Feb 21

Arts on Prescription | News | Edge Hill University

Art can provide a therapeutic environment for mental health patients according to a leading academic who will present his research at an Edge Hill University event.
Dr Theodore Stickley, Associate Professor of Faculty of Medicine and Health Sciences at the University of Nottingham, will be at the Ormskirk campus on Thursday 8th March to for the last in a series of guest lectures on the theme of ‘mental health’.
In his talk Mental Health and the Arts: Arts on Prescription, he will focus on the findings of his study on the non-drug based alternative intervention for people experiencing mild to moderate depression and anxiety. Clients are offered a series of arts workshops with expert tuition from practising artists, as well as mental health support from therapists or counsellors.
Dr Stickley will discuss the outcome of his investigations which outline the experiences of people who have engaged with the programme as a way of using the arts to promote mental well-being.
He said: “People experience Arts on Prescription as a creative and therapeutic environment. It is considered a safe place, where people can be creative with others who have shared similar experiences. The social, psychological and occupational benefits are not easily separated, but by feeling accepted and amongst people with similar experiences, individuals gain a sense of social belonging. A number of participants have also found new opportunities for the future. In conclusion community-based arts groups that are professionally facilitated may provide a therapeutic environment for participants.”
Having trained as a mental health nurse and a counsellor, Dr Stickley studied mental health social inclusion and community arts for his PhD. He continues to specialise in arts and health research. He is also a non-executive director for City Arts (Nottingham) Ltd and leads on the innovative Art in Mind programme, promoting mental health through community arts. In 2008 he led on the development and delivery of Open to All, a training project for museums and galleries for the National Social Inclusion Programme. Dr Stickley has more than 80 publications, a number of which relate to the arts and health research.
Mairi Byrne, Head of Mental Health, Learning Disabilities and Social Care at Edge Hill University, said: “This is the last in what has been a very thought-provoking and inspiring series of guest lectures on mental health issues.  All of our guest speakers have done a brilliant job to present some of the issues currently challenging health and social care providers within the current political and economic climate. Dr Stickley’s research around Arts on Prescription is very interesting and I’m sure health and social care providers, service users, carers and students will find it very useful.”
To book your free place, go to: surveys.edgehill.ac.uk/mhlecturereg or telephone 01695 650715. Registration is 6pm and the lecture starts at 6.30pm with refreshments afterwards.

The rest is here: Arts on Prescription | News | Edge Hill University

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Feb 21

How Liberal are our “Liberal Arts?” | IgnitumToday

Posted by Ryan Kraeger on Feb 20, 2012 in Featured | 0 comments

One of the catchphrases thrown around by Catholic higher education is the phrase, “Catholic liberal arts education.” Most of these Catholic Liberal Arts institutions do a good job explaining exactly what they mean by it, but to the target audience the phrase has the same effect as any other catch phrase in advertising. It causes knee-jerk reactions. People either think of their kids spending four years studying moldy old philosophers and reading through books that haven’t been popular since, like, the dark ages, man. Then they go out and starve to death in the “real world.” Or they envision John Paul Augustine and Mary Ann Philomena in sweaters, skirts and slacks (I’ll leave you to sort out the respective wardrobes in your own imaginations) worshipping in a brick chapel with faces full of profound and youthful devotion. Priesthood, Religious life, or parents of a large family; those are the options. Lawyer, Doctor, Accountant, etc. all of that can take care of itself later.
Now, there is a great deal of truth to both points of view. It is quite true that no one gets hired to a high-profile, high-paying job (which is the only kind we Americans seem to be interested in) solely on the basis of a BA in Liberal arts. It is also true that a highly specialized career, for instance becoming a surgeon, requires so much specialized training that it renders a four year liberal arts degree a waste, simply by virtue of the time it takes. On the other hand if you have a supernatural view of the meaning of life (kind of a given if you’re a Catholic) it only makes sense to be more concerned about your vocation from God than the particular way you plan on paying the bills.
But neither really seems to get at the issue: What are the liberal arts?
First of all, the liberal arts are not the opposite of the conservative arts. The phrase “liberal arts” comes from the Latin “artes liberales” which were the three arts considered an essential part of a freeman’s education. In order to be considered a citizen of Rome, you were expected to have a firm grasp of logic, grammar, and rhetoric. In the middle ages mathematics, geometry, music and astronomy were added. Nowadays it is pretty much a catch-all phrase for any degree program or course of study focusing heavily on the humanities without a specific occupational application. Which definition brings us well away from the roots of the phrase. This is unfortunate. The idea of liberal arts is rooted in freedom. It is ironic that in the classical world general knowledge and education of the whole person was the mark of a freeman, while specific, focused training was considered fit only for slaves. Originally liberal education was rooted in the idea of civic freedom, the citizen doing his duty to the city, which I should think still has broad application to the modern world. It is in the best interest of any authentic democracy or republic to have a citizenry of well-educated people who can speak correctly, logically and convincingly of whatever they are most passionate about. We might call this humanist liberal arts, or civic liberal arts for those who don’t like the “humanist label.
Catholic Liberal Arts takes this one step further. In addition to the civic liberty of the citizen of a free nation, we add the concept of the authentic freedom of the human person. The knowledge that each and every human person is uniquely willed in an eternal thought of the Blessed Trinity is a radical notion which should completely reshape how we educate. Under this new light (new for the last 2,000 years) we see that the individual takes precedence over the State, for the simple reason than the State will only be around for a few centuries or so, while the person is destined to last forever. In that light the waggish quote at the beginning of this blog can be seen as not being too far from the truth. The freedom of Catholic Liberal Arts includes the freedom to value this world and its goods at their proper worth, that is, as passing things. Nice to have, but we ought to be prepared to do without them.
But true freedom goes deeper than that. Freedom is not the full end of human existence. Jesus Himself teaches us, “Take my yoke upon you and learn from me, for I am meek and humble of heart.” Even Jesus “learned obedience.” The deepest call of the human person is not to the lonely self-sufficiency of our modern individualistic vision of freedom. In the end, the only freedom that matters is the freedom to surrender our freedom. Or to put it another way, until our free wills are freely united with God in their totality, they are not free.
The catch is that this is something that only the individual can do. My will is the only will that can surrender that will to God. This leads me to my biggest critique of the more conservative forms of Catholic education, namely that they do not have this freedom in mind. I am thinking of one Catholic College in particular, where the staff and faculty are, I think, overly concerned with enforcing “Catholic Standards.” Whether or not the standards are, in fact, Catholic or even sensible is neither here nor there. My point is that this, in essence, turns the school into an extension of the students’ parents, primarily trying to make sure their children behave a certain way. Correct behavior, conforming to an external norm, becomes the sole criterion of Catholic identity, for the simple reason that it is the only criteria we are able to see.
This enforcement of standards is perfectly appropriate for children. College students are not children. In their late teens and early twenties, these are, or ought to be, young men and women. In a society of adults there should be no place for supervision. Faculty ought to be leaders, mentors, counselors, companions on the journey of learning, guides even, but never supervisors.
I have no experience going to college. I know several Catholic college alumni, and have spent a great deal of time in a Catholic college town, but I have never been to college myself. What I do have experience with is leading young men. It has been my experience that the more rules you enforce, the less they abide by those rules. I have seen firsthand what greatness young men are capable of under the right circumstances, and I have also seen how catastrophically they can fail. All of my leadership experience has led me to believe that young people, and people in general, can never be pushed to their full potential. You must simply let them go. Give them your perspective (which ought to be broader, if you have the benefit of experience) and then let them make their own choices. Then let them face the consequences of those choices to some extent.
In Afghanistan I was the junior squad leader in the platoon. The other two squad leaders, both Staff Sergeants while I was only a Sergeant, sat down and parceled out the men while I was not around, and I got all the “undesirables”.One in particular was a whiny, loud mouthed, disrespectful, absent-minded private I’ll call JP. He acted like he was two years old, even though we were the same age. He continued to act like that until I put him in charge of driving the buffalo, which was my vehicle. Suddenly made responsible for the maintenance and operation of a million dollar, 25 ton vehicle he began to show initiative. The other quad leaders thought I was crazy (so did I, sometimes) for letting him drive in that monstrous vehicle up and down narrow, treacherous mountain passes. There have been times I have looked down from my window and the nearest piece of ground I could see was two or three hundred feet below me. But I made a choice not to criticize his driving or try to backseat drive him. I was literally trusting him with my life, and he rose to the level of that trust. He became one of the finest soldiers I ever worked with, and is now a sergeant himself.
That encompasses some of what I am trying to say with regards to liberal arts. It is only if teachers, professors and mentors give their charges the freedom to fail, and even to fail spectacularly and with life shattering consequences, that they will have any real freedom to grow, to succeed, and to change the world.
Isn’t that what God does for us?

Read the original post: How Liberal are our “Liberal Arts?” | IgnitumToday

Feb 21

Arts professionals wanted for networking event | actorscentrenorth.org

Blank Media Collective have been working with Full Circle Arts on their Young Artist Development Programme, a twelve month artist development opportunity for a group of ten 18 to 30 year olds wanting to progress in either arts participation, education, training, or a career in the arts.

Blank Media have hosted four development sessions for the group and will host two further sessions on Saturday 11th February and Saturday 10th March.

We shall be hosting a Networking event on Saturday 10th March, 11am to 3:30pm in Manchester. The venue is to be confirmed. We are writing to you as we believe you may be interested in playing a supportive role in the development of young artists.

We are welcoming arts professionals to attend our event, to share their career journeys, experience, opportunities, organisations and networks with the group.

We would be particularly interested in hearing from experienced creative practitioners working in the following specialities who could deliver a twelve minute presentation as well as provide information, advice and guidance when networking with the group throughout the remainder of the day.

Music professional, with experience of performance, song writing and music facilitation

Crafts/jewellery designer/maker, in business

Photographer and Visual Artist producing work for exhibition.

Drama and Dance practitioner, ideally with experience of facilitating

Person or people who have gone through the process of setting up their own creative company, ideally running projects/events. Who could provide funding advice and information on building the foundations of a business.

Writer or a producing organisation familiar with receiving scripts, providing critique and supporting the production of new work in comedy, radio or theatre.

We will select presenters based on experience, ideas for presentation and the needs of the group on the Young Artist Development Programme. Full Circle Arts can offer a small gratitude fee of £60 to those who are selected to present and available for the day.

If you are an arts organisation or artist and not available or selected to present on the day but would still like to attend the second part of the day to share information during networking, we would be very pleased to hear from you. Also if you have any further attendees who you think our Young Artists group might benefit from speaking to informally on the day then please let us know.

In the first instance please respond to vicki@fullcirclearts.co.uk and john@blankmediacollective.org to express your interest. If you could get back in touch initially by next Wednesday 22nd February 2012.

You can read about the Young Artist Development Programme amongst the posts from FCA here:

Go back to: News & Events

Originally posted here: Arts professionals wanted for networking event | actorscentrenorth.org

Feb 19

Arts & Labor #OWS Call to NYFA: Stop Publishing Classifieds for …

Dear NYFA,
We are Arts & Labor, a working group founded in conjunction with the New York General Assembly for #occupywallstreet. We are artists and interns, writers and educators, art handlers and designers, administrators, curators, assistants, and students dedicated to exposing and rectifying economic inequalities and exploitative working conditions in our fields through direct action and educational initiatives. We are writing to ask you to cease posting classified listings for unpaid interns at for-profit institutions on the NYFA website.
While we applaud the work that NYFA does in advocating for the arts and for artists, we feel that promoting the practice of unpaid internships is unjustifiable. While the internship finds its roots in the historical model of the apprenticeship and is premised on the value of education and experience in the workplace, unpaid internships in today’s job market often amount to nothing more than exploitation.
In April, the United States Department of Labor released a memo that included the following stipulations for unpaid internships under the Fair Labor Standards Act:
The internship is similar to training which would be given in an educational environment.
The internship experience is for the benefit of the intern.
The intern does not displace regular employees, but works under close supervision of existing staff
The employer provides training and derives no immediate advantage from the activities of the intern.
From our collective experience as interns and professionals working in arts institutions, we know these criteria are rarely met. Interns are often contracted to perform work that is not comparable with educational experience and their labor saves employers an estimated $600 million a year in wages.
Moreover, this system benefits people who already possess financial means and can afford to work for free, thus propagating social inequality in the art world. We are aware that these conditions exist in most fields. However, they reach a level of exploitation in the arts, where pursuing one’s passion and affiliating oneself with a culturally prestigious entity becomes a socially sanctioned rationalization for highly precarious working conditions.
We call upon NYFA to end its support of this exploitative practice by refusing to publish listings for unpaid internships at for-profit institutions, and to begin the fight against precarious labor conditions in the arts by promoting internships that comply with minimum wage laws, as well as all other state and federal employment laws including discrimination, sexual harassment, and health and safety protections.
Sincerely,Arts & Labor

Read the original: Arts & Labor #OWS Call to NYFA: Stop Publishing Classifieds for …

Feb 10

Martial arts academy reopens after April 27th tornado | Alabama's 13

TUSCALOOSA, Ala. –
Martial arts students in Tuscaloosa are having class for the first time in their new studio.
The original Bailey’s Tiger Rock Martial Arts Academy was in the direct path of the April twenty-seventh tornado.
The business was destroyed and the owner had to start from scratch. 
The smell of fresh paint is one of the first signs that Bailey’s Tiger Rock Martial Arts Academy is back in business.
It’s a far cry from what the business looked like the day after the E-F 4 storm hit.
“It was sad. I remember seeing it the day after just sitting there looking at everything in disbelief. You know? Sitting right here in the front looking at everything. Still just, it just breaks your heart seeing that,” TaeKwonDo Instructor Justin Hubbard said.
Owner James Bailey was able to shoot some video of this business the day after the storm.
The original sign that marked where the studio was located was the only thing they were able to salvage.
The TaeKwonDo academy followed the school systems lead back in April and shut down when word spread the storm was coming. 
“We were ready to celebrate our 30th year in business that year. We had a campaign ready to roll out and just talk about that experience. That all stopped and there wasn’t a whole lot to celebrate at that point, but 30 years right here in this area,” Owner James Bailey said.
The academy closed for two months following the storm, then sent students to other locations in the area while they rebuilt.
Both Bailey and Hubbard said one of the lessons they teach their students is about community and the experiences after the tornado were a great example.

Read the original: Martial arts academy reopens after April 27th tornado | Alabama's 13

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Feb 10

Material Arts | 34th Street Magazine

Take advantage of the surge in unconventional media hitting Philly this month.

Textile Art: A Lifelong CollectionArt on the Avenue3808 Lancaster Ave.Feb. 10, 5–8 p.m.
Art on the Avenue’s exhibition compiles a collection of textile–based works from around the globe. Spanning three continents, these garments and ornaments are the result of 45 years of travels and experiences of the gallery’s staff. Artists from South and Central America, Asia and Africa weave and embroider their stories into beautiful works that are profoundly personal in function and medium alike.
In Material FiberArthur Ross Gallery220 S. 34th St.Tuesday–Friday, 10 a.m.–5 p.m.Saturday–Sunday, 12 p.m.–5 p.m.
The first round of midterms is upon us and you’re looking for a culturally enriching procrastination experience. Arthur Ross Gallery, located right next to Fisher Fine Arts, is calling your name with an exhibition displaying works constructed from various fibers. From baskets made of hair to delicately woven banners hanging from the ceiling, these creations illustrate the surprising versatility of this unusual medium.

Crochet Rag Rug WorkshopCloth & Bobbin235 Haverford Ave., NarberthFeb. 18, 10 a.m.–1 p.m.Fee: $66.00Visit www.pacrafts.org/workshops/rag–rugs/ for directions and to register.
Feeling inspired? Brighten up that drab dorm room of yours with a crochet rug. Better yet? Learn how to make one yourself! Flannel shirts are so last season, but rugs made out of your so–last–season flannel shirts are so this season. Requiring around 10 yards of cloth and three hours of manual labor, this workshop will take your crochet skills to the next level, even if you’re just learning the basics.

See original here: Material Arts | 34th Street Magazine

Feb 05

CSB/SJU Director of Fine Arts honored – The Record

By Ariel Klein | February 4th, 2012

Brian Jose, Director of Fine Arts Programming at CSB/SJU, was recently elected to the Association for the Performing Arts Presenters (APAP) board of directors.
The APAP is an international organization located in Washington, D.C. that is devoted to service and advocacy for the performing arts. Jose’s three-year term started Jan. 20.
Jose was nominated by a number of people around the country whom he met through the arts. After being nominated, Jose went through an interview process regarding background, opinions and experience in the performing arts. Jose has experience in managing the performing arts – he has been in the business for 24 years.
The performing arts world is composed of presenters who showcase the art, producers who commission the art, artists who make the art, artist managers and the middlemen who negotiate between the artists and the producers. Jose described APAP as an organization that brings together these contributors, joining them together in the common for the arts.
Jose grew up as an athlete with little interest in the arts. It wasn’t until his mid-20s that he began to take an interest in the arts as an important part of our culture.
“In students on campus, there is no shortage of left brain activity,” Jose said. “But those that have the creative part of the brain active will be the future leaders. (In the future), I hope to see a greater awakening in creativity and all that we do, and if I could be part of that, I would be jazzed.”
CSB first-year Katherine Rogosheske feels that CSB/SJU Fine Arts requirements are beneficial.
“I’m glad that he is strongly committed to arts and community life because those things are very important,” Rogosheske said. “I am kind of glad that they make you go to the programs because you always learn something while there.”

Go here to see the original: CSB/SJU Director of Fine Arts honored – The Record

Feb 03

BalletMet, WOSU, Jazz Arts Group moves Columbus into …

It isn’t every year that Columbus turns 200, so to honor the occasion, three city staples will celebrate the bicentennial in a rare collaboration.
Mixing choreography, multimedia and music, “Jazz Moves Columbus” has been “designated by the Bicentennial Committee as a signature 200Columbus event.”
The show, held at the Capitol Theatre, will be performed 10 times Feb. 2—12, and features collaborations from BalletMet, Jazz Arts Group of Columbus’ jazz ensemble, Columbus Jazz Orchestra, and WOSU Public Media.
Tom Rieland, WOSU general manager, said the entire experience is special to them.
“Being involved with a performance rather than producing a documentary or a TV show is wholly unique for us. In fact, I can’t recall in our 90-year history where we’ve been involved in a performance like this. So it’s really, for us, kind of groundbreaking,” Rieland said.
Rieland said this kind of performance is something that doesn’t come around often.
“It’s really innovative, it’s different, it’s not something that’s like a traveling road thing that comes through here. It’s custom made just for these 10 performances, it’s never been performed before, and never will be again probably,” Rieland said.
Cheri Mitchell, executive director of BalletMet, explained her anticipation for the show.
“When I kind of think about what this is like, I think that it’s going to be like the Fourth of July when you go to the fireworks. The whole stage is going to ignite and it’s going to be that sense of energy that you feel when you’re going, ‘Woah,’ to the fireworks,” Mitchell said.
Though history itself might not excite everyone, Mitchell said the show is breaking the mold.
“With the bicentennial, we see this as a wonderful way to celebrate Columbus and the music and dance and images of our time,” Mitchell said. “It’s got this whole sense of, not history in a dry way, but you’re going to experience different kinds of music and dance in history.”
BalletMet is no stranger to collaboration, especially with the Columbus Jazz Orchestra. This will mark the third time the two groups have worked together. It has always been a positive experience for both groups, Mitchell said.
“The last couple of times when we collaborated with the Columbus Jazz Orchestra, they (the dancers) were so excited, so thrilled, to have the musicians right there on stage with them,” Mitchell said.
Scott Vezdos, director of marketing and communications for the Jazz Arts Group of Columbus, said he is equally enthusiastic about working with the dancers.
“These dancers have put together some great routines and we are working with world-class choreographers, some from Broadway,” Vezdos said. “I think people will be surprised by the wide range of styles of music and styles of dance.”
Although the Jazz Arts Group of Columbus and BalletMet seemingly fit hand-in-hand, WOSU Public Media won’t be the black sheep. It might not be thoroughly versed in the music and dance scene, but it will supply unique media aspects as part of the third collaborative effort.
The event encourages individuals to stick around after the performance to enjoy an ice cream social supplied by Jeni’s Splendid Ice Creams.
Tickets range from $30 to $49. A limited number of special bicentennial tickets will be available at the door for $20.12. Student tickets are also available for $15 with valid ID at the door. Advance tickets are available by phone at 614-469-0939 and through all
Ticketmaster outlets.

Original post: BalletMet, WOSU, Jazz Arts Group moves Columbus into …

Jan 28

Arts Marketing: Art or Audience; Chicken or Egg?

Doug McLennan, Editor of ArtsJournal, invited me to participate in an online debate on leadership in the arts. To kick things off, a panel of bloggers were asked to respond to the following prompt:”Increasingly, audiences have more visibility for their opinions about the culture they consume. Cultural institutions know more and more about their audiences and their wants. Some suggest this new transparency argues for a different relationship between artists and audience. So the question: In this age of self expression and information overload, do our artists and arts organizations need to lead more or learn to follow their communities more?”There has been vigorous debate on this issue, and to check out all the arguments, please visit the “Lead or Follow” online discussion here.As for me, below is my response to the aforementioned prompt:This week we examine the nature of leadership in the context of developing the most fruitful relationships with our audiences. Good relationships often strike a healthy balance between competing interests, and frequently this balance is forged over the course of many years. Arts organizations have relationships with their patrons, donors and communities, and those relationships are constantly evolving. As such, I find the framework of this debate limiting, as I would argue that great arts organizations lead and follow, and that we shouldn’t be asking if we should do more of one than the other, but instead ask if we are doing the leading or the following at the appropriate times.There are moments when arts organizations must lead, and that leadership becomes a catalyst of great change. In 1948, the National Theater in Washington, DC closed its doors rather than integrate, and a twenty-four year old Zelda Fichandler decided it was time for the city to have a producing theater of its own. She was an early proponent of the idea that communities should reclaim ownership of their theaters, and now sixty-one years later, there are more than 1,900 non-profit regional theaters in cities across the nation. It took a leader.There are also times when we follow. As of 2008, minorities accounted for 48% of all births in the United States. The U.S. Census Bureau projects that by 2050, the Asian and Hispanic population will double, African-Americans will increase and the white population will decline by 9%. In addition, the percentage of the population that is elderly will almost double. Look at your board of directors, staff, donors and audiences—do they reflect your community? Is the physical structure of your building suitable for a growing number of elderly patrons? As a field, we are behind the curve, and we have much to learn from following as our communities are changing faster than we are.In terms of audience development, it is important for arts organizations to play both roles well. Our principal challenge as arts marketers is presenting art as a viable option for leisure activity. We have many barriers—ticket prices, transportation and parking, lack of arts education in our schools, inaccessible and aging infrastructure, etc. Not to mention, the abundance of free and easily accessible alternatives from our competition. A 2008 Survey of Public Participation in the Arts published by the National Endowment for the Arts (NEA) found that American arts audiences are getting older, and their numbers are declining at significant rates. In 2011, NEA Chairman Rocco Landesman delivered his now famous “supply and demand” speech from Arena Stage, indicating that demand for the arts is currently outpaced by supply, and suggesting that we consider pruning our numbers. We have a problem in this country. And if we have to produce more populist work in order to overcome potential barriers for first time patrons, I am fine with that. In fact, I am more than fine—it is what we should be doing.Populist work is often, for lack of a better term, a gateway drug. Lure them in with a musical, roll out a comedy, put in a Broadway touring production. Do what it takes. Once they have an exceptional first time artistic experience, art becomes an option and then we work to get them addicted. From the perspective of an arts marketer, once a new patron walks through our doors via a “gateway” play, my job is to get them back. Once they have had a few experiences, my responsibilities shift. I now focus my attention on broadening their experiences and pushing their boundaries. And they will be ready. But forcing them to run before they crawl will end up in a disappointing experience for all.Each patron has an individual relationship to an arts organization. We have a responsibility to offer up a balanced diet that feeds each artistic soul. For those with a developed palate, we lead, push, challenge and sometimes offend. And for those new to us, it is perfectly appropriate to offer up a piece of cake in order to get them to sample the exotic quiche.Currently at Arena Stage, we have a tremendous production of John Logan’s Red directed by Robert Falls. In the script, painter Mark Rothko’s assistant Ken delivers a powerful speech, in which he says:“You know, not everything has to be so goddamn important all the time! Not every painting has to rip your guts out and expose your soul! Not everyone wants art that actually hurts. Sometimes you just want a fucking still life or landscape or soup can or comic book.”Remarkable arts organizations are more than just temples of art. We are relationship builders. Today we lead, tomorrow we may follow, but we take our cues from our communities, for whom we were built to serve.

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