Sa Re Ga Ma Pa Singing Superstar


Sa Re Ga Ma Pa Singing Superstar
Sa Re Ga Ma Pa Singing Superstar

Music - Highest Form of Worship (Page 4)

fairdog Senior Member

Joined: 29 December 2005
Posts: 345

Posted: 16 March 2006 at 7:24pm | IP Logged



sorry that I could not see this thread earlier...I am just taking a printout and it may be quite some time before I reply here, as at the outset it looks really really impressive....

Thanks for creating this thread, for the time being...and rest of my thoughts/comments will follow soon...

Edited by fairdog - 16 March 2006 at 7:25pm

Qwest IF-Rockerz

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Posted: 17 March 2006 at 1:39am | IP Logged
Rabindranath Tagore:
In Conversation with H.G.Wells Excerpted from: A Tagore Reader, edited by Amiya Chakravarty.

Tagore and H.G. Wells met in Geneva in early June, 1930. Their conversation is reported here.

TAGORE: The tendency in modern civilization is to make the world uniform. Calcutta, Bombay, Hong Kong, and other cities are more or less alike, wearing big masks which represent no country in particular.

WELLS: Yet don't you think that this very fact is an indication that we are reaching out for a new world-wide human order which refuses to be localized?

TAGORE: Our individual physiognomy need not be the same. Let the mind be universal. The individual should not be sacrificed.

WELLS: We are gradually thinking now of one human civilization on the foundation of which individualities will have great chance of fulfillment. The individual, as we take him, has suffered from the fact that civilization has been split up into separate units, instead of being merged into a universal whole, which seems to be the natural destiny of mankind.

TAGORE: I believe the unity of human civilization can be better maintained by linking up in fellowship and cooperation of the different civilizations of the world. Do you think there is a tendency to have one common language for humanity?

WELLS: One common language will probably be forced upon mankind whether we like it or not. Previously, a community of fine minds created a new dialect. Now it is necessity that will compel us to adopt a universal language.

TAGORE: I quite agree. The time for five-mile dialects is fast vanishing. Rapid communication makes for a common language. Yet, this common language would probably not exclude national languages. There is again the curious fact that just now, along with the growing unities of the human mind, the development of national self-consciousness is leading to the formation or rather the revival of national languages everywhere. Don't you think that in America, in spite of constant touch between America and England, the English language is tending toward a definite modification and change?

WELLS: I wonder if that is the case now. Forty or fifty years ago this would have been the case, but now in literature and in common speech it becomes increasingly difficult to distinguish between English and American. There seems to be much more repercussion in the other direction. Today we are elaborating and perfecting physical methods of transmitting words. Translation is a bother. Take your poems - do they not lose much by that process? If you had a method of making them intelligible to all people at the same time, it would be really wonderful.

TAGORE: Music of different nations has a common psychological foundation, and yet that does not mean that national music should not exist. The same thing is, in my opinion, probably true for literature.

WELLS: Modern music is going from one country to another without loss - from Purcell to Bach, then Brahms, then Russian music, then oriental. Music is of all things in the world most international.

TAGORE: May I add something? I have composed more than three hundred pieces of music. They are all sealed from the West because they cannot properly be given to you in your own notation. Perhaps they would not be intelligible to your people even if I could get them written down in European notation.

WELLS: The West may get used to your music.
TAGORE: Certain forms of tunes and melodies which move us profoundly seem to baffle Western listeners; yet, as you say, perhaps closer acquaintance with them may gradually lead to their appreciation in the West.

WELLS: Artistic expression in the future will probably be quite different from what it is today; the medium will be the same and comprehensible to all. Take radio, which links together the world. And we cannot prevent further invention. Perhaps in the future, when the present clamor for national languages and dialects in broadcasting subsides, and new discoveries in science are made, we shall be conversing with one another through a common medium of speech yet undreamed of.

TAGORE: We have to create the new psychology needed for this age. We have to adjust ourselves to the new necessities and conditions of civilization.

WELLS: Adjustments, terrible adjustments!
TAGORE: Do you think there are any fundamental racial difficulties?

WELLS: No. New races are appearing and reappearing, perpetual fluctuations. There have been race mixtures from the earliest times; India is the supreme example of this. In Bengal, for instance, there has been an amazing mixture of races in spite of caste and other barriers.

TAGORE: Then there is the question of racial pride. Can the West fully acknowledge the East? If mutual acceptance is not possible, then I shall be very sorry for that country which rejects another's culture. Study can bring no harm, though men like Dr. Haas and Henri Matisse seem to think that the eastern mind should not go outside eastern countries, and then everything will be all right.

WELLS: I hope you disagree. So do I!

TAGORE: It is regrettable that any race or nation should claim divine favoritism and assume inherent superiority to all others in the scheme of creation.

WELLS: The supremacy of the West is only a question of probably the past hundred years. Before the battle of Lepanto the Turks were dominating the West; the voyage of Columbus was undertaken to avoid the Turks. Elizabethan writers and even their successors were struck by the wealth and the high material standards of the East. The history of western ascendancy is very brief indeed.

TAGORE: Physical science of the nineteenth century probably has created this spirit of race superiority in the West. When the East assimilates this physical science, the tide may turn and take a normal course.

WELLS: Modern science is not exactly European. A series of accidents and peculiar circumstances prevented some of the eastern countries from applying the discoveries made by humanists in other parts of the world. They themselves had once originated and developed a great many of the sciences that were later taken up by the West and given greater perfection. Today,
Japanese, Chinese and Indian names in the world of science are gaining due recognition.

TAGORE: India has been in a bad situation.

WELLS: When Macaulay imposed a third-rate literature and a poor system of education on India, Indians naturally resented it. No human being can live on Scott's poetry. I believe that things are now changing. But, remain assured, we English were not better off. We were no less badly educated than the average Indian, probably even worse.

TAGORE: Our difficulty is that our contact with the great civilizations of the West has not been a natural one. Japan has absorbed more of the western culture because she has been free to accept or reject according to her needs.

WELLS: It is a very bad story indeed, because there have been such great opportunities for knowing each other.

TAGORE: And then, the channels of education have become dry river beds, the current of our resources having been systematically been diverted along other directions.

WELLS: I am also a member of a subject race. I am taxed enormously. I have to send my check - so much for military aviation, so much for the diplomatic machinery of the government! You see, we suffer from the same evils. In India, the tradition of officialdom is, of course, more unnatural and has been going on for a long time. The Moguls, before the English came, seem to have been as indiscriminate as our own people.

TAGORE: And yet, there is a difference! The Mogul government was not scientifically efficient and mechanical to a degree. The Moguls wanted money, and so long as they could live in luxury they did not wish to interfere with the progressive village communities in India. The Muslim emperors did not dictate terms and force the hands of Indian educators and villagers. Now, for instance, the ancient educational systems of India are completely disorganized, and all indigenous educational effort has to depend on official recognition.

WELLS: "Recognition" by the state, and good-bye to education!

TAGORE: I have often been asked what my plans are. My reply is that I have no scheme. My country, like every other, will evolve its own constitution; it will pass through its experimental phase and settle down into something quite different from what you or I expect.

A unique concept of thinking great post in this thread 
 Music - Highest Form of Worship.

Edited by Qwest - 17 March 2006 at 1:40am
simplyskud Goldie

Joined: 16 December 2005
Posts: 1292

Posted: 17 March 2006 at 5:58am | IP Logged
Thanks Qwest for the article. I hope the other members of the forum take a cue from you and post all kinds of interesting articles here ....

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simplyskud Goldie

Joined: 16 December 2005
Posts: 1292

Posted: 24 March 2006 at 2:32am | IP Logged

Albert Schweitzer. Smile

------------------------------------------------------------ ---------------------------------

Dr. Albert Schweitzer, M.D., OM, (January 14, 1875September 4, 1965) was a German theologian, musician, philosopher, and physician. He was born in Kaysersberg, Elsass-Lothringen, Germany (now in Haut-Rhin, Alsace, France). He received the 1952 Nobel Peace Prize in 1953, for founding the Lambarene Hospital in Gabon.


As a young theologian his first major work, by which he gained a great reputation, was The Quest of the Historical Jesus (1906), in which he interpreted the life of Jesus in the light of Jesus' own eschatological convictions. He established his reputation further as a New Testament scholar by other theological studies, like The Mysticism of Paul the Apostle (1930). In these studies he examined the eschatological beliefs of Paul and through this the message of the New Testament.

During his tenure as a priest for St. Nicholas church in Strasbourg, he blessed the wedding of Theodor Heuss, who was to become the first President of Germany of the German Federal Republic.


Albert Schweitzer was a famous organist in his day, and was highly interested in the music of Johann Sebastian Bach. He developed a simple style of performance, which he thought to be closer to what Bach had meant it to be. He based his interpretation mainly on his reassessment of Bach's religious intentions. Through the book "Johann Sebastian Bach", the final version of which he completed in 1908, he advocated this new style, which has had great influence in the way Bach's music is now being treated. Albert Schweitzer was also a famous organ constructor. Recordings of Schweitzer playing the music of Bach are available on CDs.


Schweitzer's worldview was based on his idea of Reverence for Life, which he believed to be his greatest single contribution to humankind. His view was that Western civilization was in decay because of gradually abandoning its ethical foundations - those of affirmation of life.

It was his firm conviction that the respect for life is the highest principle. In a similar kind of exaltation of life to that of Friedrich Nietzsche, a recently influential philosopher of the time, Schweitzer admittedly followed the same line as that of the Russian Leo Tolstoy. Some people in his days compared his philosophy with that of Francis of Assisi, a comparison he did not object to. In his Philosophy of Civilisation (all quotes in this section from Chapter 26 of the same book), he wrote:

True philosophy must start from the most immediate and comprehensive fact of consciousness: 'I am life that wants to live, in the midst of life that wants to live'.

Life and love in his view are based on, and follow out of the same principle: respect for every manifestation of Life, and a personal, spiritual relationship towards the universe. Ethics, according to Schweitzer, consists in the compulsion to show to the will-to-live of each and every being the same reverence as one does to one's own. In circumstances where we apparently fail to satisfy this compulsion should not lead us to defeatism, since the will-to-live renews itself again and again, as an outcome of an evolutionary necessity and a phenomenon with a spiritual dimension.

However, as Schweitzer himself pointed out, it is neither impossible nor difficult to spend a life of not following it: the history of world philosophies and religions clearly shows many instances of denial of the principle of reverence for life. He points to the prevailing philosophy in the European middle ages, and the Indian Brahminic philosophy. Nevertheless, this kind of attitude lacks in genuineness.

Since we enter the world, it offers us a horrible drama: it consists in the fact that the will to live, looked as a sum of all the individual wills, is divided against itself. One existence is antagonised against another, one destroys another. Only in the thinking being has the will to live become conscious of other will to live, and desirious of solidarity with it. This solidarity, however, cannot be brought about, because human life does not escape the puzzling and horrible circumstance that it must live at the cost of other life. But as an ethical being one strives to escape whenever possible from this necessity, and to put a stop to this disunion of the Will to live, so far as it is within one's power.

Schweitzer advocated the concept of reverence for life widely throughout his entire life. The historical Enlightenment waned and corrupted itself, Schweitzer held, because it has not been well enough grounded in thought, but compulsively followed the ethical will-to live. Hence, he looked forward to a renewed and more profound Rennaisance and Enlightenment of humanity (a view he expressed in the Epilogue of his Out of My Life and Thought). Albert Schweitzer nourished hope in a humankind that is more profoundly aware of its position in the Universe. His optimism was based in "belief in truth". "The spirit generated by [conceiving of] truth is greater than the force of circumstances." He persistently emphasized the necessity to think, rather than merely acting on basis of passing impulses or by following the most widespread opinions.

Never for a moment do we lay aside our mistrust of the ideals established by society, and of the convictions which are kept by it in circulation. We always know that society is full of folly and will deceive us in the matter of humanity. [...] humanity meaning consideration for the existence and the happiness of individual human beings.

Respect for life, resulting from contemplation on one's own conscious will to live, leads the individual to live in the service of other people and of every living creature.

Schweitzer was very much respected for putting his theory into practice in his own life.

Schweitzer died in Gabon, Africa after years of serving others as a physician in Africa.

Stance on racial relations

Schweitzer considered his work as a medical missionary in Africa to be his response to Jesus' call to become "fishers of men" but also as a small recompense for the historic guilt of European colonizers: "Who can describe the injustice and cruelties that in the course of centuries they [the coloured peoples] have suffered at the hands of Europeans? . . . If a record could be compiled of all that has happened between the white and the coloured races, it would make a book containing numbers of pages which the reader would have to turn over unread because their contents would be too horrible." [On the Edge of the Primeval Forest, p. 115].

Schweitzer was sometimes accused of being paternalistic or colonialist in his attitude towards Africans. For instance, he thought Gabonese independence came too early, without adequate education or accommodation to local circumstances. Edgar Berman quotes Schweitzer speaking these lines in 1960: "No society can go from the primeval directly to an industrial state without losing the leavening that time and an agricultural period allow." [In Africa With Schweitzer, p. 139]. Chinua Achebe has quoted Schweitzer as saying "The African is indeed my brother but my junior brother." [1], which Achebe criticized him for.


Albert Schweitzer spent most of his life in Lambarn in what is now Gabon, Africa. After his medical studies in 1913, he went there with his wife to establish a hospital near an already existing mission post. He treated and operated on literally thousands of people. He took care of hundreds of Leprosy and treated many victims of the African sleeping sickness.

In 1914 World War I began and because he was a German on French territory, Schweitzer and his wife were taken captive and temporarily confined to their house. In 1917 they were interned in Garaison, France, and in 1918 in Saint Remy de Provence. There he studied and wrote as much as possible in preparation for among others his famous book Culture and Ethics (published in 1923). In July 1918 he was a free man again, and while working as a medical assistant and assistant-pastor in Strasbourg, he was able to finish the book. In the meantime he began to speak and lecture about his ideas wherever he was invited. Not only did he want his philosophy on culture and ethics to become widely known, it also served as a means to raise money for the hospital in Lambarn, for which he had already emptied his own pockets.

In 1924 he returned to Lambarn, where he managed to rebuild the decayed hospital, after which he resumed his medical practices. Soon he was no longer the only medical doctor in the hospital, and whenever possible he went to Europe to lecture at universities. Gradually his opinions and concepts became acknowledged, not only in Europe, but worldwide.

Later life

From 1939-1948 he stayed in Lambarn, unable to go back to a Europe in war. Three years after the end of World War II, in 1948, he returned for the first time to Europe and kept travelling back and forth (and once to the USA) as long as he could until his death in 1965.

From 1952 until his death he worked against nuclear tests and nuclear weapons with Albert Einstein and Bertrand Russell . In 1957 and 1958 he broadcast four speeches over Radio Oslo which were published in Peace or Atomic War. In 1957, Schweitzer was one of the founders of The Committee for a Sane Nuclear Policy.

His life was portrayed in the 1952 movie Il est minuit, Docteur Schweitzer, starring Pierre Fresnay as Albert Schweitzer and Jeanne Moreau as his nurse Marie. His cousin Anne-Marie Schweitzer Sartre was the mother of Jean-Paul Sartre.

He was chevalier of the Military and Hospitaller Order of Saint Lazarus of Jerusalem.

He died on September 4, 1965 in Lambarn, Gabon.

Edited by simplyskud - 24 March 2006 at 2:33am
*Jaya* IF-Sizzlerz

Joined: 27 October 2005
Posts: 11781

Posted: 24 March 2006 at 3:52am | IP Logged
Satyajit Ray - the master craftsman

Satyajit Ray (May 2, 1921 - April 23, 1992) was an Academy Award winning Indian film director whose films are perhaps the greatest testament to Bengali and Indian cinema. He is mostly known for his Apu trilogy - the films Pather Panchali (Song of the Road), Aparajito (The Unconquered), and Apur Sansar (The World of Apu). - but has a large collection of works that are widely acclaimed.

He has been called one of the four greatest directors of cinema in the world, and Kurosawa famously said of Ray:

"Not to have seen the cinema of Ray means existing in the world without seeing the sun or the moon."

His music formed an integral part of his cinema. Here are some excerpts from an article that highlights his musical passion and creativity. Read the complete article here

Earlier in his younger days, his two passions were films and music, in fact music preceded films in terms of his interest. He had grown up in an atmosphere of Bengali songs and Brahmo hymns where he participated in the family choir. But Ray hankered for something more dramatic than the vedic chants and Tagore songs, which he found in the symphonic music of the West. As he himself said: "At the age when Bengali youth almost inevitably writes poetry, I was listening to European classical music." (Sumit Mitra, 1983; p.73)
At the age of thirteen, Ray went looking for bargains in music shops of Calcutta with one of his school friends, and one of the treasures he found was Beethoven's 5th Symphony, and then he stumbled upon Mozart's Eine Kleine Nacht Musik. According to his friend, after the great discovery he lay awake the whole night. The logic, symmetry and the beauty of Mozart's music was not lost on Satyajit Ray. Ray once said : "As a small boy I had read about Beethoven in the Book of Knowledge, now I was listening enraptured to his sonatas and symphonies." Later in his professional life he learnt to play the piano which he played with "professional ease". His expertise in Western classical music was well recognized. Adi Gazdar, the Calcutta- based classical pianist once confirmed, that Ray was "one of the best connoisseurs of Western classical music in the country."
Ray's love of Western classical music has already been mentioned. Furthermore, Ray not only wrote his scripts, designed costumes and clothes, he also composed musical scores for his films. For Pather Panchali, Aparajito and Jalsaghar he used well-known Indian classical musicians to score but progressively he felt the creative urge to control the sound-track of the movie. He devised his own music for Teen Kanya and at one time he told Goerges Sadoul that he thought (Seton, 1974) endlessly of Mozart in connection with Charulata, and for that he himself had composed four musical motifs. Ray at one time claimed that his films had been influenced by the musical forms of a symphony and sonatas, and he was highly impressed by Sergei Profokiev's scores of Eisenstein's Alexander Nevsky and Ivan the Terrible; by Cicoguini's music for The Bicycle Thief and Miracle in Milan. Although Ray had no formal music education, he could pick out a tune or a melody by humming whistling or by tinkering on the piano and his scores for his films were usually very simple and straightforward, mainly with the use of a single instrument. Nonetheless, he also loved using Bengali folk songs and ballads as he did in Kanchenjungha, Charulata and later in the fantasy story Goopy Gyne Bagha Byne.

saniya9919 IF-Dazzler

Joined: 18 January 2006
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Posted: 24 March 2006 at 3:55am | IP Logged
Thanks a lot for greatest info ever, I read on IF. Clap
saniya9919 IF-Dazzler

Joined: 18 January 2006
Posts: 4408

Posted: 24 March 2006 at 4:01am | IP Logged
Subject: Architecture as Music (by Daniel Libeskind)
Posted By: Kris intensely human

Posted At: 7/23/02 7:03 pm
The walls are alive

A good building is like frozen music, says architect Daniel Libeskind

Daniel Libeskind

Saturday July 13, 2002

As an architect and as someone who studied and performed music, I have been keenly aware of the intense and often reciprocal dialogue between the audible and the visible. Buildings provide spaces for living, but are also de facto instruments, giving shape to the sound of the world. Music and architecture are related not only by metaphor, but also through concrete space.

Every building I have admired is, in effect, a musical instrument whose performance gives space a quality that often seems to be transcendent and immaterial. The ineffable or the immeasureable gives a sense of wonder that forms the difference between building and architecture. Perception and measurement link music and architecture through the tradition of composition in both arts. The idea of harmony, discovered by the Pythagoreans in ancient Greece, describes the mystery in which the length of vibrating strings corresponds to golden section proportions in space.

However, it is not only this aspect that connects space with the idea of cosmic order. There is an even deeper connection between the genesis of architecture in a drawing and the composition of music on the five-line staff and its transformation into a public performance. Musical compositions performed through the large forces of an orchestra and architectural drawings used as a means to transmit form into civic space are more than analogous - they are the constructive realities in both arts.

One of the dimensions of the Jewish Museum Berlin is a musical one. From the beginning, I was inspired by Schoenberg's unfinished opera Moses and Aaron. What interested me was the incompleteness of the score, due to Schoenberg's exile from Berlin in those fatal years leading to the Holocaust. Schoenberg did not lack inspiration to complete the third act. Rather, it was the entire musical world that had ground to a halt, not merely for personal reasons, but due to the deep structural faults revealed by the history of culture itself.

There is a dialogue between Moses and Aaron in which Aaron is the voice of the people and Moses a dissenter who despairs of ever communicating that which has no image, creating the musical space in which an architectural condition is proposed. While Aaron tells the Israelites that they will be led into the promised land, Moses exposes the paradox of revelation as a figurative form.

Thus, the dissonance of music is implicated in the musical image. The drama that develops between Moses and Aaron ends with the realisation that the unimaginable and unutterable God cannot enter music easily. All this dialogue is sung. "Oh word, you word that I lack," is the last line. It is no longer sung but actually spoken. At the end of the opera, one can understand the word, because there is no music and the word is isolated and expressed in a shockingly naked and unmusical manner.

Schoenberg's emptied form was not a mere metaphor for me in designing the Jewish Museum. I endeavoured to enter the aporia of Moses and Aaron by constructing a concrete architectural space that is acoustically hollow, and also accessible in its emptiness. The concrete space of the void that cuts through the Jewish Museum is traversed by 60 bridges that follow the ever-growing remoteness of rhythm and voice in the music of the city. The "Memory Void" is the final chord in which the unwritten word of Schoenberg's Moses develops an unexpected resonance with its own silence - a silence that reflects back into Berlin's bustling development.

In the Imperial War Museum North in Trafford, Manchester, I have created a relationship between the atmosphere of the various components of the building and a particular "soundscape". The composition of the building is a four-movement experience beginning with the overture of a horizontal landscape plane for the sculpted shapes of the building. The vertical and lattice-like nature of the "Air Shard" allows the wind to "play" in the first allegro vivace movement. The curving ground plane of the "Earth Shard", the second movement, offers the andante cantabile for the exhibition experience within a shifting horizon. The "Water Shard", the concave space of the final allegretto movement, presses downwards from the roof, liberating the horizontal views of the city.

My buildings intentionally blur the lines between the visible and the experiential, between technique and meaning. Only when the means by which a building is built disappear from the awareness of the visitor does the "frozen musical" moment appear in architecture - allowing another story to emerge.

The dimension of time shared by both architecture and music provides a critical difference and a critical connection between them. Since music is experienced in time, its impact is related to the unique silence that follows, giving the musical work a memorable and dynamic stability. In architecture, however, the static nature of constructed space gains a dimension of perspective through experience and anticipation.

Architecture can only be appreciated by transforming size into scale, matter into light, and time into rhythm, colour and key. As much as architecture depends on the mysterious intensity of music, which gives it space, so does music depend on architecture for continuing to uphold both the audible and inaudible in time. Without music, architecture would disappear altogether. Reducing architecture to a material reality only is to create a city of noise.

Wired New York Forum

simplyskud Goldie

Joined: 16 December 2005
Posts: 1292

Posted: 24 March 2006 at 8:06am | IP Logged
Thanks jayaji for the article on Satyajit Ray. Appreciate it. Please do keep on contributing.

Thanks saniya9919 for the article by Libeskind ...

Smile Smile Smile

For all those who are unaware of Libeskind ... here's some piece of information :

Born in postwar Poland in 1946, Mr. Libeskind became an American citizen in 1965. He studied music in Israel (on the America-Israel Cultural Foundation Scholarship) and in New York, becoming a virtuoso performer. He left music to study architecture, receiving his professional architectural degree in 1970 from the Cooper Union for the Advancement of Science and Art in New York City. He received a postgraduate degree in History and Theory of Architecture at the School of Comparative Studies at Essex University (England) in 1972.

In 1989, Mr. Libeskind won the competition for the Jewish Museum Berlin, which opened to the public in September 2001 to wide public acclaim. The city museum of Osnabrck, Germany, The Felix Nussbaum Haus, opened in July 1998. In July 2002, the Imperial War Museum North in Manchester, England opened to the public. Atelier Weil, a private atelier/gallery, opened in Mallorca, Spain in September 2003. The Graduate Student Centre at the London Metropolitan University opened in March 2004, and the Danish Jewish Museum opened in Copenhagen in June 2004. Most recently, Tangent, an office tower for the Hyundai Development Corporation, opened in Seoul, Korea in February 2005, Memoria e Luce, a 9/11 memorial in Padua, Italy opened on September 11, 2005 and the Maurice Wohl Convention Centre, Bar Ilan University, Tel Aviv, Israel; opened in October, 2005.

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