Category Archives: International Alternative

Job at Reuters

Reuters Bucharest bureau is looking for a driven and talented reporter to cover the unpredictable story of Romanian politics and economics. The successful candidate will be enthusiastic about journalism, have a firm grasp of current affairs, plenty of ideas on how to sell local news to international, financially-literate readers and be able to work fast under pressure . The position requires fluent spoken Romanian and English and excellent written English. Regular duties may include monitoring news on television and newspapers, reporting spot news and generating feature ideas and translating between Romanian and English. The position will be focused on Romania but will also have some scope for regional stories and will require some coverage of markets across central and eastern Europe.
Reuters

To apply, please send a cv, accompanied by a brief cover letter explaining why you are the right person for the job, to Sam Cage, bureau chief,  sam.cage@thomsonreuters.com

Source: www.cji.ro

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MADE – Mobility for Digital Arts in Europe (Call for Proposals)

MADE (Mobility for Digital Arts in Europe) launched in London on November 24th 2010 – a co-operation between lead organiser centre des arts d’Enghien-les-Bains (Paris, France) and partners body>data>space (London, UK), Transcultures (Mons, Belgium) and BoDig (Istanbul, Turkey), in the framework of the EU’s Culture programme (2007-2013).

MADEMADE will practically examine and explore forms and models of European digital co-production, using topical case studies, in particular, through the commissioning and production of a live/contemporary digital work (performance and/or installation).

MADE is making an open Call for Proposals, offering a co-production package, inviting professional artists from all EU member (or candidate) countries to submit project ideas for this co-production.

This new Commission will be co-produced by the 4 partners between September 2011 and June 2012, involving 4 two week residencies in each of the European countries involved. Additionally it will examine a variety of forms of onwards distribution methods. The project will be premiered at centre des arts d’Enghien-les-Bains annual festival for digital arts, Bains Numeriques 2012.

For further information and todownload the first stage application form (in English & French) go to: www.bodydataspace.net/projects/made/

Deadline for submissions is Monday 24th January 2011.

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Freedom of Speech at Hamburg Kunstverei (photo report from Dan Perjovschi)

Freedom of Speech at Hamburg Kunstverein will open 17 december at 7 pm. artists include Hans Haacke, Maria eichhorn, Silke Wagner, George Maciunas, Sister Corita Kent, Barbara Kruger, Yossi Lemel, Olaf Metzel, Dan Perjovschi, Bruce Nauman, Mark Wallinger and more.

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The exhibition Freedom of Speech questions and analyses the concept of freedom of speech and the ideological role it plays in Western democracies. Everything revolves around the question: What if only those who say the truth are allowed to speak? What consequences does the freedom of expression have for our society? How and where is this freedom instrumentalized? This controversy manifested itself in the cartoon dispute in 2005, when a right-wing Danish daily newspaper published the so-called “Muhammad cartoons.” The ensuing conflict and the Iranian reaction in the form of a “Holocaust cartoon competition” ignited a public discussion concerning the relationship between rights of freedom?freedom of speech, of opinion, or of the press?and truth. Is it permissible to publish caricatures that knowingly do not correspond to the truth? Which, as in this specific example, reproduce and consolidate racist stereotypes based on purely Western notions and whose truth value can (intentionally) not be tested?

In collaboration with the Duisburg Institute of Linguistic and Social Research (DISS), the truth value of the works are examined by means of critical discourse analysis. This form of analysis developed by DISS on the basis of the theories and writings of Michel Foucault is applied like a foil upon the linguistic and visual levels of the collected media reports and artistic works. That the works of art become objects of analysis is unique in this form, taking account of the fact that they also play an important role in constituting everyday knowledge and therefore also need to be considered. According to Foucault, “modern art reveals the truth in scandalous fashion,” for “art has the ability to give existence a form that breaks with all others, the form of true life.”

The exhibition Freedom of Speech collects examples of media reports (e.g., the “Muhammad caricatures”, or the controversial covers of Hustler, Stern, or Spiegel), historical events (e.g., the Black Power and Free Speech movements in the USA), as well as art works.

Freedom of Speech is a cooperation between Neuer Berliner Kunstverein and Kunstverein Hamburg in collaboration with Duisburg Institute of Linguistic and Social Research (DISS).

Photo: Dan Perjovschi

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Utopia of Exotic at Pavilion Unicredit in Bucharest

The exotic subject, whatever it may be, is first assigned two essential qualities, namely the great distance between the analytical entity and the formal unusual/weird characteristics. But the farther an object is from the analyst, the less worthy it becomes of being examined. The proposition of knowledge is substituted by the proposition of indifference and superficiality of being known. When we talk of nation-states-societies we can easily say that pursuing naively an utopian system of values, one could imagine that exoticism implies a certain type of reciprocity between subject and analyst. Somewhere along the way a vague connection is established between the one being determined and the one that determines. Nonetheless Western society has assumed the role of absolute analyst. Thus, the type of relation towards the apparently exotic space modifies its assessment parameters… Therefore throughout history, exotic space was a locus of social, economic and political experiments, generated by utopian ideas and ideologies. The hypothesis  of potential for non-Western space to transform into a social paradise was  demolished by twentieth-century history through violent and traumatizing arguments. Utopia, whether a concept, an idea, a semblance or a reality can be regarded as such: the exotic can be treated as an utopian subject precisely due to the lack of reciprocity between analyst and subject. In this sense Utopia of Exotic, an inquiry into what the two terms mean nowadays, explores economic, social and political aspects of what Western society considers exotic land or culture, trying to underline the utopian character of the term exotic.” (Extras from the text “Utopia of Exotic” by Andrei Craciun, from the publication with the same title).

Utopia of ExoticDecember 09, 2010 – February 27, 2011

UTOPIA OF EXOTIC

Opening: December 9, 2010, 19:00

Curator: Andrei Craciun

Participants: Kristoffer Ardena (ES/PH), Tania Bruguera (CU), Lado Darakhvelidze (GE / NL), gold extra (A), Hong-An Truong (US), Yoshinori Niwa (JP), Saviana Stanescu (RO/US)

Publication: “Utopia of Exotic” with texts by Anne Alexander, Tania Bruguera, Andrei Craciun, Walter Mignolo, Saviana Stanescu. Edited by PAVILION – journal of politics and culture, English/Romanian, 80 pages, B/W, 14,8 x 21,0 cm, softcover, 4 EURO / 12 RON.

OPENING party & live concert with
HANDSOME FURS & UMA SWAN in CONTROL CLUB
(www.control-club.ro), December 10, 2010, 22.00 hours
The gig is organized by ONEDAY.RO

To be keeped posted you can RSVP on FB at
http://www.facebook.com/event.php?eid=122122791184150&index=1


Image: Kristoffer Ardena, Apparition, sculpture/photography, dimensions variable, 2008. Courtesy of the artist.

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Sage Francis: A Tribute to Micheal Larsen (1981-2010)

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„Last night I dreamt I was sitting with Mikey on a public park bench somewhere. I interrupted him as he was talking to me and said, “You know…people think you’re dead.” A flood of sorrow overtook me. I broke down into tears and said, “I thought you were dead.” I patted him on the back to make sure he was really there. He grinned mischievously but there was also a look of shame–as if to admit that he felt bad for pulling this horrible prank on everybody. He stood up, stepped into a bear costume, and then pressed play on a boombox set to slow-motion so it sounded like a bear growl. When I awoke it took a good 30 seconds before I realized that my sense of relief was a hoax of my mind’s own doing. This is the fourth day in a row that I’ve had to remind myself that Mikey is gone.

People will undoubtedly remember his music but Micheal Larsen was more than the sum of his songs, battles, performances and freestyles. When you consider the depth of the well that these things were all drawn from it almost seems trivial to focus on the byproducts of his fire. It was a fire that kept him seeking, learning, thinking and evolving. A fire that I believe he did his best to understand so he could share it with others. Maybe that fire burned him out. Maybe it didn’t. Maybe that fire is what kept him alive in the first place. Regrettably, I was not in close contact with him in the last few years so all I can do is cling onto memories of the better times we shared together. Before doing so I need to make it clear that I am by no means an authority on the man. Mikey’s friends, family and music partners in his home state of Minnesota obviously have a greater understanding of him as a person and as an artist. I don’t think there’s anything I can say about him that they won’t or haven’t already. In the past five days it has helped me to put all these thoughts into words rather than letting my memory wheel spin out of control.

I first became aware of Eyedea, the emcee, in 1999. He was touted as an absolute protégé among my inner-circle of friends. He didn’t have a release of his own yet but he had appearances on various music compilations. These were recordings of his at the age of 17 or younger. Part of my own identity and pride at this time was based on how much progress I had made as an emcee at a young age but this Eyedea fella essentially squashed all of that. The voice and message in his recordings sounded so mature. I suppose “precocious” could be a good word to describe him but I think I’ll just have to fall back on an overused cliche and say that he was “ahead of his time;” artistically and intellectually.

The next big sign of his impending rise came when he won the 1999 Scribble Jam MC Battle, and that was after he had already won NYC’s Rocksteady battle. These victories put him on a lot of people’s radar and, thankfully, this was during a time when winning a battle could raise a rapper’s cache and notability. This is the same year I won the Superbowl Battle, to much less acclaim, but that’s how Mikey originally discovered who I was. I just didn’t know it yet. At some point in 2000 I performed at a club in Milwaukee on the same bill as Atmosphere which, as a live outfit, consisted of Slug on the mic & DJ Abilities on the turntables. We hit it off and became good acquaintances at that show. I was then graciously invited to be part of their upcoming mini-tour. Eyedea & Abilities performed along with Slug during the Atmosphere set so this is when I first met Eyedea.

To be quite honest, I don’t remember my very first interaction with him. I’m sure it was something along the lines of him saying, “Hey Sage, it’s a pleasure for you to meet me. No really, it is.” Or something overtly arrogant like that. Whether he laughed at his own jokes or delivered them straight faced, there was usually a frenetic energy about him that insisted upon everyone having a good time. That is until the conversation veered into deeper matters at which point his tone transformed into one of the the world weary philosopher. Those moments were good ones and they felt special but mainly his social style consisted of playful jabs, self-congratulatory hyperbole, and funny jokes or stories.

………..

My last personal interaction with him was during our Rock the Bells tour last year. He approached me in his homemade t-shirt and with long, greasy hair dangling over his face. It appeared as if he’d gone deeper down the “no shower” path I was first acquainted with in 2001. I prepared myself to encounter a stranger; to greet someone unfamiliar in a slightly recognizable form. Instead, and much to my relief, old Mikey emanated through. The old jabbing, ribbing, enthusiastic, self-assured, “It’s a pleasure to meet me” Mikey was standing in front of my face calling me by my full Christian name. I suspect he knew how annoyed I was by that name, especially since he did it so often, but I didn’t dare tell him out of fear that it would encourage him to say it even more. We sat down on a couch in the outdoor “green room” where he broke out his acoustic guitar. I looked at him like, “Are you serious right now?” He stared back with that jagged, crazy, gap-toothed smile. He strummed the guitar and sang something under his breath that seemed to waver in and out of key. I chuckled as the crowd of onlookers gathered at the gate. I snapped a photo for the sake of posterity. When we were done with our performances he gave me a t-shirt and his new CD before we went our separate ways. For the last time.

The news of Mikey’s passing shocked me numb„

More about Sage s words, HERE

And somethin to listen: “Embarrassed” – Sage Francis feat. Eyedea & Slug

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Anne Barlow at 5th Bucharest Biennale 2012

The 5th Bucharest Biennale (Bucharest International Biennial for Contemporary Art), generated by PAVILION—journal for politics & culture—is set for 25 May – 22 July 2012, under the curatorship of Anne Barlow (UK/USA).

Anne Barlow, the Curator of Bucharest Biennale 5, will hold a press conference on the 21st of September 2010, at Art in General (79 Walker Street), New York, USA, at 6.00 PM.

bb5The Bucharest Biennale is interested in the link between creative practice and social development, and correspondences between local and global contexts. Now in its fifth year, the Biennale is building a strong partnership between Bucharest—in itself, a symbol of how the political can be reflected in every aspect of life—and Western Europe. The Biennale connects to a universal problem that transcends specific geographical or historical contexts, that of “resistance” in daily life. The Biennale is a structure that is able to transform the city itself into a site of ongoing activity, as well a field of action.

Fundamentally, European culture has been the result of exchange, sometimes peaceful, other times violent, that has taken place between neighbouring societies and different social groups within a given state. These horizontal and vertical forms of cultural exchange occurred in many different manners: through imitation, assimilation, dissimulation, appropriation, through either mutual understanding or hegemonic dominance. The Biennale aims to operate in a way that demonstrates sensitivity and competence in dealing with the “others” as the “alter” from different cultural backgrounds. With BB4 being covered by more than 120 publications and seen by 58,000 visitors, the Biennale is now regarded as one of the most vital biennials in Europe.  By appointing a European-American curator Bucharest Biennale will provide a link the between two cultures in a different way.

Anne Barlow (born in Glasgow, Scotland), the appointed Curator of BB5, is Executive Director of Art in General, New York. After receiving an M. A. in the History of Art at the University of Glasgow, Scotland, Barlow acted as Curator of the Scottish Arts Council Collection of contemporary art (1989-1994) and Curator of Contemporary Art and Design at Glasgow Museums (1994-1999), where she managed a temporary exhibitions program, contemporary art and design collection, artists’ residencies, and new commissions. From 1999-2006, she was Curator of Education and Media Programs at the New Museum, New York, where she oversaw the scope of the museum’s educational and public programs; initiated and developed Museum as Hub, a global network initiative that connected the museum with international contemporary art partners in Cairo, Eindhoven, Mexico City and Seoul; organized inter-disciplinary roundtables with leaders in the fields of the visual arts, architecture, and design; and curated numerous exhibitions and performances. Independently, she also collaborated on the exhibition Copy It, Steal It, Share it at Borusan Art Gallery, Istanbul (2003), and guest-curated film and media projects for Threshold Artspace, Perth, Scotland (2007). Barlow has published for organizations including Liverpool University Press/Tate Gallery Liverpool; the Henry Moore Institute, Leeds, United Kingdom; the Edith Russ House for Media Art, Oldenburg; the New Museum, New York; and Art in General. She was also a lecturer/ guest critic for organizations including the Royal College of Art, London; Centre for Contemporary Art, Warsaw; MUMOK, Vienna; New York University; The Cooper Union for the Advancement of Science and Art, New York; and Tate Modern, London.

The Assistant Curator to Anne Barlow will be Romanian Simina Neagu (b. 1988). Since 2009 Neagu has been working as Assistant Director at Pavilion UniCredit center for contemporary art and culture, and the Pavilion journal for politics and culture and Bucharest Biennale. She studied art history, curating, and art criticism at University of Bucharest and University of Arts, London. She collaborated with institutions such as the Romanian National Museum of Art, the Centre for Visual Introspection and Swedish Travelling Exhibitions. She is a regular contributor to the online platform sfere.ro, and is currently writing her thesis on Eastern European neo-avantgarde and preparing “Caution! Institutional Space!” exhibition.

The co-directors of Bucharest Biennale are Razvan Ion & Eugen Radescu.

Razvan Ion (b. 1970) is a theoretician, curator, cultural manager and political activist. He is the co-editor (with Eugen Radescu), of PAVILION – journal for politics and culture, co-director of BUCHAREST BIENNALE and in 2008 he was appointed director of PAVILION UNICREDIT- center for contemporary art & culture. He has lectured at venues including the University of California, Berkeley; Headlands Center for the Arts, San Francisco, California; Political Science Faculty, Cluj; Art Academy, Timisoara; La Casa Encedida, Madrid; and the Calouste Gulbenkian Foundation, Lisbon.. Ion writes for different magazines and newspapers, and recently curated “Exploring the Return of Repression” at Pavilion, Bucharest and rum46, Aarhus. He is now working on the book project “Exploring the Return of Repression” and his new curatorial project “Smash the Church! Smash the State!” dealing with anarchist and collective activism and social-political movements in art. His next curated exhibition, “Disruptive Monsters: From Representing to Constructing Situations, will be in 2011. From 2010 he will have classes in the University of Bucharest, Romania. Ion lives and works in Bucharest.

Eugen Radescu (b. 1978) is a politologist (specializing in moral relativism and political ethics), cultural manager, curator and theoretician. He is a professor at the Political Science Faculty in Bucharest and Cluj, Romania, and writes for various magazines and newspapers. Among other exhibitions, Radescu curated Bucharest Biennale 1 with the theme “Identity Factories” and “How Innocent Is That?” at Pavilion Bucharest. He is co-editor of PAVILION – journal for politics and culture and co-director of BUCHAREST BIENNALE (with Razvan Ion) and the chairman of the organizational board of PAVILION and BUCHAREST BIENNALE. He has lectured at venues including Art Academy, Timisoara; La Casa Encedida, Madrid; the Calouste Gulbenkian Foundation, Lisbon; and Apex Art, New York. He recently returned from a residency at Apex Art, New York, and published the book “How Innocent is That?” with Revolver Publishing, Berlin. He is also a professor at Political Science Faculty in Cluj, Romania. Radescu lives and works in Bucharest and is currently working on a new book on moral relativism.

The BB5 press conference in New York City is possible with the support of the Romanian Cultural Institute, New York and Art in General, New York.

Bucharest Biennale is generated by Pavilion – journal for politics and culture.


BUCHAREST BIENNALE
Bucharest International Biennial for Contemporary Art
proudly supported by PILSNER URQUELL

Sos. Nicolae Titulescu 1 (Piata Victoriei)
Bucharest 011131 Romania
T: + 4 031 103 4131
E: pavilion@pavilionmagazine.org
www.bucharestbiennale.org


Facebook: www.facebook.com/pavilionjournal

This is a project by PAVILION – journal for politics and culture.
www.pavilionjournal.org


PAVILION, BUCHAREST BIENNALE and PAVILION UNICREDIT are projects devised and founded by Razvan Ion and Eugen Radescu


Proudly sponsored by: Pilsner Urquell
Strategic partner: UniCredit Tiriac Bank
Media partners: 22 Magazine, Afterall, Alternativ, Arhitectura, Cabinet, Cura Magazine, Euromedia, Framework, Kaleidoscope, Metropotam, Modernism, Mute, Oops Media, Open, Radical Philosophy, Springerin, VeiozaArte, Vicious Vitamins, Zile si Nopti.
Official club: Control
Production partner: UpDate Advertising

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Newsletter Wonderland: TYCHO // THE SCIENCE OF PATTERNS

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\\\READ
Format: EP, MP3 Download
Country: US
Released: 2002
Tags: Downtempo, Electronic, IDM, Moog,
More info & tracklisting [click]

Tycho is the music project of San Francisco artist and producer Scott Hansen. As Tycho, Hansen blends swirling melodies into vaguely triumphant arcs that crisscross between stuttering beats and vocal samples, creating rolling sonic landscapes that extend into the horizon. Known in the design world as ISO50, Hansen is famed for his bucolic, sun-drenched design style, which serves as a backdrop and mirror for his musical output. [more]

\\\DISCOVER
+ Dream As A Memory
+ In The End

\\\LISTEN
Download @mediafire.com
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Newsletter Wonderland: Fashion TV/Spring-Summer

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\\\READ
Format: CD, Album
Country: N/A
Released: Around 2001
Tags: Electronica, Downtempo, Big Beat, Trip Hop
More info & tracklisting [link]

Today’s selection comes straight from the dusty archives of wonderland. Fashion TV’s Spring-Summer album is a compilation of tracks which have been featured on TV as a soundtrack to runway shows and other fashionable events and as such provide a mostly a laid back groove in which to enjoy fine women and expensive clothes. I’ve had this compilation for as long as I can remember and I don’t know where I got it but I find it curious that there is absolutely no info on this anywhere on the internet;  I’m guessing it’s either a bootleg or an alternative version of Fashion TV – Spring-Summer 2001[link]. Whatever the case, if it strikes your fancy grab it now as you probably won’t find it anywhere else.

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Call writers on the move

SPACE – Supporting Performing Arts Circulation in Europe, pilot project on artist mobility supported by the special action of the DGEAC in 2008, launches WRITERS ON THE MOVE, the training program addressed to professional writers on performing arts (journalists, trainings, theoreticians), the third and last of the training programs planned in the section of the project for individual professionals.

The call will be open till November 7th 2010.

SPACE

Aims of the training are to question the idea of mobility by investigating the way to look at foreign artworks, to rethink the position of Art Critic today in order to find new ways of thinking and writing about Art for a new public – as a way of »answering through practice«, to improve knowledge about international work in the performing arts and its questions in terms of aesthetics, new forms and genres.

After the successful results of the previous two calls (for arts managers and for programmers), that collected almost 500 applications from all over Europe, we like to spread the information about Writers on the move as much as possible in all the European Countries.

I gently ask you to spread the information in your country or area and, if possible, to publish the call in your websites or/and newsletters; we hope that you can one more time support this effort, in order to achieve the highest number of professionals.

Information also at www.spaceproject.eu

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Artbooth #1

In the beginning there was a cave to hold the artworks. Thereafter, the religious edifices, the museums, the collections, the galleries. It is obviously that our century will imprint its own mark in transforming the framework for art to be shown. The occurrence of modular constructions makes possible to imagine such a framework. In the same way, the spread of various booths to serve the individual, as well as the masses, functioning without any intermediaries and operators.

We transformed this research for a new framework into a practical exercise: the Artbooth. A new functional object, it combines the module and the booth, it makes possible the artworks’ routing, and, therefore, has a constantly new content. It is 24 hours a day accessible to the passerby, for a close and novel relationship with the artwork.

ArtboothWe invite you to look for the 3 Artbooth-s that can be found in Romania, and to follow the routing of 12 artworks created by Adela Bonat, Alexandra Bodea, Andrei Ciurdarescu, Avramut Raluca, Dragos Badita, Eva Buia, Ileana Surducan, Lorena Garoiu, Luiza Puiu, Madalina Lazar, Sorin Oncu, Stefan Pop.

In booths’ history we identify:

, Voting Booth ‘- a small enclosed compartment where a voter may register his vote in private; it may house some voting machine, or just have a pencil for marking a voting slip

, Photo Booth ‘- a vending machine or modern kiosk that contains an automated, usually coin-operated, camera and film processor.

, Phone Booth ‘- booth for using a telephone, without the intervention of a telephone operator, automated coin-operated device.

, Ticket Booth ‘- an automated coin-operated device where tickets of admission are sold.

We would like to introduce the Artbooth to the People:
,Artbooth’ – individualized booth to exhibit the result of an act of art creation / routing art booth.

Artbooth # 1 / Cluj Napoca / Pedestrian pathway in front of St Mihail Roman-Catholic Church, Piata Unirii zone.
Artbooth #2 / Oradea / Contemporary art-space “Visual Kontakt” in Albacului street, next by to Park 22 Decembrie.
Artbooth #3 / Timisoara / Pedestrian pathway in front of Art and Design Faculty from Timisoara, in Cetate.

Monday, 11 octomber 2010, launching the project at Artbooth # 1 / Cluj Napoca site, hours 17.30. You’re Welcome!

Exhibitions are organized by A.E.R. association, with financial support from European Union, through Youth in Action Program, and held over the 2010 -2011 time-period.
We thank our partners and supporters. Special thanks to St Mihail Roman-Catholi Church from Cluj Napoca – Kolozsvári Szent Mihály-templom, Timisoara Cityhall, Art and Design Faculty from Timisoara, “Visual Kontakt” Art Association from Oradea.

Contact:
Luminita Ratiu, organizer, e-mail: letter(at)young-emerging-artists.net, http://www.young-emerging-artists.net.
Alexandra Bodea, coordinator.

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