Pub Date : 2021-03-18DOI: 10.5749/futuante.16.2.0087
Vikramaditya Prakash
Abstract:A reading of Gayatri Spivak’s 1995 “City, Country, Agency,” this article offers a framework for constructing a responsibility-based agency for architecture and urbanism in service of decolonization. Weaving together deconstructive readings of select verses from the Mahābhārata and other Sanskrit texts, it posits an alternate ecologist understanding of history and society as dhāranā, as a kind of holding otherness, that architects must pre-comprehend to responsibly and more impactfully situate their agency in the world. Architectural thinking, or the practices of design, are offered as situational imperativist agencies that are accessible to dhāranā.The article also points toward the ethics of an alternate preservationist practice, that neither fetishizes the object nor sidelines its agency, but invests in and investigates a future oriented praxis that is neither prescriptive nor reactive, but is propelled by desire as inflected via dhāranā.
{"title":"Dhāranā: The Agency of Architecture in Decolonization","authors":"Vikramaditya Prakash","doi":"10.5749/futuante.16.2.0087","DOIUrl":"https://doi.org/10.5749/futuante.16.2.0087","url":null,"abstract":"Abstract:A reading of Gayatri Spivak’s 1995 “City, Country, Agency,” this article offers a framework for constructing a responsibility-based agency for architecture and urbanism in service of decolonization. Weaving together deconstructive readings of select verses from the Mahābhārata and other Sanskrit texts, it posits an alternate ecologist understanding of history and society as dhāranā, as a kind of holding otherness, that architects must pre-comprehend to responsibly and more impactfully situate their agency in the world. Architectural thinking, or the practices of design, are offered as situational imperativist agencies that are accessible to dhāranā.The article also points toward the ethics of an alternate preservationist practice, that neither fetishizes the object nor sidelines its agency, but invests in and investigates a future oriented praxis that is neither prescriptive nor reactive, but is propelled by desire as inflected via dhāranā.","PeriodicalId":53609,"journal":{"name":"Future Anterior","volume":"213 1","pages":"120 - 86"},"PeriodicalIF":0.1,"publicationDate":"2021-03-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79491412","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-03-18DOI: 10.5749/futuante.16.2.0001
Sarah Griswold
Abstract:The French occupation and governance of mandate Syria and Lebanon after World War I coincided with the rise of aviation as a tool of intelligence gathering. Surveillance from the sky served both military and scientific objectives for the French deployed to the region, and the development of “aerial archaeology” soon captured the fascination of experts and the public. This article examines how aerial archaeology provided a means not just of exerting colonial control through the exercise of scientific collection but also provided a way to remain relevant in the event of an end to formal, territorial empire. “High-tech heritage”—aerial archaeology in this case—became an attractive model for colonial powers in a decolonizing world, offering new techniques for extracting information and for setting the terms of cutting-edge praxis.
{"title":"High-Tech Heritage: Planes, Photography, and the Ancient Past in the French Mandate for Syria and Lebanon","authors":"Sarah Griswold","doi":"10.5749/futuante.16.2.0001","DOIUrl":"https://doi.org/10.5749/futuante.16.2.0001","url":null,"abstract":"Abstract:The French occupation and governance of mandate Syria and Lebanon after World War I coincided with the rise of aviation as a tool of intelligence gathering. Surveillance from the sky served both military and scientific objectives for the French deployed to the region, and the development of “aerial archaeology” soon captured the fascination of experts and the public. This article examines how aerial archaeology provided a means not just of exerting colonial control through the exercise of scientific collection but also provided a way to remain relevant in the event of an end to formal, territorial empire. “High-tech heritage”—aerial archaeology in this case—became an attractive model for colonial powers in a decolonizing world, offering new techniques for extracting information and for setting the terms of cutting-edge praxis.","PeriodicalId":53609,"journal":{"name":"Future Anterior","volume":"11 1","pages":"1 - 15"},"PeriodicalIF":0.1,"publicationDate":"2021-03-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72972276","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-03-18DOI: 10.5749/futuante.16.2.0iii
W. Carruthers, Sarah Griswold, Amal Sachedina, Sudeshna Guha, Emilio Distretti, A. Petti, G. Spivak, Vikramaditya Prakash, Luise Rellensmann
Abstract:The French occupation and governance of mandate Syria and Lebanon after World War I coincided with the rise of aviation as a tool of intelligence gathering. Surveillance from the sky served both military and scientific objectives for the French deployed to the region, and the development of “aerial archaeology” soon captured the fascination of experts and the public. This article examines how aerial archaeology provided a means not just of exerting colonial control through the exercise of scientific collection but also provided a way to remain relevant in the event of an end to formal, territorial empire. “High-tech heritage”—aerial archaeology in this case—became an attractive model for colonial powers in a decolonizing world, offering new techniques for extracting information and for setting the terms of cutting-edge praxis.
{"title":"Heritage, Preservation, and Decolonization: Entanglements, Consequences, Action?","authors":"W. Carruthers, Sarah Griswold, Amal Sachedina, Sudeshna Guha, Emilio Distretti, A. Petti, G. Spivak, Vikramaditya Prakash, Luise Rellensmann","doi":"10.5749/futuante.16.2.0iii","DOIUrl":"https://doi.org/10.5749/futuante.16.2.0iii","url":null,"abstract":"Abstract:The French occupation and governance of mandate Syria and Lebanon after World War I coincided with the rise of aviation as a tool of intelligence gathering. Surveillance from the sky served both military and scientific objectives for the French deployed to the region, and the development of “aerial archaeology” soon captured the fascination of experts and the public. This article examines how aerial archaeology provided a means not just of exerting colonial control through the exercise of scientific collection but also provided a way to remain relevant in the event of an end to formal, territorial empire. “High-tech heritage”—aerial archaeology in this case—became an attractive model for colonial powers in a decolonizing world, offering new techniques for extracting information and for setting the terms of cutting-edge praxis.","PeriodicalId":53609,"journal":{"name":"Future Anterior","volume":"16 1","pages":"1 - 120 - 121 - 125 - 15 - 16 - 29 - 30 - 45 - 46 - 58 - 59 - 85 - 86 - ii - xxiv"},"PeriodicalIF":0.1,"publicationDate":"2021-03-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84972500","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-03-18DOI: 10.5749/futuante.16.2.0047
Emilio Distretti, A. Petti
Abstract:The listing of the capital of Eritrea Asmara as UNESCO World Heritage Site in 2017 has raised a series of contradictory questions around Italian fascist colonial heritage: is the nomination part of the longer path of Eritrea’s decolonization and reappropriation of its colonial history or does this lead to the celebration of modernist architecture and its entanglements with colonialism and fascism? This essay draws inspiration from the case of Asmara, as a way to stir a debate around the afterlife of colonial fascist architecture, and its critical reuse. By discussing the interrelated concepts of repair, reparations, and prothesis within the debates in heritage studies and to the practices of architectural preservation, this essay claims a space for architectural heritage in the entangled struggles of decolonization and de-fascistization. Moreover, it reads fascism’s architectural heritage—and its histories of dispossession and violence—as part of modernism’s controversial history of segregation that cut across the southern and northern hemispheres. In so doing this essay introduces the concept of de-modernization into the debate around critical architectural preservation as part of a transnational struggle for justice against old and new forms of fascisms and colonialisms.
{"title":"The Afterlife of Fascist Colonial Architecture: A Critical Manifesto","authors":"Emilio Distretti, A. Petti","doi":"10.5749/futuante.16.2.0047","DOIUrl":"https://doi.org/10.5749/futuante.16.2.0047","url":null,"abstract":"Abstract:The listing of the capital of Eritrea Asmara as UNESCO World Heritage Site in 2017 has raised a series of contradictory questions around Italian fascist colonial heritage: is the nomination part of the longer path of Eritrea’s decolonization and reappropriation of its colonial history or does this lead to the celebration of modernist architecture and its entanglements with colonialism and fascism? This essay draws inspiration from the case of Asmara, as a way to stir a debate around the afterlife of colonial fascist architecture, and its critical reuse. By discussing the interrelated concepts of repair, reparations, and prothesis within the debates in heritage studies and to the practices of architectural preservation, this essay claims a space for architectural heritage in the entangled struggles of decolonization and de-fascistization. Moreover, it reads fascism’s architectural heritage—and its histories of dispossession and violence—as part of modernism’s controversial history of segregation that cut across the southern and northern hemispheres. In so doing this essay introduces the concept of de-modernization into the debate around critical architectural preservation as part of a transnational struggle for justice against old and new forms of fascisms and colonialisms.","PeriodicalId":53609,"journal":{"name":"Future Anterior","volume":"13 1","pages":"46 - 58"},"PeriodicalIF":0.1,"publicationDate":"2021-03-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76529364","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-08-21DOI: 10.5749/futuante.16.1.0087
David Serlin
Abstract:In 2012, the Illinois Regional Library for the Blind and Physically Handicapped in Chicago, designed in the 1970s by US architect Stanley Tigerman (1930–2019), was converted into the flagship offices of a regional bank. During its heyday, Tigerman’s library was widely recognized as an innovative example of empathic design that engaged the sensory and mobility impairments of its intended patrons. In its conversion to a bank, however, contemporary architects sought to capitalize upon the library as an eccentric icon of mid-1970s postmodernism. In the process, they jettisoned many notable features of Tigerman’s original design. This essay endeavors to show what was lost in the conversion, since the bank chose to preserve that which is most superficially associated with histories of postmodernism while erasing the library’s material commitments to histories of disability. By recovering the original context and guiding principles behind the library’s design and execution, the essay asserts the importance of thinking about disability within practices of historic preservation while also restoring Tigerman’s library to its rightful place within historical assessments of late-twentieth-century urban architecture.
{"title":"Banking on Postmodernism: Saving Stanley Tigerman’s Illinois Regional Library for the Blind and Physically Handicapped (1978)","authors":"David Serlin","doi":"10.5749/futuante.16.1.0087","DOIUrl":"https://doi.org/10.5749/futuante.16.1.0087","url":null,"abstract":"Abstract:In 2012, the Illinois Regional Library for the Blind and Physically Handicapped in Chicago, designed in the 1970s by US architect Stanley Tigerman (1930–2019), was converted into the flagship offices of a regional bank. During its heyday, Tigerman’s library was widely recognized as an innovative example of empathic design that engaged the sensory and mobility impairments of its intended patrons. In its conversion to a bank, however, contemporary architects sought to capitalize upon the library as an eccentric icon of mid-1970s postmodernism. In the process, they jettisoned many notable features of Tigerman’s original design. This essay endeavors to show what was lost in the conversion, since the bank chose to preserve that which is most superficially associated with histories of postmodernism while erasing the library’s material commitments to histories of disability. By recovering the original context and guiding principles behind the library’s design and execution, the essay asserts the importance of thinking about disability within practices of historic preservation while also restoring Tigerman’s library to its rightful place within historical assessments of late-twentieth-century urban architecture.","PeriodicalId":53609,"journal":{"name":"Future Anterior","volume":"89 1","pages":"108 - 87"},"PeriodicalIF":0.1,"publicationDate":"2020-08-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88835178","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-08-21DOI: 10.5749/futuante.16.1.0001
J. Chapuis, D. Gissen
Abstract:For the Berlin Museums, the memory of May 1945 is linked to the loss of objects from their collections. In the days just before and after the end of the war, two fires in a bunker destroyed countless works of art that had been stored there for safekeeping. Over the course of 1945, large parts of the museum holdings came under control of the Allies. The majority of these works only returned to the then-divided Berlin in the 1950s. The effects of the war and the postwar period on the collections of the Berlin Museums are felt to this day. The Gemäldegalerie lost about four hundred paintings, the Skulpturensammlung a third of its holdings. Among the works that did return, many were severely damaged.Held at the Bode Museum in 2015, the exhibition The Lost Museum shed light on the historical circumstances of the fires in 1945 and the subsequent fate of the works of art. With the help of plaster casts and photographic reproductions of works in their original size, masterpieces of the Berlin sculpture and painting collections were brought back into public consciousness. The exhibition also explored the ethical and practical problems behind the restoration and presentation of war-damaged art.
{"title":"Exhibiting Trauma: The Berlin Painting and Sculpture Collections Seventy Years after World War II, a Curatorial Reflection","authors":"J. Chapuis, D. Gissen","doi":"10.5749/futuante.16.1.0001","DOIUrl":"https://doi.org/10.5749/futuante.16.1.0001","url":null,"abstract":"Abstract:For the Berlin Museums, the memory of May 1945 is linked to the loss of objects from their collections. In the days just before and after the end of the war, two fires in a bunker destroyed countless works of art that had been stored there for safekeeping. Over the course of 1945, large parts of the museum holdings came under control of the Allies. The majority of these works only returned to the then-divided Berlin in the 1950s. The effects of the war and the postwar period on the collections of the Berlin Museums are felt to this day. The Gemäldegalerie lost about four hundred paintings, the Skulpturensammlung a third of its holdings. Among the works that did return, many were severely damaged.Held at the Bode Museum in 2015, the exhibition The Lost Museum shed light on the historical circumstances of the fires in 1945 and the subsequent fate of the works of art. With the help of plaster casts and photographic reproductions of works in their original size, masterpieces of the Berlin sculpture and painting collections were brought back into public consciousness. The exhibition also explored the ethical and practical problems behind the restoration and presentation of war-damaged art.","PeriodicalId":53609,"journal":{"name":"Future Anterior","volume":"63 1","pages":"1 - 15"},"PeriodicalIF":0.1,"publicationDate":"2020-08-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82369300","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-08-21DOI: 10.5749/futuante.16.1.0iii
Gissen
Abstract:Guest Editor David Gissen interviews Georgina Kleege regarding her research and most recent publication More than Meets the Eye: What Blindness Brings to Art (2018), which combines memoir and analysis of theoretical texts in a larger exploration of the relationship between blindness and the fine arts.
{"title":"Disability and Preservation","authors":"Gissen","doi":"10.5749/futuante.16.1.0iii","DOIUrl":"https://doi.org/10.5749/futuante.16.1.0iii","url":null,"abstract":"Abstract:Guest Editor David Gissen interviews Georgina Kleege regarding her research and most recent publication More than Meets the Eye: What Blindness Brings to Art (2018), which combines memoir and analysis of theoretical texts in a larger exploration of the relationship between blindness and the fine arts.","PeriodicalId":53609,"journal":{"name":"Future Anterior","volume":"45 1","pages":"1 - 108 - 111 - 121 - 122 - 126 - 15 - 17 - 32 - 35 - 56 - 57 - 66 - 69 - 84 - 87 - iii - xiii"},"PeriodicalIF":0.1,"publicationDate":"2020-08-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88137972","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-08-21DOI: 10.5749/futuante.16.1.0057
D. Gissen
Abstract:Guest Editor David Gissen interviews Georgina Kleege regarding her research and most recent publication More than Meets the Eye: What Blindness Brings to Art (2018), which combines memoir and analysis of theoretical texts in a larger exploration of the relationship between blindness and the fine arts.
{"title":"More than Meets the Eye: Georgina Kleege","authors":"D. Gissen","doi":"10.5749/futuante.16.1.0057","DOIUrl":"https://doi.org/10.5749/futuante.16.1.0057","url":null,"abstract":"Abstract:Guest Editor David Gissen interviews Georgina Kleege regarding her research and most recent publication More than Meets the Eye: What Blindness Brings to Art (2018), which combines memoir and analysis of theoretical texts in a larger exploration of the relationship between blindness and the fine arts.","PeriodicalId":53609,"journal":{"name":"Future Anterior","volume":"16 1","pages":"57 - 66"},"PeriodicalIF":0.1,"publicationDate":"2020-08-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85248428","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-08-21DOI: 10.5749/futuante.16.1.0111
Emily Watlington
Abstract:The implementation of video as an artistic medium is often described as motivated by radical ambitions toward art’s accessibility. Yet when these works are displayed in museums, they seldom include closed captions necessary to make their content accessible to deaf/Deaf audiences. Historic works of video art are thus often not accessible, as it remains taboo to alter an “original” work of art by adding captions. This logic privileges the work’s original aesthetic experience over its accessibility in spite of the fact that (1) many works of historic video art were first, or additionally, shown on television, where closed captions are required by the Americans with Disabilities Act (ADA), and (2) such works are almost never shown in their original format anyway. When spirits of radical access are claimed yet closed captions are not provided, a message is sent about who counts as “everyone” when art is meant for all. This article will examine the aversion to captions when displaying historic works of video arts in museums, consider the rights and responsibilities of video artists and curators, and, ultimately, ask that we rethink our aesthetic (and thereby ethical) paradigm which privileges faithfulness to an “original” over accessibility. Ultimately, I insist that captioning embodies the spirit of access that motivated so many artists to use video in the first place, and museums should preserve this spirit rather than faithfulness to an “original.”
{"title":"The Radical Accessibility of Video Art (for Hearing People)","authors":"Emily Watlington","doi":"10.5749/futuante.16.1.0111","DOIUrl":"https://doi.org/10.5749/futuante.16.1.0111","url":null,"abstract":"Abstract:The implementation of video as an artistic medium is often described as motivated by radical ambitions toward art’s accessibility. Yet when these works are displayed in museums, they seldom include closed captions necessary to make their content accessible to deaf/Deaf audiences. Historic works of video art are thus often not accessible, as it remains taboo to alter an “original” work of art by adding captions. This logic privileges the work’s original aesthetic experience over its accessibility in spite of the fact that (1) many works of historic video art were first, or additionally, shown on television, where closed captions are required by the Americans with Disabilities Act (ADA), and (2) such works are almost never shown in their original format anyway. When spirits of radical access are claimed yet closed captions are not provided, a message is sent about who counts as “everyone” when art is meant for all. This article will examine the aversion to captions when displaying historic works of video arts in museums, consider the rights and responsibilities of video artists and curators, and, ultimately, ask that we rethink our aesthetic (and thereby ethical) paradigm which privileges faithfulness to an “original” over accessibility. Ultimately, I insist that captioning embodies the spirit of access that motivated so many artists to use video in the first place, and museums should preserve this spirit rather than faithfulness to an “original.”","PeriodicalId":53609,"journal":{"name":"Future Anterior","volume":"17 9 1","pages":"111 - 121"},"PeriodicalIF":0.1,"publicationDate":"2020-08-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83902479","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-08-21DOI: 10.5749/futuante.16.1.0017
J. Graham
Abstract:As the First World War drew to a close, its demobilization— or the redistribution of labor in the war’s aftermath— became a pressing question across industries in the United States, including the field of reinforced concrete construction. This essay explores an emerging conceptualization of disability in these years as it informed how other forms of work might be understood. A provocation by Albert Kahn (on the possibility of incorporating injured soldiers into the production of reinforced concrete) and the research of Frank and Lillian Gilbreth (on concrete and on the retraining of disabled soldiers and workers) offer starting points in understanding a new economic subjectivity that was entailed in the work of industrial building.
{"title":"“Commercial Battles of Self-Support”: Concrete Construction and the Disabled World War I Veteran","authors":"J. Graham","doi":"10.5749/futuante.16.1.0017","DOIUrl":"https://doi.org/10.5749/futuante.16.1.0017","url":null,"abstract":"Abstract:As the First World War drew to a close, its demobilization— or the redistribution of labor in the war’s aftermath— became a pressing question across industries in the United States, including the field of reinforced concrete construction. This essay explores an emerging conceptualization of disability in these years as it informed how other forms of work might be understood. A provocation by Albert Kahn (on the possibility of incorporating injured soldiers into the production of reinforced concrete) and the research of Frank and Lillian Gilbreth (on concrete and on the retraining of disabled soldiers and workers) offer starting points in understanding a new economic subjectivity that was entailed in the work of industrial building.","PeriodicalId":53609,"journal":{"name":"Future Anterior","volume":"17 1","pages":"17 - 32"},"PeriodicalIF":0.1,"publicationDate":"2020-08-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90231123","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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