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Guest: Edwin Thumboo Nadason, Jeffrey Shaw, Yap Wy-En

Date: 2014-11-08  14:00 ~ 2014-11-08  16:00

Address: Chronus Art Center (Room101, Bldg18, NO.50 Moganshan Rd, Shanghai)

Reservations viamembership@chronusartcenter.org (please supply your full name, contact information, and the number of people attending)

About the Lecture:

The co-creation work The Infinite Line co-created by Jeffery Shaw and Sarah Kenderdine, together with Singaporean famous poet Edwin Thumboo, will be put on display this weekend at Chronus Art Center. We feel much honored to take this opportunity to invite Prof. Edwin Thumboo to Shanghai, who will be giving us a lecture and holding a discussion with the other two guests in our center.

Prof. Thumboo enjoys “Notional Poet” reputation. This lecture will start based on his works. Through a few of his most representative poems, he will talk about how his poetic creation is connected with the fate of his motherland Singapore, including the colonial history of the nation. Mr. Yap Wy-En, another Singaporean poet and investment professional who was invited by Prof. Thumboo will make a response through his own poems.
At another part of the lecture, Professor Thumboo and Prof. Jeffrey Show will talk about the creation process of this interactive work The Infinite Line, and their thoughts during the process. Particularly on how to take advantage of today's digital technology to re-present the poem, an ancient form of art.

About Lecturer:Edwin Thumboo  Nadason (b. 22 November 1933, Singapore - ), Emeritus Professor at National University of Singapore's Faculty of Arts and Social Sciences, is widely regarded as the unofficial poet laureate of Singapore. He is best known for writing on national issues. His poem, Ulysses by the Merlion, is a major work in Singapore literature. He was the first Singaporean to be conferred the SEA Write Award and the Cultural Medallion for Literature in 1979 and 1980 respectively. His other awards include the National Book Development Council prizes for poetry (1978, 1980, 1994), the ASEAN Cultural and Communication Award in Literature (1987), the Public Service Star (Bar) in 1991, and the Meritorious Service Medal in 2006.

About Guest Speakers:
Jeffrey Shaw (b. 1944) has been a leading figure in new media art since the 1960's. In a prolific body of internationally exhibited and acclaimed works, he has pioneered and set benchmarks for the creative use of digital media in the fields of expanded cinema, virtual and augmented reality, immersive visualization and interactive narrative. Shaw was co-founder of the Eventstructure Research Group in Amsterdam (1969-1979), and founding director of the ZKM Institute for Visual Media Karlsruhe (1991-2002). In 2003 he co-founded and directed the UNSW iCinema Centre for Interactive Cinema Research in Sydney, and in 2009 Shaw was appointed Chair Professor of Media Art and Dean of the School of Creative Media at City University in Hong Kong, where he is also Director of the ACIM and ALiVE research centres. In 2014 Shaw was appointed Visiting Professor at the Institute of Global Health Innovation, Imperial College London.

Yap Wy-En is an investment professional at APS Asset Management, and covers Chinese financial sector equities out of Shanghai, China. A CFA charterholder, Wy-En graduated with a BA in Economics and Politics from New York University in 2004, and a MBA from Tsinghua University in 2012. In his spare time, Wy-En likes to read and write, and is a published poet.

VEDIO:

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Guest: Steve Buchanan

Date: 2014-11-01  17:00 ~ 2014-11-01  18:00

Address: Chronus Art Center (101, Bldg 18, 50 Moganshan Rd. Shanghai)

This event is free of charge. Reservation via membership@chronusartcenter.org (Please indicate your full name, contact information and the number of reservation).

About The Performance:

Saturday Nite Special is a suite of several compositions with reference to jazz, afro-cuban, haitian, brazilian,and contemporary electro rhythms. Incorporating such diverse elements as noize, electro-trance and standard instruments such as Marimba,Tabla, Piano, Drum Kit , Congas, Ago-go Bells, and many other sounds and orchestrations. A visual and audio feast for the rhythms of the Feet, not Tap per se in the traditional way, but swinging hard, fast and sharp in a modern way.

 

About 2nd LINE

Designed and created by Steve Buchanan 2001-2003

Like most inventions 2nd line was born of necessity. Being both a professional musician and dancer required a practical means to combine the two art forms. The instrument is a square meter divided into 12 parts, each part being a separate sensor trigger. This gives 12 different voices , in musical terms a complete chromatic scale. The instrument is both analog and digital which gives great flexibilty in application. The obvious primary usage is as an interactive dance floor, but as well it can be used as a Midi controller for any sound source Video, stage lighting and LED`S. 2nd is not neither play station or a simple loop generator it is an instrument requiring much practice and skill.That being said however it`s also a wonderfully simple and non-intimidating instrument which has an inviting character. Since it`s creation 2nd line has proven its versatility in diverse situations such as clown shows, contemporary dance, silent film accompaignment, electro –noize clubbing, jazz trios, AV performances etc.

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Photo : Guido Styger Geneva 04/ 2003

About Artist

Steve Buchanan, Musician, Dancer, Composer

Born in Philadelphia, early studies include Pat Martino, Marchall Allen, Elliott Levin, Bobby Zankel. Buchann had his first performance in 1974, and formed his first group ILTAR in 1976. As a multi-instrumentalist and performer, Steve Buchanan has acquired a varied and impressive list of credits in his 40 years career. He has shared stage and studio with Fred Frith, Zeena Parkins, Bill Laswell, Jozef Trefeli, Jango Edwards, Nicole Johantgen, Heike Fiedler, EXYZT 1024, Paul Garrin, Charlie Mars, Boris Edelstein. Buchanan has performed in many cities of Europe, America, Africa and China, and his China Tour 2014 includes the cities of Chang Sha, Shen Zhen, Zhang Shan, Guang Zhou, Shanghai and Beijing.

http://www.garagecube.com/stevebuchanan/

Special Thanks to

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Guest: Hu Jieming, Lu Xinghua, Zhao Qianfan

Date: 2014-11-01  14:00 ~ 2014-10-01  16:00

Address: Chronus Art Center (Room101, Bldg18, NO.50 Moganshan Rd, Shanghai)

Reservations via membership@chronusartcenter.org (please supply your full name, contact information, and the number of people attending)

ABOUT THE OPEN COURSE:

ABOUT THE LECTURES SERIES: 
On the Borders of New Media Art: Creation, Spectatorship, Presentation, and Collection


New media art is generating a new sociality and reaching beyond our contemporary understandings of artistic theory and basic approaches, indicating ways to interpose into reality and history, providing a more general attitude towards political intervention, suggesting the total reform of the traditional art museum, creating different modes of observation, and so on. A great number of practices encourage us to reflect on methodology and epistemology. However, the arrival of a new mode of creation and exhibition is truly pushing us to face and summarize it in theory and practice.

Through a series of discussions, art theorists, philosophers, new media artists, and associated professionals engaged in the exhibition of new media art will be invited to launch a train of discussions addressing the core concepts of new media theoretical research, including distraction, consumption, contribution, solo, chat & curiosity, gossip & imitation, new comics, the re-criticism of Internet values, resistance & surveillance, the technological subconscious of semi-group, the fan economy, etc. In the lectures and discussions we are trying to explore and generalize some underlying prerequisites of theory and the principles of practice in new media artworks and their exhibition.

ABOUT HU JIEMING
Hu Jieming, was born in 1957 in Shanghai. He is one of the pioneers of digital media and video installation art in today's China. For more than two decades, Hu continuously conducts creation and experimentation via a variety of media including photography, video and digital interactive technologies. His works are widely exhibited.

ABOUT ZHAO QIANFAN
Zhao Qianfan (1977–), Associate Professor in Philosophy, Tongji University, 2008–2009, German Chancellor Scholar of Alexander von Humboldt Foundation, in Philosophical Seminar, Hamburg University. 2013-2014, Visiting Scholar in Institute for Philosophy, Humboldt University in Berlin. Research fields: Frankfurt School (especially Adorno and Benjamin), Nietzsche, Mimesis theory.

ABOUT PLANNER OF THE LECTURE SERIES:
Lu Xinghua teaches at School of Humanities of Tongji University and at the Center of Social Thought and Contemporary Art, China Academy of Art. His research interests go across modern Chinese politics, aesthetics and Chinese contemporary art since 1985. He was member of acting committee for 2010 Shanghai Biennale. His recent works include Against Claims from Contemporary Art (2012) and The Future of Political Art (2014).

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Guest: Corinne Schatz, Li Zhenhua

Date: 2014-10-19  16:00 ~ 2014-10-19  18:00

Address: Chronus Art Center (Room101, Bldg18, NO.50 Moganshan Rd, Shanghai)

LANGUAGE: German (with Chinese translation)

reservation via membership@chronusartcenter.org (please indicate your full name, contact information and the number of reservation).

About Lecture:

The Swiss artist Roman Signer (born 1938) has expanded the notion of sculpture by the element of time and transformation. In his works different objects, often taken from everyday use, like tables, boots, buckets, or bicycles meet natural and artificial energies that take a strong impact on them. There might be a poetic situation like a table carried away into the air by red balloons only to fall down back to earth and break into pieces when the the balloons burst. Buckets filled with water explode to form a fountain for only a few seconds. Film and photography play a crucial role, as his sculptures often only exist for a very short time. Thus Roman Signer actually forms time itself, the transformation of objects and materials being seen as a sculptural event at each moment of its development in time and space. In his investigations of the material world, in the little events he creates for these everyday objects humour and poetry go hand in hand, creating spectacular and humouros events just as often as touching moments of beauty – when for example a white table floats ever so lonely towards bizarre iceformations on a lake in Iceland.

About Corinne Schatz
Author of ‘Roman Signer Sculpture’

Studied art history, English literature and modern German literature at the University of Zurich. Her master’s work focused on Henri Cartier-Bresson.
From 1985 to 1996 she was a member of the curatorial team at the Kunsthalle St. Gallen, of which she was also a co-founder. From 1988 to 1995 she served as a research fellow and co-curator at the Museum of Art in St. Gallen, and, beginning in 1988, as a lecturer at the St. Gallen School of Art and Design. From 1996 to 1998 she was a co-curator at the Foto Forum in St. Gallen, and from 2002 to 2012 member of the curational team and executive board of visarte.ost  (organisation of professional artists in Eastern Switzerland). Corinne Schatz lives in St. Gallen, where she works as a writer, curator and lecturer. Her publications include works on Roman Signer, Silvie & Chérif Defraoui, Jean Odermatt, Teres Wydler, Nesa Gschwend, Josef Felix Müller, among others. She is president of the art foundation of St. Gallen (St. Gallische Kulturstiftung) and member of the board of Sitterwerk Foundation.

About Li Zhenhua (CN/CH)
Co-Curator of the exhibition ‘Roman Signer: Video & Film 1975 and Now’

Li Zhenhua has been active in the field of art since 1996. His practice mainly concerns curation, art creation, and project management. Since 2010 he has been the nominator for the Summer Academy at the Zentrum Paul Klee Bern (CH), as well as for The Prix Pictet (CH). He is a member of the international advisory board for the exhibition “Digital Revolution” to be held at the Barbican Centre in the UK in 2014. He has edited several artists’ publications (e.g. Yan Lei, Hu Jieming, and Feng Mengbo). A collection of his art reviews was published under the title “Text” in 2013.

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Guest: Edward Scheer

Date: 2014-10-18  14:00 ~ 2014-10-18  16:00

Address: Chronus Art Center (Room101, Bldg18, NO.50 Moganshan Rd, Shanghai)

LANGUAGE: English (with Chinese translation)

ABOUT LECTURE:

In Scenario, (2011) a new media installation by Dennis del Favero and iCinema, spectators enter a gigantic 3-D screen space and are engaged by the humanoid inhabitants of the world they find there. These humanoids engage the spectators as witnesses and participants in an uncertain scenario. What is it? It looks like the aftermath of some horrific act, not an inadvertent or random act of nature but a deliberate tearing in the social fabric. Some kind of fairy tale gone wrong? The scenario occurs in a variety of interactive spaces and environments, in underground bunkers, empty buildings and on a frozen lake. This essay uses Scenario as a case study to explore the notion of the posthuman in performance, the ethical and aesthetic questions it raises and in the work of iCinema more generally.

ABOUT SPEAKER:

Dr. Edward Scheer is Professor in Theatre and Performance Studies in the School of the Arts and Media at the University of New South Wales. He is a founding editor of the journal Performance Paradigm and has edited a number of books including Antonin Artaud: A Critical Reader (Routledge 2004). His writing on performance art and aesthetics has appeared in TDR, PAJ, Parkett and Performance Research and in catalogue essays for the AGNSW, Documenta 12, the Biennale of Sydney 2006 and the Auckland Triennial 2012. Author of Scenario, a study of new work from the iCinema Project (UNSW Press and ZKM, 2011), his latest book is entitled Multimedia Performance (Palgrave 2012) with Rosie Klich. Scheer’s study of Mike Parr's performance art, The Infinity Machine (Schwartz City Press, 2010) is the first comprehensive account of this aspect of the artist’s practice. A former chairman of the board of directors of the Performance Space in Sydney, he was also President of PSi, Performance Studies international, the international professional association in the field of performance studies from 2007-2011. He is joint chief investigator on the ARC funded projects, Towards an Experimental Humanities, and New Media Dramaturgy and is a member of the ARC College of Experts for the Humanities and Creative Arts.

ABOUT iCinema:

The iCinema Centre for Interactive Cinema Research, established in 2002, is an interdisciplinary arts, engineering and science centre spanning the Faculties of the College of Fine Arts, Arts and Social Sciences, Engineering, Law and Science at the University of New South Wales. It brings together researchers and postgraduate students in aesthetics, artificial intelligence, atmosphere science, civil engineering, computer science, digital media, media theory, multimedia design and law. The iCinema research program focuses on research into interactive media for benchmark applications across the arts, broadcast, construction, environment, heritage, museum and visualisation sectors. In particular, it is focused on the way next generation technologies can be used to imagine new ways of living, learning, researching and working.

www.icinema.unsw.edu.au

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Guest: Máté Pacsika, Iris, Cedar

Date: 2014-09-28  18:00 ~ 2014-09-28  24:00

Address: Chronus Art Center (Room101, Bldg18, NO.50 Moganshan Rd, Shanghai)

Final Presentation | 18:00 - 19:00

After-Party | 19:00 - Late

Initiated by V2_ Institute for the Unstable Media in 2009, The Summer Sessions are short-term residencies for young artists organized by a network of cultural organizations all over the world, which offers the residence artists a highly productive atmosphere in 8 weeks, with production support and expert feedback to their art practice, from concept to presentable work, ready to show.

Chronus Art Center (CAC) joined this international network since 2013. For 2014, selected and recommended by CAC, a Beijing based artist-duo I&C (Iris and Cedar) has spent their summer at V2_Lab. Meanwhile, Máté Pacsika, a young new media artist from Hungary has been enjoy his summer with CAC in Shanghai. This coming Sunday, September 28 in the afternoon, the outcome of their residency will be presented in our gallery space, and the projects will be demonstrated live, the audience will be invited to ‘test’ the artworks hands-on.

The Final Presentation and the After-Party have also been supported by Sophia Lin with BASEMENT 6 and Maker+.

Vertigo System by Máté Pacsika

Vertigo System is based on the automatization of a cinematographic technique called Dolly Zoom. Also known as Vertigo Effect named after Hitchcocks movie from 1958. Vertigo effect is an in-camera effect based on a really simple optical game. It’s a highly unsettling effect with strong emotional impact, often used to emphasize dramatic events in the storyline. By experiencing it in an automatic real time process you can suddenly find yourself in a frightfully different reality.

Máté Pacsika was born in 1987 in Budapest and grew up in Hungary, The Netherlands and France surrounded by a contemporary art ambiance thanks to his artist father. During his years at Moholy-Nagy University of Art and Design Budapest he has been involved in various public and science oriented art projects as a member of the Space Detournement Working Group. In 2012 his graduation project Floatomat and its underlying theoretical research investigated the various layers of the relationship between attraction and narrative in media art. After he received his MA in Media Design he moved to Rotterdam to work for V2_ Institute for the Unstable Media and do his next research about experience based art education.

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Vertigo System by Máté Pacsika

Place-Talk by I&C (Iris and Cedar)

In Place-Talk, a box-shaped locative media device realises a dialog between online and offline users. Questions can be uploaded to a small display on the box via a website and answers are recorded, by pushing a big button on the box, and subsequently send back to the website. Leaving the box behind in public space, where it is picked up by strangers and taken elsewhere or passed on, a city and its inhabitants can be explored remotely.

The work of I&C (Iris and Cedar) combines elements of computer science, visual art and storytelling, using real-world generated data to create multi-sensory experiences. They co-curated Information in Style: information visualisation in the UK, art and design exhibition at the CAFA Art Museum in 2013, and an archive data visualisation show about Chinese contemporary art, the CCAA WOW at Power Station of Art, Shanghai in 2014. They have also exhibited internationally at venues including Victoria and Albert Museum in London, UK, Waterman Art Centre in London, UK, OCT-LOFT Art Terminal, Shenzhen, China, and Audi City Beijing, China. Cedar has a MA degree from the Central Saint Martin Collage of Art and design, University of Arts London and a MFA from the Goldsmiths Collage, University of London. Iris has a master degree from the Royal College of Art.

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Place-Talk by I&C (Iris and Cedar)

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Guest: Elizabeth LeCompte, Zhao Chuan

Date: 2014-09-26  14:00 ~ 2014-09-26  16:00

Address: Shanghai Dramatic Arts Centre (Drama Salon on 3F, 288 Anfu Rd. Xuhui District)

SPEAKER: Elizabeth LeCompte
MODERATOR: Zhao Chuan
LANGUAGE: English (with Chinese translation)
VENUE: Shanghai Dramatic Arts Centre (Drama Salon on 3F, 288 Anfu Rd. Xuhui District)
The lecture is hosted by Chronus Art Center and Shanghai Dramatic Arts Center
Reservation via membership@chronusartcenter.org (please indicate your full name, contact information and the number of reservation).

ABOUT LECTURE
Postmodernist theatre, since its rise in America in the 1960s, had set off a new trend of thought in theatre and been maintaining its momentum. In this context, The Wooster Group was founded in 1975 and enjoyed a rapid development. Their experimental theatre has a heavy touch of western postmodernism and is constantly breaking convention and restrictions of time and space, which is considered as a pioneer of contemporary theatre.

In the process of taking various artistic explorations, The Wooster Group had put great emphasis on the spirituality, profundity and vitality of theatrical work; it tried to make theatre into a new type of multiplex art, and presented it to the audience with new ways of expression. Compared to traditional theatre, their practice is more critical and incisive. At the same time, they’ve managed to maintain their unique artistic style in such a commercial environment, subverting tradition, revolting against classics and facing the reality directly. Against a backdrop of theatrical diversification, they eventually became the mainstream of contemporary theatre development.

The lecture will be given by Elizabeth LeCompte, director of The Wooster Group, and hosted by Zhao Chuan, founder of Shanghai’s local theatre collective Grass Stage. A conversation between the two guests will also be held after the lecture.

ABOUT SPEAKER
Elizabeth LeCompte (US) is one of the founding members of The Wooster Group. Since 1975 she has constructed—choreographed, designed, and directed—all of the Group’s productions, including nineteen theater pieces, five dance pieces, and nine works for film and video. LeCompte has received numerous awards and honorary doctorates from the New School and California Institute of the Arts.

ABOUT MODERATOR
Zhao Chuan (China) founded the Shanghai theatre collective Grass Stage with his colleagues in 2005, and has since devoted himself to the promotion of new social theatre movement and the creation of non-for-profit public space and theatre aesthetics. Becoming a visible force of alternative theatre in China, he and the collective stimulate average people’s energy on stage, create theatrical works, organise cultural events, and bring about not-for-profit performances and international interactions. Zhao also writes culture and art critiques for publication in various media in China and abroad, and won many literary awards including, most notably, the Unita Prize for New Novelists. He has also been an invited participant in numerous international theatre and literary festivals.

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Guest: Li Xiaofeng, Alexander Brandt, Xiaowen Zhu

Date: 2014-09-14  14:00 ~ 2014-09-14  16:00

Address: Chronus Art Center (Room101, Bldg18, NO.50 Moganshan Rd, Shanghai)

LANGUAGE: Chinese

reservation via membership@chronusartcenter.org (please indicate your full name, contact information and the number of reservation).

ABOUT PANEL DISCUSSION:
Documentary became a film genre in early 20th century defined as “a factual film which is dramatic” by the American film critic Pare Lorentz. The practices and theories of documentary filmmaking have evolved gradually over the past decades, from the traditional linear narrative that organizes a story in a both informative and entertaining way to multi-media documentary that values the viewer’s participations by creating a collaborative reality wherein the filmmaker’s role as narrator is put in question. The concepts of “negotiation of reality”, “choice and control” and “multiple reality” are thereby emphasized and explored along the lines of evolution.

In 2002, artist and scholar Mitchell Whitelaw noticed the rise of the terminology ‘interactive documentary’. He stated that digital interactive documentary is a concept yet to be defined due to the lack of writing on such subject and the fact that new media artists do not consider themselves documentary filmmakers. In today’s world, the majority of independent documentary productions are hybrid and multi-media in the sense that web, social media, Youtube, Vimeo, and other media platforms are largely incorporated in the marketing strategy and even the narrative itself (e.g. multiple versions of narratives).

How do we perceive and present reality as filmmakers and media artists in today’s world? What are the challenges and opportunities? How does digitalization, new media, and technological advancement affect the logic of documentary making? What is the future of documentary? Moreover, how do we interact with reality, mediate it through filmmaking, as it actually reflects on how we construct knowledge and beliefs around it?

ABOUT SPEAKERS:
This talk invites three speakers to discuss the topic above.

Li Xiaofeng is an experienced and renowned documentary filmmaker and educator. His practices are rooted in traditional documentary making but have spanned over non-traditional forms by facilitating academic conversations, discussions, as well as organizing film screenings over the past decade.

Alexander Brand (Fei Pingguo) is a multi-media artist. He works with unconventional and innovative media and is a pioneer in the field in Shanghai.

Xiaowen Zhu is a media artist, scholar and writer. She works with both multi-media documentary and traditional form that mix fiction and reality. She is interested in investigating how people perceive reality and their relation to it.

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Guest: Fan Junfeng

Date: 2014-09-13  14:00 ~ 2014-09-13  16:00

Address: Chronus Art Center (Room101, Bldg18, NO.50 Moganshan Rd, Shanghai)

Time: 13th Sep, 2014 14:00-16:00
SPEAKER: Fan Junfeng
LANGUAGE: Chinese

reservation via membership@chronusartcenter.org (please indicate your full name, contact information and the number of reservation)

ABOUT LECTURE:
Recent events indicate that human being is likely to enter an era with “zero privacy”. We have observed huge technological progress in ubiquitous surveillance, big data collection and data analysis. As a result, governments will be capable of monitoring every detail of a normal person and eventually reconstructing his whole life. This lecture will reveal how private information is mined, and why the efforts in protecting privacy ended up with constant failure. Although many cryptographers are still trying their best to build privacy-friendly protocols and applications, the return to their efforts are not satisfying. With the increasing development of cloud computing and wearable electronics, the users may very likely lose all their private data.
 

ABOUT THE SERIES OF LECTURES:

On the Borders of New Media Art: Creation, Spectatorship, Presentation, and Collection

New media art is generating a new sociality and reaching beyond our contemporary understandings of artistic theory and basic approaches, indicating ways to interpose into reality and history, providing a more general attitude towards political intervention, suggesting the total reform of the traditional art museum, creating different modes of observation, and so on. A great number of practices encourage us to reflect on methodology and epistemology. However, the arrival of a new mode of creation and exhibition is truly pushing us to face and summarize it in theory and practice.

Through a series of discussions, art theorists, philosophers, new media artists, and associated professionals engaged in the exhibition of new media art will be invited to launch a train of discussions addressing the core concepts of new media theoretical research, including distraction, consumption, contribution, solo, chat & curiosity, gossip & imitation, new comics, the re-criticism of Internet values, resistance & surveillance, the technological subconscious of semi-group, the fan economy, etc. In the lectures and discussions we are trying to explore and generalize some underlying prerequisites of theory and the principles of practice in new media artworks and their exhibition.

ABOUT PLANNER OF THE LECTURE SERIES:

Lu Xinghua, teaches at School of Humanities of Tongji University and at the Center of Social Thought and Contemporary Art, China Academy of Art. His research interests go across modern Chinese politics, aesthetics and Chinese contemporary art since 1985. He was member of acting committee for 2010 Shanghai Biennale. His recent works include Against Claims from Contemporary Art (2012) and The Future of Political Art (2014).