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	<title>cairndesign</title>
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	<link>http://cairn.com/wp</link>
	<description>since 1996</description>
	<pubDate>Mon, 06 Oct 2008 17:29:16 +0000</pubDate>
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	<language>en</language>
			<item>
		<title>L5 prepared for Sert projector</title>
		<link>http://cairn.com/wp/2008/10/06/l5-prepared-for-sert-projector/</link>
		<comments>http://cairn.com/wp/2008/10/06/l5-prepared-for-sert-projector/#comments</comments>
		<pubDate>Mon, 06 Oct 2008 17:29:16 +0000</pubDate>
		<dc:creator>admin</dc:creator>
		
		<category><![CDATA[notes]]></category>

		<guid isPermaLink="false">http://cairn.com/wp/?p=149</guid>
		<description><![CDATA[The projector at the Sert gallery didn&#8217;t like the 480p video stream coming out of the media tank, so we had to make these changes. On the left you see what&#8217;s coming out of the tank&#8211;the right shows what&#8217;s being seen on the wall. [zip]]]></description>
			<content:encoded><![CDATA[<p>
<a href='http://cairn.com/wp/2008/10/06/l5-prepared-for-sert-projector/l5_after/' title='l5_after'><img src="http://cairn.com/wp/wp-content/uploads/2008/10/l5_after-150x150.png" width="150" height="150" class="attachment-thumbnail" alt="" /></a>
<a href='http://cairn.com/wp/2008/10/06/l5-prepared-for-sert-projector/l5_before/' title='l5_before'><img src="http://cairn.com/wp/wp-content/uploads/2008/10/l5_before-150x150.png" width="150" height="150" class="attachment-thumbnail" alt="" /></a>
</p>

<p>The projector at the Sert gallery didn&#8217;t like the 480p video stream coming out of the media tank, so we had to make these changes. On the left you see what&#8217;s coming out of the tank&#8211;the right shows what&#8217;s being seen on the wall. </p>[zip]]]></content:encoded>
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		</item>
		<item>
		<title>mpeg-2 vs mpeg-4 illustration</title>
		<link>http://cairn.com/wp/2008/10/06/mpeg-2-vs-mpeg-4-illustration/</link>
		<comments>http://cairn.com/wp/2008/10/06/mpeg-2-vs-mpeg-4-illustration/#comments</comments>
		<pubDate>Mon, 06 Oct 2008 14:44:21 +0000</pubDate>
		<dc:creator>admin</dc:creator>
		
		<category><![CDATA[notes]]></category>

		<guid isPermaLink="false">http://cairn.com/wp/?p=144</guid>
		<description><![CDATA[mpeg compression examples grabbed from YouTube and expanded to 200% using nearest neighbor algorithm.[zip]]]></description>
			<content:encoded><![CDATA[<p>
<a href='http://cairn.com/wp/2008/10/06/mpeg-2-vs-mpeg-4-illustration/mpeg-2/' title='mpeg-2'><img src="http://cairn.com/wp/wp-content/uploads/2008/10/mpeg-2-150x150.png" width="150" height="150" class="attachment-thumbnail" alt="" /></a>
<a href='http://cairn.com/wp/2008/10/06/mpeg-2-vs-mpeg-4-illustration/mpeg-4/' title='mpeg-4'><img src="http://cairn.com/wp/wp-content/uploads/2008/10/mpeg-4-150x150.png" width="150" height="150" class="attachment-thumbnail" alt="" /></a>
</p>

<p>mpeg compression examples grabbed from YouTube and expanded to 200% using nearest neighbor algorithm.</p>[zip]]]></content:encoded>
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		</item>
		<item>
		<title>lossless #2 at Toronto Film Fest</title>
		<link>http://cairn.com/wp/2008/09/08/lossless-2-at-toronto-film-fest/</link>
		<comments>http://cairn.com/wp/2008/09/08/lossless-2-at-toronto-film-fest/#comments</comments>
		<pubDate>Mon, 08 Sep 2008 15:44:17 +0000</pubDate>
		<dc:creator>admin</dc:creator>
		
		<category><![CDATA[notes]]></category>

		<guid isPermaLink="false">http://cairn.com/wp/?p=137</guid>
		<description><![CDATA[Lossless #2 was screened as part of the Wavelengths program at TIFF. The reception was tremendous, and L2 is receiving nice notices. Here are a few.


Artistic Innovation at Its Finest: A glance at this years Wavelengths Programme
By Neil Karassik


&#8230; exploring nostalgic sensibilities, Rebecca Baron and Douglas Goodwins Lossless #2 is a mesmerizing assemblage of compressed [...]]]></description>
			<content:encoded><![CDATA[<p>Lossless #2 was screened as part of the Wavelengths program at <span class="caps">TIFF.</span> The reception was tremendous, and L2 is receiving nice notices. Here are a few.</p>


<p><strong>Artistic Innovation at Its Finest: A glance at this years Wavelengths Programme</strong><br />
By Neil Karassik</p>

<blockquote>
&#8230; exploring nostalgic sensibilities, Rebecca Baron and Douglas Goodwins Lossless #2 is a mesmerizing assemblage of compressed digital images of Maya Deren and Alexander Hammid&#8217;s 1943 masterpiece <em>Meshes of the Afternoon</em>. Baron and Goodwin play heavily with Teiji Ito&#8217;s 1959 soundtrack, making the films lyrical ambience feel more astonishing than ever before.<br />
</blockquote>
[<a href="http://tiff08.ca/blogs/blog/festivaldaily.aspx?blg=7&amp;id=731">link</a>]

<p><strong>Torontoist</strong><br />
review by Mathew Kumar</p>

<blockquote>
Lossless #2 (Rebecca Baron, Douglas Goodwin; pictured above)&#8211;Supposedly just the result of a broken BitTorrent download, this is an exciting visual mess as artifacts transform scenes from Meshes of the Afternoon into a disorientating but clever new form. Someone will steal this concept for a music video soon.<br />
</blockquote>

<p>[<a href="http://torontoist.com/2008/09/tiff_2008_horizontal_cuts.php">link</a>]</p>[zip]]]></content:encoded>
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		</item>
		<item>
		<title>TIFF::Wavelengths</title>
		<link>http://cairn.com/wp/2008/07/28/tiffwavelengths/</link>
		<comments>http://cairn.com/wp/2008/07/28/tiffwavelengths/#comments</comments>
		<pubDate>Mon, 28 Jul 2008 22:38:20 +0000</pubDate>
		<dc:creator>admin</dc:creator>
		
		<category><![CDATA[notes]]></category>

		<guid isPermaLink="false">http://cairn.com/wp/?p=127</guid>
		<description><![CDATA[

Wavelengths 3: Horizontal Boundaries


Eminent multi-disciplinary artist Pat O&#8217;Neill, whose work has been exhibited at The Whitney Museum of American Art (New York) and Le Centre Pompidou (Paris), opens the programme with Horizontal Boundaries (USA); Rebecca Baron and Doug Goodwin&#8217;s Lossless #2 (USA) is part of a series exploring the effects of digital compression upon the [...]]]></description>
			<content:encoded><![CDATA[<p><a href='http://cairn.com/wp/wp-content/uploads/2008/07/tiff08logo.jpg'><img src="http://cairn.com/wp/wp-content/uploads/2008/07/tiff08logo-300x114.jpg" alt="" title="tiff08logo" width="300" height="114" class="alignnone size-medium wp-image-128" /></a></p>

<p><strong>Wavelengths 3: Horizontal Boundaries</strong></p>

<blockquote>
Eminent multi-disciplinary artist Pat <span class="caps">O&#8217;N</span>eill, whose work has been exhibited at The Whitney Museum of American Art (New York) and Le Centre Pompidou (Paris), opens the programme with Horizontal Boundaries (USA); Rebecca Baron and Doug Goodwin&#8217;s Lossless #2 (USA) is part of a series exploring the effects of digital compression upon the film image; local filmmaker Chris Gehman&#8217;s Refraction Series (Canada) finds moments of beauty and mystery through the use of optics; Public Domain (USA) is Jim Jennings&#8217;s response to a controversial New York City bill prohibiting filming in public places; Robert Todd&#8217;s Dig (USA) reconfigures orange and white Dig Safe marks into a frenetic visual suite; T. Marie&#8217;s Optra Field <span class="caps">III</span>-VI (USA) is a series of dichromatic time-based drawings reminiscent of Sol LeWitt and Agnes Martin. Eriko Sonoda&#8217;s Garden/ing (Japan) confounds a view from a window with an enlarged photograph of that very vista. </blockquote>

<p><a href="http://www.tiff08.ca/press/pressreleases/default.aspx?newsId=570">&gt;&gt;full press release</a></p>[zip]]]></content:encoded>
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		</item>
		<item>
		<title>my birthday, c. 1972</title>
		<link>http://cairn.com/wp/2008/06/25/my-tool-kit-c-1971/</link>
		<comments>http://cairn.com/wp/2008/06/25/my-tool-kit-c-1971/#comments</comments>
		<pubDate>Thu, 26 Jun 2008 00:17:35 +0000</pubDate>
		<dc:creator>admin</dc:creator>
		
		<category><![CDATA[notes]]></category>

		<guid isPermaLink="false">http://cairn.com/wp/?p=124</guid>
		<description><![CDATA[

I&#8217;ve kept this catalog bit in the pocket with the precision TV tuning tools. 



I was too shy to ask for the vo meter option. 

I still have most of the tools too.[zip]]]></description>
			<content:encoded><![CDATA[<p><a href='http://cairn.com/wp/wp-content/uploads/2008/06/groovy2.jpg'><img src="http://cairn.com/wp/wp-content/uploads/2008/06/groovy2-300x210.jpg" alt="" title="groovy2" width="300" height="210" class="alignnone size-medium wp-image-125" /></a></p>

<p>I&#8217;ve kept this catalog bit in the pocket with the precision TV tuning tools. </p>

<p><a href='http://cairn.com/wp/wp-content/uploads/2008/06/groovy.jpg'><img src="http://cairn.com/wp/wp-content/uploads/2008/06/groovy-300x201.jpg" alt="the kit" title="groovy" width="300" height="201" class="alignnone size-medium wp-image-126" /></a></p>

<p>I was too shy to ask for the vo meter option. </p>

<p>I still have most of the tools too.</p>[zip]]]></content:encoded>
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		</item>
		<item>
		<title>hacking the 16mm optical track, notes</title>
		<link>http://cairn.com/wp/2008/06/25/hacking-the-16mm-optical-track-notes/</link>
		<comments>http://cairn.com/wp/2008/06/25/hacking-the-16mm-optical-track-notes/#comments</comments>
		<pubDate>Wed, 25 Jun 2008 14:12:08 +0000</pubDate>
		<dc:creator>admin</dc:creator>
		
		<category><![CDATA[notes]]></category>

		<guid isPermaLink="false">http://cairn.com/wp/?p=123</guid>
		<description><![CDATA[projector exciter circuit

there is a 26 frame offset between picture and sound
ie: 1.0833 seconds


	amplitude modulation: more light =&#62; more sound
	amplitude is the height of the wave, and 
	frequency is the distance between wave crests


film moves at 24fps
there are 40 frames per foot, so film runs through the sound gate at 7.2inches/sec

to make middle C you [...]]]></description>
			<content:encoded><![CDATA[<p><strong>projector exciter circuit</strong></p>

<p>there is a 26 frame offset between picture and sound<br />
ie: 1.0833 seconds</p>

<ol>
	<li>amplitude modulation: more light =&gt; more sound</li>
	<li>amplitude is the height of the wave, and </li>
	<li>frequency is the distance between wave crests</li>
</ol>

<p>film moves at 24fps<br />
there are 40 frames per foot, so film runs through the sound gate at 7.2inches/sec</p>

<p>to make middle C you would draw a waveform with 512 cycles per second. graphically that works out to:</p>

<code>	512cps/7.2in = 71cycles per inch</code>

<ul>
	<li>how hard is it to print on clear leader?</li>
	<li>is it easier to slice &amp; cut sprocket holes in acetate?</li>
	<li>would scratches make the same tone (with a buzzy overtone?) </li>
	<li>look at this: [<a href="http://www.serviceforthepeople.com/4studies/study04.mov">etufte link</a>]</li>
	<li>how much work to make a simulator? [proce55ing, yum!]
	</li><li>how much work to generate very long <span class="caps">PDF </span>from an audio file?</li>
</ul>[zip]]]></content:encoded>
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<enclosure url="http://www.serviceforthepeople.com/4studies/study04.mov" length="6212991" type="video/quicktime" />
		</item>
		<item>
		<title>Lossless at MassArt Film Society</title>
		<link>http://cairn.com/wp/2008/04/27/lossless-at-massart-film-society/</link>
		<comments>http://cairn.com/wp/2008/04/27/lossless-at-massart-film-society/#comments</comments>
		<pubDate>Sun, 27 Apr 2008 21:17:19 +0000</pubDate>
		<dc:creator>admin</dc:creator>
		
		<category><![CDATA[notes]]></category>

		<guid isPermaLink="false">http://cairn.com/wp/?p=120</guid>
		<description><![CDATA[Nothing That Is Not There And The Nothing That Is

April 30, 2008

LOSSLESS #3 and LOSSLESS #4 by Rebecca Baron and Doug Goodwin 2008,
video work in Progress, Filmmakers in Person
Two videos in progress in a series of works investigating the
dematerialization of film into digital bits, exposing the residual
effects of the processes that make file sharing possible.

pdf [...]]]></description>
			<content:encoded><![CDATA[<p><strong>Nothing That Is Not There And The Nothing That Is</strong></p>

<p>April 30, 2008</p>

<p><span class="caps">LOSSLESS </span>#3 and <span class="caps">LOSSLESS </span>#4 by Rebecca Baron and Doug Goodwin 2008,<br />
video work in Progress, Filmmakers in Person<br />
Two videos in progress in a series of works investigating the<br />
dematerialization of film into digital bits, exposing the residual<br />
effects of the processes that make file sharing possible.</p>

<p><a href="/wp/wp-content/uploads/2008/05/massartfilmsociety_20081.pdf">pdf flyer</a></p>

<p>&#8211;<br />
<span class="caps">MASSART FILM SOCIETY</span><br />
<span class="caps">SHOWS ARE HELD</span> IN <span class="caps">SCREENING ROOM</span> 1 IN <span class="caps">EAST HALL</span> IN <span class="caps">THE FILM DEPARTMENT</span><br />
@ <span class="caps">THE MASSACHUSETTS COLLEGE</span> OF <span class="caps">ART,</span> 621 <span class="caps">HUNTINGTON AVENUE</span> IN <span class="caps">BOSTON.</span><br />
WE <span class="caps">ARE ACCESSIBLE</span> BY <span class="caps">THE GREEN LINE</span> E <span class="caps">TRAIN</span>-LONGWOOD/MEDICAL <span class="caps">STOP.</span><br />
<span class="caps">SHOWS BEGIN PROMPTLY </span>@ 8PM <span class="caps">UNLESS OTHERWISE NOTED</span> IN <span class="caps">THE SCHEDULE</span><br />
<span class="caps">BELOW. CALL</span> 617-879-7441 <span class="caps">FOR DIRECTIONS AND INFORMATION.</span></p>[zip]]]></content:encoded>
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		</item>
		<item>
		<title>Â»Zukunft des KÃ¶rpersÂ«</title>
		<link>http://cairn.com/wp/2008/04/02/%c2%bbzukunft-des-korpers%c2%ab/</link>
		<comments>http://cairn.com/wp/2008/04/02/%c2%bbzukunft-des-korpers%c2%ab/#comments</comments>
		<pubDate>Wed, 02 Apr 2008 23:54:59 +0000</pubDate>
		<dc:creator>admin</dc:creator>
		
		<category><![CDATA[cooked]]></category>
<category>cooked</category><category>exhibition</category><category>narrative</category><category>video</category>
		<guid isPermaLink="false">http://cairn.com/wp/2008/04/02/%c2%bbzukunft-des-korpers%c2%ab/</guid>
		<description><![CDATA[Franfurter positionen 2008
Film project &#8220;future of the body&#8221;
Six short films (Premiere)
19.04. &#226;€“ 18.05.2008

Directors: 
Rebecca Baron and Douglas Goodwin, Thomas Draschan and Sebastian Brameshuber, Katrin Eissing, Rainer Knepperges, Judge Norman, Jose van der Schoot
Germany 2008

Production: 
Benjamin Heisenberg, Christoph Hochh&#195;&#164;usler, Franz Muller, Nicolas Wackerbarth, Eva-Maria Weerts

These short films are a comprehensive collection about the future of the [...]]]></description>
			<content:encoded><![CDATA[<p>Franfurter positionen 2008<br />
Film project &#8220;future of the body&#8221;<br />
Six short films (Premiere)<br />
19.04. &acirc;€“ 18.05.2008</p>

<p>Directors: <br />
Rebecca Baron and Douglas Goodwin, Thomas Draschan and Sebastian Brameshuber, Katrin Eissing, Rainer Knepperges, Judge Norman, Jose van der Schoot<br />
Germany 2008</p>

<p>Production: <br />
Benjamin Heisenberg, Christoph Hochh&Atilde;&curren;usler, Franz Muller, Nicolas Wackerbarth, Eva-Maria Weerts</p>

<p>These short films are a comprehensive collection about the future of the body. Film magazine Revolver challenged the filmmakers with the question &#8220;Is this man the master of his fate and the fate of the master of the people? What effects will result from the perfection of humans and nature?&#8221; </p>

<p>The six teams were given complete artistic and creative freedom to address the theme. &#8220;We wanted the filmmakers to make very different films and interpretations of the topic. We hope that the harmony and dissonance of the thes films, the filmmakers and their philosophies produce some real substance with their wide range of cinematic approaches.&#8221;<br />
-Benjamin Heisenberg, revolver</p><a href="http://cairn.com/wp/index.php?tag=cooked" rel="tag">cooked</a>, <a href="http://cairn.com/wp/index.php?tag=exhibition" rel="tag">exhibition</a>, <a href="http://cairn.com/wp/index.php?tag=narrative" rel="tag">narrative</a>, <a href="http://cairn.com/wp/index.php?tag=video" rel="tag">video</a>]]></content:encoded>
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		</item>
		<item>
		<title>Edw. Bellamy&#8217;s Looking Backward From 2000 to 1887, summary</title>
		<link>http://cairn.com/wp/2008/03/17/summary-of-edw-bellamys-looking-backward-from-2000-to-1887/</link>
		<comments>http://cairn.com/wp/2008/03/17/summary-of-edw-bellamys-looking-backward-from-2000-to-1887/#comments</comments>
		<pubDate>Mon, 17 Mar 2008 21:34:53 +0000</pubDate>
		<dc:creator>admin</dc:creator>
		
		<category><![CDATA[notes]]></category>

		<category><![CDATA[reference]]></category>

		<category><![CDATA[writing]]></category>
<category>narrative</category><category>nineteenth century</category><category>notes</category><category>reference</category><category>social consequences</category><category>twentieth century</category><category>weariness</category><category>writing</category>
		<guid isPermaLink="false">http://cairn.com/wp/2008/03/17/summary-of-edw-bellamys-looking-backward-from-2000-to-1887/</guid>
		<description><![CDATA[Living as we do in the closing year of the twentieth century, enjoying the blessings of a social order at once so simple and logical that it seems but the triumph of common sense, it is no doubt difficult for those whose studies have not been largely historical to realize that the present organization of [...]]]></description>
			<content:encoded><![CDATA[<p>Living as we do in the closing year of the twentieth century, enjoying the blessings of a social order at once so simple and logical that it seems but the triumph of common sense, it is no doubt difficult for those whose studies have not been largely historical to realize that the present organization of society is, in its completeness, less than a century old.  No historical fact is, however, better established than that till nearly the end of the nineteenth century it was the general belief that the ancient industrial system, with all its shocking social consequences, was destined to last, with possibly a little patching, to the end of time.</p>

<p>&#8230;Warned by a teacher&#8217;s experience that learning is accounted a weariness to the flesh, the author has sought to alleviate the instructive quality of the book by casting it in the form of a romantic narrative, which he would be glad to fancy not wholly devoid of interest on its own account.</p>

<p>The reader, to whom modern social institutions and their underlying principles are matters of course, may at times find Dr. Leete&#8217;s explanations of them rather trite&#8211;but it must be remembered that to Dr. Leete&#8217;s guest they were not matters of course, and that this book is written for the express purpose of inducing the reader to forget for the nonce that they are so to him&#8230;.  The almost universal theme of the writers and orators who have celebrated this bimillennial epoch has been the future rather than the past, not the advance that has been made, but the progress that shall be made, ever onward and upward, till the race shall achieve its ineffable destiny.  This is well, wholly well, but it seems to me that nowhere can we find more solid ground for daring anticipations of human development during the next one thousand years, than by &#8220;Looking Backward&#8221; upon the progress of the last one hundred.</p>

<p>That this volume may be so fortunate as to find readers whose interest in the subject shall incline them to overlook the deficiencies of the treatment is the hope in which the author steps aside and leaves Mr. Julian West to speak for himself.</p>

<p>&#8230;It was about four in the afternoon of December the 26th, one day after Christmas, in the year 1857, not 1957, that I first breathed the east wind of Boston, which, I assure the reader, was at that remote period marked by the same penetrating quality characterizing it in the present year of grace, 2000.</p>

<p>These statements seem so absurd on their face, especially when I add that I am a young man apparently of about thirty years of age, that no person can be blamed for refusing to read another word of what promises to be a mere imposition upon his credulity&#8230;.  Nothing had, however, occurred to modify the immemorial division of society into the four classes, or nations, as they may be more fitly called, since the differences between them were far greater than those between any nations nowadays, of the rich and the poor, the educated and the ignorant.</p>

<p>&#8230;By way of attempting to give the reader some general impression of the way people lived together in those days, and especially of the relations of the rich and poor to one another, perhaps I cannot do better than to compare society as it then was to a prodigious coach which the masses of humanity were harnessed to and dragged toilsomely along a very hilly and sandy road&#8230;.  Naturally such places were in great demand and the competition for them was keen, every one seeking as the first end in life to secure a seat on the coach for himself and to leave it to his child after him.  By the rule of the coach a man could leave his seat to whom he wished, but on the other hand there were many accidents by which it might at any time be wholly lost.  For all that they were so easy, the seats were very insecure, and at every sudden jolt of the coach persons were slipping out of them and falling to the ground, where they were instantly compelled to take hold of the rope and help to drag the coach on which they had before ridden so pleasantly.  It was naturally regarded as a terrible misfortune to lose one&#8217;s seat, and the apprehension that this might happen to them or their friends was a constant cloud upon the happiness of those who rode.</p>

<p>&#8230;Oh, yes; commiseration was frequently expressed by those who rode for those who had to pull the coach, especially when the vehicle came to a bad place in the road, as it was constantly doing, or to a particularly steep hill.  At such times, the desperate straining of the team, their agonized leaping and plunging under the pitiless lashing of hunger, the many who fainted at the rope and were trampled in the mire, made a very distressing spectacle, which often called forth highly creditable displays of feeling on the top of the coach.  At such times the passengers would call down encouragingly to the toilers of the rope, exhorting them to patience, and holding out hopes of possible compensation in another world for the hardness of their lot, while others contributed to buy salves and liniments for the crippled and injured&#8230;.  This relief was not, indeed, wholly on account of the team, for there was always some danger at these bad places of a general overturn in which all would lose their seats.</p>

<p>It must in truth be admitted that the main effect of the spectacle of the misery of the toilers at the rope was to enhance the passengers&#8217; sense of the value of their seats upon the coach, and to cause them to hold on to them more desperately than before.  If the passengers could only have felt assured that neither they nor their friends would ever fall from the top, it is probable that, beyond contributing to the funds for liniments and bandages, they would have troubled themselves extremely little about those who dragged the coach.</p>

<p>I am well aware that this will appear to the men and women of the twentieth century an incredible inhumanity, but there are two facts, both very curious, which partly explain it.  In the first place, it was firmly and sincerely believed that there was no other way in which Society could get along, except the many pulled at the rope and the few rode, and not only this, but that no very radical improvement even was possible, either in the harness, the coach, the roadway, or the distribution of the toil.</p>

<p>&#8230;The other fact is yet more curious, consisting in a singular hallucination which those on the top of the coach generally shared, that they were not exactly like their brothers and sisters who pulled at the rope, but of finer clay, in some way belonging to a higher order of beings who might justly expect to be drawn.  This seems unaccountable, but, as I once rode on this very coach and shared that very hallucination, I ought to be believed.  The strangest thing about the hallucination was that those who had but just climbed up from the ground, before they had outgrown the marks of the rope upon their hands, began to fall under its influence.  As for those whose parents and grand-parents before them had been so fortunate as to keep their seats on the top, the conviction they cherished of the essential difference between their sort of humanity and the common article was absolute.</p>

<p>&#8230;That is to say, not to encumber ourselves further with an illustration which has, I hope, served its purpose of giving the reader some general impression of how we lived then, her family was wealthy.</p>

<p>&#8230;&#8221;Handsome she might have been,&#8221; I hear them saying, &#8220;but graceful never, in the costumes which were the fashion at that period, when the head covering was a dizzy structure a foot tall, and the almost incredible extension of the skirt behind by means of artificial contrivances more thoroughly dehumanized the form than any former device of dressmakers&#8230;.  The point is certainly well taken, and I can only reply that while the ladies of the twentieth century are lovely demonstrations of the effect of appropriate drapery in accenting feminine graces, my recollection of their great-grandmothers enables me to maintain that no deformity of costume can wholly disguise them.</p>

<p>Our marriage only waited on the completion of the house which I was building for our occupancy in one of the most desirable parts of the city, that is to say, a part chiefly inhabited by the rich&#8230;.  The cause of a delay calculated to be particularly exasperating to an ardent lover was a series of strikes, that is to say, concerted refusals to work on the part of the brick-layers, masons, carpenters, painters, plumbers, and other trades concerned in house building.</p>

<p>&#8230;The reader who observes the dates alluded to will of course recognize in these disturbances of industry the first and incoherent phase of the great movement which ended in the establishment of the modern industrial system with all its social consequences&#8230;.  The working classes had quite suddenly and very generally become infected with a profound discontent with their condition, and an idea that it could be greatly bettered if they only knew how to go about it.  On every side, with one accord, they preferred demands for higher pay, shorter hours, better dwellings, better educational advantages, and a share in the refinements and luxuries of life, demands which it was impossible to see the way to granting unless the world were to become a great deal richer than it then was.  Though they knew something of what they wanted, they knew nothing of how to accomplish it, and the eager enthusiasm with which they thronged about any one who seemed likely to give them any light on the subject lent sudden reputation to many would-be leaders, some of whom had little enough light to give.  However chimerical the aspirations of the laboring classes might be deemed, the devotion with which they supported one another in the strikes, which were their chief weapon, and the sacrifices which they underwent to carry them out left no doubt of their dead earnestness.</p>

<p>&#8230;The sanguine argued very forcibly that it was in the very nature of things impossible that the new hopes of the workingmen could be satisfied, simply because the world had not the wherewithal to satisfy them.  It was only because the masses worked very hard and lived on short commons that the race did not starve outright, and no considerable improvement in their condition was possible while the world, as a whole, remained so poor.  It was not the capitalists whom the laboring men were contending with, these maintained, but the iron-bound environment of humanity, and it was merely a question of the thickness of their skulls when they would discover the fact and make up their minds to endure what they could not cure.</p>

<p>&#8230;Of course the workingmen&#8217;s aspirations were impossible of fulfillment for natural reasons, but there were grounds to fear that they would not discover this fact until they had made a sad mess of society&#8230;.  Humanity, they argued, having climbed to the top round of the ladder of civilization, was about to take a header into chaos, after which it would doubtless pick itself up, turn round, and begin to climb again.</p>

<p>&#8230;The nervous tension of the public mind could not have been more strikingly illustrated than it was by the alarm resulting from the talk of a small band of men who called themselves anarchists, and proposed to terrify the American people into adopting their ideas by threats of violence, as if a mighty nation which had but just put down a rebellion of half its own numbers, in order to maintain its political system, were likely to adopt a new social system out of fear.</p>

<p>&#8230;The particular grievance I had against the working classes at the time of which I write, on account of the effect of their strikes in postponing my wedded bliss, no doubt lent a special animosity to my feeling toward them.</p>

<p>&#8230;It was one of the annual holidays of the nation in the latter third of the nineteenth century, being set apart under the name of Decoration Day, for doing honor to the memory of the soldiers of the North who took part in the war for the preservation of the union of the States.  The survivors of the war, escorted by military and civic processions and bands of music, were wont on this occasion to visit the cemeteries and lay wreaths of flowers upon the graves of their dead comrades, the ceremony being a very solemn and touching one.</p>

<p>&#8230;After this, I remember drawing Edith apart and trying to persuade her that it would be better to be married at once without waiting for the completion of the house, spending the time in travel till our home was ready for us. She was remarkably handsome that evening, the mourning costume that she wore in recognition of the day setting off to great advantage the purity of her complexion.</p>

<p>&#8230;I was a confirmed sufferer from insomnia, and although otherwise perfectly well had been completely fagged out that day, from having slept scarcely at all the two previous nights.</p>

<p>&#8230;It was a large, ancient wooden mansion, very elegant in an old-fashioned way within, but situated in a quarter that had long since become undesirable for residence, from its invasion by tenement houses and manufactories.</p>

<p>&#8230;A second night, however, spent in my reading chair instead of my bed, tired me out, and I never allowed myself to go longer than that without slumber, from fear of nervous disorder.</p>

<p>&#8230;Let my nervous excitement or mental preoccupation be however great, Dr. Pillsbury never failed, after a short time, to leave me in a deep slumber, which continued till I was aroused by a reversal of the mesmerizing process.</p>

<p>&#8230;Meanwhile I sought my subterranean sleeping chamber, and exchanging my costume for a comfortable dressing-gown, sat down to read the letters by the evening mail which Sawyer had laid on my reading table.</p>

<p>&#8230;Somewhat relieved on this point, I instructed Sawyer to rouse me at nine o&#8217;clock next morning, and, lying down on the bed in my dressing-gown, assumed a comfortable attitude, and surrendered myself to the manipulations of the mesmerizer.</p>

<p>&#8230;I would rather you did not insist upon explanations so soon, but if you do, I will try to satisfy you, provided you will first take this draught, which will strengthen you somewhat.&#8221;</p>

<p>&#8230;&#8221;We shall see,&#8221; replied my companion; &#8220;you say that it was May 30th when you went to sleep?&#8221;</p>

<p>&#8230;Your appearance is that of a young man of barely thirty, and your bodily condition seems not greatly different from that of one just roused from a somewhat too long and profound sleep, and yet this is the tenth day of September in the year 2000, and you have slept exactly one hundred and thirteen years, three months, and eleven days.&#8221;</p>

<p>&#8230;The story that I had been asleep one hundred and thirteen years, which, in my former weak and bewildered condition, I had accepted without question, recurred to me now only to be rejected as a preposterous attempt at an imposture, the motive of which it was impossible remotely to surmise.</p>

<p>Something extraordinary had certainly happened to account for my waking up in this strange house with this unknown companion, but my fancy was utterly impotent to suggest more than the wildest guess as to what that something might have been&#8230;.  Then it occurred to me to question if I might not be the butt of some elaborate practical joke on the part of friends who had somehow learned the secret of my underground chamber and taken this means of impressing me with the peril of mesmeric experiments.  There were great difficulties in the way of this theory; Sawyer would never have betrayed me, nor had I any friends at all likely to undertake such an enterprise; nevertheless the supposition that I was the victim of a practical joke seemed on the whole the only one tenable.</p>

<p>&#8230;This trance of yours is indeed the longest of which there is any positive record, but there is no known reason wherefore, had you not been discovered and had the chamber in which we found you continued intact, you might not have remained in a state of suspended animation till, at the end of indefinite ages, the gradual refrigeration of the earth had destroyed the bodily tissues and set the spirit free.&#8221;</p>

<p>&#8230;That he was dead and must have been dead a century was of course to be taken for granted; but the extraordinary state of preservation of the body struck me and the medical colleagues whom I had summoned with amazement&#8230;.  It had occurred to me as just conceivable that you might be in a trance, and that the secret of your bodily integrity after so long a time was not the craft of an embalmer, but life.</p>

<p>&#8230;Had its theme been yet more incredible, the circumstantiality of this narrative, as well as the impressive manner and personality of the narrator, might have staggered a listener, and I had begun to feel very strangely, when, as he closed, I chanced to catch a glimpse of my reflection in a mirror hanging on the wall of the room&#8230;.  The face I saw was the face to a hair and a line and not a day older than the one I had looked at as I tied my cravat before going to Edith that Decoration Day, which, as this man would have me believe, was celebrated one hundred and thirteen years before.</p>

<p>&#8230;&#8221;You are probably surprised,&#8221; said my companion, &#8220;to see that, although you are a century older than when you lay down to sleep in that underground chamber, your appearance is unchanged.</p>

<p>&#8230;&#8221;I beg, sir,&#8221; was my companion&#8217;s response, &#8220;that you will not allow yourself to be too fully persuaded that you are the victim of a trick, lest the reaction, when you are convinced of the truth of my statements, should be too great.&#8221;</p>

<p>The tone of concern, mingled with commiseration, with which he said this, and the entire absence of any sign of resentment at my hot words, strangely daunted me, and I followed him from the room with an extraordinary mixture of emotions.</p>

<p>&#8230;I did not faint, but the effort to realize my position made me very giddy, and I remember that my companion had to give me a strong arm as he conducted me from the roof to a roomy apartment on the upper floor of the house, where he insisted on my drinking a glass or two of good wine and partaking of a light repast.</p>

<p>&#8230;&#8221;I should not have taken so abrupt a means to convince you of your position if your course, while perfectly excusable under the circumstances, had not rather obliged me to do so.</p>

<p>&#8230;Would his thoughts return at once to the earth he had just left, or would he, after the first shock, wellnigh forget his former life for a while, albeit to be remembered later, in the interest excited by his new surroundings?</p>

<p>&#8230;No sooner did I find myself physically rehabilitated through the kind offices of my host, than I became eager to return to the house-top; and presently we were comfortably established there in easy-chairs, with the city beneath and around us. After Dr. Leete had responded to numerous questions on my part, as to the ancient landmarks I missed and the new ones which had replaced them, he asked me what point of the contrast between the new and the old city struck me most forcibly.</p>

<p>&#8230;If you had the taste to make them splendid, which I would not be so rude as to question, the general poverty resulting from your extraordinary industrial system would not have given you the means.</p>

<p>&#8230;You told me when we were upon the house-top that though a century only had elapsed since I fell asleep, it had been marked by greater changes in the conditions of humanity than many a previous millennium.</p>

<p>&#8230;&#8221;Since you are in the humor to talk rather than to sleep, as I certainly am, perhaps I cannot do better than to try to give you enough idea of our modern industrial system to dissipate at least the impression that there is any mystery about the process of its evolution.</p>

<p>&#8230;The experiences of the day previous, my waking to find myself in the year 2000, the sight of the new Boston, my host and his family, and the wonderful things I had heard, were a blank in my memory&#8230;.  I recalled how extremely well Edith had looked, and from that fell to thinking of our marriage; but scarcely had my imagination begun to develop this delightful theme than my waking dream was cut short by the recollection of the letter I had received the night before from the builder announcing that the new strikes might postpone indefinitely the completion of the new house.</p>

<p>&#8230;&#8221;But you see it is a good deal of a jolt to drop a hundred years, and although I did not seem to feel it so much last night, I have had very odd sensations this morning.&#8221;</p>

<p>&#8230;I know, as well as I know that the world now is heaven compared with what it was in your day, that the only feeling you will have after a little while will be one of thankfulness to God that your life in that age was so strangely cut off, to be returned to you in this.&#8221;</p>

<p>&#8230;On the whole, society may be able to support all its members, but some must earn less than enough for their support, and others more; and that brings us back once more to the wages question, on which you have hitherto said nothing.  It was at just this point, if you remember, that our talk ended last evening; and I say again, as I did then, that here I should suppose a national industrial system like yours would find its main difficulty.</p>

<p>&#8230;&#8221;I know, of course,&#8221; he finally said, &#8220;enough of the old order of things to understand just what you mean by that question; and yet the present order is so utterly different at this point that I am a little at loss how to answer you best.</p>

<p>&#8230;But, Mr. West, you must not fail to ask father to take you to the central warehouse some day, where they receive the orders from the different sample houses all over the city and parcel out and send the goods to their destinations.</p>

<p>&#8230;The questions which I needed to ask before I could acquire even an outline acquaintance with the institutions of the twentieth century being endless, and Dr. Leete&#8217;s good-nature appearing equally so, we sat up talking for several hours after the ladies left us. Reminding my host of the point at which our talk had broken off that morning, I expressed my curiosity to learn how the organization of the industrial army was made to afford a sufficient stimulus to diligence in the lack of any anxiety on the worker&#8217;s part as to his livelihood.</p>

<p>&#8230;I replied that it seemed to me the incentives offered were, if any objection were to be made, too strong; that the pace set for the young men was too hot; and such, indeed, I would add with deference, still remains my opinion, now that by longer residence among you I become better acquainted with the whole subject.</p>

<p>&#8230;&#8221;Last night, as I was thinking what I could do to make you feel at home until you came to be a little more used to us and our ways, an idea occurred to me.</p>

<p>&#8230;I will leave you now with your old friends, for I know there will be no company for you like them just now; but remember you must not let old friends make you quite forget new ones!&#8221;</p>

<p>&#8230;&#8221;You find illustrated here,&#8221; said Dr. Leete, when I had expressed my admiration, &#8220;what I said to you in our first conversation, when you were looking out over the city, as to the splendor of our public and common life as compared with the simplicity of our private and home life, and the contrast which, in this respect, the twentieth bears to the nineteenth century.</p>

<p>&#8230;&#8221;For the matter of that,&#8221; I said, &#8220;if your experience has not been as startling as mine, it must have been rather overwhelming to see a man belonging to a strange century, and apparently a hundred years dead, raised to life.&#8221;</p>

<p>&#8220;It seemed indeed strange beyond any describing at first,&#8221; she said, &#8220;but when we began to put ourselves in your place, and realize how much stranger it must seem to you, I fancy we forgot our own feelings a good deal, at least I know I did.</p>

<p>&#8230;In view of your precarious nervous condition, it was thought best that I should take exclusive charge of you at first, and that you should, through me and my family, receive some general idea of the sort of world you had come back to before you began to make the acquaintance generally of its inhabitants&#8230;.  Few of us have it in our power to confer so great a service on the nation as you will be able to when you leave my roof, which, however, you must not think of doing for a good time yet.&#8221;</p>

<p>&#8230;You are easily the master of all our historians on questions relating to the social condition of the latter part of the nineteenth century, to us one of the most absorbingly interesting periods of history: and whenever in due time you have sufficiently familiarized yourself with our institutions, and are willing to teach us something concerning those of your day, you will find an historical lectureship in one of our colleges awaiting you.&#8221;</p>

<p>&#8230;&#8221;In point of fact,&#8221; said Dr. Leete, &#8220;our use of the word is no reflection at all on your generation, if, begging Edith&#8217;s pardon, we may call it yours, so far as seeming to imply that we think ourselves, apart from our circumstances, better than you were.</p>

<p>&#8230;When I first woke from that trance, my former life appeared as yesterday, but now, since I have learned to know my new surroundings, and to realize the prodigious changes that have transformed the world, I no longer find it hard, but very easy, to realize that I have slept a century.</p>

<p>&#8230;To put the matter in a nutshell, there are three main grounds on which our educational system rests: first, the right of every man to the completest education the nation can give him on his own account, as necessary to his enjoyment of himself; second, the right of his fellow-citizens to have him educated, as necessary to their enjoyment of his society; third, the right of the unborn to be guaranteed an intelligent and refined parentage.&#8221;</p>

<p>&#8230;If I were to fall into a mesmeric sleep tonight as lasting as that other and meanwhile the course of time were to take a turn backward instead of forward, and I were to wake up again in the nineteenth century, when I had told my friends what I had seen, they would every one admit that your world was a paradise of order, equity, and felicity.  But they were a very practical people, my contemporaries, and after expressing their admiration for the moral beauty and material splendor of the system, they would presently begin to cipher and ask how you got the money to make everybody so happy; for certainly, to support the whole nation at a rate of comfort, and even luxury, such as I see around me, must involve vastly greater wealth than the nation produced in my day.</p>

<p>&#8230;When at length she suggested that I might have heard all I cared to, for that time, and we rose to leave the room, she came straight up to me and said, without raising her eyes, &#8220;Mr. West, you say I have been good to you.  I have not been particularly so, but if you think I have, I want you to promise me that you will not try again to make me tell you this thing you have asked to-night, and that you will not try to find it out from any one else,&#8211;my father or mother, for instance.&#8221;</p>

<p>&#8230;Indeed, it could not well have had any other name, for its purpose was to realize the idea of the nation with a grandeur and completeness never before conceived, not as an association of men for certain merely political functions affecting their happiness only remotely and superficially, but as a family, a vital union, a common life, a mighty heaven-touching tree whose leaves are its people, fed from its veins, and feeding it in turn.</p>

<p>&#8230;It seems absurd to expect any one to believe that convictions like these were ever seriously entertained by men; but that they were not only entertained by our great-grandfathers, but were responsible for the long delay in doing away with the ancient order, after a conviction of its intolerable abuses had become general, is as well established as any fact in history can be.</p>

<p>&#8230;I have been so foolish, you were so kind, as to almost forget that this must needs be so, and to fancy I might in time become naturalized, as we used to say, in this age, so as to feel like one of you and to seem to you like the other men about you.</p>

<p>&#8230;For thirty years I had lived among them, and yet I seemed to have never noted before how drawn and anxious were their faces, of the rich as of the poor, the refined, acute faces of the educated as well as the dull masks of the ignorant.</p><a href="http://cairn.com/wp/index.php?tag=narrative" rel="tag">narrative</a>, <a href="http://cairn.com/wp/index.php?tag=nineteenth_century" rel="tag">nineteenth century</a>, <a href="http://cairn.com/wp/index.php?tag=notes" rel="tag">notes</a>, <a href="http://cairn.com/wp/index.php?tag=reference" rel="tag">reference</a>, <a href="http://cairn.com/wp/index.php?tag=social_consequences" rel="tag">social consequences</a>, <a href="http://cairn.com/wp/index.php?tag=twentieth_century" rel="tag">twentieth century</a>, <a href="http://cairn.com/wp/index.php?tag=weariness" rel="tag">weariness</a>, <a href="http://cairn.com/wp/index.php?tag=writing" rel="tag">writing</a>]]></content:encoded>
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		</item>
		<item>
		<title>computerworld connections</title>
		<link>http://cairn.com/wp/2008/02/20/114/</link>
		<comments>http://cairn.com/wp/2008/02/20/114/#comments</comments>
		<pubDate>Wed, 20 Feb 2008 19:03:08 +0000</pubDate>
		<dc:creator>admin</dc:creator>
		
		<category><![CDATA[installations]]></category>

		<category><![CDATA[notes]]></category>

		<category><![CDATA[projects]]></category>

		<category><![CDATA[work]]></category>
<category>chatbots</category><category>cinematography</category><category>data representation</category><category>installations</category><category>notes</category><category>projects</category><category>serial port</category><category>teletype</category><category>tobin</category><category>work</category>
		<guid isPermaLink="false">http://cairn.com/wp/2008/02/20/114/</guid>
		<description><![CDATA[There are three new tools in the shed. List:

1. a Max/Jitter patch that will advance full resolution video frames while driving the Tobin through a whole roll of single frames film. Call it an automated digital optical printer
2. a Boarduino and prototype shield for interfacing with generalized MIDI streams
3. an interface to John Fletcher&#8217;s Integrating [...]]]></description>
			<content:encoded><![CDATA[<p>There are three new tools in the shed. List:</p>

<p>1. a Max/Jitter patch that will advance full resolution video frames while driving the Tobin through a whole roll of single frames film. Call it an automated digital optical printer<br />
2. a Boarduino and prototype shield for interfacing with generalized <span class="caps">MIDI </span>streams<br />
3. an interface to John Fletcher&#8217;s Integrating light meter (for lumpy time)<br />
3. a plugin for chatbots that automates the jkerouac teletype project. News on that follows</p>

<p>The serialdaemon [http://cs.gmu.edu/~sean/cs685/uploads/Main/serialdaemon.c.zip] code allows me to route connnections on an arbitrary tcp port directly to the serial port. Now I can connect to that port and send characters to the tty-connect board for printing out on the teletype. First, compile serialdaemon.c<br />
gcc serialdaemon.c<br />
mv a.out serialdaemon<br />
chmod 755 serialdaemon<br />
mv serialdaemon /usr/local/bin/</p>


<ol>
<li>connect the keyspan and fire it up:<br />
serialdaemon -serial /dev/tty.KeySerial1 -baud 38400 -port 10001 -indebug -outdebug</li>
</ol>



<p>the only problem with this scheme is that it depends on the serialdaemon&#8217;s host being available from the Internet (ie, possessing a static IP). You could add another layer by putting the chat parser on the same host. Like this</p>

<p>[ Internet ] &lt; &#8211;&gt; [ ircbot -&gt; chats -&gt; cleaner -&gt; rater -&gt; filter -&gt; serialdaemon ]</p>

<p>so the serialdaemon host needs to be a little smarter and more muscular than I had originally planned, but it makes for a more flexible framework. </p>

<p>I&#8217;m a bit fed up with Tcl and the eggdrop daemon. It&#8217;s solid enough but I don&#8217;t want to have to parse logfiles for periodic diffs. I would rather run a bot written in a familiar language that allows me to build a plugin. That plugin could then parse each line of chat and pass it to the rater. High-scoring lines could then be forwarded to the waiting port for output to the serial daemon and subsequent printing on the teleytpe. </p>

<p>Great! now how do I write a plugin? This one talks directly to the serial port obviating the need for a serial daemon. If everything&#8217;s going to live on one machine, this is probably the way to go. </p>

<code>
class Rater(callbacks.Plugin):
	&quot;&quot;&quot;Add the help for &quot;@plugin help Rater&quot; here
	This should describe *how* to use this plugin.
	&quot;&quot;&quot;
	threaded = True
	def __init__(self,thresh=50,db='/Users/dgoodwin/code/kerouacs_ear/_dbs/kerouac.bay'):
		self.db 		= db
		self.TTY		= serial.Serial('/dev/tty.KeySerial1',38400)
		self.TTY.write(&quot;\r\n ! ! ! ! ! ! !  HELLO JACK KEROUAC  ! ! ! ! ! ! !&quot;)
		threshstr =    &quot;\r\n ! ! ! ! ! ! !  THRESHOLD SET TO %s ! ! ! ! ! ! !\r\n&quot; %(thresh)
		self.TTY.write(threshstr)
		self.guesser 	= Bayes()
		self.guesser.load(fname=db)
		self.thresh 	= thresh
		self.debug = 0
	def cleanup(self,sometext):
		p = re.compile('^\[(.*)\&gt; ')
		q = re.compile('\\n')
		clean = q.sub( '', sometext)
		clean = p.sub( '', clean)
		if self.debug: print 'the clean test is %s' %clean
		return clean
	def entrytemplate(self):
		authors = ['hamilton','austen','rand','emerson','ginsberg','kerouac']
		entry   = {&#8217;timestamp&#8217;: 0.0,&#8217;text&#8217;:&quot;&quot;,}
		for a in authors:
			entry[a] = 0
		return entry
	def rate(self,aline=&quot;never leave your house drunk&quot;):
		# set defaults
		rating  = self.entrytemplate()
		rating['text'] 	= self.cleanup(aline)
		score   		= self.guesser.guess(aline)
		if self.debug: print &#8217;score is %s&#8217; %score
		if self.debug: print &#8216;rating[text] is %s&#8217; %rating['text']
		for k,v in score:
			if(v&amp;lt;0.01): v = 0.01
			rating[ k ] = int(round (v*100) )
		print &quot;the rating was %s&quot; %rating
		if (rating['kerouac'] &gt; self.thresh):
			# send it to the SERIAL port!
			try:
				self.TTY.write(rating['text'] + &#8216;\r\n&#8217;)
			except:
				print &quot;sorry, there&#8217;s a problem talking to the teletype&quot;
</code>

<p>then</p>

<code>
myj.rate('[00:17] &lt;shdow_ct&gt; anyone out there&#8217;)
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