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Monday, 1 December 2008

Ricardo Ramos Winter Garment








Shot in Canary Wharf, London. Nov 30 2008
Photos by Ricardo Ramos

Garment of the new winter collection of fashion designer Ricardo Ramos.
Photos Inspired in Francis Bacon and Martha Graham movements. Garment inspired in Morocco and Futurism.
The idea is to capture the movement of certain parts of the body while others are in stillness.

Modelo de la nueva colección del diseñador de moda Ricardo Ramos.
Fotos inspiradas en Francis Bacon y movimientos de Martha Graham. Pieza inspirada en Marruecos y futurismo.
La idea es capturar el movimiento de ciertas partes del cuerpo mientras otras están quietas.

Friday, 19 September 2008

Felisa

Anécdota del viaje en coche por Andalucía y sus gentes.

Durante los días que pasamos en el Puerto de Santa María (Cádiz), realizamos pequeños viajes, siempre volviendo a reunirnos con Nacho, asturiano y amante del flamenco, y su amigo Mariano. Uno de esos días, yo me quedé en El Puerto trabajando en unas secuencias de danza mientras que Renu y Natasha repitieron una visita a Sevilla, con la sorpresa de que perdieron el último tren y tuvieron que pasar la noche allí. Yo me reuní con Nacho y Mariano, ya que tenían una plan para esa noche. En uno de los barrios, con fama de problemático según dicen, había una conferencia con proyección de fotos antiguas del Puerto. Mostraba sus edificios y lugares clave, y cómo el rastro se podía entrever en el cambiado paisaje arquitectónico actual. El evento tuvo lugar en el patio, típicamente andaluz de la casa de Felisa. La puerta por la que se entraba al patio tenía una inscripción que databa de primeros de 1900 y todo el espacio estaba decorado con plantas. Otras puertas accedían a otras partes de la casa. Las paredes estaban colmadas de bombillas recicladas en pequeños jarrones, llenos de agua con brotes de diversas plantas. Al terminar la conferencia nos ofrecieron unas tapas y unos vinos (fino, vino tìpico de Jerez), y conversamos hasta tarde. Allí supimos de la historia de Felisa y de cómo había cuidado de su marido enfermo que estuvo en una cama por 29 años. En el tiempo libre que le quedaba, empezó a diseñar y crear a ganchillo modelos de ropa para muñecas, que representaban personas reales de su entorno, como por ejemplo, las enfermeras o doctores del hospital o personajes de la farándula. Cada uno tenía un detalle que le hacía particular e individual. Estaba orgullosa, tímida, alegre e ilusionada, al mostrar su trabajo, entre ellos me gustó un conjunto de sombrero y bolso tejido a ganchillo con bolsas de plástico. Y su creatividad no acababa ahí: también nos comentó la intención de escribir un libro de poesías, y nos deleitó con dos de ellas como podéis ver más abajo; una dedicada a su marido fallecido, y la otra a su hija.

Anecdote of the road trip to Andalusia and their people.
During the days that we spent in Puerto de Santa Maria (Cadiz), we used to do small trips, always coming back to meet with Nacho, Asturian and flamenco lover, and his friend Mariano. One of those days, I stayed in El Puerto working on some dance sequences while Renu and Natasha repeated a visit to Seville, with the surprise that they missed the last train and had to spent the night over there. I met with Nacho and Mariano, as they had a plan for that night. In one of the boroughs, known for being a bit problematic, there was a conference with a projection of old photos of El Puerto. It was showing its buildings and key places, and how its trace could be glimpsed in the actual changed arquitectural landscape. The event was at the typically Andalusian patio of Felisa's house. The door to get in the patio had an inscription dated from the beginnings of 1900, and all the space was decorated with plants. Other doors access to other parts of the house. The walls were heaped with lightbulbs recycled onto small jars containing water and diverse plant's sprouts. When the conference finished, we were offered some tapas and wine (fino, a typical wine from Jerez), and we chat till late. There we new about the story of Felisa, and how she took care of her ill husband, who was in a bed for 29 years. In her spare time, she started to design and create models of doll's clothes, which represented real people from her environment, as for example, the nurses and doctors of the hospital or random celebrities. Each of them had a detail which made them particular and individual. Proud, shy and with joy and excitement. She was proud, shy, joyful and excited when she showed her work, I liked especially a set of hat and handbag knitted in crochet with plastic bags. And her creativity didn't end there: she commented us the intention to write a poetry book, and she pleased us with the recite of two of them, as you can see further down; one dedicated to her dead husband, and the other to her daughter.

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Poesía dedicada a su marido fallecido / Poem dedicated to her dead husband


Viniste a mi un día radiante de sol
Tan radiante y hermoso estaba ese día
Que al verme, te enamoraste de mi...
Fui el amor de tu vida
Tanto me quisiste y tanto me querías
Que pa morir corriste un día
El día que Dios nació
Uno nació y otro murió
Y al morir tú, contigo te llevaste tu gran amor
Que fui yo

* * * * * * * * * *

You came to me a bright sunny day
So bright and beautiful was that day
That when you saw me, you felt in love with me
I was the love of your life
So much you loved me and so much you were loving me
That to die you ran one day
The day that God was born
One was born, and the other died
And when you died, you took with yourself your beloved one
Who was me


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Poesía dedicada a su hija / Poem dedicated to her daughter



Hoy es tu cumpleaños feliz
Hoy hace 50 años que tú naciste de mi
Cuando te pusieron en mis brazos lloré de alegría
Porque de alegría también se llora
Porque yo ya era madre, y tú, hija mía
Cuando tan pequeña te recogía del colegio
Y corría hacia mi como una paloma volando
Y me besaba y me abrazaba
Y me decía madre mía...
Las lágrimas se me caían
Porque yo ya era madre, y tú, hija mía

* * * * * * * * * *

Today is your happy birthday
Today is 50 years since you were born from me
When they placed you in my arms, I cried of joy
Because of joy you cry as well
Because I was already mother, and you, my daughter
When I was picking you up from school, so little
And she was running towards me as a flying dove
And she was kissing me and hugging me
And she was saying to me, my mother
Tears were running down my face
Because I was already mother, and you, my daughter


Thursday, 18 September 2008

Renu's Rhythm

Caños de Meca is a beach in Cádiz, the meridional Andalusia, close to the Cape of Trafalgar. Renu, Natasha and I spent a few nights over there. We departed from Tarifa and arrived there for the summer's last weekend party. During those days, people were slowly leaving the place, back to their life's routines in the cities. Still in nature and delighted at night by a ceiling of millions of stars, it all seem as we were in the moon, like Natasha said once, in between the white sand dunes and the soft stroke of the Atlantic ocean. Renu had a moment of inspiration and came out with a clapping rhythm which I recorded, lighted only with a tiny torch in the middle of the beautiful night's darkness.
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Caños de Meca es una playa en Cádiz, la meridional Andalucía, cerca del Cabo de Trafalgar. Renu, Natasha y yo pasamos unas noches allí. Salimos de Tarifa y llegamos allí para la fiesta del último fin de semana del verano. Durante esos días, la gente iba lentamente dejando el lugar, de vuelta a las rutinas de la vida en la ciudad. Aún en la naturaleza y deleitadas en la noche por un cielo de millones de estrellas, todo parecía como si estuviéramos en la luna, como Natasha dijo una vez, entre las dunas de arena blanca y la suave caricia del océano Atlántico. Renu tuvo un momento de inspiración y salió con un ritmo de palmas, el cual grabé, iluminado tan sólo por una pequeña linterna en la mitad de la bella oscuridad de la noche.


Wednesday, 17 September 2008

Flamenco en Granada

As part of the road trip, I also stopped at Granada.
This show was near by the Albaicin. Guitarist Josele De La Rosa, singer Raúl Sacay and dancer Almudena Romero performed in this tiny place 7th Sep 2008 at cueva-pub Upsetter. After the show we ended in Eishavira, a very typical Flamenco place of Granada, having some wines.

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Como parte del viaje en coche también paré en Granada.
Este show fue al lado del Albaicín. El guitarrista Josele De La Rosa, al cante Raúl Sacay y la bailaora Almudena Romero actuaron el 7 Sept 2008 en cueva-pub Upsetter. Después del show acabamos en Eishavira, un local de Flamenco típico de Granada, tomando unos finos.



Street Flamenco/ Flamenco callejero

I recently went to Andalucía for a road trip. This Flamenco performance was in Conil, Cádiz; it was performed in the square of the place, surrounded by terraces full of tourists. What I like from it, is that the singer/guitarist, percussionist (cajón) and dancer are all women.
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Recientemente he realizado un viaje en coche por Andalucía. Este show de Flamenco fue en Conil, Cádiz; fue en la plaza del lugar, rodeada de terrazas llenas de turistas. Lo que me gusta es que la cantante/guitarrista, percusionista (cajón) y la bailarina son todo mujeres.

Tuesday, 16 September 2008

Invasión Danza



I would like to make a comment about this Spanish dance initiative based in Madrid. They use public spaces to perform and document choreographies of artists in the field. They have a website translated to many languages where they explain their purpose of developing new audiences for dance, and they give the opportunity to participate by sending the documentation of the performance (in public spaces, not theatres, or organiced venues) without editing, for not to be confused with a dance film or video. In fact, dance is an ephemeral art form, and nowadays, thanks to technology and network, can be seen by many, giving the opportunity to artists to show their work to a wider audience.
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Me gustaría hacer un comentario sobre esta iniciativa española con base en Madrid. Usan los espacios públicos para presentar y documentar coreografías de artistas en este campo. Tienen una página web traducida a varios idiomas donde explican el propósito de conseguir nuevas audiencias en danza, y dan la oportunidad de participar mandando la documentación de la coreografía (en espacios públicos, no teatros o eventos organizados) sin editar, para no ser confundida con "video arte". De hecho, la danza es una forma de arte efímera, y hoy en día, gracias a la tecnología y redes, puede ser vista por muchos, dando la oportunidad a artistas de mostrar su trabajo a una audiencia aún mayor.

Sunday, 3 August 2008

INNERVISION video

Recently I danced in a music video called INNERVISION by Kevin Barry Partridge (c) onelox. Filmed in London, 22nd July 2008.


Click in the brown image to watch the video in YouTube.

Click in the blue image for seeing a set of still images of the video.


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Hace poco he bailado en un video de música llamado INNERVISION por Kevin Barry Partridge (c) onelox. Grabado en Londres, 22 Julio 2008.


Haz click en la imagen marrón para ver el vídeo en YouTube.

Haz click en la imagen azul para ver una serie de imágenes tomadas del vídeo.


Monday, 28 July 2008

Changing Polarity lyrics / letra

Dance film, part underwater; explores the swift between opposite thoughts and perceptions, metaphorically named as polarities.In a subjective way, this inner conflict conveys the idea that these thoughts/perceptions pass through a centre, a nucleus formed by a space where the soul exists, and where the belonging of these reactions to the soul are not defined. This existence doesn't convey a steady permanent state of thought or perception, but reaffirms its quality of being in a constant energy activity in between two polarities, as a constant readjustment between opposite energies; which can embody a pattern of stimulus-reaction defending an unmaterial origin.

The sound landscape is composed by a set of words and metaphors related to this idea and is played all through the video length. Is narrated in two languages, English and Spanish, and mixed with its reversed version.

The image shows the English version.


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Video danza, parte debajo del agua, explora la relación entre cambios de pensamientos y percepciones opuestas metafóricamente llamados polaridades. De manera subjetiva, este conflicto interno, conlleva la idea de que estos pensamientos/percepciones pasan por un centro, un núcleo formado por un espacio en el que el alma existe, y en el cual, no se define la pertenecia de estas reacciones o la materialización de estímulos al alma. Esta existencia no conlleva un estado estable permanente de pensamiento o percepción, sino que reafirma la cualidad de ésta de tener una constante actividad energética entre dos polaridades, como un constante reajuste de energías opuestas, el cual puede llegar a materializarse en estímulo-reacción y que defiende un origen inmaterial.

El sonido está compuesto de una serie de palabras y metáforas referentes a esta idea, y dura durante todo el vídeo. Está narrado en dos idiomas, español e inglés, y mezclado con la versión en orden inverso de estas palabras.

La imagen muestra la versión española.

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Links to Changing Polarity // Enlaces a Changing Polarity (Polaridad Cambiante):







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London Revellers Music Video shoot

London Revellers
Music Video
shot at 3 Blind Mice and surroundings
Shoreditch, London, on Sunday 27 July 2008
The pop tune is London Revellers by RENU and can be heard at http://www.myspace.com/renuhossainuk
This video celebrates the cultural diversity of London, with its trends and tribes. Directed by Amir Jamal.
Role: Egyptian dancer and lover.
The video will have to wait for being released the single London Revellers.

Thursday, 17 July 2008

Raw Feat presents OUTSPOKEN DANCE 23 July 7.30pm


Press Release

Raw Feat presents OUTSPOKEN DANCE

__________________________________________________________________

Don't Miss this packed evening of Performances Poets and Dancers.

Showcasing some of London's most dynamic talent in Contemporary Dance, Hip Hop Theatre and Spoken Word. Creating an inspiring fusion of Lyrical and Physical theatre.

Hosted by: UK Hip Hop theatre pioneer, Jonzi D <www.myspace.com/jonzid>

Featuring Poets: Zena Edwards and Michaela with powerful and truthful observations in verse

A host of UK Dance companies and Dance theatre artists present a dialogue of dance, alongside emerging and established performers such as East London's finest Kenrick h20 Sandy and Skytlez.



Where: Hackney Empire, 291 Mare Street, E8 1EJ, London

When: Wednesday 23rd July 2008, 7.30 pm

Tickets: £12.50 on the door £10 adv £8 adv/concs

£5 TICKETS ON 2 x 1 DEAL

Bookings 0208 985 2424 online http://www.hackneyempire.co.uk/

Wednesday, 11 June 2008

Shared

This video was filmed in Nov 2007 - shasekh


Jun 10, 2008 Dance film approaching the idea how sometimes relationships can get tangled up to the point where the individual starts to lose its id...

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Tuesday, 10 June 2008

Changing Polarity

Dear friends, I would love if you have a chance to watch my latest work. Feedback wellcome. :-D Love Andrea - shasekh


Jun 10, 2008 Dance film, part underwater; explores the swift between extreme thoughts and perceptions, as polarities expressed in a soundscape of w...

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Thursday, 5 June 2008

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Tuesday, 3 June 2008

Salmón Marinado

Lomo de salmón
(hacia arriba o el centro, si es posible con la espina que puede ser usada para hacer una sopa)

Una fuente con un lecho mezclado de:
200g sal gruesa/marina
200g azúcar moreno o de caña
Eneldo en cantidad

Se mezcla bien y se parte en dos mitades.

La mitad se pone en el fondo de la fuente y pones el salmón recubierto de eneldo, con la piel para arriba y lo tapas con la otra mitad de la mezcla.

Meter en la nevera con un peso de un kilo encima. (ej. un tetra-brick protegido por una bolsa de refrigeración)

A las 24h se da la vuelta y quitas parte del líquido que ha soltado

Dejar otras 24h.

Tirar todo lo de la fuente y secar el salmón.

Y ya se puede cortar finito y comer directamente

Monday, 2 June 2008

Oriental Dancer

Saturday, 31 May 2008

Esplendor de Al Ándalus


Cuántas veces has desgarrado el velo de las tinieblas con la ayuda del vino destellante como un astro... te era servido diligentemente por un copero de voz melodiosa, y se diría que el licor estaba hecho de sus mejillas y de la fresca saliva de su boca...

Me has hecho sentir una cosa tal, que si la hubiera sentido el sol no aparecería más; si lo hubiera sentido la luna, esta no se elevaría; si la hubiera sentido la estrella, no viajaría ninguna noche.

En él he pasado la noche, y la noche y la aurora han sido para mí, almizcle y ámbar gris.

Cuántas noches se prolongan como si, no habiendo aurora, las estrellas que las poblaban hubieran jurado no acostarse.

El amor es para los corazones, la muerte está en los ojos negros.

He sido duramente golpeada por el amor, hasta tal punto que si mi fin estuviera próximo, no encontraría ningún dolor en gustar de la muerte.

Esplendor de Al Ándalus

Sunday, 20 April 2008

Universo


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Thursday, 17 April 2008

ESCOBILLA

TI CO TI CO PAM - - TA TI CO PAM
TI CO TI CO PAM - - TA TI CO PAM - - TA TI CO PAM - - TA TI CO PAM


TI CO TI CO PAM - - - TI CO PAM
TI CO TI CO PAM - - - TI CO PAM - - - TI CO PAM - - - TI CO PAM


TI CO TI CO TI CO TI CO TI CO PA PAM PAM
TI CO TI CO TI CO TI CO TI CO TI CO TI CO TI CO TI CO TI CO TI CO PA PAM PAM

TI CO TI CO PAM TA TI CO TI CO PAM
TI CO TI CO PAM TA TI CO TI CO PAM TA TI CO TI CO PAM TA TI CO TI CO PAM


SHORT(D) SHORT(I) LONG(D)
SHORT(I) SHORT(D) LONG(I)



- 1 - 2 - 3 - 4 - 5 - 6 - 7 - 8 - 9 - 10 - 11 - 12


- 1 TATATA - 4 TATATA - 7 - TA - 9 - TA - 11 - TA


- TATATA - 4 TATATA - 7 TATA - 9 TATA - TA - TA




Wednesday, 16 April 2008

TECHNIQUE ASSESSMENT CRITERIA

GRAHAM

  1. Continuing development in the understanding and execution of stylistics principles
  2. Development of strength and execution of the Graham-Based floor work
  3. Clear demonstration of the use of gravity
  4. Clear understanding of the shift of weight
  5. Clear articulation of the movement initiating from the centre, leading to cohesion between the upper and lower extremities of the body
  6. Clear use of the back
  7. Development of performance skills

HUMPHREY

  1. Continuing development in the understanding and execution of the fall and recovery principles
  2. Clear and consistent awareness of placement and alignment in relation to the pelvic connection
  3. Sustained development of physical and rhythmic coordination, strength and stamina
  4. Deepening sense of musicality and dynamics
  5. Consistent awareness and application of the use of the breath as it relates to the central principles
  6. Level of continuous commitment in class (concentration, application of corrections and general application)
  7. Quality of execution and performance of assessment material

CUNNINGHAM

  1. Clear consistent awareness of placement and alignment
  2. Good use of the torso; clear demonstration of upper, middle and lower back curves/arches/twists/tilts, shown separately and in combination
  3. Clear articulation of legs and feet
  4. Cohesion between upper and lower extremities of the body
  5. Fluidity and ease when executing multi-directional sequences of movement
  6. Clear demonstration of a range of movement dynamics
  7. Good elevation and landings
  8. Strong use of interpretative skills

RELEASE

  1. Ability to experience multi-directional dynamic patterns of alignment, which in turn give the greatest freedom and coordination in movement
  2. Capacity to experience autonomy of skull, limbs and torso
  3. Economy of movement, moving through space minimising unnecessary strain
  4. An awareness of breath and ability to allow breath to move freely
  5. Receptivity to a partner
  6. The ability to be open to experience "merging" with an image
  7. Openness to change
  8. Openness to engage in a process of cultivating kinaesthetic awareness

BALLET

  1. Understanding of the specific stylistic principles of the Ballet technique
  2. Good placement and alignment throughout barre and centre work
  3. Commitment to the learning process (concentration and application of corrections)
  4. Musicality and developing of performance skills

Tuesday, 1 April 2008

ELEMENTS of CONSTRUCTION

1. MOTIF or Foundation of Construction

  • Without repetition motifs could be forgotten.
  • Without variation and contrast repetition of motifs would be dull.
  • Lacking of climax or highlights motifs would lack content
  • Without proportion and balance of the whole work each of the motifs could become almost eliminated or too dominant.
  • Without transitions, motifs would be isolated movement statements. Transitions within the motif and between motifs are important in defining the phrase and section shaping of the dance.
  • Without logical development from motif to motif, the them of the dance would be blurred
2. REPETITION

It must be recognise as a main device of the dance composition, and it should be clear in the form of development and variation. See repetition notes.

3. VARIATION & CONTRAST

Variation is to use the same content in different ways.
Contrast is to add new material within motif on repetition or variation. Sometimes this provides the climax or highlight in a dance

4. PROPORTION & BALANCE

They are complementary elements of construction.
Proportion is the size and magnitude of each part in relation to the whole.
Balance is the equilibrium of content within each of these proportionate parts of the whole.
Equal proportions may become :boring:

5. TRANSITION and Organic Form

Is a link between phrases, sections or motifs. If the transition is too long or becomes too important, it transforms on a phrase, not being a transition any more.
Logical, clear, easily performed could give a flavour of what is next as an introduction. Hesitation between phrases or an anticipation of movement to follow.
Organic means something that evolves naturally to another.

6. LOGICAL DEVELOPMENT

Is the natural growth from beginning to end of a dance piece. Beginning is a movement interpretation of the motivation or idea behind the dance. This movement is the identity to develop by actions, space, relationships and qualities with variation, repetition and contrasts. By giving identity, all movement appear relevant to the piece ensuring unification.

7. UNITY

If one part is missing meaning or doesn't fit, then the whole never becomes a whole, loosing sense and interest.

Friday, 28 March 2008

DANCE ACTIONS

  1. TRAVELLING::: Locomotion, is about how we move through space and Where. HOW (walking, running, sliding, skipping, crawling...) WHERE is the path we choose to take action within the space... Geometric configuration (circles, spirals, straight lines, angles, corners...)
  2. ELEVATION::: Rising OFF the floor// I. HOP (from 1foot to same foot) II. LEAP (from 1 foot to the other foot) III. JUMP (from 2 feet to 2 feet) IV. SISSONE (from 2 feet to 1 foot) V. ASSEMBLE (from 1 foot to 2 feet) VI. EN POINTE (rising, relevé)
  3. TURNING::: Changing directions, used for aesthetic purposes. I.e. Hypnotic dervishes. Could be fun, frightening, magical, mystical. Laban considers 3 planes: I. VERTICAL (around a sagittal axis i.e. cartwheel) II. HORIZONTAL (around a vertical axis i.e. piruettes, spins, rolls) III. SAGITTAL (around a horizontal axis i.e. somersaults - the water goes inwards)
  4. FALLING::: It can represent loss, madness, recover found strength... There are 2 types: I. OFF BALANCE (centre of gravity shifts Off centre) II. COLLAPSE (falling to the floor with no rebound, loosing totally the centre of gravity)
  5. STILLNESS::: It's an action because it's an active choice that contrasts the movement action. It can represent hesitation, a caught of breath or a moment arrived at. Like quiet before the storm, relief, suspense, or even can have a comic effect...
  6. GESTURE::: Used for communicate with others a non-verbal idea. Isolation... it's NOT MANEURISM (unaware gestures not used for communicate to others). I.E. facial expressions, hand gestures, etc..

MOTIF and Development

A Motif is one single, simple, short movement or chain of movements that are smaller than a phrase.

Ways to develop the Motif:

  1. Repetition
  2. Retrogade (I.E. Backwards)
  3. Embellishment/Ornamentation
  4. Inversion (I.E. upside down or lateral)
  5. Size (I.E. condense/expand)
  6. Tempo (fast/slow/stop with the movement in its original size)
  7. Rhythm (beats altered, not the speed)
  8. Quality/Dynamics
  9. Instrumentation (perform movement with several body parts)
  10. Force (strength/weakness)
  11. Background (let the rest of the body do something else)
  12. Staging (different place/facing...)
  13. Levels + Planes (horizontal, vertical, floor, knees...)
  14. Additive/Incorporative (simultaneously execute jump, turn, run, slide...)
  15. Fragmentation (execute one part of the motif, or change the order...)
  16. Combination (any of the above)