Pub Date : 2022-01-02DOI: 10.1080/20551940.2022.2029085
C. Tonelli
Endel Promotional “Manifesto”. Accessed 1 January 2022. “Environments”. 2018, App, Numero Group, Google Play Store, Apple App Store. Environments New Concepts in Stereo Sound, disc 1 [1969]. New York: Syntonic Research. Environments New Concepts in Stereo Sound, disc 2 [1970]. New York: Syntonic Research. Environments Totally New Concepts in Stereo Sound, disc 3 [1971]. New York: Syntonic Research. Environments New Concepts in Stereo Sound, disc 5 [1974]. New York: Syntonic Research. Environments New Concepts in Stereo Sound, disc 8 [1974]. New York: Syntonic Research. Environments New Concepts in Stereo Sound, disc 9 [1979]. New York: Syntonic Research. Environments App. Google Play Store Description. Accessed 1 January 2022. https://play.google.com/store/apps/ details?id=com.numerogroup.environments&hl=de&gl=US Degeling, J., and M. Haffke, eds. 2021. Zeitschrift für Medienwissenschaft 24: Medien der Sorge. Vol. 13 (1). Bielefeld: Transcript. doi:10.25969/mediarep/15762. Eriksson, M., R. Fleischer, A. Johansson, P. Snickars, and P. Vonderau. 2019. Spotify Teardown. Inside the Black Box of Streaming Music. Cambridge, London: MIT Press. Hagood, M. 2019. Hush. Media and Sonic Self-Control. Durham, London: Duke University Press. Lanza, J. 2007. Elevator Music. A Surreal History of Muzak®, Easy Listening and Other Moodsong®. 4th ed. Ann Arbor: University of Michigan Press. Pelley, L., 2017. “The Problem with Muzak. Spotify’s Bid to Remodel an Industry.” The Baffler, [online], Dezember 37. Available at: https://thebaffler.com/salvos/the-problem-with-muzak-pelly [Accessed 2 May 2021] Roquet, P. 2016. Ambient Media. Japanese Atmospheres Of Self. London, Minneapolis: University of Minnesota Press. Sprenger, F. 2014. “Zwischen Umwelt und milieu – Zur Begriffsgeschichte von environment in der Evolutionstheorie.” Forum Interdisziplinäre Begriffsgeschichte [e-journal] 3 (2): 7–18. https://www.zfl-berlin. org/tl_files/zfl/downloads/publikationen/forum_begriffsgeschichte/ZfL_FIB_3_2014_2_Sprenger.pdf Turner, F. 2006. From Counterculture to Cyberculture. Stewart Brand, the Whole Earth Network and the Rise of Digital Utopianism. Chicago, London: University of Chicago Press.
恩德尔宣传“宣言”。于2022年1月1日生效。“环境”。2018年，App, Numero Group, Google Play Store, Apple App Store。环境在立体声中的新概念，唱片1[1969]。纽约:Syntonic Research。环境立体声的新概念，唱片2[1970]。纽约:Syntonic Research。环境在立体声中的全新概念，唱片3[1971]。纽约:Syntonic Research。环境立体声新概念，唱片5[1974]。纽约:Syntonic Research。环境立体声新概念，唱片8[1974]。纽约:Syntonic Research。环境立体声新概念，唱片9[1979]。纽约:Syntonic Research。环境应用程序。谷歌Play商店描述。于2022年1月1日生效。id = com.numerogroup https://play.google.com/store/apps/细节?。环境&hl=de&gl=US Degeling, J.和M. Haffke主编。2021. 传媒学报(英文版)第24期。第13卷(1).比勒费尔德:成绩单。doi: 10.25969 / mediarep / 15762。Eriksson, M.， R. Fleischer, A. Johansson, P. Snickars, P. Vonderau. 2019。Spotify拆卸。流媒体音乐的黑盒子里。剑桥，伦敦:MIT出版社。哈古德，M. 2019。嘘。媒体与声波自我控制。杜伦，伦敦:杜克大学出版社。兰扎，J. 2007。电梯音乐。Muzak®的超现实历史，轻松聆听和其他情绪歌曲®。第4版。安娜堡:密歇根大学出版社。Pelley, L.， 2017。《穆扎克的问题》。Spotify试图重塑一个行业。”The Baffler，[在线]，12月37日。Roquet, P. 2016。环境媒体。日本的自我氛围。伦敦，明尼阿波利斯:明尼苏达大学出版社。施伦格，2014。《环境与环境:进化论中的环境》。论坛Interdisziplinäre电子学报[j] 3(2): 7-18。https://www.zfl-berlin。特纳，F. 2006。从反主流文化到网络文化。斯图尔特·布兰德，全球网络和数字乌托邦主义的兴起。芝加哥，伦敦:芝加哥大学出版社。
{"title":"Lockdown framing, or, listening during disruption","authors":"C. Tonelli","doi":"10.1080/20551940.2022.2029085","DOIUrl":"https://doi.org/10.1080/20551940.2022.2029085","url":null,"abstract":"Endel Promotional “Manifesto”. Accessed 1 January 2022. <https://manifesto.endel.io/ > “Environments”. 2018, App, Numero Group, Google Play Store, Apple App Store. Environments New Concepts in Stereo Sound, disc 1 [1969]. New York: Syntonic Research. Environments New Concepts in Stereo Sound, disc 2 [1970]. New York: Syntonic Research. Environments Totally New Concepts in Stereo Sound, disc 3 [1971]. New York: Syntonic Research. Environments New Concepts in Stereo Sound, disc 5 [1974]. New York: Syntonic Research. Environments New Concepts in Stereo Sound, disc 8 [1974]. New York: Syntonic Research. Environments New Concepts in Stereo Sound, disc 9 [1979]. New York: Syntonic Research. Environments App. Google Play Store Description. Accessed 1 January 2022. https://play.google.com/store/apps/ details?id=com.numerogroup.environments&hl=de&gl=US Degeling, J., and M. Haffke, eds. 2021. Zeitschrift für Medienwissenschaft 24: Medien der Sorge. Vol. 13 (1). Bielefeld: Transcript. doi:10.25969/mediarep/15762. Eriksson, M., R. Fleischer, A. Johansson, P. Snickars, and P. Vonderau. 2019. Spotify Teardown. Inside the Black Box of Streaming Music. Cambridge, London: MIT Press. Hagood, M. 2019. Hush. Media and Sonic Self-Control. Durham, London: Duke University Press. Lanza, J. 2007. Elevator Music. A Surreal History of Muzak®, Easy Listening and Other Moodsong®. 4th ed. Ann Arbor: University of Michigan Press. Pelley, L., 2017. “The Problem with Muzak. Spotify’s Bid to Remodel an Industry.” The Baffler, [online], Dezember 37. Available at: https://thebaffler.com/salvos/the-problem-with-muzak-pelly [Accessed 2 May 2021] Roquet, P. 2016. Ambient Media. Japanese Atmospheres Of Self. London, Minneapolis: University of Minnesota Press. Sprenger, F. 2014. “Zwischen Umwelt und milieu – Zur Begriffsgeschichte von environment in der Evolutionstheorie.” Forum Interdisziplinäre Begriffsgeschichte [e-journal] 3 (2): 7–18. https://www.zfl-berlin. org/tl_files/zfl/downloads/publikationen/forum_begriffsgeschichte/ZfL_FIB_3_2014_2_Sprenger.pdf Turner, F. 2006. From Counterculture to Cyberculture. Stewart Brand, the Whole Earth Network and the Rise of Digital Utopianism. Chicago, London: University of Chicago Press.","PeriodicalId":53207,"journal":{"name":"Sound Studies","volume":"45 1","pages":"138 - 141"},"PeriodicalIF":0.5,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89077793","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 : 2021-11-22DOI: 10.1080/20551940.2021.2005285
Ezra J. Teboul
Peter Krapp is a Professor of Film & Media Studies at the University of California, Irvine, where he is also affiliated with the Departments of English, of Music (Claire Trevor School of the Arts), and of Informatics (Donald Bren School of Information and Computer Science). His research and teaching interests include film music, noise and glitch, simulations and games, digital audio cultures, and computer history.
Peter Krapp是加州大学欧文分校的电影与媒体研究教授，他还隶属于英语系、音乐系(克莱尔特雷弗艺术学院)和信息学系(唐纳德布伦信息与计算机科学学院)。他的研究和教学兴趣包括电影音乐、噪音和故障、模拟和游戏、数字音频文化和计算机历史。
{"title":"Postscript on the societies of voltage control: composing the superstructure","authors":"Ezra J. Teboul","doi":"10.1080/20551940.2021.2005285","DOIUrl":"https://doi.org/10.1080/20551940.2021.2005285","url":null,"abstract":"Peter Krapp is a Professor of Film & Media Studies at the University of California, Irvine, where he is also affiliated with the Departments of English, of Music (Claire Trevor School of the Arts), and of Informatics (Donald Bren School of Information and Computer Science). His research and teaching interests include film music, noise and glitch, simulations and games, digital audio cultures, and computer history.","PeriodicalId":53207,"journal":{"name":"Sound Studies","volume":"30 3 1","pages":"263 - 267"},"PeriodicalIF":0.5,"publicationDate":"2021-11-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83509779","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 : 2021-10-19DOI: 10.1080/20551940.2021.1983397
Nil Basdurak
{"title":"Listening to US political campaigns","authors":"Nil Basdurak","doi":"10.1080/20551940.2021.1983397","DOIUrl":"https://doi.org/10.1080/20551940.2021.1983397","url":null,"abstract":"","PeriodicalId":53207,"journal":{"name":"Sound Studies","volume":"34 1","pages":"103 - 105"},"PeriodicalIF":0.5,"publicationDate":"2021-10-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83118042","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 : 2021-10-14DOI: 10.1080/20551940.2021.1988475
Wayne E. Arnold
The auditorial experiences in Tokyo can be both stimulating but also invasive. Sound permeates the city: on its streets, within its stores, to cafes designed specifically for music listening. Lorra...
{"title":"Sensing sounds in the spaces of Tokyo","authors":"Wayne E. Arnold","doi":"10.1080/20551940.2021.1988475","DOIUrl":"https://doi.org/10.1080/20551940.2021.1988475","url":null,"abstract":"The auditorial experiences in Tokyo can be both stimulating but also invasive. Sound permeates the city: on its streets, within its stores, to cafes designed specifically for music listening. Lorra...","PeriodicalId":53207,"journal":{"name":"Sound Studies","volume":"30 1","pages":"114 - 116"},"PeriodicalIF":0.5,"publicationDate":"2021-10-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89258228","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 : 2021-10-13DOI: 10.1080/20551940.2021.1982450
Melissa Van Drie, Carla J. Maier
ABSTRACT Rhythming is a practice of listening otherwise. Rhythming develops perspectives that enrichen how the situations, the actions and the apparatuses that make rhythm in everyday life are understood to matter. Rhythming articulates sonic research that listens and thinks through doing, noticing, and intervening into rhythm. The rhythming manifesto calls for a multi-sensorial, performative, and critical practice of listening and sonic thinking through the following propositions: Rhythming is a practice of listening otherwise Rhythming plays with rhythm machines and tacit habits Rhythming reconfigures the rhythm machine of the future Rhythming cultivates listening as attunement Rhythming activates sonic-material respondings Rhythming reveals listening positionalities This rhythming manifesto speculates on the principal and particular roles that listening and sensing the sonic have in perceiving the material, physical, technological, and imaginary entanglements of situated experience, as well as their distinct qualities for communicating relations. In this way, the manifesto contributes to an ecology of affinitive relationships, which currently drives eco-political and decolonial movements. There is a current need to be able to identify our systems, and to grow from our practices and analyses new languages, concepts, and modes for understanding interspecies and transcultural relationships.
{"title":"Rhythming: a manifesto","authors":"Melissa Van Drie, Carla J. Maier","doi":"10.1080/20551940.2021.1982450","DOIUrl":"https://doi.org/10.1080/20551940.2021.1982450","url":null,"abstract":"ABSTRACT Rhythming is a practice of listening otherwise. Rhythming develops perspectives that enrichen how the situations, the actions and the apparatuses that make rhythm in everyday life are understood to matter. Rhythming articulates sonic research that listens and thinks through doing, noticing, and intervening into rhythm. The rhythming manifesto calls for a multi-sensorial, performative, and critical practice of listening and sonic thinking through the following propositions: Rhythming is a practice of listening otherwise Rhythming plays with rhythm machines and tacit habits Rhythming reconfigures the rhythm machine of the future Rhythming cultivates listening as attunement Rhythming activates sonic-material respondings Rhythming reveals listening positionalities This rhythming manifesto speculates on the principal and particular roles that listening and sensing the sonic have in perceiving the material, physical, technological, and imaginary entanglements of situated experience, as well as their distinct qualities for communicating relations. In this way, the manifesto contributes to an ecology of affinitive relationships, which currently drives eco-political and decolonial movements. There is a current need to be able to identify our systems, and to grow from our practices and analyses new languages, concepts, and modes for understanding interspecies and transcultural relationships.","PeriodicalId":53207,"journal":{"name":"Sound Studies","volume":"344 1","pages":"2 - 19"},"PeriodicalIF":0.5,"publicationDate":"2021-10-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77146691","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 : 2021-10-03DOI: 10.1080/20551940.2021.1986916
Kevin John Bozelka
The editors of and contributors to the fascinating new anthology Music as Atmosphere: Collective Feelings and Affective Sounds have set themselves a slippery task – to define a phenomenon as vague ...
{"title":"Vagueness in music and social change: studying atmosphere through sound","authors":"Kevin John Bozelka","doi":"10.1080/20551940.2021.1986916","DOIUrl":"https://doi.org/10.1080/20551940.2021.1986916","url":null,"abstract":"The editors of and contributors to the fascinating new anthology Music as Atmosphere: Collective Feelings and Affective Sounds have set themselves a slippery task – to define a phenomenon as vague ...","PeriodicalId":53207,"journal":{"name":"Sound Studies","volume":"49 1","pages":"123 - 125"},"PeriodicalIF":0.5,"publicationDate":"2021-10-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83360347","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 : 2021-09-27DOI: 10.1080/20551940.2021.1982563
Hadar Levy-Landesberg
ABSTRACT Urban sound maps are audio-visual representations of cities created by associating sounds and urban landmarks on a digital geographic map. Fusing cartography and audio recording, urban sound maps prompt a rethinking of how notions of places and spaces are being shaped, not just by maps but also by diverse sound technologies. Drawing from geography, sound, and media studies scholarship, this article explores how urban sound maps inform current discussions about digital place-making practices, as well as ongoing conversations about how maps offer “a way of thinking about the world.” Examining various sound mapping projects, it consists of a two-part analysis, integrating a phenomenology of user interface and “deep listening.” The first part pinpoints the assorted place-making practices associated with urban sound mapping involving initiators, recordists, map users, and media and their multi-layered politics. The second part delineates the techno-sensory interplay set in motion by the digital interface of the sound map and articulates its new listening-based cartography. The concluding section outlines the ways in which urban sound maps reiterate but also exceed previous models of spatiality prescribed by visual maps and other sound technologies, producing an unsettled model of subjectivity and rearranging established conceptual relationships between places, spaces, and users.
{"title":"Sound and the city: rethinking spatial epistemologies with urban sound maps","authors":"Hadar Levy-Landesberg","doi":"10.1080/20551940.2021.1982563","DOIUrl":"https://doi.org/10.1080/20551940.2021.1982563","url":null,"abstract":"ABSTRACT Urban sound maps are audio-visual representations of cities created by associating sounds and urban landmarks on a digital geographic map. Fusing cartography and audio recording, urban sound maps prompt a rethinking of how notions of places and spaces are being shaped, not just by maps but also by diverse sound technologies. Drawing from geography, sound, and media studies scholarship, this article explores how urban sound maps inform current discussions about digital place-making practices, as well as ongoing conversations about how maps offer “a way of thinking about the world.” Examining various sound mapping projects, it consists of a two-part analysis, integrating a phenomenology of user interface and “deep listening.” The first part pinpoints the assorted place-making practices associated with urban sound mapping involving initiators, recordists, map users, and media and their multi-layered politics. The second part delineates the techno-sensory interplay set in motion by the digital interface of the sound map and articulates its new listening-based cartography. The concluding section outlines the ways in which urban sound maps reiterate but also exceed previous models of spatiality prescribed by visual maps and other sound technologies, producing an unsettled model of subjectivity and rearranging established conceptual relationships between places, spaces, and users.","PeriodicalId":53207,"journal":{"name":"Sound Studies","volume":"303 1","pages":"20 - 42"},"PeriodicalIF":0.5,"publicationDate":"2021-09-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77352479","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 : 2021-09-27DOI: 10.1080/20551940.2021.1975442
Alcina Cortez
ABSTRACT The ways in which sound materials have been deployed in museum exhibitions and the listening practices that have resulted from them are diverse. They have long been driven by a complex interplay of circumstances. These circumstances include the underlying epistemological order and its conceptual constructs, the wider social and cultural orders in which these are enmeshed, existing and emerging technological devices and situational and specific museum practices and their management options. This article proposes a typology of five constructs to describe how sound materials have been considered by museums in conceptual terms through time and to map exhibition practices stemming from them. In greater detail, I argue that such practices tend to cluster into five categories: sound as lecturing, sound as ambiance/soundtrack, sound as artefact, sound as art, and sound as crowd curation. My work draws on two types of data: insights from academic literature and my own observations.
{"title":"Museums as sites for displaying sound materials: a five-use framework","authors":"Alcina Cortez","doi":"10.1080/20551940.2021.1975442","DOIUrl":"https://doi.org/10.1080/20551940.2021.1975442","url":null,"abstract":"ABSTRACT The ways in which sound materials have been deployed in museum exhibitions and the listening practices that have resulted from them are diverse. They have long been driven by a complex interplay of circumstances. These circumstances include the underlying epistemological order and its conceptual constructs, the wider social and cultural orders in which these are enmeshed, existing and emerging technological devices and situational and specific museum practices and their management options. This article proposes a typology of five constructs to describe how sound materials have been considered by museums in conceptual terms through time and to map exhibition practices stemming from them. In greater detail, I argue that such practices tend to cluster into five categories: sound as lecturing, sound as ambiance/soundtrack, sound as artefact, sound as art, and sound as crowd curation. My work draws on two types of data: insights from academic literature and my own observations.","PeriodicalId":53207,"journal":{"name":"Sound Studies","volume":"40 1","pages":"43 - 72"},"PeriodicalIF":0.5,"publicationDate":"2021-09-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81598974","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 : 2021-07-27DOI: 10.1080/20551940.2021.1955191
E. Madzudzo
That any form of media is a powerful means of influencing and transforming behaviour and attitudes is a given. Lash and Lury (2007) view the culture industry as a central force in global capitalist...
{"title":"Winning the sonic battle of radio drama in apartheid South Africa","authors":"E. Madzudzo","doi":"10.1080/20551940.2021.1955191","DOIUrl":"https://doi.org/10.1080/20551940.2021.1955191","url":null,"abstract":"That any form of media is a powerful means of influencing and transforming behaviour and attitudes is a given. Lash and Lury (2007) view the culture industry as a central force in global capitalist...","PeriodicalId":53207,"journal":{"name":"Sound Studies","volume":"14 1","pages":"108 - 111"},"PeriodicalIF":0.5,"publicationDate":"2021-07-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82979167","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 : 2021-07-09DOI: 10.1080/20551940.2021.1949866
Jared Asser
The Culture of the Sound Image in Prewar Japan seeks to redefine the transition in Japanese cinema from silent film to “talkie”, occupying roughly the years 1920–1940. The work contains chapters by...
{"title":"An archaeology of early Japanese film music","authors":"Jared Asser","doi":"10.1080/20551940.2021.1949866","DOIUrl":"https://doi.org/10.1080/20551940.2021.1949866","url":null,"abstract":"The Culture of the Sound Image in Prewar Japan seeks to redefine the transition in Japanese cinema from silent film to “talkie”, occupying roughly the years 1920–1940. The work contains chapters by...","PeriodicalId":53207,"journal":{"name":"Sound Studies","volume":"11 11 1","pages":"116 - 119"},"PeriodicalIF":0.5,"publicationDate":"2021-07-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76526748","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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