised in her work with a young girl as part of her practicum, and by a music therapist I supervised in his work with elementary-school children. As a result of grappling with this dilemma and through reflection on past errors of this kind, my theoretical orientation has shifted and solidified. I have come to the conclusion that there is a lot to be learnt from making mistakes, and that those mistakes have shaped my therapeutic path.","PeriodicalId":471449,"journal":{"name":"Journal of trial and error","volume":"48 13","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138946573","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 discusses the relationship between tradition and personal interpretation in classical music, mainly focusing on the experience of conservatoire music students. I argue that the traditional approach to classical music in education leaves too little room for creativity and finding one’s voice, resulting in a lack of personal development, expression and experimentation. To address this issue, I propose artistic experimentation and teaching strategies that emphasize the importance of creating nonconformist music learning spaces with accountability guidelines for musical learning, encouraging experimentation, risk-taking, and self-expression. In addition, I aim to demonstrate how classically trained musicians can find a balance between tradition and personal interpretation in performance. By fostering an environment that values both tradition and creativity, musicians can explore new ways of performing classical works outside standard interpretive forms. This practice-led research has demonstrated new possibilities for musicians’ performances, as well as opening new paths for familiar music to have a lasting and meaningful impact. This suggests alternatives, possibilities, and opportunities within the discipline. The article concludes that the search for a balance between tradition and creativity is ongoing.
{"title":"Embracing the “Wrong” in Classical Music Interpretation: About Finding Balance Between Tradition and Creativity in Classical Music Performance","authors":"Sophie de Ruijter","doi":"10.36850/h3yn-bd82","DOIUrl":"https://doi.org/10.36850/h3yn-bd82","url":null,"abstract":"This article discusses the relationship between tradition and personal interpretation in classical music, mainly focusing on the experience of conservatoire music students. I argue that the traditional approach to classical music in education leaves too little room for creativity and finding one’s voice, resulting in a lack of personal development, expression and experimentation. To address this issue, I propose artistic experimentation and teaching strategies that emphasize the importance of creating nonconformist music learning spaces with accountability guidelines for musical learning, encouraging experimentation, risk-taking, and self-expression. In addition, I aim to demonstrate how classically trained musicians can find a balance between tradition and personal interpretation in performance. By fostering an environment that values both tradition and creativity, musicians can explore new ways of performing classical works outside standard interpretive forms. This practice-led research has demonstrated new possibilities for musicians’ performances, as well as opening new paths for familiar music to have a lasting and meaningful impact. This suggests alternatives, possibilities, and opportunities within the discipline. The article concludes that the search for a balance between tradition and creativity is ongoing.","PeriodicalId":471449,"journal":{"name":"Journal of trial and error","volume":"16 15","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138947048","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：