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Ripples_rn03Rosalind Nashashibi
Ripples on the Pond
Thursday 21 April 2016
6 – 7.30 pm

Last night was the final event in the Ripples on the Pond programme before the exhibition closes. It was a beautiful screening programmed by Modern Edinburgh Film School in discussion with Nashashibi and thank you very much to everyone who came along to witness the works in the exhibition. A huge thank you to Rosalind Nashashibi and LUX, London for the chance to screen these works in the exhibition. Thank you also to Luke Collins for his calm and collected work as projectionist on the night, Rob Kennedy for his help with the gallery’s projector and foresight about the spare bulb! and Alex Hetherington for A Poetic Measurement in Ripples on the Pond.

The following is an edit of Alex Hetherington’s introduction.

My communications with Rosalind surrounded siting the works off-site, at the temporary studio and lecture spaces at Tontine House, in Trongate, and a wonderful idea that one of those spaces might be the room where Glasgow City Council once repaired its street lighting. This off-site idea, away from the gallery, away from the principal site of the art school made me interested in paring back the material behaviour of the museum and conduct her talk as a kind of spoken-word performance, through and with a selection of her films including Electrical Gaza (2015), and definitely an expansion on Carlo’s Vision (2011), so eloquently and magically expressed at An Endless Theatre. An Endless Theatre; the convergence of contemporary art and anthropology in observational cinema was a screening event and symposium at the University of Edinburgh programmed by the artist Karen Cunningham and Richard Braxtrom, a lecturer in film and anthropology. Rosalind screened Carlo’s Vision and then spoke about her work. I observed that thinking/speaking thing that I sense I might have, but to a different degree.

I envisaged the screening with Rosalind would be a studio discussion, masterclass and intimate portrait using conversation, film, stills, stopping the projector, moving between projectors, and microphones, and a relaxed sensibility, reproducing the agility of her thinking and talking as she discusses the development of her practice and its place alongside and within moving image histories, its generations and ideas and developments . The project here is part screening, part unfolding of a film essay, A Poetic Measurement,* the sister-collection that brings from the page and into the space of this collection. How Rosalind’s works work with the material in the exhibition, what it expands, voices, layers, changes and disrupts, how her eye becomes a camera. The film programme would have brought films by Nashashibi/Skaer, and discuss how artists might work with film as a medium together, but we decided to focus on three works from her practice. I wanted to also allow film to be seen in the place of drawing and for correlations to be revealed, as part of this year of discussion on film and works on paper, in this short event, and finally with the editions to allow film to return to works on paper, and to allow them to be distributed and remembered through that form.
* Commissioned for GoMA by Affiliate: Rethinking Collections, (a University of Glasgow programme funded by Creative Scotland)

The Screening

The Painter (2013)
An artist is at work in The Painter (2013)—uniformed elegantly in paint-splattered shoes and work-wear—yet another unseen artist is observing, directing, framing off-screen. Nashashibi films more than the work itself, and large, muscular, abstract paintings emerge from a combination of energetic and economic gestures. With unflinching pragmatism, the painter pushes and pours muted viscous matter, surprisingly, with a mop. Eventually, the focus shifts to a drawing of a smiling girl atop a horse—tail raised, issuing a pile of dung. It’s by the painter’s daughter. – See more here

Carlo’s Vision (2011)
“There is a young man, The Shit, and his fiancée, whose name, it seems, is Cinzia. At the start of the Vision these two young people are passing the traffic lights at the intersections of Via Casilina and Via di Torpignattara. Carlo, the one who is watching, observes them coming toward him: in fact, he is in the middle of Via di Torpignattara, on a cart with cork wheels, exactly like a director on a dolly. There is a long, slow backward tracking shot. Pulling the cart . . . are three Gods, whom Carlo, however, sitting on the tailgate, with his back to the shaft, cannot see.”
— Pier Paolo Pasolini, Petrolio.

So reads a passage from Pasolini’s sprawling, epic novel, Petrolio, first published in unfinished form seventeen years after his murder in 1975. Inspired by the film treatment style of this section of the novel, Nashashibi has taken the protagonists, the props and the location, transported them into the present day and used them as the departure point for her 16mm film,Carlo’s Vision. The result is a mixture of observational documentary and fiction, in which Carlo, contemplates the long march of a young man and his fiancée, while being towed backwards by three gods, two speaking and one silent. Although he has his back to them he can hear what they are thinking, as two distinct interior monologues. The two prophetic figures provide an interpretation of what Carlo is witnessing, commenting on the past and present governance of Rome, and focusing on class and sexuality as manipulated today by Italy’s power structures.

Jack Straw’s Castle (2009)
Jack Straw’s Castle – the title is itself a ruse: the film is named for a Hampstead pub, not the UK’s Secretary of State for Justice – is all about the time and space of rehearsal: in both halves of the film, the milieu is male and the rules of the ritual being enacted remain enigmatic to the viewer, whose gaze is both an invasion of privacy and an invitation to perform. (Nashashibi’s own mother appears in the second half of the film, apparently playing the director for whom the whole spectacle is being composed). A theatrical rehearsal, as Shakespeare’s ‘rude mechanicals’ discover, is a curious space and time in which one performs the role of actor and acted – the mask slips, unfinished scenery fails to convince, timings are botched and bathos or obscenity intrudes: ‘I kiss the wall’s hole, not your lips at all.’ The film folds back on itself, suggesting that its verité first half is a carefully erected sham.

As part of Nashashibi’s most expansive solo show to date, in 2009, Jack Straw’s Castle was the more suggestive of two new works concerned with aspects of rehearsal and performance.

Rollcall of Thanks
I had a wonderful talk with Rosalind in her studio at Bluecoat in Liverpool and the structure for the screening came out of that conversation.

I’d also like to thank Katie Bruce, everyone at GoMA, LUX, LUX Scotland, Tina Fiske, Sarah Neely, Richard Taylor, Ainslie Roddick, Francis McKee, Luke Collins, Ben Cook, everyone at GSS, everyone at CCA, especially Kenny Christie, the team at Old Hairdressers, Jenny Brownrigg at GSA, Laura Edbrook and MAP, and the artists Catherine Street, Allison Gibbs, Rosalind Nashashibi, Anne-Marie Copestake, Mairi Lafferty, Annabel Nicholson, Ruth Barker, Karen Cunningham, Sarah Forrest, Lauren Gault and Anne Colvin for hard work, generosity, space and time, insights, wonderful events and total confidence in the project and me; equally to the speakers Iain Morrison, Glyn Davis, Suzanne van der Lingen and Angela McClanahan. Also to artists like Oliver Mezger, Lucy Reynolds and to Richard Taylor for offering up insights into the practice of writing about and speaking about moving image. A special thanks to the audiences who came and came back to the gallery and its events.

Alex Hetherington, April 2015

Rosalind Nashashibi Biography

Rosalind Nashashibi, born 1973 in Croydon, UK, studied at Glasgow School of Art. She has had numerous solo shows including those at Tate Britain; Chisenhale Gallery, London; Presentation House Gallery, Vancouver; ICA London; Bergen Kunsthall; Berkeley Art Museum. She represented Scotland at the 52nd Venice Biennale, and has participated in Manifesta 7, Sharjah 10 and the 5th Berlin Biennial with Lucy Skaer in their collaboration as Nashashibi/Skaer. She presented a solo show at Objectif Exhibitions in Antwerp in 2014 and an Imperial War Museum commission on Gaza in 2015. She lives and works in Liverpool.

Rosalind Nashashibi works with film, sculpture, print and photography. Her films combine close observation of everyday life with dramatically constructed scenes, in order to reveal the friction that occurs between the real and the fantastical or mythological. Her works often explore issues of control, internalized in citizens or exerted by the state.


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How to wash your hands in molten metal (2014)
Allison Gibbs
16mm film. Colour, silent, looped. Transferred to HD
Running time 7 minutes 15 seconds
18 February – 10 March 2016

As part of the moving image programme for Ripples on the Pond, GoMA is delighted to present How to wash your hands in molten metal (2014) by Allison Gibbs, made whilst on residency at Hospitalfield Arts, Arbroath and for the exhibition Let The Body Be Electric, Let There Be Whistleblowers at Dan Gunn, Berlin (2014). Shown for the first time in digital format, this 16 mm film is based on her research in to the Italian monk and mathematician, Luca Pacioli (1145 -1517), sometimes known as the father of accounting following the publication of his work Summa de arithmetica, geometria, proportioni et proportionalita (Summary of arithmetic, geometry, proportions and proportionality)in 1494. In How to wash your hands in molten metal, Gibbs translates the financial information of her own bank accounts into hand gestures registered in Pacioli’s publication, those gestures also functioning as a visual allusion to the abacus.

Gibbs also references a more recently rediscovered publication of Pacioli’s, De viribus quantitatis (On the Powers of Numbers). This publication explores the connectedness of magic and mathematics and regarded as one of the oldest written texts on magic. How to wash your hands in molten metal refers to the title of one of Pacioli’s magic tricks in the section on puzzles and tricks.

This screening is courtesy of the artist and Modern Edinburgh Film School.

The artist would like to thank Simon Mills & Angus Accountancy Arbroath, Heidi Ballet, Lucy Byatt and Alex Hetherington.

Allison Gibbs (b.1978, Penrith) is an Australian artist who recently returned to Australia after living and working in Glasgow (2007 -15). She graduated with a Masters of Fine Art from The Glasgow School of Art in 2013, with an Erasmus exchange at The Piet Zwart Institute Rotterdam, NL. Recent exhibitions and screenings include fugue states (2015) a two person exhibition with the Lauren Gault at Centre for Contemporary Art (CCA) Glasgow; Ripples on the Pond (GoMA, Glasgow) and MOTHS, Summerhall, Edinburgh, both for Modern Edinburgh Film School programmes in 2015; 5 Scripts for Future-telling, a performance for Tenletters, Glasgow (2015); the premiere screening of Our Extra-Sensory Selves for Glasgow Film Festival 2015 (Crossing the Line programme); Let The Body Be Electric, Let There Be Whistleblowers, (2014) an exhibition with Allison Gibbs, Ken Jacobs and Joachim Koester at Dan Gunn gallery Berlin, curated by Heidi Ballet and Anselm Franke; Ruins, (2014) a group exhibition in Yellowknife, Canada; an adaptation of the scripted film work Spirits of Ecstasy (Murnau’s Death Mask) for The Happy Hypocrite- Heat Island (issue 7 spring 2014 edited by Isla Leaver-Yap); Kelly, a collaborative exhibition with Jennifer Bailey, Tessa Lynch & Þorgerður Ólafsdóttir for Glasgow International 2014 and SPIRIT SHADOW SPECTRE BONES and PHANTOM (solo exhibition) at Intermedia, CCA Glasgow 2013.

Recent summer schools and residencies include: The Barbershop, Lisbon, Portugal; Triangle France, Marseilles, France; Hospitalfield Arts, Arbroath, Scotland; and Rupert Vilnius, Lithuania. In 2014 Gibbs was shortlisted for the LUX/Glasgow Film Festival Margaret Tait Award. Gibbs’ ongoing extra-sensory meeting group ‘A Development Circle for Radical Subjectivity’, has been held at Triangle France, Rupert Vilnius and CCA Glasgow. Forthcoming projects include a screening of SPIRIT SHADOW SPECTRE BONES and PHANTOM (2013) with a performative reading event at Inverleith House, Edinburgh and a new work for the fall edition of NEW WORLD UNLTD; a Portland OR, USA based journal of art, science fiction, the weird, the paranormal and the psychedelic, 2016.

And Under That (2012) Anne-Marie Copestake, courtesy of the artist and LUX, London

And Under That (2012) Anne-Marie Copestake, courtesy of the artist and LUX, London

GoMA is delighted to present the next installment of the Moving Image Programme for Ripples on the Pond, And Under That (2012) by Anne-Marie Copestake. There will also be a new edition on Anne-Marie Copestake’s work by Modern Edinburgh Film School available in the gallery soon.

And Under That (2012). Video, 32 minutes, 5.1 surround sound/stereo soundtrack.
Anne-Marie Copestake
Screened courtesy of the artist and LUX,London

For Sue.
Dedicated to the memory of Ramona Sue MacLauchlan, who died July 2015.
Sue leapt into working on the film with a vigour and thoughtfulness that remained constant throughout our meetings and friendship. (Anne-Marie Copestake 2015)

“The innocent/intellectual split of a woman. This actually links up with the question of the legacy of after the war. I was 10/11 when the war ended but living in Hull and having had people killed and having our school taking a direct hit I could only be painfully aware of both it and what the male/female expectancies were. The war ended and suddenly we were back to this social division. I often remember contemplating the so-called ’emancipation’ of women (and of the Jews). I lined my mother and lovely step-father up and announced my finding: “As far as I’m concerned there is no such thing as emancipation as I have emancipated myself, I refuse to be lowly because of my gender.” My step-father said he thought I could become the first woman prime minister!! One of our friends was made to stand back in the Civil Service to allow men to be promoted first! Again Anne-Marie I could go on ad infinitum! Any more???
Another memory which I think I missed when you were here. Yes, there’s quite a few things I would like to have achieved and some I may even yet manage but the main things that come to me are that I would like to make a parachute jump, I would like to abseil and I would pursue a second language and more music.

Phew! This epistle sounds so Me Me – better get back to miming!
Looking forward to whatever!
LOL Sue xxx”

From an email written by Sue responding to questions Copestake raised while writing the script of And Under That. The script was composed from fragments of memories, questions, histories uncovered, history’s subjective nature, moments of alienation and resistance. Exploring attitudes from contemporary older women questioning legacies, female voices of authority, the film also opens up the problems of a flawed perception of the ‘truth’ in the outward sound and appearance of older people, a forced double identity.

And Under That is presented here as a single screen film and has also been presented as a film with seamless transition into live performance, which continues after the film has finished and sets up a situation where there is no formal ending. The performance format includes additional footage and emphasises the sense of open-ended possibility expressed by the women in the film.

The ordinary is a circuit that’s always tuned in to some little something somewhere.
It can pool up in little worlds of identity and desire.

Kathleen Stewart, ‘Tuned In,’ Ordinary Affects, (London: Duke University Press, 2007) p. 12.

The imagery in And Under That… moves viewers through a series of spaces, both public and private, that are animated by the presence of bodies, most often those of the film’s two main subjects. The scenes are relatively ordinary, though somehow they don’t always feel that way. Throughout And Under That… voice, music, and sound are at least as important to the viewer’s experience of the work as what we see. Indeed, it is perhaps in making her viewers into listeners that Copestake allows us to participate in the attention she pays to her subjects’ “ordinary affects.” In echoing a topology of listening, And Under That participates in an openness (ears, unlike eyes, can’t be closed after all) that allows an unheard subjectivity to emerge. That this is made audible through the voices of older women, voices not listened to attentively enough in our culture, and habitually heard as those of “finished” subjects, is essential to the film’s affective power, to the way it moves.

The moving images that Copestake uses to show us these various pools of ordinariness are themselves shown to be movable within And Under That. At times the footage is rotated 90 degrees into the vertical, so that the film seems to flow down the screen; at other points it is layered to create a sense of shifting depth within the image. In previous film works, Copestake used techniques such as projecting onto textured, layered, or broken surfaces to disrupt the immateriality and unity of the filmic image. By manipulating the layers and orientations of the material in And Under That, the artist is able to draw something of that disruption back into the film, even within the stabilizing frame of the cinematic screen. The interruption of the film’s flow of images is what makes space for those pools of ordinary feeling to gather.
Adapted from Dominic Paterson, ‘And Under That…’ in Subject Area: writing/film, 2014.

Anne-Marie Copestake is an artist and musician based in Glasgow. She attended the Glasgow School of Art in the late 1990’s. In 2011 she was awarded the Margaret Tait Award. Recent exhibitions, screenings and performances include: e e e e o ee e i a ae e a, Rhubaba, Edinburgh; CURRENT: Contemporary Art from Scotland, curated by Sophia Hao and Wang Nanming, with Poster Club, Shanghai Himalayas Museum, Shanghai (2015); Studio Jamming – Artists Collaborations in Scotland, as Full Eye with Katy Dove and Ariki Porteous, Cooper Gallery, Dundee; Trigger tonic Compendium, organised by Isla Leaver-Yap, Tramway, Glasgow; Tectonics BBC Scottish Symphony Orchestra Festival, curated by Ilan Volkov and Alasdair Campbell, The Old Fruitmarket, Glasgow (2014); Media City Film Festival, Windsor; Hyde Park Picture House, Leeds; Oberhausen International Short Film Festival, Oberhausen (2013).

And Under That is being screened courtesy of Anne-Marie Copestake and LUX, London and was commissioned by Glasgow Film in partnership with LUX and supported by Creative Scotland for the Margaret Tait Award 2011.

video still from that now (2013) Sarah Forrest, courtesy and copyright the artist

video still from that now (2013) Sarah Forrest, courtesy and copyright the artist

To coincide with the screening of her work that now (2013), as part of the moving image programme for Ripples on the Pond in Gallery 4, we asked Sarah Forrest to think about a screening event that she could do within the gallery space where the works selected could reflect on her own practice. Forrest worked with Isla Leaver-Yap at LUX Scotland to access the LUX collection and select the works that now make up this exciting screening. GoMA would like to thank the artist and LUX Scotland for their work on this event and are really looking forward to the evening.

Walk Notes and Hold Notes
A film screening selected by Sarah Forrest for Ripples on the Pond,

Gallery 4, GoMA
Thursday 10 September
6 – 7.30 pm

Glasgow-based artist Sarah Forrest presents a selection of works about the composition (and decomposition) of the human body in relation to daily lived experience. Including extracts from Jayne Parker’s groundbreaking video Almost Out (1985), Clapping Songs (1981) by Tina Keane and recent work by New York-based artist Moyra Davey, the screening asks the question: what are the legacies that compose us?

that now (2013) was also selected by Modern Edinburgh Film School for A Poetic Measurement, the sister essay to Ripples on the Pond and there will be a new edition on Sarah Forrest’s work available in the gallery soon.

Lauren Gault 'Granular and Crumb' 2015, courtesy and copyright the artist

Lauren Gault ‘Granular and Crumb’ 2015, courtesy and copyright the artist

Modern Edinburgh Film School presents

Lauren Gault: Granular & Crumb

Saturday 5 September 2015
4 – 6 pm
Glasgow Sculpture Studios Gallery (PLEASE NOTE that the event is not at GoMA)

For Ripples on the Pond Lauren Gault will present a special event at Glasgow Sculpture Studios encompassing an extended version of her film Granular & Crumb, while reflecting on her recent exhibitions Plosive Blows at Hotel Maria Kapel, Hoorn, The Netherlands and fugue states at the CCA, Glasgow.

Lauren Gault comes to film as a ‘fragment’ in a predominantly sculpture-based practice that is marked for its concerns with material and lived experiences. She works with the behaviours and conditions of matter aligned to specific processes: preservation and extreme lengths of time, dispersion of fine particles in liquid, terroir, phosphorescence, transparency and in-between malleable and solid states. Objects that are carriers of complex histories and narratives, substances and her ceramics are placed in carefully constructed installations, while the inclusion of moving image and performance in these presentations make film and sculpture mutable encounters.

Ripples on the Pond is an exhibition which has at its core works from the Glasgow Museums’ Collection. It takes as the starting point recent acquisitions from Glasgow Women’s Library’s 21 Revolutions series, relating them to other works in the collection and sparking questions about gender, themes and media choice in relation to women’s practice and visibility. The exhibition is a conversation between the works in the collection on paper and moving image with invitations to Modern Edinburgh Film School and LUX Scotland to programme artists’ screenings, within and beyond the gallery space.

Ripples on the Pond has been developed with Affiliate: Thinking Collections (a University of Glasgow programme funded by Creative Scotland) and Modern Edinburgh Film School, along with LUX Scotland and Glasgow Women’s Library. The programme with Lauren Gault is generously supported by Glasgow City Council’s Visual Art Award.

Still from 'LOVE' (2013) Mairi Lafferty

Still from ‘LOVE’ (2013) Mairi Lafferty

Modern Edinburgh Film School presents:
Mairi Lafferty
Thu 17 September 2015

At CCA Glasgow (PLEASE NOTE this  event is not at GoMA)
5pm, Free but ticketed, Theatre
All ages
Book online / 0141 352 4900

Modern Edinburgh Film School presents a double-screen installation and discussion on the video, performance and drawing practice of Edinburgh-based artist Mairi Lafferty and will reflect on her recent residency to make a new black and white 16mm film Droste at in London. This event, which includes the guest speakers Dr Glyn Davis from Edinburgh College of Art and visual artist Suzanne van der Lingen discussing her relationship to cinema and fiction, forms a part of the exhibition Ripples on the Pond and its sister-essay A Poetic Measurement, designed as a conversation between works on paper and moving image by women artists.

‘Her work is about lived experiences, the subconscious, catharsis and change alongside a study in cinema techniques particularly from the films of Stanley Kubrick and Peter Greenaway immerses Lafferty’s work in the mind’s, and cinema’s, intangibility. Her work discusses the physics of dreams offering an aperture into the subconscious and the world’s inability to sustain dreaming’s haphazard materiality and dispersed timescales. Their properties are hypnotic, dangerous and unpredictable.’

Ripples on the Pond is an exhibition which has at its core works from the Glasgow Museums’ Collection. It takes as the starting point recent acquisitions from Glasgow Women’s Library’s 21 Revolutions series, relating them to other works in the collection and sparking questions about gender, themes and media choice in relation to women’s practice and visibility. The exhibition is a conversation between the works in the collection on paper and moving image with invitations to Modern Edinburgh Film School and LUX Scotland to programme artists’ screenings, within and beyond the gallery space.

Suzanne van der Lingen explores themes of repetition, authenticity and mortality in ‘How to Fake Your Own Death’ through the use of autobiographical fiction and footnotes. Originally published as an essay, the text has evolved into a video work, making narrative use of disjointed parallels between voice-over, image and onscreen titles.

Suzanne van der Lingen is an artist and writer based in Edinburgh. Her work has been exhibited at the Joinery, Dublin; the Fleming Collection, London; and Timespan Museum & Arts Centre, Sutherland, amongst others. She has been published in numerous publications including Paper Visual Art, GUP Magazine, Circa, MAP and Occupy Paper, and curated a screening of artist moving image for MAP at Glasgow Film Festival 2015. She was the recipient of the ECA/ESW Graduate Bursary Award 2014, and joined the Embassy Gallery committee in January 2015.

Glyn Davis is Chancellor’s Fellow and Reader in the School of Design, Edinburgh College of Art, at the University of Edinburgh. He is the co-editor, with Gary Needham, of ‘Warhol in Ten Takes’ (BFI, 2013), and the co-author, with Kay Dickinson, Lisa Patti, and Amy Villarejo, of ‘Film Studies: A Global Introduction’ (Routledge, 2015). He is currently writing a book on boredom and cinema. Glyn runs a MOOC (Massive Open Online Course) on the life and career of Andy Warhol, which remains the most successful online arts course in the world.

Modern Edinburgh Film School presents Allison Gibbs, with a performance from Ruth Barker

Modern Edinburgh Film School presents
Allison Gibbs, with a performance from Ruth Barker
Thursday 30 July, 7.30pm


Modern Edinburgh Film School presents a screening event on the works in 16mm film by Australian artist Allison Gibbs. This event forms a part of the exhibition Ripples on the Pond and its sister-essay A Poetic Measurement, designed as a conversation between works on paper and moving image by women artists. This event on Gibbs’s films which brings together extrasensory practices, sociology, anthropology and film theory is accompanied by a spoken word performance ‘The White Ink Lecture’ by Glasgow-based artist Ruth Barker with published editions available on Gibbs’s and Barker’s individual practices.

‘In trying to ‘articulate something that defies articulation and “verification”’ on subjects such as expressionist German film maker FW Murnau’s motion picture Tabu (1931) and the precognisance of his early death during its production she exposes the ‘privileges of rationality,’ capitalism and modern thinking to a ‘magical approach’. Her films explore consciousness shifted from singular to plural and to theories of embodied, authentic and feminine knowledge. These ‘expanded mental dimensions (multiplicity, of clairaudience, clairsentience, clairvoyance)’ find root in her interest in the American psychic Jane Roberts.’

Ripples on the Pond is an exhibition which has at its core works from the Glasgow Museums’ Collection. It takes as the starting point recent acquisitions from Glasgow Women’s Library’s 21 Revolutions series, relating them to other works in the collection and sparking questions about gender, themes and media choice in relation to women’s practice and visibility. The exhibition is a conversation between the works in the collection on paper and moving image with invitations to Modern Edinburgh Film School and LUX Scotland to programme artists’ screenings, within and beyond the gallery space.

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