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  1. Printmaking as an Art.Catharine Abell - 2015 - Journal of Aesthetics and Art Criticism 73 (1):23-30.
    Many forms of printmaking involve drawing or painting onto a plate to produce a matrix and then producing prints from that matrix by mechanical processes. One might be skeptical about the artistic significance of such prints, on the basis that only the process of drawing or painting the matrix enables printmakers to exercise intentional control over the features of the resultant prints. This might lead one to think that such forms of printmaking lack artistic significance independent of drawing and painting. (...)
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  2. Form in the Visual Arts.Virgil C. Aldrich - 1971 - British Journal of Aesthetics 11 (3):215-226.
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  3. The Death of Beauty: Goya's Etchings and Black Paintings Through the Eyes of André Malraux.Derek Allan - 2016 - History of European Ideas.
    Modern critics often regard Goya's etchings and black paintings as satirical observations on the social and political conditions of the time. In a study of Goya first published in 1950, which seldom receives the attention it merits, the French author and art theorist André Malraux contends that these works have a significance of a much deeper kind. The etchings and black paintings, Malraux argues, represent a fundamental challenge to the European artistic tradition that began with the Renaissance, an essentially humanist (...)
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  4. André Malraux.Derek Allan - 2014 - In Michael Kelly (ed.), Encyclopedia of Aesthetics. 2nd edition (Oxford University Press). pp. 239-243 (Vol 4).
    An overview of Malraux's theory of art, with sub-headings: "Basic Principles","The Creative Process","The Emergence of 'Art'","Art and Time", "The Modern Universal World of Art", and "Critical Responses". Includes a brief discussion of the musée imaginaire.
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  5. Art: A Rival World - An Aspect of André Malraux's Theory of Art.Derek Allan - 2010 - In Jan Lloyd Jones & Julian Lamb (eds.), Art and Authenticity. Australian Scholarly Publishing.
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  6. 'Reckless Inaccuracies Abounding': André Malraux and the Birth of a Myth.Derek Allan - 2009 - Journal of Aesthetics and Art Criticism 67 (2):147-158..
    After an initial period of popularity in the 1960s and 1970s, André Malraux’s works on the theory of art, "The Voices of Silence" and "The Metamorphosis of the Gods", lapsed into relative obscurity. A major factor in this fall from grace was the frosty reception given to these works by a number of leading art historians, including E.H. Gombrich, who accused Malraux of an irresponsible approach to art history and of "reckless inaccuracies". This essay examines a representative sample of the (...)
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  7. Art, Time and Metamorphosis.Derek Allan - 2007 - In Jan Lloyd Jones (ed.), Art and Time. Australian Scholarly Publishing. pp. 1.
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  8. Restitutionen. Wiedergaben des 'Ursprungs des Kunstwerks' in der französischen Philosophie.Emmanuel Alloa - 2011 - In David Espinet & Tobias Keiling (eds.), Heideggers 'Ursprung des Kunstwerks'. Klostermann. pp. 261-276.
  9. Du sensible à l'oeuvre. Esthétiques de Merleau-Ponty.Emmanuel Alloa & Adnen Jdey - 2012 - La lettre volée.
    Plusieurs générations de chercheurs internationaux interrogent l’esthétique de Merleau-Ponty suivant deux axes : d’une part, le dialogue constant et passionné avec des arts (peinture, littérature, cinéma) et ses protagonistes (Cézanne, Proust, Claude Simon) qui est à l’origine de l’esthétique de Merleau-Ponty, et dans d’autre part, l’impact de la pensée merleau-pontienne sur les arts, depuis le Minimal Art américain en passant par le Body Art et la danse contemporaine. Tandis que certaines contributions s’intéressent, en s’appuyant sur les inédits, au rapport jusqu’ici (...)
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  10. The Philosophy of the Visual Arts.Philip Alperson (ed.) - 1992 - Oxford University Press.
    Most instructors who teach introductory courses in aesthetics or the philosophy of arts use the visual arts as their implicit reference for "art" in general, yet until now there has been no aesthetics anthology specifically orientated to the visual arts. This text stresses conceptual and theoretical issues, first examining the very notion of "the visual arts " and then investigating philosophical questions raised by various forms, from painting, the paradigmatic form, to sculpture, photography, film, dance, kitsch, and other forms on (...)
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  11. Street Art: A Reply to Riggle.Andrea Baldini - 2016 - Journal of Aesthetics and Art Criticism 74 (2):187-191.
    In this paper, I critically discuss Riggle’s definition of street art. I argue that his definition has important limitations, and is therefore unsuccessful. I show that his view obscures a defining feature of street art, that is, its subversive power. As a significant consequence of ignoring that essential aspect, Riggle is incapable of fully understanding how street art transforms public space by turning one corner of the city at the time into contested ground. I also suggest that, when appreciating street (...)
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  12. Pictorial Perception as Twofold Experience.Katerina Bantinaki - 2010 - In Catharine Abell Katerina Bantinaki (ed.), Philosophical Perspectives on Depiction. Oxford University Press.
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  13. Exact Replication in the Visual Arts.M. Pabst Battin - 1979 - Journal of Aesthetics and Art Criticism 38 (2):153-158.
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  14. To Be-Between, To Pass Between: Becoming “Intermezzo” in Orlan’s Carnal Art.Burcu Baykan - 2015 - In Leslie Malland (ed.), Time, Space & the Body. UK: Inter-Disciplinary Press E-Books.
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  15. The Characteristics of the Visual Arts in America.D. C. Bayon - 1963 - Diogenes 11 (43):98-114.
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  16. Form and Meaning in the Visual Arts.William H. Bossart - 1966 - British Journal of Aesthetics 6 (3):259-271.
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  17. BENTON, MICHAEL. Literary Biography An Introduction.(London: Wiley-Blackwell). 2009. Pp. 280.£ 60.00 (Hbk). BERGMANN, SIGURD. In the Beginning is the Icon: A Liberative Theology of Images, Visual Arts and Culture.(London: Equinox Publishing Limited). 2009. Pp. 256.£ 50.00 (Hbk). [REVIEW]Michael Boylan, Denise Inge, Frederic Jameson, Scott Barry Kaufman, James C. Kaufman, Dominic Mciver Lopes, Jean-Francois Lyotard, Adrian Pabst, Angus Paddison & Fiona Price - 2010 - British Journal of Aesthetics 50 (1):119.
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  18. The Role of Luck in Originality and Creativity.Peg Zeglin Brand - 2015 - Journal of Aesthetics and Art Criticism 73 (1):31-55.
    In this article I explore the concept of originality from several viewpoints. Within the world of printmaking, I show that while print dealers may draw attention to originality in order to enhance economic value, artists emphasize the aesthetic value of a work based on the freedom to express artistic intent and to experiment with techniques of the medium. Within the worlds of philosophy and to some extent, psychology, “originality” has been misleadingly tied to the notions of “creativity” and “genius,” thereby (...)
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  19. Rethinking Decoration: Pleasure and Ideology in the Visual Arts.David Brett - 2005 - Cambridge University Press.
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  20. Rappresentazione pittorica.Elisa Caldarola - 2015 - Aphex 11.
    Le immagini sono rappresentazioni visive: quello che mostrano ai nostri occhi è rilevante per la comprensione di ciò che rappresentano. Le rappresentazioni pittoriche sono immagini che rappresentano visivamente aspetti visibili di altri oggetti: per questo motivo, ci sembra spesso che queste immagini assomiglino agli oggetti che rappresentano, ci sembra di riconoscere tali oggetti guardando le immagini che li rappresentano e può anche capitarci che ci sembri di avere un'esperienza degli oggetti rappresentati attraverso l'immagine che li rappresenta. Potrebbe però anche darsi (...)
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  21. In the Beginning Is the Icon: A Liberative Theology of Images, Visual Arts, and Culture by Bergmann, Sigurd.Tanner Capps - 2012 - Journal of Aesthetics and Art Criticism 70 (2):241-242.
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  22. Visual Theology: Forming and Transforming the Community Through the Arts Edited by Jensen, Robin M. And Kimberly J. Vrudny.Tanner Capps - 2011 - Journal of Aesthetics and Art Criticism 69 (3):346-348.
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  23. Industrial Design: On Its Characteristics and Relationships to the Visual Fine Arts.Curtis Carter - unknown
    Industrial design and the visual arts share a common aesthetic basis as demonstrated by their common use of aesthetic principles and by designers who are also visual artists. The author examines the rationale for exhibiting industrial products in art museums and the similarities and differences between industrial design and the fine arts. He argues that industrial design shares important theoretical concepts with the visual fine arts.
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  24. Material Thinking: The Theory and Practice of Creative Research.Paul Carter - 2004 - Melbourne University Publishing.
    This intimate account of how ideas get turned into artwork—including dance performance, film, sound installation, sculpture, and painting—looks at how the material thinking that art embodies produces new understandings about individuals, their histories, and the cultures they inhabit. Discussing the philosophy of signs (images, text, and their interaction), the psychology of visual perception, and the overarching notion of mythopoeic place-making, this intellectually wide-ranging and anecdotally narrated primer provides a fresh perspective to the concept of inventing. All active practitioners in the (...)
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  25. LES CONDITIONS DE L'ECRITURE SUR L'HABITER. LE DEFI DE DEUX DISCOURS SAVANTS : L'ARCHITECTURE ET LA PHILOSOPHIE.Madjid Chachour - manuscript
    Les vertus de l’écrit sur l’oîkos (l’habitation chez les grecques) ou les récits du Domus (l’habitation chez les romains) et les conditions dont ces derniers leurs favorisent l’écriture posent l’hypothèse sur la nature des relations qui existent entre l'expérience de l’habiter et sa sémantique spatiale, l’écrit des philosophes contemporains dans ce domaine est, cependant convergeant vers un savoir qui s’articule au niveau de la configuration d’un seuil interprétatif très complexe. En effet, en tant que précurseurs dans la compréhension de la (...)
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  26. Ypostesij, Metron, Nohema. Three Approaches to Representing Time in Visual Arts.Krzysztof Cichoń - 2001 - Art Inquiry. Recherches Sur les Arts 3:68-90.
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  27. Phenomenology of the Visual Arts (Even the Frame).Paul Crowther - 2010 - Stanford University Press.
    Why are the visual arts so important and what is it that makes their forms significant? Countering recent interpretations of meaning that understand visual artworks on the model of literary texts, Crowther formulates a theory of the visual arts based on what their creation achieves both cognitively and aesthetically. He develops a phenomenology that emphasizes how visual art gives unique aesthetic expression to factors that are basic to perception. At the same time, he shows how various artistic media embody these (...)
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  28. Varying Impressions.David Davies - 2015 - Journal of Aesthetics and Art Criticism 73 (1):81-92.
    My aim in this article is to locate various forms of printmaking in a broader framework for thinking about so-called ‘multiple’ artworks, artworks that, as this is normally put, admit of multiple instances. I first sketch a general framework for the philosophical exploration of multiple artworks and the philosophical issues to which they give rise. I then address certain forms of printmaking that might be thought to generate singular rather than multiple artworks. Next, I look at how those print works (...)
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  29. WHAT IS ART (Classificatory Disputes, Aesthetic Judgements, Contemporary Art.Ulrich De Balbian - 2017 - Philosophy and Art.
    WHAT is art? Classificatory disputes.. Classificatory disputes about what is art SEE this link for the images embeded in the text!! https://ulrichdebalbian.wordpress.com/2015/05/09/classificatory-disputes-about-what-is-art/ -/- Art historians and philosophers of art have long had classificatory disputes about art regarding whether a particular cultural form or piece of work should be classified as art. Disputes about what does and does not count as art continue to occur today -/- Defining art is difficult if not impossible. Aestheticians and art philosophers often engage in disputes (...)
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  30. A Cognitive Approach to the Earliest Art.Johan de Smedt & Helen de Cruz - 2011 - Journal of Aesthetics and Art Criticism 69 (4):379-389.
    This paper takes a cognitive perspective to assess the significance of some Late Palaeolithic artefacts (sculptures and engraved objects) for philosophicalconcepts of art. We examine cognitive capacities that are necessary to produceand recognize objects that are denoted as art. These include the ability toattribute and infer design (design stance), the ability to distinguish between themateriality of an object and its meaning (symbol-mindedness), and an aesthetic sensitivity to some perceptual stimuli. We investigate to what extent thesecognitive processes played a role in (...)
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  31. A Picture of the Art of Face Painting and Make-Up in the Classical Chinese Theatre.Sophia Delza - 1971 - Journal of Aesthetics and Art Criticism 30 (1):3-17.
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  32. A Theology of Artistic Sensibilities: The Visual Arts and the Church.John Dillenberger - 1988 - Journal of Aesthetics and Art Criticism 46 (3):433-434.
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  33. Pictorial Orientation Matters.John Dilworth - 2003 - British Journal of Aesthetics 43 (1):39-56.
    Issues concerning the spatial orientation of pictures play an important, though previously neglected, role in an adequate understanding of the nature and identity of visual artworks and other pictures. Using a previous contrast ('Artworks Versus Designs', BJA Vol. 41, No. 4, October 2001), I show that differing orientations of a design naturally give rise to distinct pictures, which may be appropriated as distinct artworks by a discerning artist--which also shows that such artworks cannot be types, since they share a common (...)
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  34. Metaphysisch malen: Philosophie und Bild bei Giorgio de Chirico.Andreas Dorschel - 2009 - In Kunst und Wissen in der Moderne. Böhlau. pp. 123-132.
    ‘Metaphysical painting’ (‘pittura metafisica’) is a paradoxical term: extrasensory sensuousness, as it were. Painting is the representation of visible surfaces; metaphysics rejects surfaces, as deceptive, in favour of the deeper essence. But Giorgio de Chirico (1888–1978) who coined the term ‘pittura metafisica’ in 1919 was a follower of the anti-essentialist Nietzsche. ‘Metaphysics’, then, is not about discovering the essence of things but about shaping their appearances, their ‘physique’. This is an intriguing concept and the corollary to a subtle artistic oeuvre.
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  35. Art: A Brief History of Absence.Davor Dzalto - 2015 - Filozofija I Društvo 26 (3):652-676.
    This essay focuses on the logic of the aesthetic argument used in the eighteenth century as a conceptual tool for formulating the modern concept of “(fine) art(s).” The essay also examines the main developments in the history of the art of modernity which were initiated from the way the “nature” of art was conceived in early modern aesthetics. The author claims that the formulation of the “aesthetic nature” of art led to the process of the gradual disappearance of all of (...)
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  36. Where Ethics and Aesthetics Meet: Titian's Rape of Europa.A. W. Eaton - 2003 - Hypatia 18 (4):159 - 188.
    Titian's Rape of Europa is highly praised for its luminous colors and sensual textures. But the painting has an overlooked dark side, namely that it eroticizes rape. I argue that this is an ethical defect that diminishes the painting aesthetically. This argument-that an artwork can be worse off qua work of art precisely because it is somehow ethically problematic-demonstrates that feminist concerns about art can play a legitimate role in art criticism and aesthetic appreciation.
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  37. A History of Art Education: Intellectual and Social Currents in Teaching the Visual Arts.Arthur D. Efland - 1991 - Journal of Aesthetics and Art Criticism 49 (3):273-274.
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  38. The Cognitive Basis of Aesthetics: Cassirer, Crowther, and the Future.Fell Elena & Ioanna Kopsiafti - 2016 - New York, USA: Routlege.
    This book seeks to fill a void in contemporary aesthetics scholarship by considering the cognitive features that make the aesthetic and artistic worthy of philosophical study. Aesthetic cognition has been largely abandoned by analytical philosophy, which instead tends to focus its attention on the ‘non-exhibited’ properties of artwork or issues concerning semantic and syntactic structure. The Cognitive Basis of Aesthetics innovatively seeks to correct the marginalization of aesthetics in analytical philosophy by reinterpreting aesthetic cognition through an integration of Ernst Cassirer’s (...)
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  39. Seeing the Impossible.Andreas Elpidorou - 2016 - Journal of Aesthetics and Art Criticism 74 (1):11-21.
    I defend the view that it is not impossible to see the impossible. I provide two examples in which one sees the impossible and defend these examples from potential objections. Theories of depiction should make room for impossible depictions.
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  40. Imagination in Non-Representational Painting.Andreas Elpidorou - 2010 - In Jonathan Webber (ed.), Reading Sartre: On Phenomenology and Existentialism. Routledge.
  41. Critically Thinking Through Visual Arts.Don Fawkes - 2003 - Inquiry : An Interdisciplinary Journal of Philosophy 22 (4):13-25.
    This paper applies the Sonoma Model of Critical Thinking to visual arts in an educational setting. The analysis produces insights into the functioning of the model, insights into visual arts, and pragmaticconclusions regarding relationships among art historians, visual artists, and others. We summarize the Sonoma Model of critical thinking and apply it to thinking about art history and visual arts. We use these insights to apply the Sonoma Model to thinking critically about visual arts in an educational environment. One application (...)
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  42. Andrew Harrison, Ed., Philosophy and the Visual Arts: Seeing and Abstracting Reviewed By.Susan L. Feagin - 1988 - Philosophy in Review 8 (8):304-306.
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  43. Synaesthesia and Kinaesthetics.Joerg Fingerhut, Sabine Flach & Jan Söffner - 2011 - Peter Lang.
    A myriad of sensations inform and direct us when we engage with the environment. To understand their influence on the development of our habitus it is important to focus on unifying processes in sensing. This approach allows us to include phenomena that elude a rather narrow view that focuses on each of the five discrete senses in isolation. One of the central questions addressed in this volume is whether there is something like a sensual habitus, and if there is, how (...)
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  44. The Society for the Philosophic Study of the Contemporary Visual Arts at the Twentieth World Congress of Philosophy.Dan Flory - 1999 - Journal of Value Inquiry 33 (3):411-415.
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  45. Pornographic Art and the Aesthetics of Pornography.Simon Fokt - 2016 - British Journal of Aesthetics 56 (1):103-106.
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  46. Embodied Meaning and Art as Sense-Making: A Critique of Beiser’s Interpretation of the ‘End of Art Thesis'.Paul Giladi - 2016 - Journal of Aesthetics and Culture 8:http://dx.doi.org/10.3402/jac.v8.
    The aim of this paper is to challenge Fred Beiser’s interpretation of Hegel’s meta-aesthetical position on the future of art. According to Beiser, Hegel’s comments about the ‘pastness’ of art commit Hegel to viewing postromantic art as merely a form of individual self-expression. I both defend and extend to other territory Robert Pippin’s interpretation of Hegel as a proto-modernist, where such modernism involves (i) his rejection of both classicism and Kantian aesthetics, and (ii) his espousal of what one may call (...)
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  47. Looking at Embryos: The Visual and Conceptual Aesthetics of Emerging Form.Scott F. Gilbert & Marion Faber - 1996 - In Alfred I. Tauber (ed.), The Elusive Synthesis: Aesthetics and Science. Kluwer Academic Publishers. pp. 125--151.
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  48. Pictures in Cognition.Daniel Gilman - 1994 - Erkenntnis 41 (1):87 - 102.
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  49. Wittgenstein and Surrealism.Chrysoula Gitsoulis - 2012 - Topics in Philosophy: Philosophical Methodology 13 (1):74-84.
    There are two aspects to Wittgenstein’s method of deconstructing pseudo-philosophical problems that need to be distinguished: (1) describing actual linguistic practice, and (2) constructing hypothetical ‘language-games’. Both methods were, for Wittgenstein, indispensable means of clarifying the ‘grammar’ of expressions of our language -- i.e., the appropriate contexts for using those expressions – and thereby dissolving pseudo-philosophical problems. Though (2) is often conflated with (1), it is important to recognize that it differs from it in important respects. (1) can be seen (...)
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  50. A RELÁCIÓESZTÉTIKA IDEIGLENES KÖZÖSSÉGEI.Horváth Gizella - 2016 - In Gizela Horvath & Rozália Klára Bakó (eds.), Közbeszédaktusok. Partiumi Kiadó, Debfeceni Egyetemi Kiadó. pp. 179-195..
    The notion of “relational aesthetics” was created by Nicolas Bourriaud in 1995 to describe the new artistic phenomena of the nineties. According to Bourriaud the manifestations of relational art create temporary communities, thus turning art into a social laboratory. This paper investigates the communities arising through these artistic endeavors. My hypothesis is that the empty communities motivated solely by the artistic event are not more consistent than the audience of a play or a performance, furthermore, they do not transcend the (...)
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