Pub Date : 2021-11-18DOI: 10.1093/oso/9780197513620.003.0009
J. O’Doherty, R. Dolan
Faces are a highly privileged class of stimuli in humans, and facial attractiveness is a particularly salient attribute of faces that can exert considerable influence on the behavior of others. In the 2003 paper discussed in this chapter, the authors aimed to investigate the neural correlates of facial attractiveness in the brain, hypothesizing that attractive faces would recruit basic reward circuits, especially the orbitofrontal cortex. Consistent with their hypothesis, they found robust engagement of the orbitofrontal cortex to attractive faces and, moreover, that this response was enhanced if a face exhibited a smiling expression. Taken together, these results suggest that facial attractiveness and cues signaling positive social feedback can robustly recruit the brain’s reward circuitry, positioning attractive faces alongside other basic rewards while also aligning attractive faces with other aesthetically pleasing stimuli that engage similar circuits such as works of art.
{"title":"Facial Beauty and the Medial Orbitofrontal Cortex","authors":"J. O’Doherty, R. Dolan","doi":"10.1093/oso/9780197513620.003.0009","DOIUrl":"https://doi.org/10.1093/oso/9780197513620.003.0009","url":null,"abstract":"Faces are a highly privileged class of stimuli in humans, and facial attractiveness is a particularly salient attribute of faces that can exert considerable influence on the behavior of others. In the 2003 paper discussed in this chapter, the authors aimed to investigate the neural correlates of facial attractiveness in the brain, hypothesizing that attractive faces would recruit basic reward circuits, especially the orbitofrontal cortex. Consistent with their hypothesis, they found robust engagement of the orbitofrontal cortex to attractive faces and, moreover, that this response was enhanced if a face exhibited a smiling expression. Taken together, these results suggest that facial attractiveness and cues signaling positive social feedback can robustly recruit the brain’s reward circuitry, positioning attractive faces alongside other basic rewards while also aligning attractive faces with other aesthetically pleasing stimuli that engage similar circuits such as works of art.","PeriodicalId":335128,"journal":{"name":"Brain, Beauty, and Art","volume":"48 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-11-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124830392","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-11-18DOI: 10.1093/oso/9780197513620.003.0039
B. Calvo-Merino
The article reviewed in this chapter discusses how questions initially originated in cognitive neuroscience can be answered with collaborations with nonscientific disciplines, such as performing arts. The author describes the first study that showed dancer’s brain activity when observing dance movements. By investigating how the expert brain works, they demonstrated the important role of sensorimotor processing for movement perception, emotion perception, and aesthetic judgment. This work opened a channel of communication between neuroscientists and performing artists, enabling conversations that have generated novel questions of interest to both disciplines. The chapter discusses three fundamental insights: the importance of prior experience for perception, the importance of motor representations for perception, and the existence of a system for embodied aesthetics. Finally, the author provides some consideration on neuroscientists’ capacity to dissect the aesthetic experience and how this knowledge can be absorbed by the performing artist during the artistic and choreographic process.
{"title":"Dance, Expertise, and Sensorimotor Aesthetics","authors":"B. Calvo-Merino","doi":"10.1093/oso/9780197513620.003.0039","DOIUrl":"https://doi.org/10.1093/oso/9780197513620.003.0039","url":null,"abstract":"The article reviewed in this chapter discusses how questions initially originated in cognitive neuroscience can be answered with collaborations with nonscientific disciplines, such as performing arts. The author describes the first study that showed dancer’s brain activity when observing dance movements. By investigating how the expert brain works, they demonstrated the important role of sensorimotor processing for movement perception, emotion perception, and aesthetic judgment. This work opened a channel of communication between neuroscientists and performing artists, enabling conversations that have generated novel questions of interest to both disciplines. The chapter discusses three fundamental insights: the importance of prior experience for perception, the importance of motor representations for perception, and the existence of a system for embodied aesthetics. Finally, the author provides some consideration on neuroscientists’ capacity to dissect the aesthetic experience and how this knowledge can be absorbed by the performing artist during the artistic and choreographic process.","PeriodicalId":335128,"journal":{"name":"Brain, Beauty, and Art","volume":"373 2 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-11-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115567514","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-11-18DOI: 10.1093/oso/9780197513620.003.0044
Dirk B. Walther
How do the brains of experts and non-experts represent entry-level and subordinate-level categories of buildings and places? In the study reviewed in this chapter, the authors measured the brain activity of architecture and psychology students while they viewed images of buildings of different architectural styles as well as general scenes. From functional magnetic resonance imaging (fMRI) patterns, they were able to decode which architectural style participants viewed. Despite finding a strong behavioral expertise effect for architectural styles between the two groups of participants, the authors could not find any differences in brain activity. Surprisingly, they found that the fusiform face area, which is typically not involved in scene perception, was tightly linked with scene-selective brain regions for the decoding of architectural styles but not for entry-level scenes categories.
{"title":"Architectural Styles as Subordinate Scene Categories","authors":"Dirk B. Walther","doi":"10.1093/oso/9780197513620.003.0044","DOIUrl":"https://doi.org/10.1093/oso/9780197513620.003.0044","url":null,"abstract":"How do the brains of experts and non-experts represent entry-level and subordinate-level categories of buildings and places? In the study reviewed in this chapter, the authors measured the brain activity of architecture and psychology students while they viewed images of buildings of different architectural styles as well as general scenes. From functional magnetic resonance imaging (fMRI) patterns, they were able to decode which architectural style participants viewed. Despite finding a strong behavioral expertise effect for architectural styles between the two groups of participants, the authors could not find any differences in brain activity. Surprisingly, they found that the fusiform face area, which is typically not involved in scene perception, was tightly linked with scene-selective brain regions for the decoding of architectural styles but not for entry-level scenes categories.","PeriodicalId":335128,"journal":{"name":"Brain, Beauty, and Art","volume":"311 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-11-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129749874","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-11-18DOI: 10.1093/oso/9780197513620.003.0042
Louise P. Kirsch, Emily S. Cross
What leads us to enjoy watching others’ bodies in motion? In this chapter, the authors discuss their motivation to explore how our bodily experiences, especially in the form of dance training, shape our perceptions and preferences for watching others move, especially in dance contexts. They highlight findings from several studies that they conducted to investigate how general dance experience (or lack thereof) influences our enjoyment of watching dance and how acquiring experience specifically related to the dance piece being observed shapes the pleasure we derive from watching that piece specifically. Overall, our work finds that the richer experience an observer has with learning particular dance movements, the more enjoyment that observer derived from watching those movements. This research underscores the utility of dance as a stimulus and training intervention for addressing key questions relevant to human neuroscience, psychology, and philosophy, particularly in the domain of neuroaesthetics.
{"title":"Training Effects on Affective Perception of Body Movements","authors":"Louise P. Kirsch, Emily S. Cross","doi":"10.1093/oso/9780197513620.003.0042","DOIUrl":"https://doi.org/10.1093/oso/9780197513620.003.0042","url":null,"abstract":"What leads us to enjoy watching others’ bodies in motion? In this chapter, the authors discuss their motivation to explore how our bodily experiences, especially in the form of dance training, shape our perceptions and preferences for watching others move, especially in dance contexts. They highlight findings from several studies that they conducted to investigate how general dance experience (or lack thereof) influences our enjoyment of watching dance and how acquiring experience specifically related to the dance piece being observed shapes the pleasure we derive from watching that piece specifically. Overall, our work finds that the richer experience an observer has with learning particular dance movements, the more enjoyment that observer derived from watching those movements. This research underscores the utility of dance as a stimulus and training intervention for addressing key questions relevant to human neuroscience, psychology, and philosophy, particularly in the domain of neuroaesthetics.","PeriodicalId":335128,"journal":{"name":"Brain, Beauty, and Art","volume":"4 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-11-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128959065","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-11-18DOI: 10.1093/oso/9780197513620.003.0036
Eugen Wassiliwizky, Winfried Menninghaus
From prehistory onward, poetic language has been widely used in the context of great personal, social, and emotional significance, reaching from large scale events, such as religious ceremonies, political occasions (including inaugurations of American presidents), and artistic contexts to more private gatherings, such as birthday parties, declarations of love, and parent–child interactions. Poetic language is capable of reaching deeply into the phylogenetically ancient structures of the human brain and providing profound aesthetic pleasures to its recipients. Yet a thorough scientific investigation of the workings of poetic language in the brain is only at its very beginnings. In the article under discussion, the authors review a study that focused on the emotional power of poetic language. In this project, they strived to integrate and interrelate perspectives from experimental psychology, neuroscience, rhetoric/poetics, psychophysiology, and philosophy. They argue that such a multidisciplinary approach is key to unraveling the mysteries of human aesthetic processing.
{"title":"The Power of Poetry","authors":"Eugen Wassiliwizky, Winfried Menninghaus","doi":"10.1093/oso/9780197513620.003.0036","DOIUrl":"https://doi.org/10.1093/oso/9780197513620.003.0036","url":null,"abstract":"From prehistory onward, poetic language has been widely used in the context of great personal, social, and emotional significance, reaching from large scale events, such as religious ceremonies, political occasions (including inaugurations of American presidents), and artistic contexts to more private gatherings, such as birthday parties, declarations of love, and parent–child interactions. Poetic language is capable of reaching deeply into the phylogenetically ancient structures of the human brain and providing profound aesthetic pleasures to its recipients. Yet a thorough scientific investigation of the workings of poetic language in the brain is only at its very beginnings. In the article under discussion, the authors review a study that focused on the emotional power of poetic language. In this project, they strived to integrate and interrelate perspectives from experimental psychology, neuroscience, rhetoric/poetics, psychophysiology, and philosophy. They argue that such a multidisciplinary approach is key to unraveling the mysteries of human aesthetic processing.","PeriodicalId":335128,"journal":{"name":"Brain, Beauty, and Art","volume":"47 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-11-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114070757","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-11-18DOI: 10.1093/oso/9780197513620.003.0035
A. Jacobs
The neurocognitive poetics model (NCPM) of literary reading was developed about 10 years ago as a theoretical tool for generating and guiding scientific studies of literature. It introduced testable hypotheses concerning two central phenomena of literary reading that had been so far badly neglected by research on text or discourse processing in experimental reading research, psycholinguistics, or cognitive neuroscience. These phenomena—immersion and affective-aesthetic processes—have since then been investigated in a number of studies supporting the NCPM’s main assumptions. In the article under discussion, the author explains the development of the NCPM.
{"title":"The Neurocognitive Poetics Model of Literary Reading 10 Years After","authors":"A. Jacobs","doi":"10.1093/oso/9780197513620.003.0035","DOIUrl":"https://doi.org/10.1093/oso/9780197513620.003.0035","url":null,"abstract":"The neurocognitive poetics model (NCPM) of literary reading was developed about 10 years ago as a theoretical tool for generating and guiding scientific studies of literature. It introduced testable hypotheses concerning two central phenomena of literary reading that had been so far badly neglected by research on text or discourse processing in experimental reading research, psycholinguistics, or cognitive neuroscience. These phenomena—immersion and affective-aesthetic processes—have since then been investigated in a number of studies supporting the NCPM’s main assumptions. In the article under discussion, the author explains the development of the NCPM.","PeriodicalId":335128,"journal":{"name":"Brain, Beauty, and Art","volume":"67 6 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-11-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124101319","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-11-18DOI: 10.1093/oso/9780197513620.003.0028
Martin Skov, Ulrich Kirk
Aesthetic liking has traditionally been thought to be caused by specific object properties: symmetry, curvature, etc. One of the great insights of neuroaesthetics is the realization that expectations play almost as great a role in shaping liking responses. For example, by prefacing exposure to an artwork with information about its provenance it is possible to enhance or decrease liking. The article under discussion summarizes the results from a functional magnetic resonance imaging study where people were scanned as they rated abstract art they either believed belonged to a prestigious art gallery or to have been created by the experimenters.
{"title":"Aesthetic Liking Is Not Only Driven by Object Properties, but Also by Your Expectations","authors":"Martin Skov, Ulrich Kirk","doi":"10.1093/oso/9780197513620.003.0028","DOIUrl":"https://doi.org/10.1093/oso/9780197513620.003.0028","url":null,"abstract":"Aesthetic liking has traditionally been thought to be caused by specific object properties: symmetry, curvature, etc. One of the great insights of neuroaesthetics is the realization that expectations play almost as great a role in shaping liking responses. For example, by prefacing exposure to an artwork with information about its provenance it is possible to enhance or decrease liking. The article under discussion summarizes the results from a functional magnetic resonance imaging study where people were scanned as they rated abstract art they either believed belonged to a prestigious art gallery or to have been created by the experimenters.","PeriodicalId":335128,"journal":{"name":"Brain, Beauty, and Art","volume":"70 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-11-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126271139","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-11-18DOI: 10.1093/oso/9780197513620.003.0043
Oshin Vartanian
Environmental psychology is concerned with understanding the impact of the environment—built and natural—on the mind. Neuroscience of architecture can contribute to this aim by elucidating the workings of the brain in relation to features of our physical environment. Toward that end, Vartanian et al. (2013) examined the impact of contour on aesthetic judgments and approach-avoidance decisions while viewing images of room interiors in the functional magnetic resonance imaging (fMRI) scanner. Participants found curvilinear rooms more beautiful than rectilinear rooms, and viewing curvilinear rooms in that context activated the anterior cingulate cortex—a region involved in processing emotion. That observation, coupled with the finding that pleasantness accounted for majority of variance in beauty judgments, supports the idea that our preference for curvilinear design is driven by affect. This study represents an example of how neural data can reveal mechanisms that underlie our aesthetic preferences in the domain of architecture.
{"title":"The Neuroaesthetics of Architecture","authors":"Oshin Vartanian","doi":"10.1093/oso/9780197513620.003.0043","DOIUrl":"https://doi.org/10.1093/oso/9780197513620.003.0043","url":null,"abstract":"Environmental psychology is concerned with understanding the impact of the environment—built and natural—on the mind. Neuroscience of architecture can contribute to this aim by elucidating the workings of the brain in relation to features of our physical environment. Toward that end, Vartanian et al. (2013) examined the impact of contour on aesthetic judgments and approach-avoidance decisions while viewing images of room interiors in the functional magnetic resonance imaging (fMRI) scanner. Participants found curvilinear rooms more beautiful than rectilinear rooms, and viewing curvilinear rooms in that context activated the anterior cingulate cortex—a region involved in processing emotion. That observation, coupled with the finding that pleasantness accounted for majority of variance in beauty judgments, supports the idea that our preference for curvilinear design is driven by affect. This study represents an example of how neural data can reveal mechanisms that underlie our aesthetic preferences in the domain of architecture.","PeriodicalId":335128,"journal":{"name":"Brain, Beauty, and Art","volume":"83 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-11-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134181425","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-11-18DOI: 10.1093/oso/9780197513620.003.0037
Xianyou He, Wei Zhang
As one origin of Chinese characters, pictograph has a graphical structure based on its referent. Are the aesthetic qualities of the reference objects reflected in the neural processing of pictographs? In the study reviewed in this chapter, participants were scanned while making aesthetic judgments of pictographs and their referents. The conjunction analysis revealed the common involvement of the bilateral inferior occipital gyri and inferior frontal gyri, the right superior occipital gyrus, the left middle occipital gyrus, and the inferior orbitofrontal cortex for the aesthetic judgments of pictographs and object images referring to beautiful objects. Moreover, only the beautiful judgments for pictographs but not object images activated the motor areas, implying that an approach motivation was elicited during the aesthetic perception of novel pictographs. Results indicate that not only the object images, but also the corresponding pictographs arouse a sense of beauty that relies on common neural mechanisms during aesthetic judgments.
{"title":"Pictograph Portrays What It Is","authors":"Xianyou He, Wei Zhang","doi":"10.1093/oso/9780197513620.003.0037","DOIUrl":"https://doi.org/10.1093/oso/9780197513620.003.0037","url":null,"abstract":"As one origin of Chinese characters, pictograph has a graphical structure based on its referent. Are the aesthetic qualities of the reference objects reflected in the neural processing of pictographs? In the study reviewed in this chapter, participants were scanned while making aesthetic judgments of pictographs and their referents. The conjunction analysis revealed the common involvement of the bilateral inferior occipital gyri and inferior frontal gyri, the right superior occipital gyrus, the left middle occipital gyrus, and the inferior orbitofrontal cortex for the aesthetic judgments of pictographs and object images referring to beautiful objects. Moreover, only the beautiful judgments for pictographs but not object images activated the motor areas, implying that an approach motivation was elicited during the aesthetic perception of novel pictographs. Results indicate that not only the object images, but also the corresponding pictographs arouse a sense of beauty that relies on common neural mechanisms during aesthetic judgments.","PeriodicalId":335128,"journal":{"name":"Brain, Beauty, and Art","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-11-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128673576","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-11-18DOI: 10.1093/oso/9780197513620.003.0022
M. Nadal, Z. Cattaneo
Does V5, a brain region involved in the perception of movement, contribute to the aesthetic appreciation of artworks that depict movement? In the study under discussion, the authors asked participants to view abstract and representational artworks depicting motion. While they judged the sense of motion conveyed by the artworks and how much they liked them, the authors delivered transcranial magnetic stimulation (TMS) over V5. They found that TMS over V5 reduced the sense of motion participants perceived and reduced how much participants liked the abstract paintings. These results show, first, that V5 is involved in extracting implied motion information even when the object whose motion is implied is not real. Second, they show that V5 is involved in extracting implied motion information even in the absence of any object, as in the abstract paintings. Finally, they show that activity in V5 plays a causal role in the appreciation of abstract art.
{"title":"The Contribution of Visual Area V5 to the Perception of Implied Motion in Art and Its Appreciation","authors":"M. Nadal, Z. Cattaneo","doi":"10.1093/oso/9780197513620.003.0022","DOIUrl":"https://doi.org/10.1093/oso/9780197513620.003.0022","url":null,"abstract":"Does V5, a brain region involved in the perception of movement, contribute to the aesthetic appreciation of artworks that depict movement? In the study under discussion, the authors asked participants to view abstract and representational artworks depicting motion. While they judged the sense of motion conveyed by the artworks and how much they liked them, the authors delivered transcranial magnetic stimulation (TMS) over V5. They found that TMS over V5 reduced the sense of motion participants perceived and reduced how much participants liked the abstract paintings. These results show, first, that V5 is involved in extracting implied motion information even when the object whose motion is implied is not real. Second, they show that V5 is involved in extracting implied motion information even in the absence of any object, as in the abstract paintings. Finally, they show that activity in V5 plays a causal role in the appreciation of abstract art.","PeriodicalId":335128,"journal":{"name":"Brain, Beauty, and Art","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-11-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129249330","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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