April 10, 2017

Learning the lessons of working with the British Library's Digital Content & Data for your research

Writing about web page https://www.eventbrite.co.uk/e/learning-the-lessons-of-working-with-the-british-librarys-digital-content-and-data-for-your-tickets-33438891625

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A series of presentations exploring the British Library's digital collections, how they have been used and the lessons learned by working with researchers who want to use them. This will be followed by discussions and feedback around potential ideas of working with the Library's data.

The Roadshow will showcase examples of the British Library’s digital content and data, addressing some of the challenges and issues of working with it, and how interesting and exciting projects from researchers, artists, educators and entrepreneurs have been developed via the annual British Library Labs Competition and Awards. This year we intend to focus on some of the lessons we have learned over the last four years of working with the Labs, promote our awards and get attendees thinking of what they might do with the British Library's collections. The team will also talk about future plans at the Library to support Digital Scholarship. The day will also include presentations on current research being undertaken, and digital humanities technical tools being used at the University of Warwick.

Date and Time:
Monday 8 May 2017, 12:30 - 16:00

Cost:
FREE and inlcudes lunch and refreshments.

Location:
Wolfson Research Exchange, Floor 3, Library extension, Library Road, University of Warwick, CV4 7AL

Register now


December 21, 2016

Santa's DH Helpers

Writing about web page https://www.zooniverse.org/projects/steve-dot-ranford/santas-dh-helpers

Ever wished you had access to a troop of elves to help you achieve what would appear to be an impossibly large task? There are in fact a number of freely available online digital tools that academics can make use of, and it's easier than you may think to set up, as our christmas blog post this year looks to demonstrate.

Text transcription, classification and tagging are three relevant types of citizen science of use in the humanities. These can each enrich sources with structured metadata to help them be more useful in research methods of analysis over large sets of data.

Enabling members of the public and enthusiasts to get involved in a research project can also cause contributors to develop an affinity to the project and follow its progress - seeing their efforts combine with others' and being used to discover insights and often produce new representations and visualisations of the data. There are a number of existing projects in the humanities.

We've produced a demonstration project to show you just how easy it is to set-up a crowdsourcing project, anda one for you to get hands-on and play with. The work you'll be doing, is to help Santa transcribe letters he's received. These handwritten pages need transforming into transcribed text that can be used in the workshop to identify what children have requested.


Please pitch-in: Santa's DH Hepers on Zooniverse


Check out some other research projects with crowdsourcing:


Further resources:

If you would like to explore how Zooniverse could be used in your current or future project, please drop us a line.


Happy Christmas from the Digital Humanities Team!


October 06, 2016

Blog or News roll on Omeka

Writing about web page https://github.com/digihum/omeka-plugin-ItemsPartialShortcode

Having not found anything on Omeka sites that looks like it gives us what this project wants 'out of the box', here is a recipe using available materials. We're looking for a Blog-like setup or News feed with the following features:

  • entries ordered by date on a listing page
  • pull a feed of 'teasers' through to other pages
  • enable embedding tweets

The solution looks like:

  • Created two new Item Types. One called 'News', which has just one box 'Text' in the Item Type Metadata. The other is 'Tweet' which has 'Embed Code'.
  • Create a Collection called 'News and Events' to hold all entries whether tweet or news item
  • Use shortcodes to pull a feed ordered by date [items num=5 collection=5 sort="Dublin Core,Date" order=d] which works well, but the display isn't quite there, so some manipulation is needed. A little plugin coding later and we have a new template-able shortcode [itemspartial template=teaser num=5 collection=5 sort="Dublin Core,Date" order=d]
  • To add an entry do the following:
  • Create new item
  • If you want a title, enter it in the DC Title field
  • Fill in the description if you want to customise the way the post appears in the teaser text
  • Scroll down to Date, and enter today's date
  • Add to the 'News and Events' Collection
  • Tick the 'public' button if you want to publish right away
  • Change to the Item Type tab and select 'News' or 'Tweet' from this list
  • Change to the Files tab to add a photo or other media
  • Add the content for this specific type
  • Save your entry and check it has come out right

The shortcode plugin is here: https://github.com/digihum/omeka-plugin-ItemsPartialShortcode

See this implemented in the wild at https://projectionproject.warwick.ac.uk


April 29, 2016

Virtual Projection Box Launched

Writing about web page https://projectionproject.warwick.ac.uk/neatline/fullscreen/projection-box#records/114

Screenshot from the Virtual Projection Box

This digital initiative supports the Projection Project that has recently been well covered by the BBC Radio 4's The Film Programme on Sunday 24th April 2016 (16:20-23:19) and 'The Projectionists' – Richard Nicholson’s photographs from inside the projection box.

It has been the desire of the project team from the outset that the rich oral histories that the project has collected are accessible to the public. To make the experience of accessing these clips both engaging and more contextual and educational – the idea of the ‘Virtual Projection Box’ was conceived.

Visitors to this online exhibit are presented with a number of full-screen views of these cramped spaces. Through zooming and panning the detail of the images can be explored, as well as content revealed through hotspots on items on the screen.

The Academic Technology team provided the academic team with a platform (Omeka with Neatline), some templates and an introduction session. The content and journeys of the interactive resource have been authored with these building-blocks. As the first exhibits were produced, user interaction improvements and tweaks were made to the underlying platform by the academic technologists.

Take a look around, and comment if you find the clip about falling through the roof midway through a screening.


February 11, 2016

(De)coding Texts – Using the Text Encoding Initiative as a new way to teach the reading of texts

On 3rd March 2016 Alex Peck and Dr Clare Rowan of the Department of Classics and Ancient History will be hosting a two-hour long workshop for postgraduates, academics and teaching staff of the university that will demonstrate how TEI (the Text Encoding Initiative) can be used as an engaging and stimulating method for teaching and developing text-based skills. The workshop will provide a practical demonstration of how TEI can be used within a teaching environment and will encourage participants to reflect on how such a method could be implemented within a variety of academic disciplines.

To provide a flavour of what participants can expect from the workshop and of how TEI can be used in undergraduate teaching, Alex Peck has written a brief summary of the TEI based teaching project (De)Coding Classics that was piloted in the Department of Classics and Ancient History during the 2015/16 academic year.

(De)Coding Classics was a pilot teaching project that aimed to further develop the text-based skills of critical thinking and close reading through the use of computer coding, namely TEI. The project also looked to expose undergraduates to the world of Digital Humanities and to build an awareness of how many of their online resources in the field of Classics and Ancient History are created. This project was inspired by a similar teaching scheme that was pioneered in the UK by Dr Melodee Beals (the of Sheffield Hallam University now of Loughborough University), who had used TEI in her History module as an innovative and engaging method to help her undergraduate students engage effectively in the analysis of primary textual sources.

TEI, or the TExt Encoding Initiative, is the standard recognised means by which digitally annotated versions of texts or text corpora are created. TEi is extremely versatile, providing a highly detailed appendices of 'tags' and 'elements' that can be used to highlight and annotate a vast range of textual features. Its versatility is further demonstrated by the fact that new 'tags' and 'elements' are frequently added to reflect new trends in textual analysis or to expand the range of texts that can be encoded. This versatility renders TEI an effective tool for the teaching of text-based skills.

(De)Coding Classics was implemented in the second-year core module 'The Hellenistic World'. The module cohort was divided into two groups of approximately 35 students and each group was then led through a highly-practical two-hour seminar. The seminars were hosted in R0.39 as this is currently the only computer lab on campus that has Oxygen (the easy-to-use coding software that we had elected ti use in our teaching spaces) installed on 25 computers. The students were first given a brief introduction to TEI, shown how digital editions of texts are created and look like in their coded form, and encouraged to reflect on the similarities between traditional non-digital text annotation and the practice of coding. Following this relatively short introduction, the students were given a practical step-by-step demonstration on how to encode a simple text using TEI. Once the students had been given the basic skills needed to encode texts on their own, the students were individually assigned a text that had been taken from a complex anthology (the Archive of Hor), which they then proceeded to transcribe and code as they had done during the demonstration. They were instructed to identify and thus code the names of people or deities; topographical information; and statements or facts of historical significance. Once the students had identified these key features, they were then instructed to research them and to create a glossary entry for them based on the findings of this research. In order to conduct this research, the students were encouraged to use the wide range of online resources available in the field of Classics and to record these secondary sources using the department's accepted referencing style. A system was devised in order to avoid the possibility of multiple entries on a single topic or feature. Once the students had finished their glossary entries, and were thus armed with enough information to embark on a detailed interpretation of their respective texts, they were instructed to write a brief commentary. The coded text, commentary and glossary entries were then added to a tailor-made database on the module website. This provided them with an interactive finished product of their work.

Although only being a short pilot project that was limited to a single seminar slot, (De)Coding Classics illustrated the effectiveness of a practical digital approach to the teaching of texts. This particular method resulted in a greater engagement on the aprt of the students with regard to the texts they were assigned and thus comprehension of the utility and importance of textual sources for understanding the Hellenistic World. Moreover, the session was able to improve the students' level of digital confidence and competence, a factor that will undoubtedly be increasingly important in the years ahead. There is thus great potential for the incorporation of further elements of computer coding in the teaching and development of traditional textual as well as linguistic skills, and such a practice could become an important complementary toll in linguistic and textual teaching.


December 01, 2015

We're hiring!

Writing about web page https://amberatwarwick.wordpress.com/2015/12/01/digihum_job/

We're currently looking for someone to join us in the Academic Technology team. Take a read of the description below and if you would like to work with us, please see the full Job Advert.

Academic Technologist (77009-125)

The Digital Humanities team at the University of Warwick are expanding and have a new position for a skilled and motivated programmer/developer to contribute to innovative research projects, mainly in the Arts Faculty. Working in a small team, you will contribute to varied technology enabled projects spanning the range of humanities disciplines.

You will lead the development and management of a small number of strategically important service offerings that are crucial for digital humanities work. This will be realised through the design and implementation of robust, reusable, supported and sustainable technological solutions. The utilisation of and coordination with IT Services infrastructure will be key to achieving this.

You will have experience with the full stack of web applications and, in particular, demonstrable skills in the management of production web application environments, the prudent use of open source libraries/plugins to extend functionality and ability to code with PHP, Ruby, node.js or python in appropriate design patterns. We are currently developing expertise around Omeka and Drupal, so experience with those packages is particularly welcome.

This is a challenging and exciting role in a burgeoning area on the intersection of technology and humanities research. You will work directly with academics throughout the whole project lifecycle and will very tangibly contribute to Warwick’s research excellence.

Grade 6, £28,982 – £37,768 pa, Fixed Term for 18 months.

Contact us with any questions.

More about Academic Technology at Warwick can be found on the IT Services Website: http://warwick.ac.uk/academictechnology.


October 28, 2015

Summer School Experience: Digital Photography as a Research Tool

Summer School Experience: Digital Photography as a Research Tool

There is considerable debate surrounding the copy versus the original as a research tool. My position, and that of the speaker on the subject at DHOxSS (Daniel Wakelin, English, Univ. Ox.), is that digital reproductions are useful, but no replacement for the real thing. One is reminded of the arguments around Kindles.

So, when you write a (good) essay or article, what you are doing is telling a story. At least, that’s what I try and do. So shouldn’t photographs be used to tell a story as well? There are now a wide variety of digital images available online of medieval and early modern documents, provided by libraries and ranging from the poorest black and white of EEBO (Early English Books Online) to the high quality images of British Library flagship items (Magna Carta etc) sporting deep zoom and dazzling HD. But these facilities organise the material by some arrangement that is logical to the digital librarian and usually a traditional page by page (nb. not opening by opening) rendering, maintaining the books as discrete objects.

Yet, by taking your own digital photographs in reading rooms you can arrange the books or even individual pages into the story you are trying to follow or trying to tell. Clearly you MUST still ensure that each image has sufficient metadata recording its location within a particular codex etc., but this does not preclude interlacing items from various codices in order to find connections or comparisons which may have been obvious to their original creators but have been obscured by the practices of later binding. It is no different to creating a playlist on your iPod as opposed to listening to the radio. Both are valuable but they are different, and serve different needs. Furthermore, taking photographs when on research trips can save valuable time and money, and facilitate sharing your photos quickly and easily with a colleague or student. There is even a Bodleian Special Collections flickr page where visitors can upload the photographs that they have taken. The library were experiencing a large quantity of their material being shared illicitly, and so took the attitude that if you can’t beat ’em, join ’em.

I must stress however that whilst photographs allow you to see differently, as the choice of shot directs the viewer’s gaze and as zooming can increase the visibility of features largely invisible to the naked eye, it cannot compensate for an appreciation of the text as physical object. There can be a tendency for reading rooms to become photography rooms. I was recently sat in the manuscript room of the British Library when someone came in, collected his book, and placed it on the desk beside me. Having retrieved his camera and run through the pages, he was off again without ever having sat down. I have my doubts that he read a word of the book he was given. Digital photography should be a supplement rather replacement for the experience of reading, since it would have been difficult for the researcher to tell from those pictures how the manuscript was put together or altered physically, or indeed to appreciate the original meaning of the text as encountered in the codex form. Perhaps I’m just an old stick in the mud, but I do believe in some respect for the object and its aura, particularly when such care and time was invested in them as with an illuminated manuscript. We can practice ruminatio at leisure over the photograph, but to understand the value original authors invested in the texts we are studying, we must likewise experience them as material objects.

But to return to photography at the DHOXSS, we also had talks on the more professional end of the digital spectrum. Matthew McGratton (Bod., Univ. Ox.) talked about IIIF (The International Image Interoperability Framework), which is a multi-institutional facility for interlinked image search and retrieval, and Judith Siefring (Bod., Univ. Ox.) discussed the Digital Manuscripts Toolkit supported by the Bodeian. This is an image viewer which is designed specifically with the researcher in mind, and facilitates some of the interactive arrangement and parallel viewing of documents which I have already mentioned in conjunction with one’s own digital photography projects. You can even upload your own photographs and view them side by side (with a little technical jiggery pokery) with institutionally digitised documents. Examples of projects which have made use of this facility are listed on their website.

So in conclusion:

  • Digital photography is a powerful tool, but no substitute for time in the library.
  • It ranges from that done on a phone to that using the most high tech multi-spectral imaging, and both have their merits. Your photos might be of a lower resolution, but you can use them to find a story that has been obscured by time, or to tell your own.
  • And finally, don’t devalue your images or 'Medieval Reactions' by decontextualising them. Record references accurately – if you don’t you WILL forget!

Finally I must repeat my thanks to Warwick Digital Humanities for making my time at the DHOxSS possible.

Emil Rybczak (English) Univ. Warwick.


October 21, 2015

Digital Humanities Databases: Help! There’s Too Much information!

Digital Humanities Databases: Help! There’s Too Much information!

Whilst at the DHOxSS those projects that we heard about most frequently involved databases. Databases are of course a significant undertaking and so whilst it is the desire of many scholars to organise their material into a database this is not always a practicable solution. Perhaps the first stage in your (my) database journey is to contribute to somebody else’s project in order to get a feel for what it is like.

One of the projects we heard about at length was the Incunabula Databasefrom Geri Della Rocca de Candal (Medieval and Modern Languages, Univ. Ox.). This incorporates 30,000 eds., in 450,000 copies, from 4000 libraries (more or less). Hence why these projects can be a major undertaking! If you are brave and have a big idea remember that the time and financial costs involve not only those of setting up the database but of maintaining it online.

Furthermore, because of the potential quantity of information that you can be handling, you need to think very carefully about exactly what information you want to include. More might usually be better, but what is practical and what are your priorities? What is most likely to be used and what is already available from other resources? Information which you might wish to include could be:

Very few catalogues include everything, although many more are now able to be interlinked and source information from each other, thus minimising the need for extra work and facilitating better or more uniform updating. Likewise it is your integration of data from a variety of sources that makes for good research. MEI (Material Evidence in Incunabula) is an especially useful resource since it contains many copies identified from other sources (sales catalogues etc.) that no longer exist, so you won’t find them in the library however long you search.

Why might you use these catalogues, and which catalogue is best for your needs? Although there is no substitute for visiting the library in person (the smell alone is usually worth a train journey), the above catalogues might be used from the comfort of your own desk to research any of the following:

  • distribution networks and cost (economic history)
  • reception and use (social history)
  • reconstruction of dispersed collections (intellectual history)

Which catalogue(s) are best for your needs depends on which of these fields, or any other, you are most interested in.

Remember that even if you never decide to build your own database, or become a card-carrying contributor to a project, you can still do more than simply make use of these catalogues for your own research (for mine, up-to-date and accurate archival catalogues are invaluable). People will always be happy to receive your corrections if you notice an error in the information they provide. They are putting the information up there because they want it to be available in an accurate and accessible form, so don’t be scared to say something.

Another major database project that we heard about at DHOxSS was Early Modern Letters Online, which is a pan-European endeavour, from Howard Hotson (History, Univ. Ox.). This project has a core of permanent staff supplemented by doctoral and postdoctoral interns and the smaller contributions of individual interested academics. I myself may contribute some of the letters of Thomas Johnson to this database. Letters particularly benefit from the database form of recording since the nature of epistolary documents is the disparate location of items belonging to a single exchange. This is something that can be rectified digitally without libraries having to give up their collections. The stated objectives of EMLO are:

  • to assemble a network
  • to design a networking platform
  • to support a network
  • studying past intellectual networks.

This database also incorporates the facility of users to comment on documents, facilitating further networking.

A final, smaller, but in some ways more challenging database that we heard about was Ociana from Daniel Burt (Khalli Research Centre, Univ. Ox.). That is, The Online Corpus of Inscriptions of Ancient North Arabia. I would draw your attention to the particular challenges of making this database searchable when the characters of the inscriptions are not currently available on any digital platform. The producers are in the process of creating their own digital keyboard, and of tagging the individual characters of inscriptions, in order to resolve this. The database is also linked to google maps in order to see the geographical position of the inscriptions being viewed, particularly useful since so many are in their original location (ie. on a cliff).

So remember:

  • Databases are HARD.
  • But that doesn’t mean they’re not useful, and possible!
  • I already find such resources essential to my research.
  • A good next step for getting to grips with them is to look at contributing to an already existent database, and in doing so learn more about how they work, are managed, and the objectives that are targeted in their creation.

Emil Rybczak (English) Univ. Warwick.


October 14, 2015

Summer School Experience: TEI: What? How? Why?

TEI: What? How? Why?

So what is TEI? TEI stands for the Text Encoding Initiative and is a consensus-based means of organising and structuring your (humanities) data for long-term digital preservation. It is well-understood, widely used, and prepares your data for presentation in a variety of digital formats. Originally developed in conjunction with manuscripts but flexible in application it can be used as a means of creating meta-data for an item, ie. title, author, provenance etc., or for transcribing the item itself. The excellent talk I heard at the DHOxSS on this topic was by James Cummings (ITS, Univ. Ox.).

You can tag elements such as <HI>this</HI> to control the presentation of your document on screen, or names such as <name>James Cummings</name> in order to make the document searchable. Another benefit is that compared to other computer languages it is easy to read as a human, and thus easy to work with if it is your first time behind the scenes of a ready-made document. The TEI handbook weighs more than a conference lunch, but one of the most attractive aspects of the language is that if when describing your text you find that what you want to describe isn’t in the handbook (which when you consider how fussy academics are is quite likely, and furthermore is why the handbook is so thick to begin with) you can simply invent your own tags:

<p><l><noun clause><definite article><capital>T</capital>he</definite article> <adjective>key</adjective> <noun>thing</noun></noun clause> <verb clause><unidentified grammatical element>to</unidentified grammatical element> <verb>remember</verb></verb clause><punctuation>.</punctuation></l></p> … is that you don’t have to tag everything! Creating a TEI document is not an end in itself, tempting as this may be to the more <gap/> amongst us. It is a means to preserve and describe your document in order to accomplish specific predefined ends. Are you interested in social awareness of the new world? If so, tag places. Are you interested in the regional creation of manuscripts? If so, tag local spellings. A recent project which has made extensive use of TEI in my field of early modern drama is Richard Brome Online as discussed by Eleanor Lowe (English and Modern Languages, Oxford Brookes) at the DHOxSS. In this resource there are particular tags for speakers, stage directions, proprs, or acts and scenes (TEI privileges sense over physical arrangement of the text in the source, ie. paragraphs over pages). These provide information both for displaying the text online, and making it searchable by the user.

If you’re not creating an online edition, which most of us currently aren’t, it is still helpful to understand TEI when one encounters these texts, as it is useful to understand what choices went in to the creation of the text you’re reading. It is furthermore useful to have some working knowledge of TEI for the small scale preservation of original manuscripts. It allows for accurate representation of the document for perusal after leaving the rare books room. The focus of your transcription might be on text or physical pre<stain “type=coffee”>sentation,</stain>but in either case the key to success in using TEI is consistency.

Clearly the tags I have been using are not necessarily ideal for all projects. Comprehensive guidelines are available at webpage (above). The ElEPHãT project, as discussed by Pip Willcox (Bodleian Libraries, Univ. Ox.), has with the Text Creation Partnership combined data from HathiTrust, ESTC (English Short Title Catalogue) and EEBO (Early English Books Online) in an extensive TEI project. Various transcriptions of the texts that they have worked on are available online at EEBO. Their work can be utilised via basic searching in order to find places or people of interest to your work, or developed by the user in order to conduct more particular research of their own devising. In a workshop session where we were left to play with the TEI documents available from the TCP I suggested that one could devise numerical tagging across their strong collection of alchemical texts in order to investigate the prevalence of sacred numerology in these works. Unfortunately this may have to wait for another day.

In conclusion:

What?

  • TEI is a language which can be used to preserve the data and metadata of early manuscripts and texts.

How?

  • The text is inputted manually or, if you’re lucky, via OCR, and marked up (tagged) according to a pre-considered range of purposes to which the data is likely to be put.

Why?

  • TEI separates the data from the interface and so ensures that the hard work put into digitising the documents won’t be made redundant once the interface becomes obsolete.
  • It is flexible and so can be tailored to the needs of any project.
  • It is widely understood allowing for sharing of data.
  • It can be read by both computers and humans and so is relatively easy to get to grips with.
  • It can be used for the smallest and largest of projects.
  • Trust me, its fun!

Emil Rybczak (English) Univ. Warwick.


October 07, 2015

Summer School Experience: Digital Approaches in Medieval and Renaissance Studies

Richard II of EnglandSummer School Experience: Digital Approaches in Medieval and Renaissance Studies

This is the first of a short series of posts inspired by my time at the Digital Humanities at Oxford Summer School 2015. This Summer school occurs annually in the beautiful setting of Oxford and runs a variety of different educational strands. These cater for all tastes, from those who are already technical adepts to those aimed at beginners. I, of course, attended one of the latter: Digital Approaches in Medieval and Renaissance Studies. Be warned! Choose carefully! Once you’ve committed to the Text Encoding Initiative, Digital Musicology, or as I did, digital monks, there’s no going back.

Fortunately, in my experience, there is no reason why you’d want to. Each day is organised with a series of classes or workshops around a particular theme in the strand which you are taking. Thus my days were focussed on:

  • Digital Imaging
  • Databases of early documents
  • TEI (computer code for manuscripts and early documents)
  • Oxford’s digitisation projects
  • Miscellaneous marriages between the medieval and digital.

These sessions frequently follow the problems encountered and addressed in the course of other people’s projects, which are presented as examples as to what digital tools you may wish to implement in your own research. Again, be warned! The Medieval and Renaissance classes give you far more exciting ideas and blue-sky plans for transforming your work than you learn the practicalities of how to implement. However, since these can be learned at a later date once you have identified what you want to do, this is not a bad thing.

In my following posts I shall provide a short digest of some of the lessons I learned at the DHOxSS, with examples from a variety of projects. My topics are:

  • TEI: What? How? Why?
  • Digital Humanities Databases: Help! There’s Too Much information!
  • Digital Photography as a Research Tool.

Of course the most important thing that happens at a conference or summer school is meeting so many potential colleagues; picking their brains as well as stealing their biscuits. Of all areas of research the digital humanities is one where it is more vital than ever to realise the importance of collaboration. You simply don’t have enough time (or in my case, skills) to be a master of both Richard II’s morning routine and create an app to identify which Plantagenet King enjoyed the same breakfast as you. If you are going to make a digital humanities project work it needs to be developed by a variety of people with a variety of skills – but remember: the project also has to be interesting to everybody involved. Techies aren’t there to facilitate your project; your project’s there so that techies can develop software that they find new and interesting. Well ideally both will be true.

I must thank Steve Ranford and Digital Humanities at Warwick for facilitating my attendance at this summer school. I have learned a lot, particularly how much I have to learn. Be inspired; devise a project; discuss it and panic; revise that project; try it out!

Emil Rybczak (English) Univ. Warwick.


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