Page 1

issn 2009-2288

issue 7/2011







imagery resulting from the time-based processes found in many interdisciplinary art practices today. The magazine seeks to engage and represent respective projects and ideas which utilise Photography (digital or analogue), New Media (high or low tech), Performance and Sculpture (through documentation). Fine

Theme: Colour Theory Andrew George - Light Leaks Dana Whitford - Infrared Reality Paul Corcoran - In/Between

Artists are encouraged to engage with the magazine as a way of

Kate Wimer - The Shining Barrier


Leanne Eisen - Residue









ideas whether it is through a single image or a structured project.

Julie Barnofski - The Idea of Home

Time, Space, Light and Gravity are what drive SuperMassiveBlackHole

Hannah Lucy Jones - To happiness, endlessly


Valerie Driscoll - Flat 48








NĂŠstor Baltodano - Selected photographs Paul Raphaelson - Lost Spaces, Found Gardens Vivian del Rio - Unconscious Art is

published three times annually. SuperMassiveBlackHole accepts almost anything involved with the photographic process, from straight photography to video, performance documentation or written treatments. All submissions should be sent via Email. Please check the submission guidelines at:

Focus: Peter Fraser - Lost For Words Talk: Gregory Schaffer - Paul Fusco’s RFK Daniel Campbell Blight - Interview Project: Cover: Untitled, 2009 by Peter Fraser

Projector Collective - White Yellow White

Colour Theory

is integral to contemporary photographic practice by way of understanding both the scientific and psychological aspects of the medium. Light is of course the source of what we perceive to be colour, and it is this process of reflection and perception that forms the basis of the photographic image. This process has become a subject in itself since the beginning of colour processing, as well as opening up an entirely new interpretation of the photographic subject. Despite a rough beginning, colour photography has proved it is just as capable of producing ‘artistic’images as Black & White has done in the past; the days of colour being only of commercial interest are long gone. Now we can see colour photography in all its hues, and appreciate the subtleties of meaning implied by certain individual colours or lack there of. Colour can trigger memories and it resonate with us on an emotional level. We can be programmed to a recognise colour as a symbol, and we can use it to express our innermost feelings.

Andrew George (United States)

Light Leaks Photographs Ongoing

The Light Leaks series is about how everyday, mundane objects can be completely transformed by light. For more than 20 years, all around the world, I have been photographing these fleeting affirmations that somehow present themselves, which makes clear the obvious truth that transcendent beauty cannot be limited by preconception or geography.

Andrew George

(Before) Florence; (Here) Three Rivers; Toronto

Dana Whitford (United States)

Infrared Reality Photographs 2009 - 2010

Infrared photography captures light reflected below the visible on the light spectrum. Color only exists in visible light. In digital photography the sensors assign a color which is usually found in post processing. So although the scenes appear to have an unrealistic color it was the color chosen by the camera. At longer lengths there is no color information at all and images are black and white. My infrared photography hopes to capture a reality not seen but in fact very real. I aim to highlight that life is more than what we see; that forces are always at work in our lives, mostly during the times when we are most complacent.

Dana Whitford

(Before) Emerald taken at Silver Lake Reservoir Staten Island; (Here) Silver Lake taken at Silver Lake Reservoir Staten Island; Infrared Mountain taken at Bear Mountain, NY

Paul Corcoran (Ireland/Germany)

In/Between Photographs Ongoing

In/Between is an on-going exploration of the transitional times and transient spaces of youth. Using the erratic nature of nightclub lighting as a metaphor for this often emotionally drenched and turmoil-laden time, the snapshots reveal something of the inner often hidden anxieties and insecurities we do our best to hide. The mixture of light and dark, intense colour and the complete lack thereof associated with these spaces as it profiles an individual or a face in the crowd further suggests something of this deeply personal experience.

Paul Corcoran

(Before) Untitled; (Here) Untitled; Untitled

Kate Wimer (United States)

The Shining Barrier Photographs 2011

I use photography as a medium to explore the numinous quality in nature. I start with my photographs grounded in the landscape, then taking them further to the unexpected, using a technicolour process to translate the wonder I experience. I would argue that these photographs aren’t mere objects, but documentation of my experiences ingrained in three separate moments. I have chosen to shoot 4x5 film, for the very reason that I have to slow down and sit with my subject. I shoot each photo three times with a red, green, and blue filter using black and white film. I then composite the photos into one image; the result is a technicolour image built out of three consecutive moments. The beauty I found in the technicolour process is an element of surprise and calculated serendipity. In each photo, the final colors and tones can’t be revealed until the three frames have been stitched together; the unveiling is always an experience of wonder. The resulting piece is a fusion of my 4x5, the subject, and myself. I find personal meaning in each of the photographs, but I would hope they speak uniquely to each individual viewer as they bring their own experiences to the photos.

Kate Wimer

(Before) Untitled; (Here) Untitled; Untitled

Leanne Eisen (Canada)

Residue Photographs 2010

res·i·due: something that remains after a part is taken, separated, or designated or after the completion of a process : remnant, remainder. I started working on Residue at the beginning of 2010 when I discovered a small oil spill near my workplace and began to document it. As I returned to visit the site of the spill, I was able to observe and reflect on the impact of this contamination on the local environment. Since that first experience, I continued to document similar‘minor incidents’, which now make up the series. In April, the BP oil spill changed the way I think about these images. Despite the vast difference in scale between these incidences, there is a remarkable aesthetic similarity which creates an interesting juxtaposition. I now see this‘residue’ as a constant reminder of how our day-to-day petroleum reliance is linked to its consequences.

Leanne Eisen

(Before) Augusta Avenue; (Here) Laneway, Lansdowne Avenue; Birchmount Drive

Julie Barnofski (United States)

The Idea of Home Photographs 2010

The Idea of Home is an ongoing body of photographs that chronicle a biannual trip home to visit my parents at their seasonal cottage in New Hampshire and primary residence in Connecticut. Since I have resided in Texas for nearly five years now, my concept of home feels altered; I am reminded of the distance between my place of origin and my current location increasingly with each trip back to the Northeast. While I consider these places to be home, the growing sense of nostalgia reminds me that I am seeing‘home’from the outside and am no longer a direct part of it. Concurrently, while I identify with these places I find myself investigating them as if I’m seeing them for the first time with each visit. In these images, I aim to capture elements of place that resonate ideas of home, family, closeness, distance, nostalgia, and comfort.

Julie Barnofski

(Before) 4th of July, New Hampshire; (Here) Cottage Laundry, New Hampshire; Swimming, New Hampshire

Hannah Lucy Jones (United Kingdom)

To happiness, endlessly Photographs 2010

These images form part of a project called To happiness,

endlessly documenting a series of encounters from a journey I made around England in the summer of 2010. The trip had no planned route or destination - instead, I was led by the suggestions of the people I met. With no intention to characterise the English as a nation, or England as a country, the trip was imagined more as a series of disconnected experiences joined by their happening within England’s borders, a melancholic psychological journey, and a visual diary of what I saw, who I met, and where I went. Traveling alone and finding pathos in everything, I wanted to capture my increasing feelings of isolation and sadness through the scenes I photographed. Despite the bright colours, in these images the light is shadow and the promise of happiness is illusory - which is true to my emotional state at the time. Hannah has also produced a book for the project which features many of the stories people have told her about their lives. You can view it online here

Hannah Lucy Jones

(Before) Untitled; (Here) Untitled; Untitled

Néstor Baltodano (Costa Rica)

Selected photographs Photographs 2006 - 2007

In the same way that light passes through a prism producing a rainbow of colors, in every corner of La Havana, Cuba, you can be amazed by an explosion of different tones and color of light. Every day, the light of the sun, the streetlights and the old cars paint a sea of colors on each daily scene. Every hour, each inch of that magic city dances in a game of color, shadows and light. Because of its geographical location, the light and the colors of Cuba make a common instant of the day a surreal and a cinematic location.

Néstor is a founding member of Colectivo Nómada, an independent documentary photography collective from Central America. View his portfolio here

N茅stor Baltodano

(Before) En el Callej贸n de Jamel, Habana, Cuba, 2007; (Here) En el Malec贸n, La Habana, Cuba, 2006; En el Malec贸n, La Habana, Cuba, 2006

Paul Raphaelson (United States)

Lost Spaces, Found Gardens Photographs 2005 - 2009

In the Bushwick neighborhood of Brooklyn, empty and overgrown spaces lurk almost everywhere. These netherworlds hide behind fences and walls, and sometimes in plain sight; we tend to move past without taking notice. Since I moved here in 2004, I’ve had to work without the vistas and architectural grandeur of my old neighborhood on the waterfront. Bushwick has forced me to look closely, sometimes through chinks in fences or at the pavement under my feet. I’ve since been seduced by the surprises I find here, like the cast-offs of local culture and the relentless thriving of flowers and weeds. This project also became an exploration in color. How can palette choice influence the sense of a place? How do color relationships imply form? I found myself drawn to a more subtle palette than what I see in most contemporary photographs. I used an old camera with a single-coated lens, portrait film, and ink on matte-surface artist’s paper. I wanted the images to be quiet, to draw the eye with nuance rather than boldness.

Paul Raphaelson

(Before) Untitled; (Here) Untitled; Untitled

Vivian del Rio (Russia)

Unconscious Art Photographs 2009 - 2010

People write on the walls, and the City Services paint the inscriptions over. As a rule, they are in a hurry to cover everything up in time for some event. They often fail to match the paint, and use a similar one, or whatever paint is available. Hooligans write over the fresh paint again. And these inscriptions have to be painted over, but the colour is different again. It results in a certain fight of chaos and order, of art and emasculation. And this fight gives birth to imprints which are filled with the picturesque power and compositional dynamics. I called it‘the unconscious art’because those who create it do not think about the art, their main goal is to complete their work as soon as possible. And my series indicates that the art even exists regardless of the human will, and against the surrounding circumstances.

Vivian del Rio

(Before) Untitled; (Here) Untitled; Untitled

Valerie Driscoll (Ireland/UK)

Flat 48

Documented site-specific installation at The Market Estate Project, UK 2010

The Market Estate Project invited artists to work alongside residents whose housing estate in Islington, London is designated for demolition. Flat 48 is a site-specific, interactive installation where participants are immersed in a sensory experience; having their peripheral vision filled with one colour. This work reflects the temporally static, liminal status of the Market Estate, the convergence of old and new, past and future, loss and expectation.

Valerie Driscoll

(Before) Wardrobe; (Here) Bathroom; Kitchen

Peter Fraser

Born 1953 Cardiff, Wales, and attended schools in Cardiff, Glamorgan and the Rhondda Valley. He acquired his first camera at the age of 8, and after a false start studying Civil Engineering, at 18, began studying photography at Manchester Polytechnic the following year. He graduated in 1976 after repeating his 3rd year due to major illness while photographing in West Africa. Fraser lived in Holland and West Yorkshire, before moving back to Manchester in 1981. He then began working with a Plaubel Makina camera in 1982 which led to an exhibition with William Eggleston at the Arnolfini, Bristol in 1984, and a move to that city. He then worked on several series of photographs, often with support from the Arts Council, leading to a first publication, ‘Two Blue Buckets’, which won the Bill Brandt Prize in London (the precursor of the CitiBank International Photography Prize), in 1988. He moved to London in 1990, subsequently publishing several new bodies of work, including ‘Ice and Water’1993,‘Deep Blue’1997,‘Material’2002, and‘Peter Fraser’(Nazraeli Press) 2006. In 2002, The Photographers’Gallery, London, staged a 20 year survey exhibition of Fraser’s work, and he was shortlisted for the Citigroup International Photography Prize in 2004. In 2006 he was invited to be an Artist in Residence at Oxford University, England and produced new work for permanent installation in their new Biochemistry building. In 2009 Fraser was given a major commission by The Ffotogallery, Wales, to make new work for a solo exhibition at the gallery, which opened in March 2010, with a new publication,‘Lost For Words’. He is currently a visiting lecturer at a number of British colleges and universities, and is working on a major series of photographs in London.

Peter Fraser (United Kingdom)

Lost For Words

Commissioned by Ffotogallery Wales Limited

61cm x 85 cm Archival Digital Pigment Prints 2009 In the summer of 2008, Chris Coppock the then Director of Ffotogallery, Cardiff, approached me with an invitation to make new work in Wales, a commission to contribute to the 30th Anniversary of Ffotogallery’s inception. I was delighted to accept, because of my history of showing with the gallery, my admiration for Chris, and that it coincided with a moment in my career when I had decided that I wanted to make the not inconsiderable shift to shooting digitally after over 30 years with film. The commission gave me the chance to travel all over Wales, my country of birth, not only reacquainting myself with places which had distant echo’s for me from childhood, but to discover afresh new places now in my mid 50’s. Through this experience, I became increasingly aware of being preoccupied with the contrast between very beautiful and grand houses and much more modest homes in Wales, and some of the historical implications of these disparities, and have photographed in both. Working digitally provided tremendous new excitements, but more importantly in every photograph in Lost For Words, I see subtle inflexions of early, and contemporary experience, filtering through over 35 years of life subsequently lived outside Wales. I have been particularly grateful to Chris Coppock, and to his successor, Director David Drake, whose support for this commission has been comprehensive.

Peter Fraser’s Lost For Words A Ffotogallery commission and publication. Size: 285 x 320mm Illustration: 32 colour Binding: Hardback ISBN: 978 1 872771 79 3 Price: £35 / Peter will now also be represented by BRANCOLINI GRIMALDI Gallery in London, UK

Peter Fraser Untitled, 2009

Peter Fraser Untitled, 2009

Peter Fraser Untitled, 2009

Peter Fraser Untitled, 2009

Peter Fraser Untitled, 2009

Peter Fraser Untitled, 2009

Peter Fraser Untitled, 2009

Peter Fraser Untitled, 2009

Review Gregory Schaffer on Paul Fusco’s RFK Interview Daniel Campbell Blight

Paul Fusco: RFK

Aperture, New York, 2008. 180 pp., 80 color illustrations, 11½x8”ISBN 1597110795

Gregory Schaffer

Fear not the path of truth for the lack of people walking on it. Robert F Kennedy

Camelot seems like a long time ago or a place that never was for the majority of we Americans who grew up after the Kennedy family held the nation’s heart with their prominent place in politics and celebrity culture. We read about JFK in textbooks and heard his powerful words, especially in relation to service and setting the bar higher for individuals to make the United States a better place. Some of us remember John Jr’s plane crash and could only grasp slightly the outpouring of feeling at the departure of Edward Kennedy from his role in politics, and then from this earthly plane. Edward Kennedy’s death had a finality both for a family my children will never know, as well as for a United States uprooted by the 1960s. Something cynical came into our world-view with the triumvirate assassinations of JFK, MLK, and RFK, and coinciding with the failure of the Vietnam War and the start of the Cold War. It’s hard to imagine what a tremendous period of social change this was as we look at the uncertainty of the United States in the 21st century. Perhaps in this way it seems like a better part of recent history has always been out of reach unless it was experienced directly. A student of mine, who is now 19, recently asked me to explain the events of September 11 to her. It was oddly exhilarating yet scary that such a recent

event in my mind is the distant past for her life. Fortunately the book RFK is not the direct experience of a photojournalist witnessing an event but that of examining an event through its aftermath, or in a more personal way, through the faces of those who collectively experienced the tragedy of an assassination. Perhaps this distance from the incident itself is why most photojournalism feels empty as it is largely a record of events with emotions put in view as means to an end, rather than an end unto themselves.

RFK is a book I first saw in its original incarnation as RFK Funeral Train a slim, stunning paperback of photographs by

labor and hunger yet have faith that a politician could understand the depth of long-calloused hands.

It’s a color quality that feels almost inherently American

Paul Fusco published in 2001, shot from vantage of the train that carried RFK’s body from New York to Washington D.C. for his internment on June 8, 1968. ‘Funeral Train’ was a modest paperback that I meant to buy but never did. It features a striking cover image; in dusk light, two men stand on a small plank bridge between a frontage road and train tracks. Lit warmly from behind, they appear to be a disheveled father and teen son, each saluting the train as it rolls by at high speed. They are flanked by a woman holding a hand to her heart, standing partly in the shadow of a boarded up white structure. The figures are all small in the frame, tilting slightly from the effect of Fusco’s odd angle of shooting from train-height, and exaggerated further by the wide-angle distortion of his lens and blurring movement of the train’s progress to its destination. There is something proudly resilient about the figures, as if they know the meaning of

Alas, that image is not the cover here but it is still found within the larger RFK volume that represents a greater unearthed collection of Fusco’s slides unearthed from the archives of LOOK magazine. It is the rich color of these images that immediately draws one in. The saturated yellows and reds are immediately indicative of Kodachrome transparency slides, that first mass-market color film that dominated slide films for the better part of a century. It’s a color quality that feels almost inherently American, so deeply different from the cool tones of Fujifilm products that it’s as if any image shot on Kodachrome is an invocation of historical significance. Kodachrome has now played out its place in our culture as well, with its recent discontinuation marking a belated end to the 20th century. It really is Funeral Train not the new title of RFK that these images represent, for this series doesn’t represent the successes of RFK as attorney general, civil rights advocate, or state senator. Here RFK is the mystery of a man mourned, rather than a biography of a life lived. Figures with forlorn faces stand by the railroad tracks arms crossed, flags waving, or hands waving, as if to say goodbye to someone great.

That’s all we can really know from the pictures themselves. All colors and ages of people line up to say farewell to a symbol of hope, shot down on the eve of a presidential campaign. Crowds go by in blur after blur of people trying to get a view of the train carrying someone barely known, yet containing great hope. Between the color of the Kodachrome images and the unfamiliar palette of the 1960s, Fusco’s images are like getting sucked into a journey through the last days of American promise. The book closes with an increasingly blurry series of images as the shutter speed seems to get slower and slower as the light dims, followed then by a wholly unnecessary series of night-time images of the funeral itself. It really lessens the work, this pale effort to give closure to the train journey by filling the frame with black-clad mourners bearing candles in


the dark. The loss here is experienced more profoundly through the people who lined the train tracks, each image a ceremony unto itself Gregory Schaffer is a teacher and photographer who lives in Seattle. He is from Kansas City, KS and enjoys collecting photography books.

All images here are photographs of untitled spreads from the book. Images are Copyright Paul Fusco, 2008


Daniel Campbell Blight (United Kingdom) Daniel Campbell Blight is a writer, curator and academic based in London. His interests are photography, art theory and sound in the arts. He graduated with an Mphil from Royal College of Art in 2009 and went on to set-up and direct Hotshoe Gallery, dedicated to contemporary fine art photography and artist’s film and video, until February 2011. He is now programming talks, lectures and film screenings at Daniel Blau London, which opens with an exhibition of vintage photography A-Bomb: Pictures

of Disaster on April 7th 2011.

How often do you take photos either through work or in your personal time? I most frequently take pictures of my friends on my iPhone: they’re incredibly boring. I did shoot a lot of film in Estonia last summer, which is slightly more engaging in as much as the scenery in the baltic is quite wonderful, but I don’t consider myself to be anything other than an amateur photographer. I very rarely show anyone my photographs.

Almost everyone has a camera of some sort, what type of camera do you use to take photos? I use a Lubitel 166B and a Zenit 11 – both Russian.

Have you had a formal education in fine art or photography? Yes. I studied a practice-based undergraduate in Sound Arts (new media in fine art practice) and a postgraduate in art theory. My predominant interest nowadays is art theory and curating,

specifically photography. I’ve spent the last seven years in London thinking about several things, including music, the wider sound arts, fine art, curating and specifically writing. I’ve realised that what I am essentially interested in is ideas; I suppose that some of these are aesthetic, others political and many of them photography-based: photography is my current obsession - it is growing speedily, hiccuping often problematically, but nonetheless communicating in highly interesting ways.

What was the first photo or photographer’s work that really got to you? I don’t really have a favourite. I try to appreciate what I’m working with at any one time – for the period of an exhibition for example, or when I’m writing an essay about a photographer. I think when you spend eight weeks in a gallery with an exhibition certain things grow and you begin to appreciate new elements within the work. I normally work myself up into an uneccesarry confusion about whether I think something is really good, and then by the end of the process I am unable to make my mind up ... It’s actually quite a boring position to be in now I think of it. I wish I could just wholeheartedly love something without this constant questioning of whether I have made the right decision or not.

Recent years have seen a boom in online photography platforms from magazines to blogs, what do you think the benefits and drawbacks are as a result of this? I think it is great that information about photography is more easily gotten a hold of on the internet. The immateriality of it is a problem for me, though. I want to see prints - digital images on a website, even if they are well laid-out, just don’t do it for me. Websites function in a way more akin to photography books, which are great too, but should not be considered in the same way as single, printed images. I think the overarching term here is image: there are several categorisations available to a photographer, and I have my personal favourites as a writer and curator


From 1 to 5 June 2011 photobook enthusiasts from around the world will once again gather for the 4th International Photobook Festival in Kassel to address recent developments of this fascinating medium. Just like in previous years, internationally renowned practitioners have been invited to present their work with photobooks and to engage in conversations with the festival participants. We invite you to take part in the many talks, exhibitions, workshops, reviews, information and book stalls as well as a range of networking services

Projector Collective White Yellow White

Projector Collective (Ireland)

White Yellow White

Photographs documenting multi-media performance and installation, Dublin Electronic Arts Festival 2008 The object of the performance was to survive the application of the three coats of paint without a blemish to their new attire

Bio Projector Collective was formed in late 2006 by the artists John Carter, Anthony Kelly and Jay Roche. These three artists all work individually but have worked collectively on various projects in the past. The main aim of the Collective is to encourage a collaborative approach to making art and the core members have worked with and facilitated other artists in making their work. Recent projects include Practice, Ormond Studios Lecture Series, a new sound piece for the Relay project curated by John Lambert, ATOM, a series of installations and performances during DEAF 2009; Bright Shadow, an ongoing building intervention at St. Agatha’s Court, Dublin, and The Radiant City at Common Place Amateur Projects. Projects in development include Why Don’t we Do It In The Road? and a publication about the Bright Shadow project (see SMBH Issue 4/2010)

White Yellow White was a performance based artwork by Projector Collective. It was the fifth in a series of collaborative projects by members of the collective John Carter, Anthony Kelly and Jay Roche and formed part of DEAF 2008. The artists proposed to paint a room first white, then yellow, then white again over a period of 4 days. While painting they will wore new suits with shirt, tie and new shoes. They strove to avoid getting any paint on their clothes. In fact, the object of the performance was to survive the application of the three coats of paint without a blemish to their new attire.

Wearing their finest Sunday best they undertook to paint the walls and ceiling of a room The project had its root in a folkloric story from the decorating world of a bet taken between two painters as to who was the cleanest and tidiest decorator. Wearing their finest Sunday best they undertook to paint the walls and ceiling of a room without spoiling their clothes. Only one was successful.

Projector Collective felt a resonance with the challenge and hoped to heighten the experience, both for the artist and viewer, through the use of various electronic recording media which they used to amplify and magnify certain elements of the process of the performance. For example, live video recordings of the task were fed to monitors giving viewers closer and more detailed views of the artists at work. An audio dimension was explored in a similar way with rollers and brushes miked for sound. This documentation, along with photographs and the actual suits worn by the artists, formed the basis for more permanent work which was compiled and created both during and after each event and displayed for the public to view. The project consisted of two elements – Firstly the performance itself and secondly the exhibition element containing documentation and a looped audio visual recording of each performance


Projector Collective performed and created White Yellow White at the Verses? Space, 1/2 Smock Alley, (Bottom of Cow’s Lane) Temple Bar, Dublin 8 White Yellow White Schedule: Thurs 23rd October 12pm - 4pm
Sat 25th October 12pm - 4pm
Sun 26th October 12pm - 4pm Installation was on view at Verses from 23rd - 27th October during DEAF 2008

ISSN 2009-2288/Issue 7/2011

Disclaimer: SuperMassiveBlackHole is free and makes no profit from the publication of any materials found therein. SuperMassiveBlackHole is a publication for the dissemination of artistic ideas and will not be liable for any offense taken by any individual(s) resulting from any material contained therein. All images in SuperMassiveBlackHole are the sole property of their creators unless otherwise stated. No image in the magazine or the magazine logo may be used in any way without permission of the copyright holder. The SuperMassiveBlackHole magazine title and logos are copyright Š2008 - 2011 Shallow publications. All rights reserved. Shallow publications and SuperMassiveBlackHole are property of Barry W. Hughes. Submissions: All works submitted to SuperMassiveBlackHole must be the sole, original property of the contributor(s), have the appropriate model releases, and cannot interfere with any other publication or company’s publishing rights. SuperMassiveBlackHole is edited by Barry W. Hughes, Dublin, Ireland.

SuperMassiveBlackHole Issue 7  

Theme: Colour Theory. Peter Fraser, Andrew George, Dana Whitford, Daniel Campbell-Blight, Paul Raphaelson, Hannah Lucy Jones, Julie Barnofsk...

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