In this interview computational and generative artist Paul Brown discusses his early work of the 1960s and 1970s. He also describes his influences along with observations about how this early work directed his later career. The interviewer, artist Tracey M. Benson, practices in the art, science and technology field and is a longtime friend and mentee. The two share many similar interests that are revealed in their conversation.
在这次采访中，计算和生成艺术家保罗·布朗讨论了他20世纪60年代和70年代的早期作品。他还描述了他的影响，以及对这些早期作品如何指导他后来的职业生涯的观察。采访者是艺术家特雷西·m·本森(Tracey M. Benson)，从事艺术、科学和技术领域的工作，是他的老朋友和徒弟。这两个人在谈话中显露出许多相似的兴趣。
{"title":"From Thought-Forms to Art Concret: Tracey M. Benson Interviews Paul Brown","authors":"Paul Brown, Tracey M Benson","doi":"10.1162/leon_a_02425","DOIUrl":"https://doi.org/10.1162/leon_a_02425","url":null,"abstract":"In this interview computational and generative artist Paul Brown discusses his early work of the 1960s and 1970s. He also describes his influences along with observations about how this early work directed his later career. The interviewer, artist Tracey M. Benson, practices in the art, science and technology field and is a longtime friend and mentee. The two share many similar interests that are revealed in their conversation.","PeriodicalId":93330,"journal":{"name":"Leonardo (Oxford, England)","volume":"31 1","pages":"-"},"PeriodicalIF":0.0,"publicationDate":"2023-05-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87375687","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}
Building on the work series of Belitung VR, this article seeks to explore a narrative framework for digital cultural heritage storytelling. Belitung VR is a serious game to disseminate Belitung-related cultural knowledge in VR, where users can freely explore in the reconstructed Arab dhow shipping between China and West Asia to collect clues to the causes of the wreck. The proposed framework consists of narrative goals (the physical and meta-physical), narrative elements (character, world and plot), and narrative grammar (immersion, interaction, rhetoric and factuality). This work can serve as a practice guide and evaluative framework for designers/artists with an aspiration to digitally disseminate cultural heritage.
{"title":"The Belitung Shipwreck in Virtual Reality: Exploring the Narrative Framework of Digital Cultural Heritage","authors":"Baosheng Wang, Qing Liang","doi":"10.1162/leon_a_02432","DOIUrl":"https://doi.org/10.1162/leon_a_02432","url":null,"abstract":"\u0000 Building on the work series of Belitung VR, this article seeks to explore a narrative framework for digital cultural heritage storytelling. Belitung VR is a serious game to disseminate Belitung-related cultural knowledge in VR, where users can freely explore in the reconstructed Arab dhow shipping between China and West Asia to collect clues to the causes of the wreck. The proposed framework consists of narrative goals (the physical and meta-physical), narrative elements (character, world and plot), and narrative grammar (immersion, interaction, rhetoric and factuality). This work can serve as a practice guide and evaluative framework for designers/artists with an aspiration to digitally disseminate cultural heritage.","PeriodicalId":93330,"journal":{"name":"Leonardo (Oxford, England)","volume":"39 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-05-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80893026","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}
aims into art created with electronic tools. His early analog work shows his interest in geometries and overlaid patterning, and these two themes remained throughout his career. The imagery is conceptually reformulated as his practice evolves through experiments with new ways of working. Leonardo readers will no doubt appreciate the shot of Acevedo’s image titled Skull v2 on the cover of the journal (Volume 34, Number 4, 2001). His 4D Memory Cluster was reproduced on the back cover of the same issue. The three main periods that define Acevedo’s evolution are presented chronologically in the volume. From 1977 to 1987, his analog period, he used traditional media, painting, drawing, and film. The digital period extends from 1983 through 2007. Because this work was mathematical and included a focus on symmetrical operations, it gave him a perfect foundation for the digital environment. Indeed, his work dramatically demonstrates an artmaking approach that was a particularly good fit since his style meshed conceptually with the supporting language of digital tools—regardless of whether his goals were twoor three-dimensional. The new technologies additionally aided him in creating visually overlapping sequences or merging coexisting levels of reality, two of his recurring themes. Also emblematic of his vision is imagery that has a metaphysical bent, sometimes expressed with geometrical abstraction and sometimes with figuration. In 2007 Acevedo shifted into an Electronic Visual Music (EVM) period, a term he coined in 2013. These pieces include a synesthetic element as well as computer animation. The synesthesia discussion of the EVM period reminded me that the recent focus on genetic synesthesia has made it easy to lose sight of artwork that aims to compel audiences to engage on multiple sensory levels. Acevedo deals with synesthesia phenomenologically, integrating realtime video-mix workflows into his audiovisual studio practice. Of the four essays, I found art critic Peter Frank’s the most informative, succinctly capturing Acevedo’s evolution from a pioneer of desktop computer art in the early 1980s to his music videos period. According to Frank, Acevedo sets computergenerated structures and manipulated images in motion, one morphing into the next in response to sound composed by and large by collaborators. This insight points to the one downside of this book: electronic jazz collaborations resist printed publication. Since Acevedo began as an analog artist, I was particularly fascinated by the way his digital video and digital print work resonate with his roots in painting, which appears to remain at the core of his practice conceptually. Since his career began, he has shown his work in over 135 group and solo art exhibitions in the U.S. and internationally. He also has fruitfully collaborated over the years. Now his practice is to issue still images sourced from his video works, in the form of signed limited edition prints and sometimes as NFTs. To
{"title":"Drawing Thought: How Drawing Helps us Observe, Discover, and Invent","authors":"G. Shortess","doi":"10.1162/leon_r_02417","DOIUrl":"https://doi.org/10.1162/leon_r_02417","url":null,"abstract":"aims into art created with electronic tools. His early analog work shows his interest in geometries and overlaid patterning, and these two themes remained throughout his career. The imagery is conceptually reformulated as his practice evolves through experiments with new ways of working. Leonardo readers will no doubt appreciate the shot of Acevedo’s image titled Skull v2 on the cover of the journal (Volume 34, Number 4, 2001). His 4D Memory Cluster was reproduced on the back cover of the same issue. The three main periods that define Acevedo’s evolution are presented chronologically in the volume. From 1977 to 1987, his analog period, he used traditional media, painting, drawing, and film. The digital period extends from 1983 through 2007. Because this work was mathematical and included a focus on symmetrical operations, it gave him a perfect foundation for the digital environment. Indeed, his work dramatically demonstrates an artmaking approach that was a particularly good fit since his style meshed conceptually with the supporting language of digital tools—regardless of whether his goals were twoor three-dimensional. The new technologies additionally aided him in creating visually overlapping sequences or merging coexisting levels of reality, two of his recurring themes. Also emblematic of his vision is imagery that has a metaphysical bent, sometimes expressed with geometrical abstraction and sometimes with figuration. In 2007 Acevedo shifted into an Electronic Visual Music (EVM) period, a term he coined in 2013. These pieces include a synesthetic element as well as computer animation. The synesthesia discussion of the EVM period reminded me that the recent focus on genetic synesthesia has made it easy to lose sight of artwork that aims to compel audiences to engage on multiple sensory levels. Acevedo deals with synesthesia phenomenologically, integrating realtime video-mix workflows into his audiovisual studio practice. Of the four essays, I found art critic Peter Frank’s the most informative, succinctly capturing Acevedo’s evolution from a pioneer of desktop computer art in the early 1980s to his music videos period. According to Frank, Acevedo sets computergenerated structures and manipulated images in motion, one morphing into the next in response to sound composed by and large by collaborators. This insight points to the one downside of this book: electronic jazz collaborations resist printed publication. Since Acevedo began as an analog artist, I was particularly fascinated by the way his digital video and digital print work resonate with his roots in painting, which appears to remain at the core of his practice conceptually. Since his career began, he has shown his work in over 135 group and solo art exhibitions in the U.S. and internationally. He also has fruitfully collaborated over the years. Now his practice is to issue still images sourced from his video works, in the form of signed limited edition prints and sometimes as NFTs. To ","PeriodicalId":93330,"journal":{"name":"Leonardo (Oxford, England)","volume":"12 1","pages":"441-442"},"PeriodicalIF":0.0,"publicationDate":"2023-05-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79240469","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}
Anthropocene, a high-impact original physical theater performance, examines how human progress has led to a new and dangerous geological age. The convergence of the global syndemic—the COVID-19 pandemic, the climate crisis, social justice unrest, and social systems pushed to their breaking point—indicates an imperative for real change. The topic of human-caused climate change is urgent. Indeed, in August 2021, the United Nations (UN) issued a report declaring “a code red for humanity. The alarm bells are deafening, and the evidence is irrefutable” [1]. Because scientific data can be opaque and difficult to decipher, climate scientists face challenges in prompting the general public to act. This is where performance comes in. Anthropocene, a multi-year transdisciplinary performance project, fuses innovative aesthetics, evocative storytelling, and sustainable production processes to express the acute need for climate action. The piece foregrounds physical and visual storytelling by staging movement-based episodes that are woven together to examine key questions:
{"title":"MAY WE HAVE YOUR ATTENTION PLEASE? CLIMATE CHANGE IS URGENT AND CHANGE NEEDS TO HAPPEN NOW","authors":"Rachel Bowditch, K. Martinson","doi":"10.1162/leon_a_02411","DOIUrl":"https://doi.org/10.1162/leon_a_02411","url":null,"abstract":"Anthropocene, a high-impact original physical theater performance, examines how human progress has led to a new and dangerous geological age. The convergence of the global syndemic—the COVID-19 pandemic, the climate crisis, social justice unrest, and social systems pushed to their breaking point—indicates an imperative for real change. The topic of human-caused climate change is urgent. Indeed, in August 2021, the United Nations (UN) issued a report declaring “a code red for humanity. The alarm bells are deafening, and the evidence is irrefutable” [1]. Because scientific data can be opaque and difficult to decipher, climate scientists face challenges in prompting the general public to act. This is where performance comes in. Anthropocene, a multi-year transdisciplinary performance project, fuses innovative aesthetics, evocative storytelling, and sustainable production processes to express the acute need for climate action. The piece foregrounds physical and visual storytelling by staging movement-based episodes that are woven together to examine key questions:","PeriodicalId":93330,"journal":{"name":"Leonardo (Oxford, England)","volume":"2011 1","pages":"431-434"},"PeriodicalIF":0.0,"publicationDate":"2023-05-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86323109","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 a thriller or whodunit setting; it is the scientists who trap themselves in a labyrinth of chaos as well as order, leading to death and madness but also to beauty and deep human feeling. No less important than the intelligent mix of science and fiction is the use of the comics medium. A translation from the French (first edition: 2019), this book maintains the typical French hardcover album format, distinguishing itself from the nowcommonplace trade novel format of nonfiction comics work. The style of the art is radically anti-mimetic, another feature that sets it apart from most nonfiction works on science and scientists in the comics field. The Phantom Scientist does not attempt to faithfully document or illustrate the idea of science in action, as Bruno Latour put it. The characters and the settings are drawn in highly stylized and decidedly cartoonish ways, closer to Garfield than to Watchmen, for example. The background is equally schematic, sometimes reduced to one single color field, while the structure of the building and the park hosting the research institute look more symbolic than real. Yet this schematic way of drawing perfectly matches both the layout and the narrative techniques of the book, which establish a strong dialogue between the page’s grid and the hard-edged visual representation of people and objects. The use of colors, finally, is that of an extreme clear line style, with sharp contour lines and no chromatic variations within each contoured section. These seamless echoes between lines, forms, and colors continue in the elementary yet efficient montage and linear storytelling techniques, which shy away from any form of temporal disruption to slowly build a tight network of correspondences. The Phantom Scientist is not a puzzle but a journey, one with an open end where each new step helps thicken the plot, allowing for countless rereadings. Even if the story unfolds in a linear way, many gaps remain. As one of the scientists confesses near the end: I can speak about the “how” but not about the “why.” The work wins in both ways, however. It is a wonderful introduction to the stakes and challenges of modern science. It also discloses the no-less-mysterious questions that link machines and algorithmic thinking to what we can continue to call the human factor.
{"title":"Thinking with Sound: A New Program in the Sciences and Humanities Around 1900","authors":"Michael Punt","doi":"10.1162/leon_r_02413","DOIUrl":"https://doi.org/10.1162/leon_r_02413","url":null,"abstract":"in a thriller or whodunit setting; it is the scientists who trap themselves in a labyrinth of chaos as well as order, leading to death and madness but also to beauty and deep human feeling. No less important than the intelligent mix of science and fiction is the use of the comics medium. A translation from the French (first edition: 2019), this book maintains the typical French hardcover album format, distinguishing itself from the nowcommonplace trade novel format of nonfiction comics work. The style of the art is radically anti-mimetic, another feature that sets it apart from most nonfiction works on science and scientists in the comics field. The Phantom Scientist does not attempt to faithfully document or illustrate the idea of science in action, as Bruno Latour put it. The characters and the settings are drawn in highly stylized and decidedly cartoonish ways, closer to Garfield than to Watchmen, for example. The background is equally schematic, sometimes reduced to one single color field, while the structure of the building and the park hosting the research institute look more symbolic than real. Yet this schematic way of drawing perfectly matches both the layout and the narrative techniques of the book, which establish a strong dialogue between the page’s grid and the hard-edged visual representation of people and objects. The use of colors, finally, is that of an extreme clear line style, with sharp contour lines and no chromatic variations within each contoured section. These seamless echoes between lines, forms, and colors continue in the elementary yet efficient montage and linear storytelling techniques, which shy away from any form of temporal disruption to slowly build a tight network of correspondences. The Phantom Scientist is not a puzzle but a journey, one with an open end where each new step helps thicken the plot, allowing for countless rereadings. Even if the story unfolds in a linear way, many gaps remain. As one of the scientists confesses near the end: I can speak about the “how” but not about the “why.” The work wins in both ways, however. It is a wonderful introduction to the stakes and challenges of modern science. It also discloses the no-less-mysterious questions that link machines and algorithmic thinking to what we can continue to call the human factor.","PeriodicalId":93330,"journal":{"name":"Leonardo (Oxford, England)","volume":"22 1","pages":"436-437"},"PeriodicalIF":0.0,"publicationDate":"2023-05-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85094917","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}
there has been moral “regress” (p. 183). Racism and sexism in many countries has declined, but at the same time economic disparities have grown, and “political moralities” (p. 183) in some countries have shifted to entrenched conservative ideologies. They also point out that any sense of moral progress must be tempered by how modern industrial societies treat nonhuman animals as food. Groups, they note, could morally include animals, not exclude them. In this light they discuss moral progress theory, in which reality is biased toward progress by applying reason and informed information. The moral mind is flexible and can, rather than spin into violence with dehumanized reaction, approach inclusivity, they claim, as history shows. Kumar and Campbell say modern moral progress has been uneven, favoring some and excluding others, notably with patriarchy, gender discrimination, and social injustice, the last of which encompasses climate change. Their model of cultural moral progress shows how anything evolutionary is typically gradual, with headway at times but perhaps stasis elsewhere. They insist class structures are deliberately manipulated by the rich and powerful to subvert others, illustrating their notion of moral progress and regress. We see this in anthropogenic climate change and the slow response to avoiding disaster, since wealthy and powerful countries that have caused the problem benefit from producing and using massive amounts of fossil fuels. Moral progress concerning climate justice can be seen on the fringes within groups or political parties in some countries or institutions. In their plan for moral progress, dispersed egalitarian groups need greater social integration to prioritize the battle against misinformation fostering biases and ignorance. The end of the book is ironic, with the question of whether humans will become a better ape, but the text is a worthy example of reflective philosophy that could help transform societies for the better. pIrAnESI And ThE modErn AgE
{"title":"Piranesi and the Modern Age","authors":"Robert Maddox-Harle","doi":"10.1162/leon_r_02419","DOIUrl":"https://doi.org/10.1162/leon_r_02419","url":null,"abstract":"there has been moral “regress” (p. 183). Racism and sexism in many countries has declined, but at the same time economic disparities have grown, and “political moralities” (p. 183) in some countries have shifted to entrenched conservative ideologies. They also point out that any sense of moral progress must be tempered by how modern industrial societies treat nonhuman animals as food. Groups, they note, could morally include animals, not exclude them. In this light they discuss moral progress theory, in which reality is biased toward progress by applying reason and informed information. The moral mind is flexible and can, rather than spin into violence with dehumanized reaction, approach inclusivity, they claim, as history shows. Kumar and Campbell say modern moral progress has been uneven, favoring some and excluding others, notably with patriarchy, gender discrimination, and social injustice, the last of which encompasses climate change. Their model of cultural moral progress shows how anything evolutionary is typically gradual, with headway at times but perhaps stasis elsewhere. They insist class structures are deliberately manipulated by the rich and powerful to subvert others, illustrating their notion of moral progress and regress. We see this in anthropogenic climate change and the slow response to avoiding disaster, since wealthy and powerful countries that have caused the problem benefit from producing and using massive amounts of fossil fuels. Moral progress concerning climate justice can be seen on the fringes within groups or political parties in some countries or institutions. In their plan for moral progress, dispersed egalitarian groups need greater social integration to prioritize the battle against misinformation fostering biases and ignorance. The end of the book is ironic, with the question of whether humans will become a better ape, but the text is a worthy example of reflective philosophy that could help transform societies for the better. pIrAnESI And ThE modErn AgE","PeriodicalId":93330,"journal":{"name":"Leonardo (Oxford, England)","volume":"44 1","pages":"444-445"},"PeriodicalIF":0.0,"publicationDate":"2023-05-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82552026","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}
{"title":"ACEVEDO in Context: Analog Media 1977–1987 · Digital Media 1983–2020","authors":"Amy Ione","doi":"10.1162/leon_r_02416","DOIUrl":"https://doi.org/10.1162/leon_r_02416","url":null,"abstract":"","PeriodicalId":93330,"journal":{"name":"Leonardo (Oxford, England)","volume":"45 1","pages":"440-441"},"PeriodicalIF":0.0,"publicationDate":"2023-05-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79273667","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}
What Tschudi certainly has done is use Piranesi as a foil to delineate a history of modernism, particularly architecture. As Tschudi clearly states, this book contains only a small and select presentation of Piranesi’s prolific output—mainly his etchings, his greatest legacy. “In short, rather than a study of a historical figure, this is a book about an ahistorical Piranesi—a character reinvented in the modern age to legitimize that age precisely as modern” (p. 18, my emphasis). That Tschudi is fully aware of the precariousness of his investigation into the enigmatic nature of Piranesi is evident from this passage: “This book admittedly offers an ambiguous conclusion to the story it tells. Still, in its ambiguity, I hope this monograph may be inscribed into an esteemed genealogy of Piranesi emulations, for nothing can be more noble in this tradition than the ambition to rein in the endless and contain the infinite, only to be deceived by the format” (p. 231). I believe this book is an important addition to the literature on modernism and, of course, a wonderful exposé of Piranesi and his work. Perhaps unintentionally the book is equally important as a case study in postmodern deconstruction, authorial intent, and how the fads and trends of different epochs change dramatically our appreciation and understanding of art. This book requires close reading, keeping the ambiguities and enigmatic nature of the whole enterprise in mind.
{"title":"Contemporary Photography in France: Between Theory and Practice","authors":"Jan Baetens.","doi":"10.1162/leon_r_02420","DOIUrl":"https://doi.org/10.1162/leon_r_02420","url":null,"abstract":"What Tschudi certainly has done is use Piranesi as a foil to delineate a history of modernism, particularly architecture. As Tschudi clearly states, this book contains only a small and select presentation of Piranesi’s prolific output—mainly his etchings, his greatest legacy. “In short, rather than a study of a historical figure, this is a book about an ahistorical Piranesi—a character reinvented in the modern age to legitimize that age precisely as modern” (p. 18, my emphasis). That Tschudi is fully aware of the precariousness of his investigation into the enigmatic nature of Piranesi is evident from this passage: “This book admittedly offers an ambiguous conclusion to the story it tells. Still, in its ambiguity, I hope this monograph may be inscribed into an esteemed genealogy of Piranesi emulations, for nothing can be more noble in this tradition than the ambition to rein in the endless and contain the infinite, only to be deceived by the format” (p. 231). I believe this book is an important addition to the literature on modernism and, of course, a wonderful exposé of Piranesi and his work. Perhaps unintentionally the book is equally important as a case study in postmodern deconstruction, authorial intent, and how the fads and trends of different epochs change dramatically our appreciation and understanding of art. This book requires close reading, keeping the ambiguities and enigmatic nature of the whole enterprise in mind.","PeriodicalId":93330,"journal":{"name":"Leonardo (Oxford, England)","volume":"411 1","pages":"445-446"},"PeriodicalIF":0.0,"publicationDate":"2023-05-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79912948","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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