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Portfolio Milton 2011 - 2013 Runerheim


milton runerheim

resumé

education

1988-09-19 +46 (0) 735 78 98 62 milton.runerheim@gmail.com miltonrunerheim.se

2013 - 2014 hochschule für gestaltung www.hfg-gmuend.de schwäbisch-gmund exchange semester 2011- lund university www.industrialdesign.lth.se industrial design 2010 forsberg school of design www.forsbergsskola.se fashion design 2010 lund university school of business and management business 2009 lund university faculty of law introduction to swedish law 2008 berghs school of communication www.berghs.se graphic design 2007 - 2004 södra latins gymnasium stockholm upper secondary school

work

catt och co. advertising agency www.cattochco.se studio assistant david carlson make design matter www.makedesignmatter.com illustrations for the book zenit design group design agency www.zenitdesign.com summer internship


languages

swedish native language english fluent spanish very good french moderate german moderate

software alias automotive

Hi,

rhinocerous

My name is Milton Runerheim and I am currently looking for an internship.

luxion keyshot

I am currently pursuing my bachelor degree at the School of Industrial Design in Lund, Sweden.

solidworks

adobe illustrator

adobe photoshop adobe indesign

adobe after effects

engagements

2011 - 2012 the section of architecture and industrial design member of the board of directors 2014 student carnival Lund member of committee on art direction

I enjoy contrasting projects with varying design processes and routines. My approach so far, has focused on setting a thorough foundation for my projects. With research, observations, and hands-on testing, using whatever means possible for communicating, and visualizing my ideas. I love being in creative settings, with inspiring people surrounding me, with whom ideas and approaches can be discussed, while still granting private, intense focus. Regardless of individual work or teamwork, I strive to contribute and to learn while creating. If you like my work, please don’t hesitate to contact me.


5 POC snow

avalanche rescue shovel

35 swing luminaire

16 the speaker

a mechanical cookbook

41 portable grill nautical cooking

22 haute pic

wall mount for skis

50

26 hozon

vegetable & fruit preservation

enjoy!

move

motion-tracking midi board

4


Snow. Mountain rescue tool Avalanche shovel

Subject: Design Methodology Brand: POC Examiner: Prof. Claus-Christian Eckhart Lecturer Anna Persson Supervisors: Prof. Claus-Christian Eckhart Lecturer Anna Persson Completed: 4th semester Spring 2013 Student: Milton Runerheim

Create a handheld tool for a brand of your own choice.


Avalanches & casualties

Avalanche accidents are broadly differentiated into two categories: accidents in recreational settings, and accidents in residential, industrial, and transportation settings. In the recreational setting most accidents are caused by the people involved in the avalanche. In contrast, the accidents in the residential, industrial, and transportation settings were due to spontaneous natural avalanches. The

actions of rescue are therefore divided into two fields: the proactive and the reactive measures. I chose to work with the reactive avalanche measures. Due to the focus on user and usage, as well as the focus on saving human lives, not on protection of material objects.

Worldwide annual casualties from avalanches are estimated around 150.

6


Professional approach to avalanche excavation Interview with the head of Åre Fjällcenter, Mürten Johansson

Avalanche shovel

Ergonomics

Most avalanche shovels are not built to withstand multiple usage, and certainly not designed for the user to maintain a good working posture during usage. For a multiple-user this fact creates a significant problem.

Breakage

Most designated avalanche shovels are small, light and made for storage. However, they often break at intersections and joints. A damaged shovel during excavation could mean death for the buried.

Designated tool

The professional mountain rescue teams lack sufficient shovels and spades, designed for their line of work. Instead they use shovels made for worst case scenarios, or shovels really meant to be used in other fields. 7


Ergonomics & load

The bodily problem areas were established using articles and reports regarding biomechanical load and working posture. The literature was supplemented by my own digging studies, both as an observer and user. Market analyses and reviews regarding avalanche shovels were also further studied.

The collapsible features of an avalanche shovel are from a convenience perspective regarded as crucial for the average user. For the frequent user, such as my target group, the small and collapsible features may rather mean an inferior working position and the loss of durability, especially in the joints of the shovel.

Sufficient blade size?

Allow handle rotation? Elevate grip area?

8


Blade

The design of the blade should be formed to facilitate flexible usage and provide durability during all the stages of excavation.

Handle

The handle should provide an easy grip regardless of gloves, main hand or weather conditions. The handle should help facilitate excavation of snow.

Grip

The grip of the shovel should be designed to ease the working posture of the user and to provide better handling of the product.

Process narrowed down to three specific areas of interest. 9


Push

Dig

Mobility

Transport

The shovel needs to be able to perform during several different types of usage during the excavation process.

Form development

Sketch models and several quick prototypes were made using foam, cardboard and leftover materials. As the line of prototypes grew larger, my ideas for visualization grew linearly. When general choices and demarcations were made, I began to perform user

tests to establish rough dimensions. The prototypes were evaluated, revised and adjusted until I had found a form language and solution that I could further develop into details.

Prototyping and form development using quick tools for visualization. 10


3d visualization

Due to the double curved surfaces of my design, and the curiosity of a personally unexplored area, I chose to print my final design using the technology of rapid prototyping. This gave me the chance to do a lot of explorational

modeling and shaping within Alias Automotive. Detailing were visualized faster than what cardboard models could provide me with. Once I had decided on a shape, the CAD-model was exported and send to print.

Explorational modelling and finalized 3d print. 11


Scaled down design with a orange POC logo on handle side

De-bossed logo on shovel blade that, when filled with snow, creates the illusion of a white logo

Water repellant rubber material on grip areas

Holes in shovel shaft to enable various types of transportation handling and easy to reach mounting

Result

The end product was formed under the principle of minimizing the loose parts of the handheld tool and focusing on the ergonomical usage. Thus creating a more durable and physically less strenuous product for multiple usage. Due to my deselection of collapsibility, I chose to instead

implement small holes in the shovel blade for transportation using carabiner hooks, a solution already seen by professional mountain rescue teams. The handling possibilities provided by the carabiner hook are sufficient in the field of professional avalanche excavations, both in terms of transportation and the accessibility and independence it creates.

Option for attachment using carabiner hook, to provide options for transportation and accessibility. 12


10째 Sufficiency in crisis Ergonomic grip and shaft, angled to obtain an upright working position. Constructed to never have to worry. Handle is angled to facilitate carrying of snow

15째

13 Shaft is angled to ease strain on lower back muscles


Color range

Using POC’s own color range to create options for possible products varieties. Example on black limited edition version in black anodized aluminium with carbon fibre shaft.

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POC Snow. A tool for saving lives.

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the speaker a mechanical cookbook DIY speaker

Subject: Visual communication II Narrative design: A product with a history Examinator: Prof. Gunnar Sandin Supervisors: Jenny Nordberg Petra Lilja Completed: 3rd semester Fall 2012 Students: Milton Runerheim Axel Bluhme Simon Helmersson

To experiment within the concept of re-design, with a focus on the object, material life-cycles and history.


Redefine trash

Shorten the circle of recycling Inspire to create

A product with a history

The course encouraged experimentation into the concept of re-design, with a focus on the object, material life-cycles and history. The project was a collaborate project in groups of three and consisted of four main elements: • • • •

a product a film explaining the project a poster describing the process an exhibition to display the product

Objective

We as a society have unjustifiably decided that what we throw out is trash. From trash new materials and opportunities will arise, thus completing the circle of recycling. Our ambition is to redefine the word trash by creating, and inspire to create, meaningful products for home usage consisting of parts from thrown-out items and materials. All of which you, yourself, can find in a garbage or waste disposal near you. Our goal is to shorten the circle of recycling, inspire to create and to learn while creating. 17


The recipe

The idea was to create a mechanical cookbook. We would be writing the first chapter of this cookbook, to be provided for anyone, and our ambition was that people would write the succeeding chapters for themselves, to be provided for all of us. We decided that the first chapter of the mechanical cookbook would be focusing on how to create an audio speaker. The research phase consisted of investigating the technology

behind audio speakers, as well as planning the upcoming steps of realization. The main focus laid on understanding how to generate the best possible acoustic prerequisite, while simplifying the process and using only the bare essentials in terms of materials. From the technological requirements received, a recipe could be established, as well as a plan for what type of recycled items would be necessary for the completion of the project.

What are the essentials? What are the stages?

How to accomplish the end goal? 18


>10 000 views

instructables.com

December 2013

click to play

61

2012-2013

Instructables Design Competition 2013

tumblr.com

Nomination

Viewer rebuild attempts 2013

vimeo.com

Visual Documentation

We chose to see the film as a visual documentation of the project, to work as a guide for those who wished to attempt on creating their own speakers. Our video is our take on this recipe, and is to be seen as merely a guideline for individual creativity. The video was released on the Tumblr-account we

had created for the project. On the site you would have access to the video, as well as the recipe and to our contact information. We encouraged people to post their own takes on the project. The film was simultaneously uploaded on Vimeo, as well as Instructables, a site for DIY-products.

The video was uploaded on several sites, and was to be seen as merely a guideline for in individual creativity. 19


Result

The components of the speakers were found at various locations for waste disposal. Bottles and newspapers were easily collected in the close proximity to our whereabouts. Magnets, copper wire, cables, cords and amplifier were found at a waste disposal for electronical products. The individual components were withdrawn

from products such as computers and radios. A poster was created to visualize the essential components and stages throughout the creation of the end product.

The cost for the whole project, resulting in two speakers, was approximately $8. 20


do it yourself?

smaproductions.tumblr.com

21


Haute-pic Cyclic design project Wall mount for skis

Subject: Cyclic design project Examiner: Olof Kolte Supervisors: Olof Kolte John Cramer Completed: 2nd semester Spring 2012 Student: Milton Runerheim

Create a storing device of your choice, to be mounted on the wall. It should be packaged in a purpose-made packaging and the material being used must be wood grown and harvested in Sweden.


Problem formulation

Between the times you ski, weather you ski often or rarely, your skis have a tendency of ending up in a closet, in the attic or in the cellar. In my opinion, they deserve a better arrangement.

more common. I believe the skis are like the hanged up fixed-gear bike a sign of an active lifestyle. Regardless of degree of usage the user strives to demonstrate quality, taste, level of expertise and dedication.

The average skier of today is more and more exploring the life outside the boundaries of the pist. As a reaction to this, the average ski is changing its appearance. Rockered skis and graphical elements are becoming

The idea was to create a simple ski rack that reconnects to the simplicity of the mountains. One that displays the skis optimally, but that still would work, visually, as a product on it’s own.

To display and express the lifestyle of skiing in a new interpretation of the wallmounted construction.

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Construction

I wanted to explore alternative ways of mounting skis on the wall, in contrast to the standardized way of mounting back to back. A way of mounting that isn’t possible with todays rockered skis. I figured that the bindings of the skis constituted a mounting possibility that had been overlooked. Resting the skis on the bindings could possibly create a stable way of mounting, while allowing the skis to be exposed in the best possible manner.

The Haute-Pic was eventually made out of three layers of wood, each layer made out of two layers of wood glued together to increase the stability. The front and middle layers were made out of oak to reconnect to the darker barren expression of the mountain. The back layer was made out of birch and symbolizes the white mountain tops that work to stabilize the skis and to keep them straight.

Resting the skis on the bindings, instead of back-to-back, was a mounting possibility that had been overlooked and one that would optimize exposure. 24


25


Hozon 保存 Process design Fruit & vegetable preservation

Subject: Process design Supervisors: Susanne Schade Examiner: Susanne Schade Completed: 5th semester Fall 2013 Schwäbisch-Gmünd Student: Milton Runerheim Xin Gao

To investigate the process of food purchase and cooking, from a design process perspective.

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40% of food purchases in the US. are never eaten

Storage places

Food types

Preconditions

Techniques

Package types

Focus points Location

Fridge/ open space

Food waste & Preservation

Food type

Leftovers/ frequently thrown away food

Roughly one third of the food produced in the world for human consumption every year, approximately 1.3 billion tonnes, gets lost or wasted. The project had it’s focus on the largest amount of all food waste, fruit and vegetables. About half of the produces we buy are never consumed due to insufficient storage knowledge, -planning and -overview of products bought. Most

fruit and vegetables need to be stored in a cool to cold environment, with a moist condition. Furthermore, some fruit and vegetables transmit ethylene gas, a natural gas that accelerates ripening. We wanted to focus on a low tech solution for fruit and vegetable preservation. Inspiration came from the Zeer pot; an evaporative cooling refrigeration device, and from the Japanese tradition of Oya clay; a clay that absorbs transmitted ethylene gas.

Create a low tech solution for fruit and vegetables that facilitates overview and preservation of stored items, in a home environment. 27


Smart textiles

Transformable framework

Modular compartments

Mobile solution

Ladder solution

Hanging from wire

Part of table

28


Testing

Statistics derived from reports helped us estimate the average families fruit and vegetable purchases during a weekly period. From the provided information we were able to roughly establish which storage space there was a need for.

We wanted to create an open system in which the focus lay on accessibility, visibility and multi- functional usage. When general dimensions, usage and form direction had been established, the digital design process was initiated.

How much fruit and vegetables do we manage on a weekly basis, and how do we wish to handle them? 29


Form development

The mechanical and technical aspects of the product system was considered by various techniques of visualization. By evaluating of the possible options we could find a solution that felt right from a user perspective, and that also appealed to us visually.

Inspiration was derived from the ladder as well as a more contemporary approach to the Japanese heritage of craftsmanship.

A simple design inspired by the tilted ladder as well as Japanese heritage of wooden, linear railings. 30


Water filter

Inner compartment

The technique used is often referred to as pot-in-a-pot refrigeration. It needs a porous outer earthenware pot, lined with sand, containing an inner, less porous pot, within which the food is placed. Water

Outer compartment

Sand

Water

is applied to the middle layer of sand. As the moisture evaporates through the outer porous pot, it withdraws heat from the inner pot and creates a cool environment. 31


Construction framework Painted wood

Serving plate Oya clay

Compartment rails Painted wood

Medium compartment Evaporation technique & oya clay

Large compartment Evaporation technique & oya clay

Bottom horizontal rail Feet stabilizer for re-arranging

The design is based on a wooden framwork with three hanging compartments, that uses low-tech solutions for fruit and vegetable preservation. 32


Rails underneath compartments to better enable the process of evaporations

Slit in water filter to evenly distribute added water to the layer of sand in between compartments

Ledge for hanging compartments

Detailing & usage

Removable rails

The evaporation technique works best when the compartments outer surface does not have direct contact with a flat surface, thus rails were created under the compartments. To distribute the water in the sand evenly, slits were created in the filter. The compartments are hung by ledges in the hanging compartments. 33


Hozon. Preventing waste by presenting food.

34


Swinging lamp Darkness design Luminaire

Subject: Darkness design project Supervisors: Olof Kolte Examiner: Olof Kolte Completed: 4th semester Spring 2013 Student: Milton Runerheim

Develop and build a full scale, working prototype of a luminaire. The starting point should be a lighting problem related to a specific place and activity.


Inspiration

My goal with this project was to try to preserve and re-create the transitional light and the feeling that occurs when the summer evening’s last light is spreading across the landscape. Those evenings when you do not wish to let the lack of light shorten a supposed long night. I wanted to create a luminaire that is

shared, that will enable a mobile activity, and that lets you take a tour of the close surroundings. I was inspired by the old classical lanterns, the winds play with the flame and the nordical wooden craftsmanship.

To package and re-create the evening’s last summer light.

36


Frame (birch) Wooden plugs Lid (birch) LED cooling plate (metal) Reflector (plastic) Rotational axis (aluminum) Luminaire body (pvc)

Diffuser (plexi) Half-moon legs (Birch)

Ideation

To create the exact light I needed to do a variety of tests regarding reflectors, diffusers, material, size and quantity of LED lights. By blasting, polishing, painting and screening some components I could extract different types of light.

Finally, I decided to create a light source from the principle of opalisation. By treating the inside of my shader, I managed to create a smoother transition through the material. Light from the luminaire consists mostly of indirect light, with a smaller part directed light to act as an companion in the dark.

A simple design derived from the characteristics of the classical lantern. 37


38


Result

The final design is a wooden lantern created from birch. Able to stand on it’s own due to it’s half-moon legs, it spreads the light radial, and also directed when handheld. This due to a white smooth reflector in the top lid as well as a concave diffuser at the bottom of the luminaire.

The opalescent lampshade hangs freely from the frame, to create a pleasant movement in line with the wind, and creating a greater opportunity for manoeuvring when handheld.

A pending, non-directional light for the ambiance. Directed light to find what you are looking for.


Swing. Sharing the light.

Falsterbo Sweden

40


Grill Collapsible design Nautical grill

Subject: Collapsible design Supervisors: Collapsible products AB Examiner: Per-Erik Andersson Completed: 4th semester Spring 2013 Student: Milton Runerheim Axel Bluhme Dick Hammer Johan Bohman Erik Ebberstein Develop a collapsible consumer product that take up limited space during storage and transport.

41


Re-briefing

We chose to focus on cooking in a nautical environment. Both off shore and on land. Upon choosing the topic of interest, we began researching the potential market of the product. Online surveys were created to gather information regarding users and usage, as well as personal interviews to gather informa-

tion regarding experience in the field. From the gathered information we could determine problem areas of current products, establishing technical specifications and start on the initial brainstorming for our product.

Create a product to facilitate the culinary experience in a nautical environment.

Four concepts were created based on the concept of a propane grill in a nautical environment. 42


01

Minimize space

01

03

02

04

To minimize storage space on the boat, we wanted to create a compact grill that would offer food storage and/ or areas for food preparation within the grill itself.

02

Transportation

To facilitate travelling to and from the boat, as well as from boat to land and back while on the boat, we wanted to create a grill focusing on transportation and mobility.

03

Modular propane tube

To facilitate multiple usage, we wanted to create a possibility for a user-friendly chargeable propane tube to be inserted and extracted from the main body of the grill.

04

Final concept

The final concept became a morph of the essential and interesting aspects of the previous conceptualizations. Focusing on a compact, mobile grill using an integrated propane tube.

43


Ideation & realization

The concepts were developed further using various tools for visualization. Sketches and mock ups, dimension visualizations and quick 3d modelling were all used to get an idea of the end product. Together with technical aspects, the general design could be created. Once general form

language had been established we went into detailing with a similar process for visualization. In the end the final product was 3d modelled and rendered using Solidworks and Luxion Keyshot.

Visualization to get an idea of what the end product would be consisting of. 44


45


rotary knob for opening

Result

extracting propane tube

The final product created was a compact, collapsible and transportable gas grill, tailored to a nautical environment. The grill uses a replaceable gas tube as fuel. The gas tube is refillable and is easy to plug in and out.

unfolding legs

In order to enable various use, both on land and on boat, legs were incorporated. The legs, which are folded out from the main construction, has a plastic foot to create friction when using the boat, and works to protect the structure from the use of land.

opening the lid

Collapsible structure to enable a diverse usage, both on land and on the boat. 46


47


48


Nautical grill. The mobile culinary experience.

Skanรถr Sweden

49


The embodiment of sensation. In motion. Gesture-based midi board

Subject: In motion Supervisors: Charlotte Sjรถdell Jasjit Singh Examiner: Charlotte Sjรถdell Jasjit Singh Completed: 4th semester Spring 2013 Student: Milton Runerheim

The main function of the product is when it is in motion. The product is not larger than 1.5 square meters and is not a car.

50


the dj

communication between dj & vj

the vj

Vj software are structured similar to video editing software. With layering, effects and stated properties. As most of the modifications are made while performing, and should be easily accessible, the user interface is flooded with options.

The video jockey

The video jockey, often referred to as the Vj, is the person in charge of projecting real time manipulated visuals through technological mediation, and for an audience, in synchronization to music. The work of a VJ is often done by the use of a computer, using appropriate software, closely connected to the person in charge of the transmitted audio, the Dj. The relationship is a hierarchic relationship where the Vj , in most

cases, is forced to adjust to the playlist chosen by the Dj. Interviews with Vjs revealed that Vjs usually are not aware of the specific playlist chosen by the Dj. This demands a certain level of openness to variability, both in terms of having enough material and also to be able to make active, intuitive choices that fit the music. The idea was to create a device to facilitate customizable and intuitive usage for Vjs, performing alongside Djs.

The Vj is limited to software that doesn’t facilitate the requirement to make intuitive selections of the manipulation of visuals to match unexpected changes in music. 51


A market in change Leap motion®

A very distinct trend in general, is the transition from manual UI’s (User Interfaces), GUI’s (Graphical User Interfaces) to more exploratory approaches to product interaction. This trend has especially been noticed in the world of home entertainment, video gaming in particular. With Nintendo Wii the user had escaped the closed system and evolved into a further more active interaction using hand and arm gestures. With the Xbox Kinect the whole human

body was activated. Leap Motion is a device using a 4” camera, which recognises gestures in a x-, y- and z-axis, therefore, grants users with a 3d workspace. Any motion within the workspace is captured and translated onto the computer. It does this using an array of camera sensors which can track movement with an accuracy of 0.01 mm, distinguish between the ten fingers of the hand and track them individually.

The way we interact with computers is highly outdated. Using a 2d-based communication when we are programmed to move and think in a 3d-space. 52


User testing

Some actions performed by the Vj had to be made tactile, and graspable. So the process moved to the workshop where it continued parallel to other activities until the end of the project. The intended information to retrieve from building mock ups and performing user tests was to set up dimensions of the controls, as well as getting an opinion about the perceptions of dimensions. Which measurements gives which impression? How do

we believe that certain dimension are handled? A lot could be retrieved from merely visual studies and tactile tests. Quick user test were set up to establish dimensions based on ergonomics. Alongside with perceptual tests where the participants were to make a semantic assessment of the various control dimensions based on intended usage, such as pushing, rotation and slide.

User tests to establish semantic assessment of the various control dimensions based on intended usage.

53 53


General dimensions

Today’s devices are from a logistical point demanding for today’s users. That device is in itself an external device, which together with computer and external products, pose as the Vjs equipment. Since the computer is essential for a operations VJs, just computer usage is an important starting point for the design of the device that would be created. A computer

with a screen size of 15 “was seen as the maximum dimensional used as a starting point for ideation. To create a product that could be transported together with a computer, in a computer bag, was the starting point for the progress of the project. Different models were created, using selection that had been established in previous steps.

Dimensions were established from a starting point of providing an overview of usage, as well as offering better opportunities for transportation. 54 54


55


Choosing effect

3d-mapping

Mapping effect

The device is delivered without any default settings and must therefore be customised by the user before usage. This is done using the motion tracking techniques provided by the technique of Leap Motion. An adjustable feature is chosen by the user from a list in the

Exploring effect

product library (for example opacity as shown). The user now can adjust the mapping from a start- to an endpoint, using the display to navigate in space. The user can then preview and test the mapped feature. Once the user is satisfied he can start exploring the feature.

How would you express an action that does not have a designated operating mannerisms to relate to? 56


36 cm scroll/ select/ info

scroll

select

assign

explore

effects

activate/ deactivate/ load

20 cm

speed

play/ pause

crossfader

shift

loop/ loop duration/ assign

Technical specification 3 axis motion sensoring

2 layers

USB input/ output

Speed

LED light

Loop

With the help of Leap Motion motion tracking, movements are being able to map, and sensored in a 3d-space.

Using a USB port, information can flow between the computer and device.

Due to the variety of possible scenarios of usage, a LED light is integrated to indicate area of usage and works to improve the navigation of the hands.

1

2

The user has the possibility to work with two layers of editable video material, assigning to layers and using a crossfader. Both layers can be manipulated with effects.

Apart from general effects, mapped by the user itself, speed of visuals can be manipulated using a vertical slider.

The user can choose to loop video material, or segments of video material, using a button with rotational functions for precision.

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#howdoyoumove

The idea is for users to explore and begin to experiment with various movements correlating with their visual image of the action. How would you express an action that does not have a designated operating mannerisms to relate to? Users will develop their own unique ways of expressing themselves, to possible be shared with others, using a network of social interaction. The intent is to inspire and to expand the possibilities of motion tracking connected to the field of audiovisuals.

Personalize your intuition, to be shared with others. A little bit like dancing.

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How do you move?

59


thank you for your time!


Milton Runerheim Portfolio 2011-2014  
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