Michaela Davies – A New Musical Masochism
Alon Ilsar plays Airsticks, joined by Del Lumanta playing Lucas Abela’s Mini Duelling Guitars
Ensemble Offspring Performing four world premieres:
Julian Day – Social Systems
Damien Ricketson – Not By Halves
Cor Fuhler – Poisonic Doctors: Mr Noble’s Anacrusic Music & Ms Nightingale’s Pickup Bar
Steffan Ianigro – Elastic Evolution
Robbie Avenaim and Chris Abrahams – SARPS (Semi Automated Robotic Percussion System) + Piano
Paul Heslin – Rubbernecker
The Infosthetic Orchestra – The Great Bitcoin Crash of 2013
Austin Buckett and David Kanaga – David Kanaga’s Oikospiel
7Bit Hero (Solo Set) – The Solo Chiptune Adventure
Exploring the way physical (and psychological) constraint can determine a musical outcome and extend sonic possibilities, the performer’s masochistic compliance sets the stage for a game of calculated and improvised enslavement within a field of masochistic/musical indeterminacy. An environment for structured improvisation is created where the performer’s movements are dictated by electric shocks sent to her muscles, forcing her limbs to move involuntarily. Just as the process of musical indeterminacy, popularised by mid 20th century experimentalists, aimed to free the artist from the shackles of his or her own preferences, during play the masochist desires experiences that exceed the limits of his or her own imagination. The musical masochist’s contract (or score) is enforced physical obligation and discomfort induced by the electrical impulses. A perverse take on Schoenberg’s (1911) claim that “art is born not of ‘I can’ but of ‘I must’”, the work explores the liminal space between didactic execution and free interpretation which is inherent in all musical performance.
Alon Ilsar, accompanied by Lucas Abela’s Mini Duelling Guitars
The AirSticks is a one-of-a-kind gestural electronic drumless kit designed by Mark Havryliv and Alon Ilsar, built using game controller technology, which allows the triggering and manipulation of sounds and visuals in a 3D virtual space. The AirSticks have been played by Alon Ilsar in projects such as The Sticks, Kirin J Callinan, Malarkey and Silent Spring. The AirSticks will be joined in a free improvised duet by Lucas Abela’s Mini Duelling Guitars, also featured in the exhibition.
Julian Day, for Ensemble Offspring
Day’s work has long involved games. It uses verbal instructions, game structures and interpersonal cueing, following the examples of such diverse artists as Christian Wolff, Yoko Ono and John Zorn. Early works such as Games And Variations for toy xylophones and Open Happiness for soft drink bottles feature simple physical and group provocations. Subsequent projects like Heavy Metal for pipe organ, Super Critical Mass for homogeneous ensembles and Studies In Unison use rule- based interaction to foreground relations between players. This performance is drawn from Social Systems, a growing collection of situations for small groups of performers using social and spatial cues to structure their behaviour.
Damien Ricketson, for Ensemble Offspring
Not by Halves continues my interest in the ‘open-form’ in music, that is, music in which there is no single version, but rather a deliberate multitude of possible versions. In the tradition of John Zorn’s ‘game pieces’, Not by Halves is a text-based work: a set of rules that governs the way in which performers cooperate without specifying exactly how they should sound. Scored for any quartet of homogenous instruments and looking more like a flow-chart than a score, the game plays out in two halves (plus a half-time intermezzo), whereby the musicians try to halve prevailing musical structures such as pitch and rhythm that in turn triggers chains of interactions and musical patterns.
Cor Fuhler, for Ensemble Offspring
I started with two ideas that I wanted to morph into one piece. This seemed wrong and I decided to keep them halfway separate and together: 2 short pieces in the form of a mini suite. One ‘ugly’ and one ‘pretty’, La belle et la bête, or in my case: Dr Jekyll and Mr Hyde. The thing however is: the ugly gets more and more pretty and vice versa, so at this moment in time I’m not sure anymore which is which. One piece is based on a slightly masochistic solfege training involving punishment bars and the other piece involves scissors-paper-rock triggering lush combinations of rhumba, mambo, cha-cha, rock and waltz. In the end the question is, “what is beauty and what is it used for?”
Steffan Ianigro, for Ensemble Offspring
Elastic Evolution exists as a web based evolutionary score that can be influenced by anyone at any time during its infinite lifetime. Anyone can log onto the website and collaborate by influencing the musical trajectory of the piece in real time. ‘Elastic Evolution’ will constantly evolve towards what it sees as the most musical outcome for each bar. Users can interact with the score by contributing their own desired musical outcomes. The score will respond to these new musical goals and stretch towards this new musical ideal. Go to www.elasticevolution.com to collaborate and evolve.
Robbie Avenaim and Chris Abrahams
Robbie Avenaim and Chris Abrahams have developed a dialogue on the piano and drums which combines Avenaim’s complex polyrhythmic textures using SARPS (Semi Automated Robotic Percussion System) with Abrahams’ trance-like harmonic variations. They will be performing an improvised iteration of their practice that goes beyond historical approaches to their instruments’ pairing. This live collaboration promises to deliver immersive and engrossing aural oddities.
As an audio-visual performance, Rubbernecker represents several years’ work on the intersection between musique concrète, custom programming and composition. Constructed almost entirely from sounds recorded during a stay in a Parisian apartment, it is an experiment in the malleability of sound and the potential for creating work from mundane everyday sources. These pieces also function as audio self-portraits, the sonic equivalent of faded Polaroids from a summer long past. The integration of re-purposed game controller and televisions add to the domestic feel, while the responsive nature of the visual element brings to mind a malevolent psychic control of household appliances.
The Infosthetic Orchestra
The Great Bitcoin Crash of 2013 is a semi-improvised performance using synthesis and live interaction, interpreting streams of real-life data as sound. The work explores narrative within data, interpretation by our ears. The data is treated as a casual partner in the creative process, structuting interaction between an ensemble, and places meaning in the structure. Do we hear features that we can not see? What does human intervention in the sonification have to offer? Where does composition lie, in the timbre, in the trajectory, in the sculpting of the sonic parameters?
David Kanaga (AV composition), with Austin Buckett (live piano)
Oikospiel is the prelude to a computer game opera. The adventure is set in the near future— California drought, life atop the virtual floating island-cities & silicon workspaces of faceless game developers and other techno-entrepreneurs—water is distributed in 2D planar sheets rather than 3D voluminous flows, and the economics of ‘scarcity’ are said to be a thing of the past. The play’s heroes and avatars are a pack of dogs who are employed by a major startup to produce innovative gamification concepts for research purposes and labor retention, paid in food and a shipping container for shelter from the heat. The theme is the movement of the dogs. The piece will be performed in piano reduction, alongside computer play within the game environment, and optional choral participation from the audience.
The Solo Chiptune Adventure takes the full band experience and brings it down to a magnificent byte size performance that packs punches. 7bit Hero is experimenting with new ways to combine video games, concert visuals and audience interaction. In this show your smartphone will be your joystick, allowing you to control a character in the multi-player game that is projected behind the performance. Your other fellow adventurers are somewhere in the crowd around you, and the band is playing the soundtrack.
Musify+Gamify looks at contemporary perspectives on ‘play’, where musical play and game play coincide, from the 20th century music revolutions in sonic liberation and participation, to the new digital interactive technologies that allow built environments to become dynamic experiences.
Musify+Gamify brings together local and international artists to present and reflect on their relationship to musical and gameplay experiences. At the core of the event are two concerts of
adventurous experimental music by leading Australian artists, including Robbie Avenaim, Chris Abrahams and Ensemble Offspring. An exhibition throughout the foyer of the Seymour Centre presents an international series of game and design works, celebrating the multiplicitous forms that speak to this theme.
Exhibition: Launch 26th May, runs 27th May – June 6th
DarwinTunes (Survival of the Funkiest) is a multi-player music evolution and breeding game. Sign in and choose two four-bar tunes from the current population. They will mate and produce offspring. Then choose one of these offspring to represent you in the population. If others choose your tune for breeding you get a point. Gain enough points and become famous on the leader board … or simply enjoy the opportunity to create and explore endlessly weird and wonderful rhythms, melodies and soundscapes.
Mini Duelling Guitars is the latest in a series of pinball/instrument hybrids created to make sound generation, not scoring, the game’s main objective. The work continues from previous instalments Pinball Pianola (2012), Balls for Cthulhu (2013) and Gamelan Wizard (2015), but scales it down into a child sized dual guitar machine that generates guitar noise feedback music without any need for Thurston Moore or his bungling cronies. Lucas built the work after observing the reaction of children to his previous efforts and thought they deserved their very own machine. Besides the size, there is nothing childish about this machine. It may be pint sized, but sound-wise it still packs a wallop.
Stephen Barrass + Linda Davy
Patsy is designer pet furniture that provides both physical and emotional support. Poufdoodles have playful personalities and musical chairs is a favourite game, plus they are verbally expressive and love to yowl along to Karaoke. Cross breeding a poodle to create a ‘doodle’ provides the benefits of a non-shedding coat that reduces allergies. However the outcome of cross breeding is not guaranteed in terms of the characteristics that will appear. It is important to keep in mind that when selecting your doodle you should research both sides of the mix to consider the personality and physical traits that may be passed on. Like all such purchases it is also important to research the breeder and know where your doodle is coming from, and taking into consideration potential adoption or re-homing is also a good idea.
A distorted realisation of a classic children’s clapping game, Down Down Baby explores musical exchange through oral and kinetic practices in a dialogue between the sexes, embodied in female experience. The visually deprived and aurally obstructed performers echo the complexities of human connection that develop in adulthood, and the physical disconnection created with the introduction of technology in games.
When we stand or walk our bodies are in a constant “game” of cheating gravity to remain standing or moving. This shifting of weight, when measured by sensored surfaces and captured as digital data, reveals subtle but wonderful patterns and rhythms that we feel is ripe for musification. The Jamming Gravity installation focuses on the body’s capacity to regulate balance through moving by musifying these movements. The sounds are ambient in quality to encourage reflection and attention on the subtlety of movement. This ain’t no disco dance floor!!
Ed Key and David Kanaga
Proteus is a game about exploration and immersion in a dream-like island world where the soundtrack to your play is created by your surroundings. Played in first- person, the primary means of interaction is simply your presence in the world and how you observe it. Described by one reviewer as “delightfully devoid of explanation”, Proteus has been critically acclaimed, winning Best Audio in the 2011 Indiecade awards and a nomination for the 2012 Independent Games Festival’s Nuovo Award.
Daniel Jones and James Bulley
Living Symphonies is a musical composition that grows in the same way as a forest ecosystem. Portraying the thriving activity of the forest’s wildlife, plants and atmospheric conditions, it creates an ever-changing symphony heard amongst the forest itself.
Composed and realised by James Bulley and Daniel Jones, Living Symphonies took place across four of England’s forests over summer 2014. It was produced by Forestry Commission England and Sound And Music, with support from Arts Council England.
Shawn McGrath and David Kanaga
Dyad is a mind-bending, psychedelic sensory overload. Blast through a reactive audio-visual tube creating a harmonious synthesis of colour and sound. Of it, reviewer DigitalChumps says, “I’m struggling not to fall prey to some sort of hyperbolic nonsense when describing the rush of exhilaration that takes over upon a successful run in Dyad.”
Papa Sangre II is the sequel to Papa Sangre, a horror-themed audio game developed by Somethin’ Else, described as a “video game with no video”—its environment is rendered exclusively in sound. Papa Sangre won ‘Most Innovative Game’ at Mobile Gaming Awards in 2011.
The game begins thus: “If you are reading this, you are already dead. There is no App Store, there is no iPhone and there is no game called Papa Sangre. They are all lies. Do not trust your eyes, they deceive you. To get back to the other side you must follow your instincts and fight for your life.”
Volkswagen UK / Underworld / Tribal Worldwide / Reactify
The Play the Road app reads how and where you drive, translating it into music live.It requests speed and RPM information from a Volkswagen GTI’s on-board computer. Steering, acceleration and location data is calculated from a combination of the iPhone’s accelerometer, gyroscope and GPS receiver. All the data is filtered, smoothed and analysed before the musical programming language PD (Pure Data) translates it into a track, created by you the driver, and Underworld the band, live. So you create unique music with your drive in real time. Driving Music reinvented.
Ever wondered what music would sound like if your iPhone was able to breed with the iPhone of the person sitting next to you? How about a whole room full of people? Andrew invites you to lend your musical taste to create an entirely unique experiment in collaborative composition.
The Futile Research Lab
Bowls continues a body of work that explores how sound and music can be integrated into tangible objects, through ubiquitous computing technologies, embellishing the world with an embedded and adaptive soundtrack. A surreal game of bowls becomes the interface to an electronic score that brings out the ritual and attention-focusing nature of gameplay as a collaborative performance. Through ubiquitous computing the bowls themselves become performatively enhanced. The introduction of music provides an accompaniment to the game, a new way to channel information about the game, and a new level on which to experience the game, even offering a different aesthetic purpose to the experience.
Collaborators: Ollie Bown, Sam Ferguson, Lian Loke, Andrej Prijic
Lucas Abela is a sound installation artist, or more accurately, an instrument builder who creates participatory situations for musical play. His practice evolved from within the international noise music underground where he is best known for turning discarded sheets of glass into crude musical instruments. Now after a 20+ year performance career his ideas have morphed into sound installation, building instruments devised to switch roles between audience and performer in line with his philosophy that experimental music is more rewarding to play than to watch.
Robbie Avenaim is a percussionist and composer whose practice combines traditional and extended techniques with physical modification of the drums. Recent modifications have included the invention and application of motorised percussive mechanisms, namely SARPS (Semi Automated Robotic Percussion System) and its latest development SARPS 2.0. The design of new instruments is an integral part of Avenaim’s improvisatory and compositional processes in providing access to a greater vocabulary of sounds as well as expanding the role of percussion in experimental and contemporary classical music. His kinetic sound installations have been featured at numerous galleries and festivals around the world.
Chris Abrahams is widely recognised as one of Australia’s top keyboard players. He has appeared in bands such as the Benders, the Sparklers, and The Necks. The latter, with Tony Buck and Lloyd Swanton, is widely recognised as one of the great cult bands of Australia. He has also been a session musician on albums for artists such as The Church,The Whitlams, and Midnight Oil. In addition, he is an accomplished solo pianist, and a leading light of Sydney’s lively improvised music scene.
Stephen Barrass is a digital designer and media artist. Linda Davy is a furniture designer and ceramic artist. They seek out the unexpected where digital design and media art are crossed with craft and traditional fine arts. They collaborated in the creation of ZiZi the Affectionate Couch, which has been curated for many international exhibitions from 2003- 2009, and which now resides in the collection of the Museum of Old and New Art. Other works in this series of pet furniture and fashion include Pouffy the Breathing Pouf shown at Ambience Technology Arts in Sweden in 2011 and Fauxy the Fake Fur with Feelings, shown at Touch Too at UTS. Last year they collaborated on 22C which is a Ceramic vessel that stores warmth using a Phase Change Material.
Andrew Bluff is a new media interaction artist blending software engineering, sound design and interactive technology. His work explores the link between sound, vision and physical movement. Currently undertaking doctoral studies at the Creativity and Cognition Studios at UTS, Andrew is using simulations of physical phenomena and granular synthesis to augment live performance with interactive sound and graphics in 3D.
Austin Buckett is an Australian artist working in mediums that explore the perception of audible and visual materials through repetition, space, and durational frameworks. These mediums include works for various concert settings, audio-visual installations and the production of conceptually focused studio albums.
“There is something wildly original in the way that Buckett builds portentousness out of such sparsity … The effect is electrifying” — John Shand, Sydney Morning Herald.
Michaela Davies’ cross-disciplinary practice is informed by an interest in the role of psychological and physical agency in creative processes and performance, and how obstruction and involuntary responses can influence outcomes both in and beyond the context of musical performance. Her recent projects use electric muscle stimulation and other methods to both constrain and extend human capabilities in performance. Davies holds a Doctorate in Psychology from the University of Sydney, and was recently awarded a Creative Australia Fellowship from the Australia Council for the Arts. She has presented work internationally and throughout Australia, including Experimental Intermedia (New York), ISEA13 (Sydney), Mona Foma Festival (Hobart), Museum of Contemporary Art (Australia), Institute for Cultural Enquiry (Berlin), and Sonica festival (UK).
Julian Day is an artist, composer and writer/broadcaster. His artwork fuses his backgrounds in composition and visual art, encompassing installation, video, performance and recording. He seeks to understand proximity, territory and agency: the distance between subjects, the dissonance of interpersonal boundaries and the means of articulating different spaces. He typically uses homogeneous sound to capture human and atmospheric turbulence within environments such as galleries, parklands and homes, engendering temporary communities who interact using game rules and social structures. Day has presented work at Whitechapel Gallery, MASS MoCA, National Portrait Gallery London, Museum of Contemporary Art, Institute of Modern Art, Café Oto and Sydney Opera House.
Ensemble Offspring is a dynamic group dedicated to innovative new music. Driven by open- mindedness, Ensemble Offspring’s activities promote diverse and emerging music practices that expose audiences to new ways of experiencing sound. The group embraces a broad and progressive repertoire from seminal chamber works of the past 50 years to improvisation and interdisciplinary productions. Dedicated to a living classical music tradition, Ensemble Offspring has premiered more than 100 new works and will celebrate its 20th birthday this year.
Lamorna Nightingale (flute), Paul Cutlan & Jason Noble (clarinets), Jeremy Rose (saxophone) and Cornelis Fuhler (keyboard & rhythm box).
Frank Feltham is a designer and educator with an interest in the agency of the moving body as a means to express with interactive and sound responsive digital technologies. His recent projects include: The Sonic Blocks, a physical to digital interface for children’s collaborative sound sequencing and composing; and The Musical Staircase, an arrangement of tone generating interactive pads fitted to a public staircase to encourage its use over automated means such as escalators and lifts. Frank’s work has been commissioned, exhibited and published nationally.
Cor Fuhler has been called many things: a maverick, a chameleon, a tinkerer, innovator and even traditionalist. However, above all, he simply thinks of himself as an improvising musician and organiser of sounds, ideas and combinations of people. His own groups include Corkestra, the Cortet and Fuhler/Bennink/ de Joode, and he has performed with the eclectic rock/improv group Palinckx, electronics duo the Flirts, Otomo Yoshihide’s ONJO and the (in)famous electronic orchestra MIMEO.
He has recorded for labels such as Erstwhile, Potlatch, Leo and BTL, has written contemporary pieces for chamber music ensembles such as MAE, the Nieuw Ensemble, and Insomnio, has performed at events including Vancouver Int Jazz festival, Montreal Int Jazz Fest, Victoriaville, the North Sea Jazz festival, Umbrella Music festival Chicago, and Konfrontationen Nickelsdorf, and has played with artists including Han Bennink, Jim O’Rourke, Louis Moholo, John Zorn, Roswell Rudd, George Lewis, Evan Parker and John Tilbury. Cor is also
a member of the Doek foundation and co-organizes the annual Doek festival.
The Futile Research Lab is Ollie Bown, Lian Loke and Sam Ferguson, exploring the possibilities of creative technologies for interactive experiences through wearable and portable computing. Their Distributed Interactive Audio Devices (DIADs) have been presented at the NIME conference in 2014 in London, and ISEA 2015 in Vancouver, and are presented here as a musical game of bowls. FRL collaborators include Dagmar Reinhardt, Celeste Ranooja and Andrej Prijic.
Paul Heslin is a Canberra-based composer/producer/whatever and a graduate of the Centre of New Media Art at the Australian National University. He has performed regularly nationally and overseas, most notably at Electrofringe, Sound Out and the Australasian Computer Music Conference. A recent collaboration with emerging US composer Derek Piotr (released on forward thinking Sydney label Wood & Wire) was described by Wake The Deaf as “experimentalism at its very best, not just a bit left field, but a genuine collection of aural experiments, each exploring a different phonic language and syntax”. His current live performance, entitled Rubbernecker, encompasses several years working only with self recorded sound, hacked televisions and game controllers, molded and manipulated into visceral and emotive blasts of subverted suburban ennui.
Steffan Ianigro is currently a PhD candidate at the University of Sydney’s Design Lab. Steffan’s research revolves around musical applications of evolutionary algorithms and collaborative music making. Steffan has written works and performed in a variety of events, such as Ensemble Offspring’s The Listening Museum; a collaboration with the Ampere Quartet as part of the New Wave program for Vivid 2013; a performance in the Tin Shed Spots series supporting German artist Schneider TM and a performance in The Silent Hour series supporting Japanese artist Marihiko Hara.
Alon Ilsar is a drummer, composer, sound designer and instrument designer. He is currently designing a new interface for electronic percussionists called the AirSticks, using the instrument in projects such as The Sticks, Silent Spring, Malarkey, Kirin J Callinan and Brian Campeau. He has also been heavily involved in theatre and film as a drummer, composer and sound designer. His diverse projects include Keating! the Musical, Eddie Perfect, Meow Meow, Tim Minchin, Circus Monoxide, Zohar’s Nigun, Aronas, Captain Kirkwood, The Colors Tribute Band, Gauche, Trigger Happy and Darth Vegas. Most recently he underscored the STC production of Mojo on solo drum kit.
The Infosthetic Orchestra is a Sydney-based cohort of improvising musicians and video artists working across software, analogue electronics and acoustic instrumental performance. Their performances are structured by a thematic data stream delivered by conductor James Nichols. The Infosthetic Orchestra is James Nichols (data conductor, data visualisation), Gail Priest (data-driven computer), Tom Smith (data-driven synth), Alexander Whillas (data-driven computer), Ollie Bown (data-driven computer), Laura Altman (data-driven clarinet), Pia van Gelder (data-driven modular synth).
David Kanaga is a composer and game designer based in Oakland, CA. He has worked on a variety of games including Proteus (with Ed Key, 2013), Dyad (with Shawn McGrath, 2012) and is currently wrapping up Panoramical (with Fernando Ramallo & friends, 2015).
Bob MacCallum is a bioinformatician at Imperial College London working on mosquito genomics in the VigiLab group. He has combined his interests in music, evolution and computing to develop the DarwinTunes project in his spare time, with fellow collaborators Armand Leroi, Matthias Mauch, Steve Welburn and Carl Bussey.
The music of Damien Ricketson explores the poetics of incomplete knowledge and is characterised by exotic sound- worlds and novel forms. Damien studied with renowned Dutch composer Louis Andriessen and received a doctorate from the Sydney Conservatorium where he currently lectures in composition. Damien is the Co Artistic Director of Ensemble Offspring, a unique company dedicated to innovative new music, and through whom much of his music has been performed. Major projects have included Fractured Again, a multimedia production that featured in the Sydney Festival and toured to China, and The Secret Noise, a music-dance production premiered at the Sydney Town Hall in 2014.
Hans van Vliet is a Brisbane-based electronic musician and founder of 7bit Hero. Emerging from the demoscene, Hans has since established himself as a synth and beat craftsman who hand-draws his own waveforms. The music combines chiptune samples, old-school gaming, as well as live instruments to create an aural bit-pop feast.
7bit Hero created a song for Queensland Health which is approaching 200k views on YouTube. They were heavily featured by HP in both their Future Creators and Bend the Rules campaigns. 7bit Hero have played at PAX AUS, EB Games Expo, Festival of Voices & QUT’s robot festival, Robotronica. Their song Come on. Stand out was nominated at the Q Music awards for best pop song.
Living Symphonies was developed and composed by Daniel Jones and James Bulley.
Play the Road was developed by Volkswagen UK / Underworld / Tribal Worldwide / Reactify. Dyad was developed by Shawn McGrath and David Kanaga.
Proteus was developed by Ed Key and David Kanaga.
Papa Sangre II was developed by Somethin’ Else.
Ollie Bown is a researcher and maker working with creative technologies. He comes from a highly diverse academic background spanning social anthropology, evolutionary and adaptive systems, music informatics and interaction design, with a parallel career in electronic music and digital art spanning over 15 years. He is interested in how artists, designers and musicians can use advanced computing technologies to produce complex creative works. His current active research areas include media multiplicities, musical metacreation, the theories and methodologies of computational creativity, new interfaces for musical expression, and multi-agent models of social creativity. He is a Postdoctoral Fellow in the Design Lab, Faculty of Architecture, Design and Planning, University of Sydney.
Lian Loke is an interaction design researcher and performance artist, who places the lived body at the core of inquiry into contemporary issues and emerging technologies. Her research and creative practice is interdisciplinary and spans the arts, design and human-computer interaction. She has an established research program of working with somatic practitioners and dancers to inform the design and human experience of body-focused interactive systems, where sound is used to foster creativity and support the kinasthetic aspects of varied movement practices. She collaborates on and performs dance works with de Quincey Co, Pork Collective, The Conductors and Living Room Theatre Company. She is a Senior Lecturer in the Design Lab, Faculty of Architecture, Design and Planning, University of Sydney.
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