Demiurg ideyi tekhnologiyi perspektivi dizainu最新文献

{"title":"Evolution of the Design Regulatory Framework in Ukraine and the EU Member States","authors":"Alona Letiaha","doi":"10.31866/2617-7951.6.1.2023.279087","DOIUrl":"https://doi.org/10.31866/2617-7951.6.1.2023.279087","url":null,"abstract":"This article analyzes the evolution of the design regulatory framework in Ukraine and the EU countries. The purpose is to identify the features of the evolution of the design legal framework in Ukraine and the EU. The research methodology consists in applying a number of approaches: analytical for comprehending the literature on the topic of the article; interdisciplinary for a comprehensive study of factual material and obtaining new knowledge; systematic with the use of a whole range of methods (biographical, semiotic, cultural, hermeneutical, historical, theoretical generalization) for a comprehensive understanding of the stated purpose of the study. Scientific novelty. For the first time, the European experience of developing the regulatory framework of design in comparison with the Ukrainian one is systematically studied. The results of the article can be used in the preparation of didactic materials for teaching courses on the regulatory framework of design. Сonclusions. Ukraine’s legislative framework currently does not sufficiently address the humanitarian factor, including its design and ergonomic factors, which does not contribute to the optimization of the state’s social sphere. In view of this, it is advisable to optimize the legislative framework in line with the best European practices to ensure the effective development of design and ergonomics in our country. The fundamental rationale for the EU design legal environment is that the protection of design legal property should ultimately lead to the economic well-being of countries in the EU region. The design harmonization program has always been part of the EU’s larger program for a harmonized legal environment and the completion of the internal market, especially with regard to intellectual property rights. The harmonization by means of the Design Directive and the Design Regulation in the EU is necessary in view of the significant differences in the protection of intellectual property for design objects in the various member states of the European Union.","PeriodicalId":33447,"journal":{"name":"Demiurg ideyi tekhnologiyi perspektivi dizainu","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-05-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45937070","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":"Typology of Elements of Geometric Ornaments and their Relationships with Varieties of Decorative and Applied Arts of Ukraine","authors":"Oleksiy Chystikov","doi":"10.31866/2617-7951.6.1.2023.279064","DOIUrl":"https://doi.org/10.31866/2617-7951.6.1.2023.279064","url":null,"abstract":"The purpose of the research is to try to identify the characteristic features of ornaments of each type of decorative and applied art of Ukraine and to systematize the main elements of geometric ornament. Methodology. Abstraction and comparison analysis methods were used. The method of theoretical generalization made it possible to summarize the results of this study. The scientific novelty consists in compiling a typology of elements of geometric ornament based on the analysis of a wide base of samples of various types of decorative and applied art; as well as in establishing the typicality and uniqueness of certain types of elements for various types of decorative and applied art. Conclusions. The set of graphic elements identified in the process of analyzing varieties of Ukrainian decorative and applied art can be divided into 6 types: angular lines, complex lines, plastic lines, angular forms, plastic forms, combined plastic-angular forms. In turn, angular shapes are divided into simple and combined quadrilaterals, triangles, hexagons, stepped shapes and complex polygonal shapes. Plastic forms are divided into rings and semicircles, circles and ovals, pointed ovals. A table and diagrams of the distribution of elements of geometric ornament have been compiled. It was determined that the most typical elements representing several directions of decorative and applied art of Ukraine should be considered slanted notches and dashes, zigzags, triangles, rhombuses and stars. They are found in samples of all branches of decorative and applied art of Ukraine. At the same time, geometric shapes and forms based on their groupings, such as stepped rhombuses and stepped triangles, are unique to weaving and carpet making. The combination of patterned shapes and angles, as well as elements based on drops and acute-angled ovals are characteristic exclusively of pysankarstvо.","PeriodicalId":33447,"journal":{"name":"Demiurg ideyi tekhnologiyi perspektivi dizainu","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-05-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49480769","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":"Effectiveness of Applying the Personality Typology by Archetypes in Branding","authors":"Dmytro Lynnyk","doi":"10.31866/2617-7951.6.1.2023.279065","DOIUrl":"https://doi.org/10.31866/2617-7951.6.1.2023.279065","url":null,"abstract":"The purpose of the article is to find out the effectiveness of applying the personality typology by archetypes in branding. To study the regularity of communication design according to the dominant archetype of the target audience. Research methodology. The study used the empirical method of describing programs from the literature and the Internet, as well as the method of comparative analysis. In addition, the methodological basis of the article was a review and systematization of empirical material on the results of the conducted activities. Scientific novelty. The analysis of research on archetypes made it possible to understand the peculiarities of consumer behavior and to present their classification according to various criteria. The main factors that influence people’s decision-making were identified. A comparative analysis of current personality classifications was carried out and information about them was systematized. The study reveals and summarizes how knowledge of archetypal typologies influences the choice of design style, as manifested in graphic design and brand communication with the target audience. Conclusion. As a result of the study, we conclude that the use of knowledge about personality typologies by archetypes will systematize and simplify the use of this information by designers and make the approach to target audience profiling more effective. In the future, brand strategists and graphic designers will be able to use the analyzed information when creating and managing brands by analyzing the values and needs of the target audience. The research data will help branding and design professionals to choose the right visual and graphic language, and help designers to create the appropriate visual and graphic style.","PeriodicalId":33447,"journal":{"name":"Demiurg ideyi tekhnologiyi perspektivi dizainu","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-05-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47154467","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":"Mythodesign as a Sociocultural Technology of Designing Modern Myths: Visual Aspect","authors":"S. Bondarenko","doi":"10.31866/2617-7951.6.1.2023.279082","DOIUrl":"https://doi.org/10.31866/2617-7951.6.1.2023.279082","url":null,"abstract":"The purpose of the study is to reveal the role of mythology as a manipulative tool for the creation of social illusions, which form the “picture of the world”. Consider relationships between mythodesign and art, and advertising. Justify that advertising design is an aesthetic facet of mythodesign. Research methodology. The methodological basis of the research is made of the analytical, systematic, and comparative methods, as well as theoretical developments in the field of art history, cultural studies, and psychology. Scientific novelty consists in deepening and expanding aspects of the analysis of design technologies that reflect the dynamics of form formation in the system of different spatiotemporal cultural coordinates. Mythodesign is characterized as multiple interpretations of an informational text in visual forms, where the specificity of the phenomenon lies in the fact that it is based on a matrix-type message, understandable for everyday consciousness, and oriented to its inherent archetypes of world perception. It is considered and theoretically justified that advertising design is an aesthetic component of mythodesign. Conclusions. Mythological consciousness is an integral part of the human worldview. Research of mass culture myth-making gives reason to talk about the great possibilities of mythodesign in creating a virtual “picture of the world” and social illusions in various spheres of life. It is justified that mythodesign creates design models in which objects are transformed into mythological components of almost endless sequences that are synchronized with the same infinity of ideas about the “picture of the world”. The aesthetic facet of mythodesign can be characterized as a creative series of images created by advertising design and perceived by society as a sensory reality. It was found that the objects of the natural environment, “passing” through the visual design objectification, become signs that the consciousness assigns certain meanings. In such a situation, the instrumental potential of mythodesign, which allows visual information to be shaped into aesthetic images, becomes relevant.","PeriodicalId":33447,"journal":{"name":"Demiurg ideyi tekhnologiyi perspektivi dizainu","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-05-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47554299","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":"Modeling in the Fashion System: Trends and Means of Communication","authors":"L. Dykhnych","doi":"10.31866/2617-7951.6.1.2023.279079","DOIUrl":"https://doi.org/10.31866/2617-7951.6.1.2023.279079","url":null,"abstract":"This study has two purposes: to highlight the basic definitions of modeling as a fashion industry component and to analyze the experience of personalization and co-creation of a designer and a clothing demonstrator model. The research methodology. Analytical, comparative, biographical, systematic, historical, and chronological methods have been used in the research, which made it possible to outline the degree of demonstrator models influence on the fashionable clothes representation and consumption and on the fashion aesthetic ideals formation. Methods of observation and generalization have been applied to determine modern development trends and communication means of modeling. The scientific novelty is in the distinguishing of modeling as the fashion system component and an independent direction of the research; in revealing the approaches of prominent foreign and Ukrainian designers regarding model selection and the way of new clothing developments representation; the identification and analysis of communication means of modeling – personification and co-creation of a designer and a clothing demonstrator model. It has been proved that the costume personification with the help of external plastic and personal features and qualities of the model-demonstrator is the prerequisite for the fashionable clothes successful promotion and consumption on the examples of the work experience of Christian Dior and Alla Ilchun, Yves Saint Laurent and Veruschka (Vera Gottliebe Anna Gräfin von Lehndorff) and Catherine Deneuve, Gabrielle Chanel and Marie-Hélène Arnaud, O. Yasynska and the Kyiv House of Models, SOVA Jewelry House and N. Gotsiy, M. Voronin, V. Shvets and S. Chudovsky. Conclusion. Such trends as the ready-to-wear clothes segment development by designers and its availability to a wide target audience; the interculturality and globalization context in the fashionable clothes creation and presentation have been outlined in the fashion system in the period of the late 1940s–1960s. Designers have changed the function of a “live” model from a silent demonstrator with an unknown name to an expressive, meaningful personality who, with the help of professional photo shooting and fashion shows original techniques, became the “face” of a collection or a separate item of clothing. In such context, the personification of the item of clothing and the co-creation of the designer and the model must be considered as the communication means.","PeriodicalId":33447,"journal":{"name":"Demiurg ideyi tekhnologiyi perspektivi dizainu","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-05-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49358524","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":"Motion Design in the Context of Ukrainian Contemporary Media Art: Content and Perspectives","authors":"V. Oliynyk","doi":"10.31866/2617-7951.5.2.2022.266917","DOIUrl":"https://doi.org/10.31866/2617-7951.5.2.2022.266917","url":null,"abstract":"Research aim is to determine the content of motion design as a popular direction of design activity in Ukraine, its role and prospects in the context of modern Ukrainian graphic trends in general, and media art in particular. Research methods. The research methodology is determined by the topic, based on the complex use of methods of generalization, deduction, comparison, forecasting, analogy, as well as chronological and analytical methods. Scientific novelty. This article demonstrates a new look at some concepts within the scope of the study, which are firmly rooted in modern artistic everyday life and thereby caused the need for an objective assessment relevant to current realities. In particular, the offer to expand the classification of motion design products is important: instead of dividing projects into two types (art objects and commercial objects), the allocation of a third group – information objects – is justified. Such classification makes it possible not only to more accurately specify the genres of numerous works of motion graphics but also to formulate the corresponding algorithms for their design, taking into account a new understanding of the content. Furthermore, during the research, it was proved that Ukrainian motion design is currently at a decisive stage, when, on the one hand, it is possible to state the prospect of rapid advancement of this art form thanks to favorable socio-cultural circumstances, and on the other hand, an undeniable problem on this path, which has become as a result of domestic education lagging behind the active dynamics of digital demand. Therefore, it is obvious that the coming decade can direct the vector of development of motion design in our country to a higher level, provided the necessary transformations of the educational system and, of course, economic stabilization after military actions on the Ukrainian territory. Conclusions. Motion design is a specific and effective method of working with graphic content of different quality, which involves the results synthesis of numerous types of other design activities, such as animation, 3D modeling, video design, illustration, etc. In this regard, a motion designer must be a versatile specialist and possess a significant amount of theoretical and practical knowledge, and skills. Unfortunately, in the field of the Ukrainian motion industry, it is currently possible to state a shortage of masters of a similar level. However, the active popularization of this profession and all related aspects deserves praise, which, without a doubt, gives hope for the rapid advancement of motion design. Moreover, for a long period (more than 30 years), we have been observing the powerful dynamics of this art form in the context of media art in our country – growth from elements of production cinema and television to a separate, full-fledged field of digital marketing.","PeriodicalId":33447,"journal":{"name":"Demiurg ideyi tekhnologiyi perspektivi dizainu","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-10-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45854772","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":"Specifics of Design of Healthcare Institutions Interiors in the Conditions of the \"COVID 19\" Pandemic","authors":"N. Semyroz, N. Lopukhova, Daryna Nikulina","doi":"10.31866/2617-7951.5.2.2022.266923","DOIUrl":"https://doi.org/10.31866/2617-7951.5.2.2022.266923","url":null,"abstract":"The purpose of the article is to forecast, determine changes in the methodological basis for creating an interior environment by means of design in conditions of extremely uncertain requirements for the protection of the population from COVID-19. The research methodology involves the use of methods of generalization and systematization of scientific and theoretical information on the design of the environment in the context of the spread of coronavirus infection. The scientific novelty of the study is to clarify the features of interior design of healthcare institutions in the context of protection against coronavirus infections. Conclusions. Ukrainian healthcare sector found itself in an ambivalent state in late 2020, as the coronavirus raged relentlessly across the country, vaccination was developed quite slowly, therefore, being in public institutions, vulnerable population groups needed special safety conditions. Coronavirus-related expenses have already leveled a financial blow to healthcare system. Many hospitals lacked the space and resources to treat Covid-19 patients with severe symptoms, while treating those with mild and asymptomatic patients who could infect healthcare professionals and other patients. During the first wave of the virus pandemic, beds for patients were set up in lobbies, conference rooms and even cafeterias. They were added to the wards and corridors, filling any free space. The pandemic required the flexibility of medical and research institutions and services to overcome current and future crises. \u0000As a result of the conducted research what specific design decisions should be considered when designing medical facilities in a pandemic. The peculiarities of creating safe, adapted, flexible and efficient spaces that support the quality of medical care and are resistant to infections on the example of foreign experience are highlighted. And research the basic regularities of pandemic-resistant healthcare design were identified: versatility, flexibility, aesthetics and harmony, safety and sterility, mobility and innovation. The interior should be focused on reducing the transmission of infectious particles.","PeriodicalId":33447,"journal":{"name":"Demiurg ideyi tekhnologiyi perspektivi dizainu","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-10-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48022945","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":"Resistance Design vs War Design","authors":"Liliana Vezhbovska","doi":"10.31866/2617-7951.5.2.2022.266897","DOIUrl":"https://doi.org/10.31866/2617-7951.5.2.2022.266897","url":null,"abstract":"Today design is becoming a tool of war. Projecting a small section of life or information space, a designer himself is not actually fully realizing that he makes a global impact. He spreads the form, in which human consciousness consumes both industrial and informational product. The armed war launched by the Russian Federation against Ukraine has not yet begun and was prepared in a way that does not directly bring death and destruction. It was prepared by creating a \"parallel reality\" primarily in people’ consciousness through achievements in the field of design with a combination of high technologies including web design, virtual and augmented reality, collage and photomontage. Even those elementary visual formulas that were given by the Bauhaus or the avant-garde, minimalism and deconstructivism were used with the opposite effect and primarily for the manipulation of human consciousness.","PeriodicalId":33447,"journal":{"name":"Demiurg ideyi tekhnologiyi perspektivi dizainu","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-10-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44400254","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":"Sign and Symbolic Systems as Cultural Codes: Recognition and Interaction of Symbols","authors":"T. Bozhko","doi":"10.31866/2617-7951.5.2.2022.266900","DOIUrl":"https://doi.org/10.31866/2617-7951.5.2.2022.266900","url":null,"abstract":"The purpose of the study is to reveal the patterns of pictorial coding and the formation of symbolic images and visual systems based on them in propaganda graphics during the war between russia and Ukraine. Research methods. The methodology of the research is based on semantic and structural art analysis. The scientific novelty of the research is the reflecting of the spectrum of iconic and symbolic images, which represent the accuracy of coding socio-historical events and the clarity of their fixation in visual communications; and also – detection of differentiation of standard and innovative signs and symbols. Conclusions. In the considered poster projects, the most characteristic forms of image-visual coding of information are highlighted; there are established \"traditional\", \"innovative\" and \"situational\" symbolic forms, and the conditions of their interaction to ensure the quality of the communicative process are defined. Thus, the campaign graphics of KNUKiM students reveals appealing to the treasure trove of already established forms of conventional signs-indexes and conventional symbols, as well as its enrichment with new symbols. Violent and rapidly changing social events and the need for their wide discussion in society lead to the formation of both new visual word images and their \"word combinations\" and linguistic interpretations. Simultaneously, visual symbols are updated, containing layers of information that are much larger and more meaningful than the initial interpretation of each individual symbol. At the same time, the combined use of various symbols and the leveling of the unification of visual stylistics lead to unexpected and not always expected by the authors results of the \"decoding\" graphic appeals. In view of the mentioned problem, it is urgent and necessary to focus the attention of scientists on the in-depth and more detailed illumination of symbols and stylistic ways of their display, which are currently being formed and spread in the information environment.","PeriodicalId":33447,"journal":{"name":"Demiurg ideyi tekhnologiyi perspektivi dizainu","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-10-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44582152","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":"Adaptation of the Educational Program \"Drawing and Painting\" under the Martial Law Conditions","authors":"S. Lopukhova","doi":"10.31866/2617-7951.5.2.2022.266902","DOIUrl":"https://doi.org/10.31866/2617-7951.5.2.2022.266902","url":null,"abstract":"The purpose of the article is to substantiate and reveal the innovations of the pedagogical approach to teaching the course \"Drawing and painting\", which became a quick reaction to changes in social reality due to the invasion of the russian federation in Ukraine. To continue the educational process, the educational program was updated and adapted to the extreme conditions of wartime by the author of the article. The article examines the reasons for the updated teaching methodology and the results of innovations. The research methodology. The empirical method and the method of pedagogical experiment, as well as analysis and synthesis, are used in the process of working on the article. The results of the updated method of teaching drawing and painting based on the analysis of social reality and the generalization of psychological advice regarding the behavior and mental health of the civilian population are outlined. The scientific novelty of the study is to record the experience of implementing the program of the course \"Drawing and Painting\", adapted to the conditions of the martial law. The specific connections of psychological and practical problems, which are faced by teachers and students on a large scale today, are considered. The effectiveness of the new structuring of the educational program in the conditions of the fundamental transformation of classes to the online format has been established. Conclusions. Continuation of the educational process during periods of social cataclysms, even such as war, is the duty of both scientific and pedagogical workers and students of higher education. However, the stressful situation forces us to look for new forms of interaction between the teacher and the student. Accordingly, the educational program \"Drawing and painting\" was adjusted – full-scale academic productions were replaced by a set of more independent creative tasks that do not require constant contact of the student with the teacher in the classroom.The aim of the updated online course is to master various means of visual presentation of student’s ideas, to study all stages of work, from the concept of the work to the selection of the composition’s format and the creation of an original and expressive graphic image. The updated course is focused on developing the ability to move beyond stereotypical associations and work with a wide range of images. The conducted pedagogical experiment allows us to assert that the individualized process of performing creative tasks within sufficiently broad thematic boundaries contributes to the development of creative analytical thinking, activates the creative abilities of students and forms an intellectual approach to learning, motivation and professional values.","PeriodicalId":33447,"journal":{"name":"Demiurg ideyi tekhnologiyi perspektivi dizainu","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-10-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46272914","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}