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Michael Zell's book "Rembrandt, Vermeer, and the Gift in Seventeenth-Century Dutch Art" challenges the prevailing focus on the commercial aspects of Dutch art by exploring the role of art in a gift economy. Zell examines how gift giving and commercial activity were intertwined in the early modern period, using examples from across Europe. The book delves into the significance of art as a gift in the Dutch Republic, analyzing the expectations of honorable reciprocation and the political implications of art gifts. Zell also explores the impact of gift-giving practices on artists like Rembrandt and Vermeer, shedding light on their motivations and interactions within the art world. [Extracted from the article]

The appreciation of art is not solely influenced by the inherent qualities of a work, such as image complexity, but also by external factors related to the observer, such as their visual working memory capacity, which allows for the real-time storage and manipulation of visual information. In this study, we sought to examine the predictive role of both intrinsic and extrinsic factors in aesthetic appreciation of landscape ink paintings. To assess the visual working memory capacity, we utilized the Visual-Object Working Memory task which required participants to sequentially encode, maintain, and determine whether the current visual pattern matched the one presented two trials ago. Following this, participants were presented with pairs of twenty landscape ink paintings and asked to indicate either their preference or perceived complexity for one painting over the other. Additionally, participants rated their aesthetic preference and perceived level of complexity for each painting on 6-point Likert scales. While our sample did not exhibit a bias toward complexity in their evaluation of paintings, we did discover that individuals with a greater visual working memory capacity tend to favor ink paintings with higher image entropy. These results align with the Processing Fluency Theory, suggesting that individuals typically have a more positive reaction to stimuli that are readily and smoothly processed. This research may have implications for the customization of art recommendation algorithms that take into account individual cognitive traits. [ABSTRACT FROM AUTHOR]

The global climate is changing rapidly, with cascading impacts across the world. Even though the modern instrument-based record of Earth observations reflects decades of critical work, multi-century time series may be required to understand and forecast key elements of Earth system dynamics. Here, we review the potential uses of non-traditional climate data records—observations reported without using modern instruments or standardized measurement protocols—to identify climate and ecosystem dynamics that predate modern methodologies and tools. We compile a list of diverse datasets collected over more than 500 years, including landscape paintings, sea lore, and animal migration data. This initial review presents opportunities for further investigation to reconstruct past climate or to use non-traditional records to complement modern instrument methods. [ABSTRACT FROM AUTHOR]

In China, formal school groupings known as 'education collectives' have become one of the most common forms of school-to-school collaboration, promoted by policymakers to narrow the achievement gap between schools and optimise resource allocation. Previous research has focused on the purposes and achievements of education collectives rather than their structural diversity. This article seeks to address this gap by typologising education collectives in China. We map the landscape of education collectives, illuminating how school-to-school collaboration and education collectivisation have been promoted and operationalised in China. To achieve this, we employ the metaphor of traditional Chinese landscape painting as a methodological tool. Through this, we promote a deeper understanding of the cultural and psychological roots of school-to-school collaboration in China. We conceptualise education collectives from three perspectives inspired by the features of landscape painting: power relations, legal status, and external institutional engagement. These three dimensions also illuminate the homogeneity, exclusion and unsustainability that the education collective may encounter in their development process. This typology places education collectives within the broader policy context of Chinese basic education and system reform and offers insights into the diversity of network and partnership structures among inter-school collaborations. [ABSTRACT FROM AUTHOR]

In this paper landscape painting is developed as a mode of enquiry through which to explore the tensions inherent to landscape. Set on the high street in a small market town and undertaken by individuals with varying artistic experience, this methodological experiment explores the tensions between the non-representational and representational realms of landscape. By using Elizabeth Grosz's writings on art, I develop this landscape painting methodology through an understanding of art and artmaking as intensifying sensation. Here, Grosz's ideas become the foundation for a participatory arts method that decentres the human, whilst remaining focused on the presence of pleasure within landscape. It is by drawing together methodological experimentation and feminist theory that I revisit feminist geographies' already existing interest in pleasure in/through landscapes through a more-than-representational lens. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Aesthetic Education / Meiyu Xuekan is the property of Hangzhou Normal University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Abstract In traditional Chinese painting, the genre of landscapes is unique and universally valued. For an untrained person to achieve such results is very difficult, requiring mastery of such things as brushwork, composition, and color. In this paper, we propose HA-GAN to transform sketches into Chinese landscape paintings, a new GAN-based framework that builds upon a hybrid attention generator and a discriminator. To generate more realistic landscape paintings, we have designed a hybrid attention module (HA) containing style attention, spatial attention, and channel attention. The proposed hybrid attention module organically integrates the correlation between channels, the spatial long-distance dependence, and the extraction of image-style features into one module. HA combines the advantages of three attention mechanisms and can extract important features of traditional Chinese landscape paintings from multiple dimensions. This combination approach helps the proposed model to understand the input data more accurately and thus improves the model performance. Moreover, a novel loss function is proposed to guide the training process of the model. The experimental results show the advantages of the proposed method compared to the comparison methods both in terms of quantitative and qualitative evaluation. The proposed method can generate realistic landscape paintings similar to those created by human artists.

This paper explores the impact of Chinese landscape painting on the evolution of Japanese gardening styles, which is seldom mentioned in the development of ancient Japanese gardening. China and Japan have had a cultural exchange dating back to around 600 AD. The development of Zen Buddhism in China, accompanied by the emergence of landscape painting, played a crucial role in the perfect combination of philosophy and aesthetics that characterizes Chinese landscape painting. With the introduction and prevalence of Chinese Zen thought and landscape painting, Japanese classical gardening practices underwent significant transformation. The introduction of Zen Buddhism facilitated the formation and development of traditional Japanese gardens, while gardens became an integral part of Zen culture. Japanese gardens evolved from the Pure Land gardens of the Heian period to the Zen-style pond gardens of the Kamakura period, culminating in the mature form of dry landscape gardens under the influence of Zen thought. Against the backdrop of Zen monks gradually taking the initiative in garden making, Japanese garden forms were imbued with a distinct landscape painting character.

With the development of society, modern design elements are increasingly integrated into traditional garden design, forming a novel style fusion that improves both aesthetics and the sustainability of the social-ecological system. This study explores the application of style transfer algorithms to seamlessly integrate the aesthetics of traditional landscape paintings with virtual scenes of classical private gardens. The effectiveness of the method is verified through a series of experiments using virtual scenes of the Humble Administrator's Garden and various landscape paintings representing different artistic styles. The experimental results demonstrate that the style transfer technique can accurately replicate the aesthetic features of traditional paintings and integrate them into the virtual garden environment. This approach highlights the potential of combining cultural heritage with advanced technological methods, indicating that the technology has great potential to innovate garden design by promoting the synergy between cultural heritage and technological innovation. By promoting the integration of traditional aesthetics and modern design principles, we contribute to the sustainability and richness of the social-ecological system and provide a framework for future digital preservation and restoration applications of urban cultural heritage. The code for implementing TRD-Net is available at https://github.com/huangbei029/Hybrid-Garden-StyleNet-dd/tree/main. [ABSTRACT FROM AUTHOR]

Transit between far-flung islands shaped the life of Hawai'ian-born artist Reuben Tam: from his birthplace, Kauai, to Monhegan, his adopted home in Maine, and back. This essay explores how these archipelagic relations oriented Tam's landscape paintings towards the ocean's geophysical materiality, forging new painterly connections between Pacific and Atlantic worlds. [ABSTRACT FROM AUTHOR]

"Roman Landscapes: Visions of Nature and Myth from Rome and Pompeii" by Jessica Powers and "Shaping Roman Landscape: Ecocritical Approaches to Architecture and Wall Painting in Early Imperial Italy" by Mantha Zarmakoupi explore Roman conceptions of landscape through the lens of ecocriticism. Powers' book delves into the abstract, imagined, and feared aspects of Roman landscapes, while Zarmakoupi's work focuses on the architectural settings of landscape paintings. Both books highlight the interplay between humans, nature, and the divine in Roman art, shedding light on the cultural and environmental influences that shaped Roman landscape depictions." [Extracted from the article]

This paper examines how Chinese people affiliated with different religions and ideologies of the Song period (960–1279 CE) used artistic, literary and visual representations to merge mountains and the natural world with the human body. This fusion of natural and human worlds in representation appears in a variety of contexts, including paintings of famous Song landscape artists, writings of literati thinkers, architectural developments of Neo-Confucian scholars, body charts recorded in the Daoist Canon, and artwork connected to Chinese Buddhism. The paper asserts that Song Chinese people used art and other material objects not only for the purpose of representing the world in which they lived but also as a means of expressing, developing and empowering their religions and ideologies. So powerful were these material representations, in fact, that in certain cases, they may have acted as a primary conduit through which the religion or ideology was experienced. As the paper shows, the interaction between the non-material activity of visualization (how people create images in their minds) and representation (how people create material objects to reify the images in their minds) is often pivotal, as opposed to accessory, to some of the later ideological developments of the Chinese people. [ABSTRACT FROM AUTHOR]

Chests are a significant area of handicraft production. These items, imbued with various meanings in folk culture and acquiring special significance in daily life, serve as a medium reflecting diverse taste. Moreover, they stand out as objects that reveal the enduring common tastes of folk art, accepted through repetition over centuries. Due to being the safest place to store belongings, chests have been preferred by all segments of Ottoman society and found in every household. The word sandık (chest) has entered Turkish from Arabic. These objects, made of various types of wood such as cedar, walnut, ebony, oak, chestnut, juniper, apple, etc. have stood out both in everyday use and on special occasions. Although chests can be grouped in general as goods chests, ammunition chests and dowry chests, it is possible to increase these general groups as the methods of use change. Chests hold a significant place in folk culture, especially as indispensable objects in rituals such as marriage ceremonies. In this regard, dowry chests stand out. These chests are furniture in which dowries are placed and also displayed. The traces of this cultural tradition of carrying the dowry and displaying it, which is still alive in Anatolia, can be found in proverbs, idioms and folk poems (mâni). In the Ottoman world, chests do not appear as items preferred only by rural people but also by the palace elite, as it is evident both through museum collections and written documents. It has been determined through the works in museum collections and written documents that the palace gentry, as well as the countryside, used chests, and their use by the courtiers was also the subject of book illustrations of the period. These illustrations portray the transportation of gifts in chests. Such illustrations are remarkable historical documents proving the use of chests during that period. Chests have been decorated by artists using different techniques and materials. In our study, we primarily focus on examining painted chests. Although we have encountered a significant number of examples during our research, we made a selection among them for analysis. While the selected examples are primarily Anatolian, a piece from the capital city has also been included and examined within the context of folk culture. The place of chests within folk culture has been addressed in various sources. However, except for a few limited examples, unfortunately, painted chests have not been thoroughly studied or no grouping work has been published regarding their themes. As part of our research, many works have been identified at antique shops and auction companies in order to access examples. These painted chests mostly consist of dowry chests. Painted chests are divided into groups based on their decorations. These include geometric motifs, floral motifs, vase arrangements, architectural depictions, landscape paintings and depictions of transportation vehicles. Determining the region and period in which the artworks were produced will form the main framework of the research. However, it is a well-known fact that during the Ottoman era, the decorative art of "bezeme" progressed in parallel across all art forms regardless of the materials used. In this context, we will also examine the common artistic world of artists working with different materials. The paintings on the examined chests within the scope of this study not only reflect the artistic understanding of the period, but also provide insights into both palace and folk art with their common repertoire and shared styles. In the course of the research, similarities have been pointed out in terms of themes and styles between chest paintings and mural paintings. The article examines the illustrated ones thematically and the art world of the period is revealed by comparing them with paintings. [ABSTRACT FROM AUTHOR]

The document "Flemish Art: Past and Present" explores the rich artistic history of Flanders, focusing on the connection between artists and their artwork to the specificity of their Flemish heritage. It delves into the economic prosperity of Flanders during the High Middle Ages, the rise of Antwerp as a mercantile hub in the 16th century, and the transformation of Flanders into a Catholic center in the 17th century. The text also discusses the emergence of Belgian Surrealism in the 1920s and the influence of Pop Art in the 1960s on Flemish artists. The special edition of Arts aims to showcase modern and contemporary artists in Flanders who draw inspiration from the region's storied artistic past. [Extracted from the article]

From 1816 to 1817, Anastácio de Sant'Anna, a pardo (mixed-race) artist and cartographer active in Salvador, Bahia, Brazil, produced the Guia de Caminhantes, a manuscript atlas of Brazil and the Americas. Sant'Anna's Guia is one of the few extant cartographic works produced by a Black artist during the slavery era. Discussing the Guia in English for the first time, this essay positions Sant'Anna's work inside of the emergent subfield of Black Geographies. It argues that Sant'Anna used the Guia to advocate for the place of Black and Indigenous histories in Brazil's nascent, post-colonial national identity, while also interrogating the history of cartography and landscape painting in colonial Brazil. [ABSTRACT FROM AUTHOR]

The relationship between aesthetics and morality has been long debated. The current study manipulated perceived artist morality to systematically explore its influence on aesthetic judgments of paintings. Experiment 1 showed perceived artist morality as indicated by moral appraisal significantly influenced Chinese participants' aesthetic judgments of Chinese landscape paintings. Participants rated their liking and the beauty of paintings, with the result that highly moral artists' paintings were rated significantly higher than paintings of low-morality artists. Experiment 2 used moral behavior descriptions and replicated the finding of perceived artist morality influence on Chinese participants' aesthetic judgments of Chinese landscape paintings, but we did not find this effect on aesthetic judgments of Western landscapes and abstract paintings. Experiment 3 found a cross-cultural discrepancy of the influence of perceived artist morality on aesthetic judgments. We found perceived artist morality influenced Western (Americans and Europeans) participants' aesthetic judgments of all styles of paintings. This study confirmed the influence of perceived artist morality on aesthetic judgments of paintings, and suggested artists who cultivate a highly moral persona can thereby enhance the aesthetic value of their artworks among the public. [ABSTRACT FROM AUTHOR]

Copyright of Arte, Individuo y Sociedad is the property of Universidad Complutense de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article offers an overview of the life and work of the painter-traveler Ferdinand Bellermann (1814-1889), and in particular of his three-year stay in Venezuela, through the testimony he left of this adventure: his travel account, translated into Spanish and published in Caracas in 2007, and his drawings and paintings of tropical nature, mostly preserved in Berlin’s Kupferstichkabinett. A study of his narrative and artistic output shows that wonder remains at the heart of his travel experience, as does the meticulous observation of plants. The joy of discovering new landscapes is often expressed through analogy in discourse, just as tropical landscapes untouched by pictorial representation are often perceived by the artist through the schemas of classical European painting.

"The Picture of a Thousand Miles of Rivers and Mountains" stands as one of China's ten great masterpieces, symbolizing not only the evolution of green landscape painting but also encapsulating a microcosm of ancient Chinese civilization. Handed down through centuries, this painting continues to radiate vibrancy and color, intricately intertwined with its materials, pigments, and binding agents. This article adopts a chemical perspective to meticulously analyze the pigments and binding agents employed in "The Picture of a Thousand Miles of Rivers and Mountains", personifying them as "Brother Graphite", "Aunt Ochre", "Brothers Green and Blue", "Miss Agate", and "Uncle Gelatin", elucidating their distinctive personalities and characteristics. Furthermore, it delves into their chemical components and physical properties, unveiling the magnificent secret behind the creation of "The Picture of a Thousand Miles of Rivers and Mountains" by these remarkable pigments. By provoking contemplation on the amalgamation of classical art and modern technology, this article strives to foster the convergence of art appreciation and technological innovation. [ABSTRACT FROM AUTHOR]

The art of landscape painting involves a coherent chain of development and transformation between individual self-awareness and the construction of a scholar's emotions. These paintings directly explore personal consciousness and expressing personal emotions. The main themes depicted in seasonal landscape paintings are seclusion and travel. The relationship between scholars' self-awareness, landscape painting portrayal and the emergence of literature is explored by analysing the emotional states and life interests inherent in the composition of these two themes of landscape painting. The connection between changes in landscape painting themes and the emotional content carried by scholars, as well as the relationship between seasonal development in landscape paintings and scholars' literary explorations and poetic expressions, is discussed. Consequently, the themes of seclusion and travel contain contemplation of life and aesthetic interests, revealing connections between these themes, scholarly pursuits, and the unity of poetry and painting. [ABSTRACT FROM AUTHOR]

Chinese landscape paintings, realistic landscape photographs, and oil paintings each possess unique artistic characteristics and painting features. Image-to-image translation between these three domains is an extremely challenging task. Existing image-to-image translation networks suffer from deficiencies in preserving content or conveying style, posing difficulties in achieving this task. To address this issue, we propose a novel two-stage multi-domain generative adversarial network approach (TMGAN). We add edge maps as additional guidance input and implement content control to better retain content information. In addition, we design the IOST (In/Out module for Style Transfer) module to better assist the style transfer task. By employing a clever design, we decompose the image translation task into two stages: content extraction and style injection. In the content extraction stage, TMGAN extracts high-resolution edge images from content images. In the style injection stage, TMGAN takes the high-resolution edge image as input and injects the specified style for generation. Notably, we accomplish this two-stage task using only a single multi-domain generator network. Extensive qualitative and quantitative experiments conducted against the baseline model validate the exceptional performance of TMGAN. Furthermore, to facilitate further research, we release MLHQ, a high-quality multi-domain landscape dataset. [ABSTRACT FROM AUTHOR]

With the wide application of deep learning technology in various fields, its potential in artistic creation has gradually attracted attention. This research focuses on the application of deep learning in the creation of traditional Chinese landscape painting and its cultural and aesthetic impact. First, the research comprehensively analyzes the existing deep learning algorithms and the basic elements of Chinese landscape painting to determine the most suitable model architecture. Then, through several rounds of experiments, various training parameters are adjusted and the optimal network configuration is determined. In terms of assessment, the study uses a variety of indicators, including visual quality and technical performance, as well as in-depth cultural and aesthetic analysis. The results show that deep learning not only effectively improves visual quality and technical performance, but also has a positive impact on culture and aesthetics. Although there are some limitations, such as high computational requirements and reliance on large amounts of training data, corresponding solutions are also proposed. This study provides a powerful experimental basis for the integration of Chinese traditional art and modern science and technology, and promotes the research in this field. [ABSTRACT FROM AUTHOR]

This article is concerned with a pressing question of the 21st century: how do we negotiate places with complex colonial pasts? In the Mid North of South Australia, rugged mountain ranges rise up from stony plains. Adnyamathanha-speaking people have lived here and maintained connections to Country for tens of thousands of years. In the late 1920s, artist Hans Heysen travelled to the area known as the Flinders Ranges and stayed at Aroona, an outstation on a pastoral property, painting landscapes of a dry, uninhabited place. At the same time, a memoir of colonial settler J. F. Howard was printed that openly described attempts at dispossession of Aboriginal people for pastoral interests. With a focus on gardens and food in representations of Flinders Ranges landscapes, this article revisits old material with new concerns, arguing that the intersection of environmental and colonial histories offers productive territory for grappling with complex pasts. [ABSTRACT FROM AUTHOR]

This study aimed to explore the experience of painting appreciation through desktop virtual reality (VR) and a heads-up display (HTC Vive) and compare it with those of a physical painting and album. The study included 52 university students who viewed paintings in all four environments and answered a subjective feelings questionnaire. The results show that the physical paintings generated more positive emotions, such as pleasure, relaxation, and calmness, than virtual paintings. Additionally, the physical paintings were perceived and evaluated as more original, attractive, and valuable. Moreover, among the virtual paintings, the landscape paintings were more popular than abstract ones, whereas among the physical paintings, the abstract paintings were preferred. The head-mounted display made the participants feel uncertain about moving in the physical environment, and the transmission line connecting it to the computer limited their movements. Therefore, it is necessary to enhance the quality and ease of interactions in VR environments to make virtual paintings appear as impressive as physical ones. [ABSTRACT FROM AUTHOR]

How to migrate text-to-image models based on pre-trained diffusion models to adapt them to domain generation tasks is a common problem. In particular, the generation task for Chinese landscape paintings with unique characteristics suffers from a scarcity of fine-grained contextual details specific to such artwork. Moreover, the use of substantial amounts of non-landscape painting data during pre-training predisposes the model to be swayed by alternative visual styles, thereby leading to generated images that inadvertently lack the distinctive traits inherent to Chinese paintings. In this paper, we propose a Fine-grained Hierarchical Semantic Adapter for Chinese landscape paintings generation, namely FHS-adapter. The method orchestrates the diffusion process in a batch-wise manner, leveraging external fine-grained multi-perspective information to guide it. It gradually diminishes the influence of other style images embedded in the pre-trained diffusion model, ultimately preserving a greater number of landscape painting elements. The encoder was also replaced with the Taiyi-CLIP encoder, which is adapted for Chinese. We propose T2ICLP, a multimodal dataset containing 10,000 high-quality image-text pairs of Chinese landscape paintings. Unlike previous datasets, this dataset extracts fine-grained textual information from four perspectives, including Meta, Description, Sentiment, Poem. We compared the proposed model with the mainstream diffusion-based T2I models. Through an anonymous user study, our FHS-adapter method performs well in simulating various aspects such as brushwork, e.g.'Gou, Cun, Dian, Ran' means hooking, texturing, dotting, and dyeing, compositional space, elemental proportions, and color usage of different painting genres and artists. Our dataset is available at https://github.com/T2ICLP/t2iclp. [ABSTRACT FROM AUTHOR]

This article proposes an examination of the white woman's positionings within the French postcolonial structures of race and gender in two of Claire Denis's films: Chocolat (1988) and White Material (2009). Using an intersectional frame of reference which combines postcolonial theory, Third World feminism and geography/spatiality, this article demonstrates that these two films unearth structures of power and inequality that situate the white female of the colony not as subjugated by the patriarchal order, as has been argued, but as an agent of imperialism in herself. This analysis shows that Denis's films anchor their aesthetic sensibility and narrative discourse within pictorial and narrative practices specific to, or appropriated by, imperialism, such as mapping, landscape painting and cinema. These films reveal a rhetorical and visual inventory of colonial tropes that ineluctably structure Denis's cinematic Africa as a space which, through racial privilege, the white woman claims as her own. [ABSTRACT FROM AUTHOR]

The purpose of the article is to study the representation of the image of the city of Kyiv in the landscape painting of the outstanding Ukrainian artist S. Shyshko, through the prism of the author's artistic vision and stylistic development. Research methodology. Methods such as analytical and comparative art studies were used in the work, which made it possible to holistically consider the given problem and obtain scientifically based research results. Scientific novelty. The article first analyzes the artist's stylistic features, in particular the combination of realistic traditions with elements of impressionism, which are clearly visible in his works. The main topics, motives and techniques that characterize his creative path and the importance of the artist in the context of the development of Ukrainian art are considered. Conclusions. The article examines the work of the outstanding Ukrainian artist S. Shyshko, one of the leading masters of Ukrainian landscape painting of the 20th century, whose work left a significant mark on the artistic life of Ukraine of that period. The main attention is paid to his contribution to the development of landscape painting, in particular to the depiction of landscapes with views of the city of Kyiv. The importance of S. Shyshko as an artist who made a significant contribution to the development of Ukrainian art, in particular realistic landscape painting, and his influence on subsequent generations of Ukrainian artists is emphasized. The work of S. Shyshko is an important component of Ukrainian art of the 20th century, which clearly reflects the cultural and historical significance of Kyiv. His works, focused on the urban landscape, enrich our perception of Kyiv as a symbol of national identity, as a space that combines history, culture and natural beauty. Through masterful command of light, color and composition, Serhii Shishko was able to convey the multifaceted nature of Kyiv, showing it not only as an architectural or natural object, but as a place where the spiritual and the material are closely intertwined. The artistic image of Kyiv on the canvases of S. Shyshka serves as a kind of bridge between the past and the present, because the artist not only captured the appearance of the city at specific moments, but also conveyed its spirit, its eternal essence, which remains relevant decades later. [ABSTRACT FROM AUTHOR]

Copyright of National Palace Museum Research Quarterly is the property of National Palace Museum and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)