The below is a record of the work I have been carrying out over the summer. I am developing my question but I do not feel until I have a greater knowledge about my chosen research field - crafting - that I can come up with a question.
Books:
McGovern, U. (2009) Lost crafts: rediscovering traditional skills. Edinburgh: Chambers
Quinn, T. (2010) Mastercrafts : rediscovering British craftsmanship. Cincinnati, Ohio : David & Charles
Berger, S. (2006) Readymade : how to make (almost) everything : a do-it-yourself primer. London : Thames & Hudson
Johnstone, K. (2007) Impro: improvisation and the theatre. London : Methuen Drama
Exhibitions and workshops:
Various. (2010) How time flies: Gardening. London: Camden Arts Centre. 21 July 2010.
Various. (2010) How time flies: Knit, Stitch and Sew. London: Camden Arts Centre. 14 July 2010.
Various. (2010) How time flies: Craft. London: Camden Arts Centre. 7 July 2010.
Various. (2010) Jerwood Contemporary Makers. London: Jerwood Visual Arts. 17 June - 25 July 2010.
James Mylne. (2010) Private Art Show. London: The Firehouse. 24 June 2010.
Various. (2010) MA textile Futures Degree Show. London: Central Saint Martins College of Art & Design. 18 June - 24 June 2010.
Various. (2010) MA Creative Practice for Narrative Environments Degree Show. London: Central Saint Martins College of Art & Design. 18 June - 24 June 2010.
Various. (2010) MA Industrial. Design Degree Show. London: Central Saint Martins College of Art & Design. 18 June - 24 June 2010.
Various. (2010) BA Product Design Degree Show. London: Central Saint Martins College of Art & Design. 18 June - 24 June 2010.
Various. (2010) BA Ceramic Design Degree Show. London: Central Saint Martins College of Art & Design. 18 June - 24 June 2010.
Various. (2010) Summer Open Studios. London: Cockpit Arts. 11 June - 13 June 2010.
Various. (2010) Summer Open Studios. London: Great Western Studios. 5 June - 6 June 2010.
Websites:
http://www.allaboutyou.com/craft/channel
http://www.materia.nl
http://www.creative-choices.co.uk
http://www.fashioningtech.com/
http://www.wellcome.ac.uk/funding/public-engagement/grants/arts-awards/index.htm
http://www.cimss.vt.edu/research/current_projects.html
http://webdocs.cs.ualberta.ca/~database/MEMS/sma_mems/smrt.html
http://department.fzu.cz/ofm/sma//
http://www.design-technology.info/alevelsubsite/page11.htm
http://www.bbc.co.uk/schools/gcsebitesize/science/edexcel/designerproducts/
http://www.yourdiscovery.com/technology/basic_materials/smart/index.shtml
http://www.agrfoto.com/philipball/docs/pdf/Oxford_smart_materials.pdf
http://www.iom3.org/content/smart-materials-and-systems
http://www.iheartswitch.com/
http://www.asci.org/artikel1095.html
All of my reading and exhibitions and workshops have directed me to further areas of interest. There are some quite random books in there, and probably will be going forward, which I hope will just help develop my imagination and creativity.
At the moment I seem very far off from creating a precise and concise question that encompasses my interests and passions in this field.
My initial ideas have changed dramatically from the idea of green roofs, and throughout the summer my journey has taken me down a variety of quite different paths.
Friday, 30 July 2010
Saturday, 24 July 2010
Japanese hybrid textile
I have found only a little information about a new process, where woven textiles are made from silk and urushi lacquered wall paper. These two traditional Japanese techniques and materials are employed to create a hybrid textile used for luxury home accessories.
Sunday, 18 July 2010
Artquest Jumble Sale
Today I went to the annual artquest jumble sale to see what other designer makers and artists manage to accumulate in the name of the 'creative process'!
It was very intriguing, and from the collections you really couldn't tell what creative process people were involved in. It was another interesting adventure along the lines of my Collections project.
The whole day was infact filled with markets, sales an fairs in the East End and was as ever truly inspired. There were some great ideas for my jewellery collection also.
It was very intriguing, and from the collections you really couldn't tell what creative process people were involved in. It was another interesting adventure along the lines of my Collections project.
The whole day was infact filled with markets, sales an fairs in the East End and was as ever truly inspired. There were some great ideas for my jewellery collection also.
Wednesday, 14 July 2010
How time flies: knit, stitch and sew
tonight I went to the Camden Arts Centre for the first time, it was great fun, amazing building, great exhibitions, talks and workshops, and of course most importantly a wonderful, well-stocked bookshop.
I went for a workshop called How time flies: knit, stitch and sew It was the first of a series of events I have registered to attend to help with my Masters, celebrating crafts and making as social pastimes. There are activities that have traditionally drawn individuals and communities together to share knowledge and experience in a social context. In this spirit artists, amateurs, experts and makers have been invited to the Café and Garden to share their enthusiasm and knowledge – each will have a different focus offering demonstrations and a chance to learn new skills. Overall I found the evening extremely enjoyable, with my favourite artist was Serena Korda, she photographed photos of old men's tattoos in pubs and put them onto a material, which she then encouraged groups of ladies to embroider in their own way over tea and cake.
OLD MEN'S FLESH
Ena holding the artwork. Embroidery on linen, 2005 – 2010
I went for a workshop called How time flies: knit, stitch and sew It was the first of a series of events I have registered to attend to help with my Masters, celebrating crafts and making as social pastimes. There are activities that have traditionally drawn individuals and communities together to share knowledge and experience in a social context. In this spirit artists, amateurs, experts and makers have been invited to the Café and Garden to share their enthusiasm and knowledge – each will have a different focus offering demonstrations and a chance to learn new skills. Overall I found the evening extremely enjoyable, with my favourite artist was Serena Korda, she photographed photos of old men's tattoos in pubs and put them onto a material, which she then encouraged groups of ladies to embroider in their own way over tea and cake.
OLD MEN'S FLESH
Ena holding the artwork. Embroidery on linen, 2005 – 2010
Thursday, 8 July 2010
Extraordinary Measures
Found a wonderful exhibition I wish I could go to at Belsay Hall in Northumberland. Slinkachu is in great company... there's even a Garden of Unearthly Delights...
Wednesday, 7 July 2010
Made from bamboo pulp, and have the feel of solid fibreboard.
I have been carrying out a lot of research on interesting new materials lately, so I will start to make a note of the ones that appeal to me the most here in my blog. I do not know if I will use any of these or what ideas might develop from learning about their functions, but I hope they will inspire me to come up with new ways of collaborating the old and the new.
Tuesday, 6 July 2010
Reef Sculpture
Jason deCaires Taylor's La Silenciosa is being installed in the National Marine Park of Cancun, designed to form a reef structure that will be colonised by marine life, the sculptures represent the diversity of the human race. I would love to dive round these in a few years when are really established.
Saturday, 26 June 2010
Jerwood Contemporary Makers
Saturday was an absolutely glorious day, i walked from Borough, past the beautiful and very midget friendly Winchester cottages on Copperfield street, to an exhibition at the Jerwood Space. Winchester Cottages provided by the Church Commisioners were inspired by Octavia Hill. The small park opposite occupies the site of All Hallows Church which was bombed.
In the exhibition a collection of unique, hand-made objects crafted in a variety of materials, including felt, glass, clay, wood, plastic and woven basket ware were displayed on black mdf boards raised on car tyres.
I loved Nicola Malkin's brash and noisy My Charm Bracelet. A giant alternative to Links sweetie bracelet, charms included a "Roadmaster bus, a bunch of bananas, a well-crimped Cornish pasty, a pregnant Madonna and a loving partnership of Yale keys... High and low art are all mixed up together, the tasteful with the brashly kitsch, the rough with the smooth, the raw with the cooked." Imagine that hanging from your headboard!
Another artist exhibiting that i cant believe I have been missing out on was Laura Ellen Bacon's, her piece, Surface Form was made from willow. It was a beautiful sculpture resting on the edge of its ledge, overspilling and curling round it. The lovely girl at the reception showed me a booked full of Bacon's sculptures around the UK, and photos and descriptions of her process. She has taken the basic craft of basket weaving and transformed it into over sized contemporary sculptures for inside and out!
Finally Karen Nicol's Scribble, so beautiful, this exhibition was so inspiring for me on my MADS journey.
In the exhibition a collection of unique, hand-made objects crafted in a variety of materials, including felt, glass, clay, wood, plastic and woven basket ware were displayed on black mdf boards raised on car tyres.
I loved Nicola Malkin's brash and noisy My Charm Bracelet. A giant alternative to Links sweetie bracelet, charms included a "Roadmaster bus, a bunch of bananas, a well-crimped Cornish pasty, a pregnant Madonna and a loving partnership of Yale keys... High and low art are all mixed up together, the tasteful with the brashly kitsch, the rough with the smooth, the raw with the cooked." Imagine that hanging from your headboard!
Another artist exhibiting that i cant believe I have been missing out on was Laura Ellen Bacon's, her piece, Surface Form was made from willow. It was a beautiful sculpture resting on the edge of its ledge, overspilling and curling round it. The lovely girl at the reception showed me a booked full of Bacon's sculptures around the UK, and photos and descriptions of her process. She has taken the basic craft of basket weaving and transformed it into over sized contemporary sculptures for inside and out!
Finally Karen Nicol's Scribble, so beautiful, this exhibition was so inspiring for me on my MADS journey.
Tuesday, 22 June 2010
CSM Exhibitions
Went to uni after work to see the exhibitions that were on. Met 2 amazing students, loads of ideas for my project, and cant wait to get them involved. The MA Textile Futures exhibition was amazing.
Also some 2 people work that reminded me of Yulia Brodskaya, had forgotten how she had taken a simple lost craft like quilling and turned it into a beautiful contemporary form of illustration!
Also some 2 people work that reminded me of Yulia Brodskaya, had forgotten how she had taken a simple lost craft like quilling and turned it into a beautiful contemporary form of illustration!
Wednesday, 16 June 2010
Tutorial
Unbelievably, 6 months in and second tutorial was tonight, found it really helpful and productive, much better to bounce ideas off each other, and help each other with things we've seen and done.
J was telling me about 'Craft meets Music'. The first artist was Evelin Kasikov who uses her classic album collection and combines it with a CMYK half tone cross stitch technique to illustrate fragments of famous album covers.
An Alleweireldt combining dissected vinyl records with precious metals and stones; her collection includes necklaces inlaid with diamonds and rings with vinyl segments set into gold.
J was telling me about 'Craft meets Music'. The first artist was Evelin Kasikov who uses her classic album collection and combines it with a CMYK half tone cross stitch technique to illustrate fragments of famous album covers.
An Alleweireldt combining dissected vinyl records with precious metals and stones; her collection includes necklaces inlaid with diamonds and rings with vinyl segments set into gold.
Thursday, 10 June 2010
People I would like to contact
I am making a note here of people I think would be interesting to contact, they have either completed other interesting projects or are skilled designer makers.
Fleuron Bindery
Katherine Wardropper
Annette Bugansky
Jade Folawiyo - CSM undergrad Product Design
Seveen Zaki Muneer - CSM on Ma Textile Futures
Laura Ellen Bacon - extreme weaving
Andy Oldfield, Stonemason
Matt Williams, David Bragg, Long Straw Thatchers
Guy Mallinson, Green WoOdworker
Sophie Lister Hussain, Stained Glass Maker
Don Barker, Blacksmith
Margo Selby, Textile Designer
Fleuron Bindery
Katherine Wardropper
Annette Bugansky
Jade Folawiyo - CSM undergrad Product Design
Seveen Zaki Muneer - CSM on Ma Textile Futures
Laura Ellen Bacon - extreme weaving
Andy Oldfield, Stonemason
Matt Williams, David Bragg, Long Straw Thatchers
Guy Mallinson, Green WoOdworker
Sophie Lister Hussain, Stained Glass Maker
Don Barker, Blacksmith
Margo Selby, Textile Designer
Saturday, 5 June 2010
What? Why? How? If? - Proforma
2010
Name: Annahita Mackee
Tutor: Richie Manu
Introduction
This proforma is designed to help you to define and articulate your MA question, subject, motive, methodology and research strategy. Make sure that you answer all the questions and think about the relationship between them and the impact that this will have on your strategy and ambitions.
What
What is your main personal ambition?
To feel joy, love and passion. Expand and discover more about myself. Undo my conditioning, clearing personal and generational history and transforming myself.
What is your main professional ambition?
To find a profession that utilizes the best and most creative parts of myself; and affords me the opportunity to grow. To work for myself in an environment that attracts like-minded souls.
What is your main area of research interest?
Craftsmen, artisans, lost skills and the possible creative collaborations, collusions and collisions with new manufacturing techniques and materials.
What is your question? (Your question needs to ask, “how can” and must indicate the means as well as the end that you hope to achieve)
How can we mix new technologies and ancient crafting skills to create designs that arouse the ever-more demanding customer?
How can traditional crafting skills survive in the digital age?
How can the development of new technologies ensure lost crafts are re-awoken?
How can the lost skills of ancient craftsmen be combined with new technologies to produce exciting sustainable designs for the ever-more demanding consumer?
WHY
Why do you think that this question will enable you to achieve your main personal ambition?
I believe my question will allow me to meet a wide range of people with a variety of skills that I can learn, it will allow me to create, and help me find my passion. I hope these new skills and my new found understanding of lost crafts will allow me to develop my creativity and myself.
Why do you think that this question will enable you to achieve your main professional ambition?
I hope to meet like-minded souls through this project and see how they make a living using their creativity, which will help me reverse my conditioning and allow me to fulfil my true potential. I hope to build up a portfolio of work throughout the project and exhibit my work online and physically, allowing me to build a network of useful contacts.
HOW
How has your research informed your question so far?
My research so far has allowed me to search out lost crafting skills. Look at combinations of old and new techniques, allowed me to compare labour-intensive quality items that are locally sourced, low energy, recycled or recyclable with mass-produced high energy, high waste, high toxin items.
How will desk research inform your outcome?
Desk research will allow me to investigate lost crafts and skills as well as new manufacturing techniques and materials. To find craftsmen to visit. Investigate product innovations and creative collaborations. I will also complete a variety of market research on what consumers are really demanding from designers, new products, and services; this will allow me to investigate ways of utilizing forgotten skills to satisfy these needs.
How will field research inform your outcome?
I will need to meet a lot of artisans and craftsmen to understand their artistry and hope that I can reach a level of proficiency in a number of new disciplines. I will also need to meet designers that currently use old methods with a contemporary twist. I also hope to see first hand various new manufacturing techniques.
How has your artefact extended your understanding of the potential of your question?
By looking at artefacts created using ancient techniques or artefacts that combine modern technology/thinking with traditional ideas I can see that there is a real depth to my question and a real opportunity to develop this further.
How do you intend to develop the next stages of artefact iterations?
With the development of my skills and ideas I hope do produce a variety of artefacts throughout my journey. The conclusion of this project will be the production of an artefact that fully integrates the modern and the traditional.
How do you intend to ensure that your feedback will challenge as well as support your preconceptions?
I hope to get feedback from a variety of sources, designers, craftsmen, consumers and businesses.
How do you know that the individuals and organization/s that you need to inform your research are prepared to co-operate?
I understand that there will always be some difficulty getting access to the appropriate gate-keepers, however so far I have not had that experience. I have spoken to a number of people who specialise in traditional handicrafts who have all been very interesting in passing on their techniques. I have also visited the studios of a number of Creatives and spoken to them about the possibility of combining new and old techniques.
How does theory play a role in the methods you are using to define, gather and analyze your research question? (Define which methods?)
I will initially use qualitative research techniques to look at, describe and understand the crafting skills and ideas, as well as the new technologies available. There will be a level of qualitative research into the beliefs and values of consumers about new and old technologies, which will allow be to form the questions, identify the sample group for the quantitative research.
How important is time planning to the achievement of your outcome and how have you worked out your strategy for using time (answer this with a fully worked out time plan)
Time planning is essential to ensure I schedule in the time needed for the desk research as well as the very time consuming visits to specialists to observe and learn new techniques. Without this I will not have the skills or the time to create and develop my artefact. See attached time plan
How are you going to be able to manage the resource implications of your research strategy? (Answer this with a detailed budget)
My research project will have a variety of costs from visiting craftsmen and producing artefacts to postcards for the exhibition. See attached budget.
How do you intend to balance your research project with your commitment to the exhibition team (answer this with clarification of your role responsibilities and time allocation)?
I am fully aware of the time and responsibility planning an exhibition will take, and am really looking forward to applying the skills I use in my job (project management/PR/event planning) to help the exhibition team; this is included in my time plan.
IF
If all goes well where do you hope your mastery of your subject will position you at the end of the Course?
I look forward to the completing this process as I feel it will allow me to grow personally and professionally and lead me to some creative and productive answers as well as new questions! I would then like to develop these new questions after my course, one outcome I would like to achieve would be to produce a model/template of how to combine the old and the new to create sustainable designs for the future.
Name: Annahita Mackee
Tutor: Richie Manu
Introduction
This proforma is designed to help you to define and articulate your MA question, subject, motive, methodology and research strategy. Make sure that you answer all the questions and think about the relationship between them and the impact that this will have on your strategy and ambitions.
What
What is your main personal ambition?
To feel joy, love and passion. Expand and discover more about myself. Undo my conditioning, clearing personal and generational history and transforming myself.
What is your main professional ambition?
To find a profession that utilizes the best and most creative parts of myself; and affords me the opportunity to grow. To work for myself in an environment that attracts like-minded souls.
What is your main area of research interest?
Craftsmen, artisans, lost skills and the possible creative collaborations, collusions and collisions with new manufacturing techniques and materials.
What is your question? (Your question needs to ask, “how can” and must indicate the means as well as the end that you hope to achieve)
How can we mix new technologies and ancient crafting skills to create designs that arouse the ever-more demanding customer?
How can traditional crafting skills survive in the digital age?
How can the development of new technologies ensure lost crafts are re-awoken?
How can the lost skills of ancient craftsmen be combined with new technologies to produce exciting sustainable designs for the ever-more demanding consumer?
WHY
Why do you think that this question will enable you to achieve your main personal ambition?
I believe my question will allow me to meet a wide range of people with a variety of skills that I can learn, it will allow me to create, and help me find my passion. I hope these new skills and my new found understanding of lost crafts will allow me to develop my creativity and myself.
Why do you think that this question will enable you to achieve your main professional ambition?
I hope to meet like-minded souls through this project and see how they make a living using their creativity, which will help me reverse my conditioning and allow me to fulfil my true potential. I hope to build up a portfolio of work throughout the project and exhibit my work online and physically, allowing me to build a network of useful contacts.
HOW
How has your research informed your question so far?
My research so far has allowed me to search out lost crafting skills. Look at combinations of old and new techniques, allowed me to compare labour-intensive quality items that are locally sourced, low energy, recycled or recyclable with mass-produced high energy, high waste, high toxin items.
How will desk research inform your outcome?
Desk research will allow me to investigate lost crafts and skills as well as new manufacturing techniques and materials. To find craftsmen to visit. Investigate product innovations and creative collaborations. I will also complete a variety of market research on what consumers are really demanding from designers, new products, and services; this will allow me to investigate ways of utilizing forgotten skills to satisfy these needs.
How will field research inform your outcome?
I will need to meet a lot of artisans and craftsmen to understand their artistry and hope that I can reach a level of proficiency in a number of new disciplines. I will also need to meet designers that currently use old methods with a contemporary twist. I also hope to see first hand various new manufacturing techniques.
How has your artefact extended your understanding of the potential of your question?
By looking at artefacts created using ancient techniques or artefacts that combine modern technology/thinking with traditional ideas I can see that there is a real depth to my question and a real opportunity to develop this further.
How do you intend to develop the next stages of artefact iterations?
With the development of my skills and ideas I hope do produce a variety of artefacts throughout my journey. The conclusion of this project will be the production of an artefact that fully integrates the modern and the traditional.
How do you intend to ensure that your feedback will challenge as well as support your preconceptions?
I hope to get feedback from a variety of sources, designers, craftsmen, consumers and businesses.
How do you know that the individuals and organization/s that you need to inform your research are prepared to co-operate?
I understand that there will always be some difficulty getting access to the appropriate gate-keepers, however so far I have not had that experience. I have spoken to a number of people who specialise in traditional handicrafts who have all been very interesting in passing on their techniques. I have also visited the studios of a number of Creatives and spoken to them about the possibility of combining new and old techniques.
How does theory play a role in the methods you are using to define, gather and analyze your research question? (Define which methods?)
I will initially use qualitative research techniques to look at, describe and understand the crafting skills and ideas, as well as the new technologies available. There will be a level of qualitative research into the beliefs and values of consumers about new and old technologies, which will allow be to form the questions, identify the sample group for the quantitative research.
How important is time planning to the achievement of your outcome and how have you worked out your strategy for using time (answer this with a fully worked out time plan)
Time planning is essential to ensure I schedule in the time needed for the desk research as well as the very time consuming visits to specialists to observe and learn new techniques. Without this I will not have the skills or the time to create and develop my artefact. See attached time plan
How are you going to be able to manage the resource implications of your research strategy? (Answer this with a detailed budget)
My research project will have a variety of costs from visiting craftsmen and producing artefacts to postcards for the exhibition. See attached budget.
How do you intend to balance your research project with your commitment to the exhibition team (answer this with clarification of your role responsibilities and time allocation)?
I am fully aware of the time and responsibility planning an exhibition will take, and am really looking forward to applying the skills I use in my job (project management/PR/event planning) to help the exhibition team; this is included in my time plan.
IF
If all goes well where do you hope your mastery of your subject will position you at the end of the Course?
I look forward to the completing this process as I feel it will allow me to grow personally and professionally and lead me to some creative and productive answers as well as new questions! I would then like to develop these new questions after my course, one outcome I would like to achieve would be to produce a model/template of how to combine the old and the new to create sustainable designs for the future.
Sunday, 30 May 2010
Easter Work 2010
Books:
Catterall, C. (1999) Food: design and culture. London : Laurence King in association with Glasgow Festival Company.
Petrini, C. (1949) Slow food: the case for taste. New York, N.Y. ; Chichester : Columbia University Press.
Anderson, A. & Anderson, P. (2007) Prefab prototypes: site-specific design for offsite construction. New York : Princeton Architectural Press.
Herbers, J. (2004) Prefab modern. Houston, Tex. : HDI.
Werthmann, C. (1964) Green roof: a case study. New York : Princeton Architectural Press.
Harwood, E & Powers, A. (2008) Housing the twentieth century nation. London : Twentieth Century Society.
Pullen, T. (2008) Simply sustainable homes. Ellington : Ovolo
Hamm, B. & Muttagi, P.K. (1998) Sustainable development and the future of cities. London : Intermediate Technology Publications
Clement, G. & Rahm, P. (2007) Environ(ne)ment approaches for tomorrow = manieres d'agir pour demain. Milan : Skira
Exhibitions:
Various. (2010) Seeing Myself See. London: Wellcome Collection. 24 May 2010.
Various. (2010) Grace Kelly: Style Icon. London: Victoria and Albert Museum. 17 April - 26 September 2010
My current reading is looking different types of housing and house of currently un-utilised spaces. There is a lot of very interesting work already going on, the case study about the American Society of Landscape Architects (ASLA) retrofiting a green roof atop its Washington, DC, brownstone headquarters was really interesting. The space (3300-square-foot) takes all ecologically issues into consideration, yet is welcoming and interesting in its design.
Catterall, C. (1999) Food: design and culture. London : Laurence King in association with Glasgow Festival Company.
Petrini, C. (1949) Slow food: the case for taste. New York, N.Y. ; Chichester : Columbia University Press.
Anderson, A. & Anderson, P. (2007) Prefab prototypes: site-specific design for offsite construction. New York : Princeton Architectural Press.
Herbers, J. (2004) Prefab modern. Houston, Tex. : HDI.
Werthmann, C. (1964) Green roof: a case study. New York : Princeton Architectural Press.
Harwood, E & Powers, A. (2008) Housing the twentieth century nation. London : Twentieth Century Society.
Pullen, T. (2008) Simply sustainable homes. Ellington : Ovolo
Hamm, B. & Muttagi, P.K. (1998) Sustainable development and the future of cities. London : Intermediate Technology Publications
Clement, G. & Rahm, P. (2007) Environ(ne)ment approaches for tomorrow = manieres d'agir pour demain. Milan : Skira
Exhibitions:
Various. (2010) Seeing Myself See. London: Wellcome Collection. 24 May 2010.
Various. (2010) Grace Kelly: Style Icon. London: Victoria and Albert Museum. 17 April - 26 September 2010
My current reading is looking different types of housing and house of currently un-utilised spaces. There is a lot of very interesting work already going on, the case study about the American Society of Landscape Architects (ASLA) retrofiting a green roof atop its Washington, DC, brownstone headquarters was really interesting. The space (3300-square-foot) takes all ecologically issues into consideration, yet is welcoming and interesting in its design.
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