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Art and Illusion

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  1. The Psychology of Perspective and Renaissance Art: Michael Kubovy , Xiv + 192 Pp., £27.50, $39.50, Cloth. [REVIEW]Michael Ann Holly - 1989 - History of European Ideas 10 (3):383-384.
  • Intentionality, Mind and Folk Psychology.Winand H. Dittrich & Stephen E. G. Lea - 1993 - Behavioral and Brain Sciences 16 (1):39-41.
    The comment addresses central issues of a "theory theory" approach as exemplified in Gopnik' and Goldman's BBS-articles. Gopnik, on the one hand, tries to demonstrate that empirical evidence from developmental psychology supports the view of a "theory theory" in which common sense beliefs are constructed to explain ourselves and others. Focusing the informational processing routes possibly involved we would like to argue that his main thesis (e.g. idea of intentionality as a cognitive construct) lacks support at least for two reasons: (...)
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  • Review Essay.Robert Howell - 1996 - Synthese 109 (3):413-434.
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  • Wayfinding: Notes on the ‘Public’ as Interactive.Patrick Maynard - 2015 - Review of Philosophy and Psychology 6 (1):27-48.
    “Public” is here treated by its three extensions: most broadly, from the merely extrasomatic, where users of representations are initially distinguished from makers, through ‘published’ or for the general public, to the governmental, official—where the discussion begins, before turning in its second half to the more common, middle meaning. What is public in these ways, “spatial representation”, also has the different meanings of representation of space or representation by spatial means, and there are several kinds of space to be considered. (...)
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  • Introduction: Varieties of Iconicity.Valeria Giardino & Gabriel Greenberg - 2015 - Review of Philosophy and Psychology 6 (1):1-25.
    This introduction aims to familiarize readers with basic dimensions of variation among pictorial and diagrammatic representations, as we understand them, in order to serve as a backdrop to the articles in this volume. Instead of trying to canvas the vast range of representational kinds, we focus on a few important axes of difference, and a small handful of illustrative examples. We begin in Section 1 with background: the distinction between pictures and diagrams, the concept of systems of representation, and that (...)
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  • Art and Ambiguity: A Gestalt-Shift Approach to Elusive Appearances.John O'Dea - 2018 - In Fabian Dorsch & Fiona Macpherson (eds.), Phenomenal Presence.
    I defend a solution to a long-standing problem with perceptual appearances, brought about by the phenomenon of perceptual constancy. The problem is that in conditions which are non-ideal, yet within the range that perceptual constancy works, we see things veridically despite an “appearance” which is traditionally taken to be non-veridical. For example, a tilted coin is often taken to have an “elliptical appearance”, shadowed surfaces a “darker appearance”. These appearances are puzzling for a number of reasons. I defend and elaborate (...)
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  • Distinctly Human Umwelt?Floyd Merrell - 2001 - Semiotica 2001 (134).
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  • Industrial Ekphrasis: The Dialectic of Word and Image in Mass Cultural Production.Paul Frosh - 2003 - Semiotica 2003 (147).
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  • Bioinformatics and Discovery: Induction Beckons Again.John F. Allen - 2001 - Bioessays 23 (1):104-107.
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  • European Thinking and the Study of World Art From a Natural Perspective.Ancuta Mortu - 2018 - Espes 7 (2):43-50.
    My aim in this paper is to address some difficulties related to the development of an emerging research program called world art studies. While it originates as a European discipline in the German scholarly tradition around 1900, this program comes to the fore only recently, with recent advances in natural and cognitive sciences which hold promise for providing more inclusive categories that could serve the study of art as a worldwide phenomenon. I focus more specifically on the strengths and weaknesses (...)
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  • A Pragmatic Theory of Truth and Ontology.Stewart Edward Granger - unknown
    At the heart of my pragmatic theory of truth and ontology is a view of the relation between language and reality which I term internal justification: a way of explaining how sentences may have truth-values which we cannot discover without invoking the need for the mystery of a correspondence relation. The epistemology upon which the theory depend~ is fallibilist and holistic ; places heavy reliance on modal idioms ; and leads to the conclusion that current versions of realism and anti-realism (...)
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  • Inscriptions in Painting.Mieczysław Wallis - 1971 - Studia Semiotyczne—English Supplement 2:4-33.
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  • The ‘Good Form’ of Film: The Aesthetics of Continuity From Gestalt Psychology to Cognitive Film Theory.Maria Poulaki - 2018 - Gestalt Theory 40 (1):29-43.
    Summary This article questions certain assumptions concerning film form made by the recent psychological film research and compares them to those of precursors of film psychology like Hugo Münsterberg and Rudolf Arnheim, as well as the principles of Gestalt psychology. It is argued that principles of Gestalt psychology such as those of ‘good form’ and good continuation are still underlying the psychological research of film, becoming particularly apparent in its approach to continuity editing. Following an alternative Gestalt genealogy that links (...)
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  • Visual Culture and Ancient History.Jaś Elsner - 2015 - Classical Antiquity 34 (1):33-73.
    Through a specific example, this paper explores the problems of empiricism and ideology in the uses of material-cultural and visual evidence for the writing of ancient history. The focus is on an Athenian documentary stele with a fine relief from the late fifth century bc, the history of its publications, and their failure to account for the totality of the object's information—sculptural and epigraphic—let alone the range of rhetorical ambiguities that its texts and images implied in their fifth-century context. While (...)
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  • Visual Language and Concepts of Cult on the "Lenaia Vases".Sarah Peirce - 1998 - Classical Antiquity 17 (1):59-95.
    "Lenaia vases" is the traditional title given to a group of some seventy fifth-century Attic vases, black- and red-figure. These vases have in common that they show a cult-image of Dionysos, consisting of a mask or masks on a column, in combination with the conventional Attic imagery of the revelling ecstatic female worshippers usually called "maenads." The vases are important and their meaning much debated because they seem to hold out the promise of providing otherwise unavailable information about historical bacchic (...)
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  • Discourse and Performance: Involvement, Visualization and `Presence' in Homeric Poetry.Egbert J. Bakker - 1993 - Classical Antiquity 12 (1):1-29.
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  • Mimesis or Phantasia? Two Representational\\ Modes in Roman Commemorative Art.Michael Koortbojian - 2005 - Classical Antiquity 24 (2):285-306.
    The commemorative forms of the Romans are marked by the ubiquity of two contrasting presentational modes: one essentially mimetic, rooted in the representational power of artistic forms, the other abstract and figurative, dependent on the presentation of cues for the summoning of absent yet necessary images. The mimetic mode was thoroughly conventional, and thus posed few problems of interpretation; the figurative knew no such orthodoxy and required a different and distinctive form of attention. At the tomb, epigraphic and sculptural forms, (...)
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  • Picture Perception and the Two Visual Subsystems.Bence Nanay - 2008 - Proceedings of the 30th Annual Conference of the Cognitive Science Society.
    I aim to give a new account of picture perception: of the way our visual system functions when we see something in a picture. My argument relies on the functional distinction between the ventral and dorsal visual subsystems. I propose that it is constitutive of picture perception that our ventral subsystem attributes properties to the scene, whereas our dorsal subsystem attributes properties to the surface. Keywords: picture perception; dorsal subsystem;.
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  • Art Made for Pictures.John Kulvicki & Bence Nanay - 2018 - Phenomenology and Mind 14:120-134.
    Over the last fifteen years, communication has become pictorial in a manner that it never was before. Billions of people have smart phones that enable them to take, edit, and share pictures easily whenever they choose to do so. This has created expressive niches within which new activities, with their own norms, continue to develop. Ready availability of these pictorial modes of communication, we claim, not only constitutes a change in the range of our communicative practices, but also changes the (...)
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  • Mental Imagery, Emotion, and Literary Task Sets Clues Towards a Literary Neuroart.Federico Langer - 2012 - Journal of Consciousness Studies 19 (7-8):168-215.
  • Explaining Depiction : Recent Debates in the Philosophy of Pictorial Representation.Chi Kei Leung - unknown
    This thesis begins with a succinct survey of theories of depiction and then turns to two highly influential contemporary philosophical accounts, namely, the aspect-recognition theory proposed by Dominic McIver Lopes, and Robert Hopkins’s experienced resemblance theory. The latter two theories of pictorial representation are presented in detail before objections to both accounts are presented and assessed. One of the central contentions of the thesis is that the aspect-recognition theory succumbs to a number of serious objections. First of all, this account (...)
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  • The Prometheus Challenge Redux.Arnold Cusmariu - 2017 - Symposion: Theoretical and Applied Inquiries in Philosophy and Social Sciences 4 (2):175-209.
    Following up on its predecessor in this Journal, the article defends philosophy as a guide to making and analyzing art; identifies Cubist solutions to the Prometheus Challenge, including a novel analysis of Picasso’s Les Demoiselles d’Avignon; defines a new concept of aesthetic attitude; proves the compatibility of Prometheus Challenge artworks with logic; and explains why Plato would have welcomed such artworks in his ideal state.
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  • Aesthetics and Cognitive Science.Dustin Stokes - 2009 - Philosophy Compass 4 (5):715-733.
    Experiences of art involve exercise of ordinary cognitive and perceptual capacities but in unique ways. These two features of experiences of art imply the mutual importance of aesthetics and cognitive science. Cognitive science provides empirical and theoretical analysis of the relevant cognitive capacities. Aesthetics thus does well to incorporate cognitive scientific research. Aesthetics also offers philosophical analysis of the uniqueness of the experience of art. Thus, cognitive science does well to incorporate the explanations of aesthetics. This paper explores this general (...)
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  • Educating the Design Stance: Issues of Coherence and Transgression. Commentary on Bullot & Reber.Norman H. Freeman & Melissa L. Allen - forthcoming - Behavioral and Brain Sciences.
  • Objective Similarity and Mental Representation.Alistair M. C. Isaac - 2013 - Australasian Journal of Philosophy 91 (4):683-704.
    The claim that similarity plays a role in representation has been philosophically discredited. Psychologists, however, routinely analyse the success of mental representations for guiding behaviour in terms of a similarity between representation and the world. I provide a foundation for this practice by developing a philosophically responsible account of the relationship between similarity and representation in natural systems. I analyse similarity in terms of the existence of a suitable homomorphism between two structures. The key insight is that by restricting attention (...)
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  • Theories or Fragments?Nick Chater & Mike Oaksford - 2017 - Behavioral and Brain Sciences 40.
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  • Defining Pictorial Style: Lessons From Linguistics and Computer Graphics. [REVIEW]John Willats & Fredo Durand - 2005 - Axiomathes 15 (3):319-351.
  • The Fixation of (Visual) Evidence.K. Amann & K. Knorr Cetina - 1988 - Human Studies 11 (2-3):133 - 169.
  • The Dialectic of Perspectivism, I.James Conant - unknown
    Philosophers ... always demand that we should think of an eye that is completely unthinkable, an eye turned in no particular direction, in which the active and interpreting forces, through which alone seeing becomes seeing something, are supposed to be lacking; they always demand of the eye an absurdity and a nonsense.
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  • Hallucinatory Pictures.Roberto Casati - 2010 - Acta Analytica 25 (3):365-368.
    Hallucinatory pictures are yet to be found picture-like artifacts that induce a hallucination of their content that cannot be intuitively explained by a look at the structure of the pictorial vehicle. Different accounts of depiction make different predictions about the possibility that such artifacts be considered as pictures. Some cases are presented that point towards the intuitive acceptability of hallucinatory pictures.
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  • Poiesis and Obstruction in Art Practice.Catherine Clancy - unknown
    This PhD thesis examines the concept of poiesis, that is ‘calling into existence that which was not there before’, in the context of obstruction in studio practice. It poses the question ‘Is there a methodology that engages with obstruction which in turn calls new work’? In this thesis, the concept of poiesis emerging from the late Dr. Murray Cox’s ‘Aeolian Mode’, is analyzed alongside a concept of praxis,, familiar to artistic practice. This thesis describes the orientation of the original idea, (...)
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  • The Metaphysics of Scarcity.Ray Scott Percival - 1996 - The Critical Rationalist 1 (2):1 - 31.
    Natural resources are infinite. This is possible because humans can create theories whose potential goes beyond the limited imaginative capacity of the inventor. For instance, no number of people can work out all the economic potential of quantum theory. Economic Resources are created by an interaction of Karl Popper's Worlds 1, 2 and 3, the worlds of physics, psychology and the abstract products of the human mind, such as scientific theories. Knowledge such as scientific theories has unfathomable information content, is (...)
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  • The Nonconceptual Content of Paintings.Andrew Inkpin - 2011 - Estetika 48 (1):29-45.
    This article argues that paintings have a nonconceptual content unlike that of mechanically produced images. The first part of the article outlines an information-theory approach modelled on the camera and based on the idea that pictures convey information about what they depict. Picture structure is conceived of as contentful by virtue of a supposed causal link with what is depicted and as nonconceptual because it is independent of observers’ understanding. The second part introduces an embodied depiction approach based on Merleau-Ponty’s (...)
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  • Grammar and Aesthetic Mechanismus. From Wittgenstein's Tractatus to the Lectures on Aesthetics.Fabrizio Desideri - 2013 - Aisthesis: Pratiche, Linguaggi E Saperi Dell’Estetico 6 (1):17-34.
    This paper takes distances from two influential images of Wittgenstein's philosophy: the image of a primarily ethical philosopher defended by the so-called «resolute» interpreters and that of an ascetically "analytical" philosopher transmitted by the standard interpretation. Instead of contrasting images (that of Wittgenstein as an "aesthetic" philosopher and that of the "ethical" Wittgenstein), this paper focuses on the analysis of the fractures and tensions characterizing not only the relationship between Wittgenstein's philosophy and aesthetics, but also the very style of Wittgenstein's (...)
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  • Wat is een afbeelding?Hans Maes - 2011 - Esthetica: Tijdschrift Voor Kunst En Filosofie 3.
    This paper addresses what is arguably ?? one of the most fundamental questions in the debate on depiction, What is a Picture? It offers a critical discussion of traditional theories of pictorial representation, such as the Resemblance Theory, Conventionalism, and the Illusion Theory; it introduces and analyses the crucial notions of ‘seeing as’ and ‘seeing in’, and concludes by presenting some of the most recent accounts of depiction defended by Kendall Walton, Dominic Lopes, Robert Hopkins, and John Hyman.
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  • Seeing-In as Aspect Perception.Fabian Dorsch - 2016 - In Gary Kemp & Gabriele Mras (eds.), Wollheim, Wittgenstein, and Pictorial Representation: Seeing-as and Seeing-in. Routledge.
  • Scientific Representation is Representation-As.Frigg Roman & Nguyen James - 2017 - In Hsiang-Ke Chao & Julian Reiss (eds.), Philosophy of Science in Practice: Nancy Cartwright and the nature of scientific reasoning. Switzerland: Springer International Publishing. pp. 149-179.
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  • Current Issues in Pictorial Semiotics. Lecture One: The Quadrature of the Hermeneutic Circle.Göran Sonesson - unknown
    The first lecture will present pictorial semiotics within the framework of general semiotic theory. It will construe semiotics as a particular point of view taken on everything which is human or, more generally, endowed with life, rather than simply the continuation of the mixed or separate doctrines due to Saussure and Peirce. The historical part will describe briefly the development of pictorial semiotics and the peculiarities of its different schools and traditions, following upon the somewhat premature founding gesture attributed to (...)
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  • The Symbol Grounding Problem has Been Solved. So What's Next.Luc Steels - 2008 - In Manuel de Vega, Arthur Glenberg & Arthur Graesser (eds.), Symbols and Embodiment: Debates on Meaning and Cognition. Oxford University Press. pp. 223--244.
  • Consciousness: A Unique Way of Processing Information.Giorgio Marchetti - 2018 - Cognitive Processing 1 (1612-4782).
    In this article, I argue that consciousness is a unique way of processing information, in that: it produces information, rather than purely transmitting it; the information it produces is meaningful for us; the meaning it has is always individuated. This uniqueness allows us to process information on the basis of our personal needs and ever-changing interactions with the environment, and consequently to act autonomously. Three main basic cognitive processes contribute to realize this unique way of information processing: the self, attention (...)
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  • British Idealist Aesthetics, Collingwood, Wollheim, And The Origins Of Analytic Aesthetics.Chinatsu Kobayashi - 2008 - The Baltic International Yearbook of Cognition, Logic and Communication 4:12.
    In particular, as we shall see, Collingwood is often dismissed as having held an indefensible, outmoded ‘ideal’ theory, according to which the work of art is primarily ‘mental’, while his potential role in current debates is simply ignored. I will argue that this view is largely mistaken.
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  • Cognitive Penetration and the Perception of Art (Winner of 2012 Dialectica Essay Prize).Dustin Stokes - 2014 - Dialectica 68 (1):1-34.
    There are good, even if inconclusive, reasons to think that cognitive penetration of perception occurs: that cognitive states like belief causally affect, in a relatively direct way, the contents of perceptual experience. The supposed importance of – indeed as it is suggested here, what is definitive of – this possible phenomenon is that it would result in important epistemic and scientific consequences. One interesting and intuitive consequence entirely unremarked in the extant literature concerns the perception of art. Intuition has it (...)
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  • Perceptual Principles as the Basis for Genuine Judgments of Beauty.Jennifer A. McMahon - 2000 - Journal of Consciousness Studies 7 (8-9):8-9.
    This paper comments on an article by V.S. Ramachandran and William Hirstein (JCS,1999) in which they purport to be identifying the neurological principles of beauty. I draw attention to the way the problem of beauty is construed in the philosophical literature by Mary Mothersill (1984) and Immanuel Kant (Critique of Judgment). I argue that Ramachandran and Hirsteins' principles do not address the problem of beauty because they do not differentiate between the experience of beauty and other closely related phenomena. I (...)
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  • Artworks as Dichotomous Objects: Implications for the Scientific Study of Aesthetic Experience.Robert Pepperell - 2015 - Frontiers in Human Neuroscience 9.
  • The Role of Historians of Science in Contemporary Society.Joseph Agassi - 2014 - Acta Baltica Historiae Et Philosophiae Scientiarum 2 (2):5-19.
    The famous gulf between the arts and the sciences comes from the current pervasiveness of scientific illiteracy. The resultant increased fragmentation of science threatens scientific research; the resultant increase of the portion of the population of the advanced world that shows general ignorance of science threatens Western culture and democracy, and thus science itself. Historians and popularizers of science can help reduce this gulf. Introducing science historically can help solve many acute social and political problems. Historians of science can try (...)
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  • Listening to the Shepard-Risset Glissando: The Relationship Between Emotional Response, Disruption of Equilibrium, and Personality.Eveline Vernooij, Angelo Orcalli, Franco Fabbro & Cristiano Crescentini - 2016 - Frontiers in Psychology 7.
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  • Beyond Resemblance.Gabriel Greenberg - 2013 - Philosophical Review 122 (2):215-287.
    What is it for a picture to depict a scene? The most orthodox philosophical theory of pictorial representation holds that depiction is grounded in resemblance. A picture represents a scene in virtue of being similar to that scene in certain ways. This essay presents evidence against this claim: curvilinear perspective is one common style of depiction in which successful pictorial representation depends as much on a picture's systematic differences with the scene depicted as on the similarities; it cannot be analyzed (...)
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  • How Models Represent.James Nguyen - 2016 - Dissertation,
    Scientific models are important, if not the sole, units of science. This thesis addresses the following question: in virtue of what do scientific models represent their target systems? In Part i I motivate the question, and lay out some important desiderata that any successful answer must meet. This provides a novel conceptual framework in which to think about the question of scientific representation. I then argue against Callender and Cohen’s attempt to diffuse the question. In Part ii I investigate the (...)
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  • The Prometheus Challenge.Arnold Cusmariu - forthcoming - Symposion. Theoretical and Applied Inquiries in Philosophy and Social Sciences.
    Arnold Cusmariu ABSTRACT: Degas, Manet, Picasso, Dali and Lipchitz produced works of art exemplifying a seeming impossibility: Not only combining incompatible attributes but doing so consistently with aesthetic strictures Horace formulated in Ars Poetica. The article explains how these artists were able to do this, achieving what some critics have called ‘a new art,’ ‘a...
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  • Have Computation, Animatronics, and Robotic Art Anything to Say About Emotion, Compassion, and How to Model Them? The Survivor Project.Ephraim Nissan, Ricardo Cassinis & Laura Maria Morelli - 2008 - Pragmatics and Cognition 16 (1):3-36.
    We discuss robotic art, emotion in robotic art, and compassion in the philosophy of art. We discuss a particular animated artwork, survivor, the walking chair, symbolising survivors of landmine blasts, learning to use crutches, and maimed emotionally as well as physically. Its control incorporates mutual relations between very rudimentary representations of distinct emotions. This artwork is intended for sensitising viewers to the horror experienced by those who survive, and those who don't. We can only give a small sample, here, of (...)
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