Undergraduate Work

    • African Heritage Room Ceremonial Key
    • class goes to the Frick Library to see Avinoff water colors
    • Possible Posters
    African Heritage Room Ceremonial Key

    This is a close up of the ceremonial key given to the committee after the Dedication ceremony.


    2017 HAA 1020 Museum Studies Exhibition Seminar!

    Hello and welcome to HAA 1020 Exhibition Seminar of 2017 blog!

    This blog is the place to find out all the information and highlights from the classes progress thus so far in the Exhibition. This year’s theme is centered around the Nationality Rooms here at the Cathedral of Learning. The Exhibition theme is The Narrative of the Nationality Rooms: Immigration and Identity in Pittsburgh.  To tackle this theme the class has been split up into different working groups that have their own goals in mind that correlate to the main theme. The working groups are identity, visual knowledge and sacred spaces. Each group has been working diligently in the past few weeks to gather information and research at the archives as well as the Special Collections in the Hillman.  

    In the past week the class has started the second phase of the exhibition, from the research phase to now instillation and getting the gallery ready. We all have now joined additional groups that have different jobs for getting the show ready in the gallery in Frick Fine Arts. Again, we were split up into three different groups to achieve this task. The groups are instillation, documentation and publication. We have made great steps in finalizing certain parts of the show, that being the poster, postcard and the catering, which we all know is the tastiest part of this whole thing!

    This blog will be updated two to three times a week, one post will be an overall update on the Exhibition and the class.  The other posts will be submitted by students in the class and will discuss something interesting or highlight achievements they themselves have done or want to convey in deeper detail for all to read!

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    The front of Benjamin Franklin House. It is a Georgian period exterior (from the 1730s). The house is Grade I listed, the same as Buckingham Palace, meaning that nothing can be changed on the interior or exterior of it.


    Digging Up Bones and Revolutionary History at the Benjamin Franklin House

    Author: Darcy Foster

    Summer Study Abroad scholarship 2017 - Women’s International Club Scholarship (London, England)

    Few people know that Benjamin Franklin lived in London for nearly 20 years before the American Revolution. My good fortune was to intern for six weeks at the lodger house in central London where he lived. The Benjamin Franklin House is the world's only remaining Franklin residence and was converted into a museum, in 2006, on the 300th anniversary of his birth.

    Being a relatively small museum with only four staff members including the director, I was given a wider range of work experiences than is possible at a larger site. The house itself was the artifact; the staff created an actress-led tour to help visitors imagine how the rooms were used. This tour consisted of interactive projections with the actress tour guide and audio recordings that included excerpts from some of Franklin’s letters. 

    My role was selling tickets and introducing the tour to visitors by discussing the history of the house and Benjamin Franklin’s role as a lobbyist in London in the 1750s-1770s. I also helped with education days for nearby schools and researched school outreach programs. In conducting research for these programs, I was able to illuminate Ben Franklin’s role in the politics at the time of the revolution, noting his activities with Boston Tea Party by searching through an online archive of his letters, managed by Yale University.

    The House’s social media presence is already pretty strong, but they needed help programming tweets for the future. So, thinking of ways that their social media could reach a wider audience, I started using the hashtag #MuseumMondays. Now some of their tweets are linked to other museums, giving the House the opportunity for more exposure.

    This internship culminated in an article I wrote for the newsletter discussing a discovery around the anatomist Thomas Hewson, who lived in the house with Franklin (Hewson had married the landlady’s daughter). Museum staff discovered that Hewson ran an anatomy school out of the house, when they were digging a hole to check the foundation and found hundreds of human and animal bones buried in what would have been the garden at that time. The bones were excavated and dated back to the late 1700s when Franklin lived at the house. Staff believe that Hewson had buried the bones in the garden to avoid raising suspicion as he was probably illegally obtaining his cadavers from grave robbers. In the article I wrote about the anatomy school itself and how it changed hands throughout the years. The anatomists running the facility would often catch diseases from the cadavers, and pass away. 

    This internship abroad was a phenomenal experience. Working with native Londoners was a rich cultural experience, and working in a small museum exposed me to the full spectrum of museum services.  As a result, I hope to pursue a career as a curator, and seeing how a small museum like the Benjamin Franklin House operates will be extremely beneficial in the future. 

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    Summer Internship at the Kluge-Ruhe

    Author: Imani Williford

    Summer Curatorial Research Project in Indigenous Arts at the University of Virginia

    As a part of The Leadership Alliance’s Undergraduate Summer Research program, I had the opportunity to participate in the Mellon Indigenous Arts Initiative Internship Program for eight weeks in order to study Indigenous art and increase my curatorial experience. Under the tutelage of Dr. Henry Skerritt, curator of the Kluge-Ruhe Aboriginal Art Collection and Dr. Adriana Greci Green, Curator of the Indigenous Arts of the Americas at the Fralin Museum of Art at University of Virginia, me and four other students curated a full scale exhibition of Aboriginal Art at the Kluge-Ruhe Aboriginal Art Collection of the University of Virginia.

    I worked with four out of the 26 pieces that the Kluge-Ruhe had recently acquired as a gift from Stephen and Agatha Luczo. Despite having no experience with Aboriginal Art, my prior knowledge from HAA courses and undergraduate research, made me well aware of the history of how museums and the disciple of History of Art treat’s Art by marginalized groups. The three main questions guiding my curatorial process were: What is Aboriginal Art? How do I approach it? And what did I want my audience to learn? The answers to my questions came after six weeks of research.

    I determined that Aboriginal Art is a presence of each artist’s respective homeland and their active engagement with memories of sites they left behind. While my approach was to rooted in the idea that despite displacement, colonization and the western hierarchy of art, Aboriginal Art should be approached as being active in time, by understanding and paying attention to the artistic technique and subject matter of the artists and Art. After grasping my understanding and approach to Aboriginal Art, I wanted my audience to learn that Aboriginal art is not a record of the past but a living expression that constantly participates with time by upholding and utilizing the power of experience from of time.

    Over the course of the program I was able to answer these questions through: conducting independent research, collaborating with my fellow undergraduate colleagues to create panels, labels, and titles and mock exhibitions, conducting field work by taking field trips to Virginia area museums, giving tours and talks to visitors and contributing an essay based on the artists and works that I studied over the course of the program which was included in a published exhibition catalog. Additionally, before the opening of the exhibit, some of my colleagues and I were interviewed by Australian Broadcasting Company’s Brooke Wylie, to talk about the works in the exhibit and our experience as curators. After six and a half weeks of preparation the exhibition, Song’s Of A Secret Country, opened at the Kluge-Ruhe.

    The program fully concluded about a week after our exhibition with The Leadership Alliance’s annual summer undergraduate research conference in Harford, Connecticut, at the Connecticut Convention Center. At the conference my colleagues and I individually presented our findings and curatorial process to fellow undergraduate researchers, professors, mentors, Leadership Alliance alumni, and faculty of participating Leadership Alliance schools. Overall the experience of curating an exhibition and presenting at a conference provided a deeply rewarding experience that has broadened and bolstered my future plans for continuing my studies in the History of Art.

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    An ancient camel’s nametag and a small knife, both forged from meteorites. (National Museum of Natural History)


    Summer at the Smithsonian: Adventure Behind (Almost) Every Door

    Author: Natalie Gomez

    Intern and Docent Programs Intern at the National Portrait Gallery

    They told me I was the Intern and Docent Programs intern, so I cracked my knuckles with a sigh on my first day as I sat at the computer, ready to answer emails nonstop for the next eight weeks.  It would soon dawn on me that it was those very emails that would allow me to taste any and every part of life at the Smithsonian I desired.

    I published my own blog post and helped kick start an interview series on the National Portrait Gallery website, met with world-renowned geologists and rare book librarians to learn about (and even touch!) their work, received personal tours from nationally revered curators at the National Portrait Gallery, crept through the secret and dusty back hallways of the National Museum of Natural History, and all because I asked. The Smithsonian is a place of wonder, of curiosity, and of great (if not infinite) knowledge, all shrouded by a visitor-imposed sense of mystery and foreboding. My time with the Smithsonian led me to realize that the promise and mission upon which we were founded, “the increase and diffusion of knowledge,” makes our vast collections and almost inconceivable collective knowledge accessible to those who have the courage to seek it.

    Though I was given permission to create projects with any of our staff at the National Portrait Gallery (an extremely historic building that itself merits a blog post), I was assigned two main tasks for the summer. My first task was to edit and reinvent the Docent Manual. It acts as a guide for each incoming volunteer tour giver (a surprisingly prestigious and competitive position, filled with everyone from art teachers to engineers to former covert government agents). My second and perhaps most important task was to create a sense of community between interns and plan programs for us to attend. This ranged from deciding on (or organizing) lectures by professionals across the Smithsonian to planning sightseeing tours in the Capitol or lunch at the National Museum of the American Indian’s award-winning cafeteria. Almost every day of each week held plans for exciting, Smithsonian-unique experiences, all no more than a metro stop or a fifteen-minute walk away.

    Though the “fieldtrips” were frequent and extensive, the Smithsonian encouraged staff to remember who we were: young adults itching to be invited into any and every locked laboratory and Staff Only entrance to see that which we once thought unseeable. And the invitations were there, some hidden a bit more obscurely than others. Whether it took researching museum calendars or twenty minutes of deep breathing before writing an email to a complete stranger for permission to shadow them, the Smithsonian left no question unanswered and no query within reason unfulfilled. Though some of the world’s brightest, wisest, and most published have offices behind our locked doors, those doors will open with enthusiasm and graciousness for inquisitive minds who have a bit of courage, a bunch of persistence, and a big interest in increasing (and diffusing) knowledge of their own.

    Learn more about the Collecting Knowledge Pittsburgh initiative here

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    The Andy Warhol Museum: The Legacy of an Icon

    Author: Leslie Rose

    Milton Fine Museum Profession Fellowship at The Andy Warhol Museum - Summer 2017

    Recently, I have heard one of the truest statements that I will probably ever come to understand: “Once you’ve got The Warhol bug, you’ve got it for life.” This “bug” is much more than just an admiration for the iconic artist. It’s appreciation for all that he and his legacy, The Andy Warhol Museum, represents.

    Until my fellowship with The Warhol, I didn’t fully comprehend the importance of such an institution. I respected and enjoyed Warhol’s work as much as any other artist, but this museum is far more than a single artist museum. As the University of Pittsburgh’s Fine Foundation Fellow for the summer, I had the opportunity to work with the Warhol’s chief curator, Jose Diaz, and Milton Fine curator, Jessica Beck. My experiences in this internship opened my eyes to the necessity of The Andy Warhol Museum and institutions like it. In almost every possible way, from its programs and publications to its exhibitions and staff, The Warhol provides an inclusive environment and enriching content that generates a dialogue amongst the people of the Pittsburgh community and thousands of visitors from around the world. The museum brings together people from all walks of life, something that I believe people need in today’s divisive social and political atmosphere. It is not just me taking notice.

    One way The Andy Warhol Museum promotes inclusivity is through their staff. The Warhol received recognition by Ithaka S+R as one of eight institutions in the country striving to make the museum world more open to marginalized groups. I participated in Ithaka S+R’s research interviews and when learning of the other museum in that list, Brooklyn Museum, the Contemporary Arts Museum Houston, Detroit Institute of Art, the Los Angeles County Museum of Art, the Museum of Contemporary Art, Chicago, the Spelman College Museum (Atlanta), and the Studio Museum in Harlem, I was elated that the Warhol ranked among them. It thrilled me that I was a part of an institution that made diversity a priority. As faces and voices of the institution, a diverse staff means numerous perspectives are being explored and welcomed.

    Through my fellowship, I was able to assist the curatorial team on their upcoming exhibitions. With each project, I learned more of what it truly means to carry on Warhol’s legacy. This legacy means more than finding artists who similarly practiced art, but it is Warhol’s mindset—critiquing and questioning today’s culture head on. The 2017 Spring show, Firelei Baez: Bloodlines featured the works of contemporary Dominican artist Firelei Baez, who’s work tackled past and present understandings of race, power and beauty. In the fall of this year, The Warhol will open Farhad Moshiri: Go West, which will showcase the works of Iranian artist Farhad Moshiri. Throughout my internship, my primary focus was Go West and I helped to create an exhibition catalogue and didactic wall labels. Moshiri’s work explores Iranian traditions, the appeal and influence of Western culture, and how people have come to define their own cultural identities. In the wake of recent, caustic, political rhetoric, aimed to make people’s differences seem like dangers, the museum finds that Moshiri’s work highlights the commonalities between the East and West. Addressing complex current issues of identity, race, power, The Warhol aims to bridge gaps, acknowledge, and celebrate people’s differences through exhibitions and events such as these.

    My time at The Andy Warhol Museum has taught me more than I can imagine— Andy Warhol’s life and work, working with contemporary artists, planning an exhibition, and how a museum of this size operates on a day to day basis. It was the museum’s mission, continuing Warhol’s legacy and making it accessible to all people, that has made the greatest impact on me and is something that I will carry with me.

    Learn more about the Collecting Knowledge Pittsburgh initiative here

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    Visitor experience map of floor 1


    Interpreting Visitor Experiences at the Philadelphia Museum of Art

    Author: Caroline Fazzini

    Interpretation Intern - Museum Studies Internship Program at the Philadelphia Museum of Art

    While working at the Philadelphia Museum of Art as an interpretation intern, I was challenged to think holistically about museum experiences while experience-mapping their permanent collection galleries. Working closely with staff from across the institution, I mapped the entire museum in terms of the visitor experience preferences met within each space. The product, two massive 7’ x 5’ color-coded floor plans, exposed the current unbalanced distribution of interpretive content. These maps will be used over the course of the next several years as the Museum reinstalls these spaces. Through my involvement with this project I gained a practical understanding of how to think about and plan balanced museum experiences. This shift in mindset caused me to think of interpretation in a far more comprehensive way. Specifically in terms of designing experiences that speak to diverse audiences as well as satisfy individual preferences.

    At the PMA, I also took part in conducting audience research for a digital interactive designed to make a Chinese temple ceiling from the 1400s more visible through the use of virtual reality. During testing, I assumed multiple roles including observational note taker and interviewer. From this, I gained experience not only developing research methodology and protocols, analyzing data, and communicating findings, but also dealing with real people as they actively engaged with an interpretive device in a museum context. Our results from testing will be used to improve the prototype’s functionality.

    Learn more about Collecting Knowledge Pittsburgh here

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    A memorandum of agreement between MGM and the Pittsburgh Pirates, found in the Branch Rickey Papers at the Library of Congress Manuscript Division. The letter discusses the use of Pirates gear and facilities in the film Angels in the Outfield.


    Celebrating Pittsburgh as the Hollywood of the East: A Fellowship at the Heinz History Center

    Author: Monica Marchese

    Milton Fine Museum Profession Fellowship at Senator John Heinz History Center - Summer 2017

    What word comes to mind when you think of Pittsburgh? Is it steel? Sports? Pierogies? Yinzers? This summer I had the unique opportunity to explore one of Pittsburgh’s lesser known exports – movies. In recent years, the city has become one of the biggest movie hubs in the east without even realizing it. Thanks to the government-sponsored Film Production Tax Credit Program in Pennsylvania, and Pittsburgh’s unique personality, production companies have been flocking to the city in the past couple of years to film their next big hit. Our varied landscapes – from scenic rivers and bustling downtown streets to cozy neighborhoods with local flavor – make our city ideal for all types of projects. Not to mention the five-star casting companies, film crews, and more-than-willing extras available at directors’ disposal.

    As the University of Pittsburgh’s Milton Fine Fellow this summer at the Heinz History Center, I had the opportunity to work with curators Leslie Przybylek and Lauren Uhl on a project documenting the history of Pittsburgh’s film industry from the 1900s to the present. I jumped into this project in its very early stages. As a collecting initiative and eventual exhibition, this project required a two-pronged approach. My goals for the summer were to conduct preliminary research on which movies and individuals would best tell this story, and to locate artifacts and materials for the museum to either acquire or borrow in the future. I chose to focus my research film by film, creating thematic connections and logical arguments between each. In some cases, the intense study of a film proved very fruitful. In others, I found only dead-ends.

    My research led me to interviews and objects from films like Silence of the Lambs (1991) and The Dark Knight Rises (2012), filmed all around Pittsburgh, and the animated feature film Big Hero 6 (2014), which used soft robotics technology from Carnegie Mellon University’s Robotics Institute as the inspiration for the character Baymax. In fact, I had the opportunity to meet with Chris Atkeson, creator of the inflatable soft robotic arm and renowned professor at the Robotics Institute, in his laboratory. He showed us the original arm technology (pictured above) and encouraged us to “get into character” to understand the advantages and challenges of using inflatable robots. As I quickly found out, walking, gesturing, and holding objects proved exponentially more difficult when wearing an inflated Baymax suit (see above).

    Two of the most rewarding discoveries were related to the films Angels in the Outfield (1951) and Perks of Being a Wallflower (2012). These two films could not be any more different. Angels, a film about a fictitious general manager of the Pittsburgh Pirates who encounters angels (you guessed it) in the outfield, allowed me to explore the more secluded, archival side of research. I found original letters, scripts, and legal agreements from film production. This film was also important to my research because it immortalizes Forbes Field in a very unique way. In an official letter (pictured above) between Metro-Goldwyn-Mayer Studios and the then Pittsburgh Pirates Manager Bill Meyer, it was agreed upon that MGM would have full use of the Forbes Field facilities, Pirates uniforms and equipment, and park staff while filming. So while the characters – and the World Series win at the end of the film – are imaginary, a large majority of the film is authentic and serves as an accurate portrayal of baseball life at Forbes Field.

    Perks, a coming-of-age film about a high school boy and his group of friends, allowed me to explore a different aspect of curation. I was able to get in contact with the novelist/screenplay writer/director/producer of the book and film, Stephen Chbosky. Chbosky, a native Pittsburgher who now lives in California, wrote Perks based on his own high school experiences growing up in Upper St. Clair. He was more than willing to speak with me on the phone about all things Perks and Pittsburgh, and even offered to help the museum acquire costumes, props, and scripts from the film.

    Working on this project has allowed me to meld my love of film, history, and Pittsburgh. I’ve had the chance to dig through archives and special collections, make important contacts within the film community, locate key artifacts, and develop thematic connections between films, people, and objects. I am honored to have had this unique opportunity at the Heinz History Center.

    Learn more about the Collecting Knowledge Pittsburgh initiative here

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    • New Itinera Visualization
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    New Itinera Visualization

    This is a screenshot of the foundation for the new Itinera visualization that I've been working on. The goal is to be able to show relationships between different people in an informative way. This would allow for new understandings of the relationships between the Travelers as a whole, or in smaller more personal groups. 


    Summer Progress on Itinera's "Travelers" Visualization

    For the past year or so I have been working on learning how to write Javascript D3 code and use that knowledge to write a new visualization for the "Travelers" section on Itinera. This is an update of the progress I've made while at the VMW this summer.

    In May I started learning how to navigate the server that Itinera is on. Along with that I was introduced for the first time to the code that runs Itinera's current "Travelers" visualization. Spending time reading the code and figuring out what parts do what was really beneficial to my overall understanding. Throughout June and July I was able to make a basic but working concept of the new visualization. The nodes successfully appear and also respond when clicked on. Unfortunately, the code is buggy and doesn't display the relationships in an informative way. There is still a lot more work to do, but at least the foundation steps are working successfully. I've spent a lot of time watching D3 tutorials and learning the language, but it's a goal of mine to really solidify my understandings. Along with working on Itinera, this summer I have been working on a draft for my contribution to a collaborative multi-media essay about Itinera. The prompt is for six members of the Itinera team to present their lived experiences with working on Itinera. The plan for my contribution is to write a short essay and have interactive live code to go with it. Most of my experience has been working on code, which might be difficult to express in writing. Therefore, having a live interactive example will be an informative way to show the process and how it works. On the top of my to-do list is to write the essay portion, then figure out how to make visualizations that are compatible online and descriptive. Throughout the summer I've also worked on transcriptions for the Decomposing Bodies project. I look forward to continuing my work at the VMW when the fall semester starts!

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    Natalie (left) is examining works for condition reports and Kate (right) is cutting foam


    Delighted to Make Your Acquaintance: Deinstallation of Edward Eberle Exhibition

    Author: Abigail Meloy

    Fine Foundation Fellowship at Contemporary Craft - Summer 2016

    During my Saturday shifts at Contemporary Craft I would routinely stop, stroll around, and admire the individuals works in Edward Eberle Retrospective, including the one presented here. The ceramic artist’s fame arose from the deconstructed forms of his works and his streams of consciousness approach to painting the surfaces of his pieces. The exhibition had recently closed and we needed to prepare the objects for their travel to The Clay Studio in Philadelphia. We had our supplies: foam boards, leftover bubble wrap, cardboard boxes, and tape, lots of it.

    One of my intern supervisors diligently worked on condition reports, documents that evaluate and note the state of the object’s appearance and quality. They are used for insurance purposes and serve as accounts to the individuals receiving the objects. Unlike packaging a painting, a fairly simple process, we were challenged to work around the unusual shapes that made these works distinctive. Like a sculptor, we carved each work’s negative from layers of foam after tracing an outline of the object.

    It took us four days to pack all that was moving onto Philadelphia. I became more acquainted with each object: not only the way in which it could fit in a box but also its weight, quirks, blemishes, and stress points. Rather than reading the dimensions of the objects on their label or admiring them from a distance, I handled them, looked at their underside, and traced the mesmerizingly intricate scenes with my fingertips. Ultimately, I gained a greater appreciation for the works themselves.

    Learn more about the Collecting Knowledge Pittsburgh initiative here

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    Architecture, Archives, and More: An Internship

    Museum Studies Intern at the Carnegie Museum of Art - Spring 2017

    This spring I worked as an Intern for the Heinz Architectural Center on projects relating to the Hall of Architecture. As an intern, I undertook three major projects. The first project was the main reason the internship was offered, and paired well with my Intro to Visitor Evaluation class. In 2011, a design studio class at CMU had done a major project on the Hall of Architecture; gathering visitor preferences and responses to the Hall to design a better signage system. I took the data they collected that they had recorded and their design ideas and analyzed that data to make graphs to show the results. I also put together a report containing those results that could be used for future reference instead of having to go back through the project booklets and it presented to the Education Department. There is something inexplicably satisfying about recording data and compiling it into graphs. Or maybe it’s just me.

    For the second project that I undertook, I worked with the Carnegie Museum Database. I researched the casts in the Hall of Architecture and recorded the dates, names, locations, and architect/sculptures of the original buildings or objects that they were cast of or from. Some of the buildings that the Carnegie has fragments or capitals from are more interesting than the main monuments that are currently displayed, such as the Tower of the Winds, which is only represented with a capital fragment, but the building is so much more interesting. It was the first weather station ever built and the original is still considered so important that it was recently restored to its original condition at great expense.

    The third project that I undertook was the most time consuming and the hardest simply because of the volume of material that I had to sift through. The archival records relating to the acquisition of casts for the Hall of Architecture and Sculpture Hall had been recently digitized and were sorted in boxes based on subject, such as the sender or recipient. My job was to sort the records by cast. I also recorded any interesting stories that I came across, such as the drama between the Director and a women working at the Met over a miscommunication over her notes on the history of the casts, which she thought were going to be made a catalogue, but he didn’t want to give her credit for all of it, so she demanded her notes back. My favorite however, was the series of communications over the Lysicrates Monument. Andrew Carnegie wanted the monument to have one side restored, and one side as the monument currently was, but the cast makers said it was impossible, so he settled for the addition of a tripod, which the cast makers had to make only from references in historical documents.

    I also did additional research into some of the archival stories, such as the Allegheny Courthouse Controversy, for which I requested the National Register Nominations from the National Park Service.

    This internship was a wonderful opportunity that honed my research skills and taught me data analysis related skills. I am proud of what I accomplished.

    Learn more about the Collecting Knowledge Pittsburgh initiative here

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