Pub Date : 2023-04-12DOI: 10.1080/2373566x.2022.2158899
Joseph P. Brewer II, Jay T. Johnson
{"title":"Reciprocity: An Ethos “More Than Human”","authors":"Joseph P. Brewer II, Jay T. Johnson","doi":"10.1080/2373566x.2022.2158899","DOIUrl":"https://doi.org/10.1080/2373566x.2022.2158899","url":null,"abstract":"","PeriodicalId":53217,"journal":{"name":"Geohumanities","volume":null,"pages":null},"PeriodicalIF":0.7,"publicationDate":"2023-04-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80474695","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 : 2023-01-02DOI: 10.1080/2373566X.2023.2180418
Sarah B. Gelbard
Decades of experience with closed, relocated, and renamed venues, make punks very familiar with cycles of gentrification. Often established in edge neighborhoods, punk venues participate in reproducing the “grit” of urban decline and subculture. Urban revitalization plans that promise community, livability, and culture, rarely leave spaces for established punk community and subculture. The newly branded Retail, Arts, and Theatre District in Ottawa, Canada is a case study in cultural urban development that operationalizes creative placemaking and its future-oriented visions of urban revitalization through cultural spaces and activities. Although the city’s Official Plan celebrates that existing cultural venues add diversity to the district, the pressure placed on punk venues by surrounding development reveal that not all venues are to be recognized by the city as legitimate or desirable forms of either diversity or culture. Close readings of official city planning documents, urban histories, development proposals, and marketing literature are juxtaposed with auto-ethnographic, storytelling, punk histories, and song writing. I argue that punk counter-cultural placemaking practices provide counter-information, counter-environments, and counter-temporalities to space in the city to resist gentrification and refuse displacement as endings. Gentrification kills punk. But punk always comes back, finds new places, haunts old sites, and remembers its past.
{"title":"“Did You Hear? Mavericks Is Closing!” Punk Refusal of Gentrified Endings","authors":"Sarah B. Gelbard","doi":"10.1080/2373566X.2023.2180418","DOIUrl":"https://doi.org/10.1080/2373566X.2023.2180418","url":null,"abstract":"Decades of experience with closed, relocated, and renamed venues, make punks very familiar with cycles of gentrification. Often established in edge neighborhoods, punk venues participate in reproducing the “grit” of urban decline and subculture. Urban revitalization plans that promise community, livability, and culture, rarely leave spaces for established punk community and subculture. The newly branded Retail, Arts, and Theatre District in Ottawa, Canada is a case study in cultural urban development that operationalizes creative placemaking and its future-oriented visions of urban revitalization through cultural spaces and activities. Although the city’s Official Plan celebrates that existing cultural venues add diversity to the district, the pressure placed on punk venues by surrounding development reveal that not all venues are to be recognized by the city as legitimate or desirable forms of either diversity or culture. Close readings of official city planning documents, urban histories, development proposals, and marketing literature are juxtaposed with auto-ethnographic, storytelling, punk histories, and song writing. I argue that punk counter-cultural placemaking practices provide counter-information, counter-environments, and counter-temporalities to space in the city to resist gentrification and refuse displacement as endings. Gentrification kills punk. But punk always comes back, finds new places, haunts old sites, and remembers its past.","PeriodicalId":53217,"journal":{"name":"Geohumanities","volume":null,"pages":null},"PeriodicalIF":0.7,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85288781","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 : 2023-01-02DOI: 10.1080/2373566X.2022.2160367
Misha Hadar, Jared D. Margulies
In the fall semester of 2021, we organized and curated the participatory art project Hostile Terrain ‘94 at the University of Alabama. The project, conceived and developed by the Undocumented Migration Project, consists of ∼3,200 toe-tags carrying information of deceased migrants found on the US side of the US-Mexico border in the Sonoran Desert. They produce a map of tremendous death. The project allowed participating institutions to make their own decisions regarding how to coordinate the creation of the material and staging and curation of the final exhibition. Apart from its importance as a way of engaging a public with the often-unseen consequences of US border policy and policing, it is also an experiment in collaborative art making. What kind of experience did we want to structure for those taking part in creating the materials? How were we going to stage the encounter with the finished materials? We discuss organizing the creation of materials, setting up the installation, and the period when the project was open to the public to highlight two elements that were of special importance in the process: the subject position engaged by the project, and the meditative practice proposed by the installation.
{"title":"Hostile Terrain 94, Installation, and Meditative Explorations of the US-Mexico Borderlands","authors":"Misha Hadar, Jared D. Margulies","doi":"10.1080/2373566X.2022.2160367","DOIUrl":"https://doi.org/10.1080/2373566X.2022.2160367","url":null,"abstract":"In the fall semester of 2021, we organized and curated the participatory art project Hostile Terrain ‘94 at the University of Alabama. The project, conceived and developed by the Undocumented Migration Project, consists of ∼3,200 toe-tags carrying information of deceased migrants found on the US side of the US-Mexico border in the Sonoran Desert. They produce a map of tremendous death. The project allowed participating institutions to make their own decisions regarding how to coordinate the creation of the material and staging and curation of the final exhibition. Apart from its importance as a way of engaging a public with the often-unseen consequences of US border policy and policing, it is also an experiment in collaborative art making. What kind of experience did we want to structure for those taking part in creating the materials? How were we going to stage the encounter with the finished materials? We discuss organizing the creation of materials, setting up the installation, and the period when the project was open to the public to highlight two elements that were of special importance in the process: the subject position engaged by the project, and the meditative practice proposed by the installation.","PeriodicalId":53217,"journal":{"name":"Geohumanities","volume":null,"pages":null},"PeriodicalIF":0.7,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77921881","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 : 2023-01-02DOI: 10.1080/2373566X.2022.2154690
U. Strohmayer
This essay analyses a key motif in geographical scholarship: the most basic form of mobility achieved by an abled-bodied person engaging in acts of walking. By embedding “walking” firmly within a phenomenological tradition, the essay places “being mobile” qua walking within a field of enquiry that conceptualises an embodied form of mobility as both enabling and limiting. Building furthermore from a growing body of literature that has differentiated between “walking” as an active form of engagement and a host of different geographically relevant modes of being, the paper adds a specifically epistemological set of considerations in an attempt critically to contribute to existing literatures and to interrogate the embodied practice of walking. Key in this endeavour is the contribution mobile modes of existence make to the construction of knowledge about the social world. The paper concludes with a prolegomena that recasts walking in the form of a geographically informed pedagogical practice.
{"title":"Beyond the Flâneur: Urban Walking as Peripatetic Phenomenological Pedagogy","authors":"U. Strohmayer","doi":"10.1080/2373566X.2022.2154690","DOIUrl":"https://doi.org/10.1080/2373566X.2022.2154690","url":null,"abstract":"This essay analyses a key motif in geographical scholarship: the most basic form of mobility achieved by an abled-bodied person engaging in acts of walking. By embedding “walking” firmly within a phenomenological tradition, the essay places “being mobile” qua walking within a field of enquiry that conceptualises an embodied form of mobility as both enabling and limiting. Building furthermore from a growing body of literature that has differentiated between “walking” as an active form of engagement and a host of different geographically relevant modes of being, the paper adds a specifically epistemological set of considerations in an attempt critically to contribute to existing literatures and to interrogate the embodied practice of walking. Key in this endeavour is the contribution mobile modes of existence make to the construction of knowledge about the social world. The paper concludes with a prolegomena that recasts walking in the form of a geographically informed pedagogical practice.","PeriodicalId":53217,"journal":{"name":"Geohumanities","volume":null,"pages":null},"PeriodicalIF":0.7,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90929063","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 : 2023-01-02DOI: 10.1080/2373566X.2022.2150260
Aelwyn Williams
This paper explores the possibilities of using alternative forms of analysis when thinking about “dementia friendly communities,” a recent if not by now historic phenomenon. Using ethnographic methods, I ask the question: what remains beyond, in excess of, and is never quite captured in discourses around such communities, if they exist? Dementia is an elusive concept, often appearing as personal disruption, and often threatening the ways that contemporary lives are ordered. I ask whether there is value in questioning the fragmentary remains of researching dementia friendly communities from a different angle, by approaching the disparate assemblage of materials, fieldnotes, photos, recordings of ordinary practices, of state practices, through more creative means? Taking inspiration from the avant-garde techniques of William S. Burroughs, in particular cut-ups and collage, the aim here has been to pay attention differently and move beyond what is already known.
本文探讨了在考虑“痴呆症友好社区”时使用其他分析形式的可能性，这是一个最近的现象，如果不是现在的历史现象。使用民族志的方法，我提出了这样一个问题:如果这些社区存在，那么在这些社区之外，还有什么，以及从未被完全捕获过?痴呆症是一个难以捉摸的概念，经常表现为对个人的破坏，并经常威胁到当代生活的秩序。我想问的是，从不同的角度，通过更有创造性的手段，接近不同的材料组合，实地记录，照片，普通实践的记录，对痴呆症友好社区的零碎遗迹进行质疑，是否有价值?从威廉·s·巴勒斯(William S. Burroughs)的前卫艺术中获得灵感，尤其是剪纸和拼贴，其目的是以不同的方式关注，超越已知的东西。
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Pub Date : 2023-01-02DOI: 10.1080/2373566X.2022.2144405
Ruth Raynor, C. Veal
This Introduction to the special issue on “Creative Endings” thinks across intensities and temporalities to consider the force of “endings” in the contemporary political moment: the multiple timespaces within them, endings as temporalities in their own right, experienced forcefully, unequally, and as generative of dynamic emotional resonances. Whilst often stated, endings remain under-theorised in the discipline. Yet endings are a central form through which the assemblage of representations, materialities, structures and the more-than representational are organised in the orchestration and deliverance of political work. This introduction, and the various papers that follow, begin to address the gap in thinking, by introducing intensities and temporalities as ways to work with both the representational and more-than-representational forces of endings, drawing upon examples from contemporary politics. From here, we propose the creative arts, in occupying the threshold of the representational/more-than-representations, as well placed to intervene on endings. We think the creative arts can help us to know, represent, and intervene in various ends within the current political moment, through their attunement, specifically, to liveness, form and feeling.
{"title":"Spectacle of Endings: In an “Endless Present”","authors":"Ruth Raynor, C. Veal","doi":"10.1080/2373566X.2022.2144405","DOIUrl":"https://doi.org/10.1080/2373566X.2022.2144405","url":null,"abstract":"This Introduction to the special issue on “Creative Endings” thinks across intensities and temporalities to consider the force of “endings” in the contemporary political moment: the multiple timespaces within them, endings as temporalities in their own right, experienced forcefully, unequally, and as generative of dynamic emotional resonances. Whilst often stated, endings remain under-theorised in the discipline. Yet endings are a central form through which the assemblage of representations, materialities, structures and the more-than representational are organised in the orchestration and deliverance of political work. This introduction, and the various papers that follow, begin to address the gap in thinking, by introducing intensities and temporalities as ways to work with both the representational and more-than-representational forces of endings, drawing upon examples from contemporary politics. From here, we propose the creative arts, in occupying the threshold of the representational/more-than-representations, as well placed to intervene on endings. We think the creative arts can help us to know, represent, and intervene in various ends within the current political moment, through their attunement, specifically, to liveness, form and feeling.","PeriodicalId":53217,"journal":{"name":"Geohumanities","volume":null,"pages":null},"PeriodicalIF":0.7,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72577592","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 : 2023-01-02DOI: 10.1080/2373566X.2023.2173081
Kate Lewis Hood
This article attends to how contemporary artists Otobong Nkanga and Libita Sibungu work with mineral residues to locate and reimagine Namibian mining geographies among the material durations of colonialism and racial capitalism. Drawing on Black geographies, postcolonial and performance studies, I suggest that Nkanga’s and Sibungu’s respective methods of presencing uneven accumulations and embodied and geological temporalities constitute residual repertoires. From Nkanga’s work at the Green Hill in Tsumeb, to Sibungu’s traversal of diasporic mining geographies between Namibia and the UK, both artists trace mineral circulations through visual, sonic, and performance elements, finding ways to render forces of dispossession, genocide, struggle, and their afterlives (partially) perceptible. This work questions and repurposes institutionalized forms of representation whose visual and archival modes contribute to ongoing corporeal and material extraction. Critically intervening in and seeking to transform extractive geo-aesthetics, Nkanga and Sibungu generate speculative repertoires for other possible futures of mineral proximity.
{"title":"Residual Repertoire: Black Geo-Aesthetics after the Mine","authors":"Kate Lewis Hood","doi":"10.1080/2373566X.2023.2173081","DOIUrl":"https://doi.org/10.1080/2373566X.2023.2173081","url":null,"abstract":"This article attends to how contemporary artists Otobong Nkanga and Libita Sibungu work with mineral residues to locate and reimagine Namibian mining geographies among the material durations of colonialism and racial capitalism. Drawing on Black geographies, postcolonial and performance studies, I suggest that Nkanga’s and Sibungu’s respective methods of presencing uneven accumulations and embodied and geological temporalities constitute residual repertoires. From Nkanga’s work at the Green Hill in Tsumeb, to Sibungu’s traversal of diasporic mining geographies between Namibia and the UK, both artists trace mineral circulations through visual, sonic, and performance elements, finding ways to render forces of dispossession, genocide, struggle, and their afterlives (partially) perceptible. This work questions and repurposes institutionalized forms of representation whose visual and archival modes contribute to ongoing corporeal and material extraction. Critically intervening in and seeking to transform extractive geo-aesthetics, Nkanga and Sibungu generate speculative repertoires for other possible futures of mineral proximity.","PeriodicalId":53217,"journal":{"name":"Geohumanities","volume":null,"pages":null},"PeriodicalIF":0.7,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84734776","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 : 2023-01-02DOI: 10.1080/2373566X.2022.2147445
Sarah Wright, Joseph Palis, N. Osborne, Fiona Miller, U. Kothari, Karen Paiva Henrique, Phoebe Everingham, Maria Borovnik
During the first year of the COVID-19 pandemic, a group of academic geographers got together across borders to share our varied experiences. In this paper we illustrate how this storying of pandemia helped us critically and collaboratively understand, (re)imagine and reconfigure ways of living during a global pandemic. We were especially interested in exploring different forms and practices of collective thinking and academic labour, within and beyond the academy. This paper foregrounds emotions and lived experiences, power and positionality, natures, bodies, and relations, and how they have come to our attention in new, different, or more pronounced ways, through everyday geographies of pandemia. Our aim is to emphasise two important aspects: that pandemia is a state of being with/as/through pandemic, and, as a collective noun, pandemia centres plurality, focusing on the potential to attend to the ways experiences of pandemic are redolent with multiple, overlapping exclusions and belongings, openings and closures.
{"title":"Storying Pandemia Collectively: Sharing Plural Experiences of Interruption, Dislocation, Care, and Connection","authors":"Sarah Wright, Joseph Palis, N. Osborne, Fiona Miller, U. Kothari, Karen Paiva Henrique, Phoebe Everingham, Maria Borovnik","doi":"10.1080/2373566X.2022.2147445","DOIUrl":"https://doi.org/10.1080/2373566X.2022.2147445","url":null,"abstract":"During the first year of the COVID-19 pandemic, a group of academic geographers got together across borders to share our varied experiences. In this paper we illustrate how this storying of pandemia helped us critically and collaboratively understand, (re)imagine and reconfigure ways of living during a global pandemic. We were especially interested in exploring different forms and practices of collective thinking and academic labour, within and beyond the academy. This paper foregrounds emotions and lived experiences, power and positionality, natures, bodies, and relations, and how they have come to our attention in new, different, or more pronounced ways, through everyday geographies of pandemia. Our aim is to emphasise two important aspects: that pandemia is a state of being with/as/through pandemic, and, as a collective noun, pandemia centres plurality, focusing on the potential to attend to the ways experiences of pandemic are redolent with multiple, overlapping exclusions and belongings, openings and closures.","PeriodicalId":53217,"journal":{"name":"Geohumanities","volume":null,"pages":null},"PeriodicalIF":0.7,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84067458","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 : 2023-01-02DOI: 10.1080/2373566X.2022.2150259
Amanda Rogers
This is an autoethnographic reflection about doing research on the 1990 Cambodian National Dance Company tour to the UK. Drawing upon research on performance, history and reactivation, I argue that the situated encounters, memories and experiences associated with performance documentation – the archival “record” – complicates our sense of performative endings. I reflect on the seeming inability to study an “original” performance and the passing of dance masters during the course of my research, whilst simultaneously finding pictures and reports about them in archives and online. Through this, I consider how the affective investments of performances linger, often for decades.
{"title":"Reactivating the Record: Performance, Spaces of History, and Researching the 1990 Cambodian National Dance Company Tour to the UK","authors":"Amanda Rogers","doi":"10.1080/2373566X.2022.2150259","DOIUrl":"https://doi.org/10.1080/2373566X.2022.2150259","url":null,"abstract":"This is an autoethnographic reflection about doing research on the 1990 Cambodian National Dance Company tour to the UK. Drawing upon research on performance, history and reactivation, I argue that the situated encounters, memories and experiences associated with performance documentation – the archival “record” – complicates our sense of performative endings. I reflect on the seeming inability to study an “original” performance and the passing of dance masters during the course of my research, whilst simultaneously finding pictures and reports about them in archives and online. Through this, I consider how the affective investments of performances linger, often for decades.","PeriodicalId":53217,"journal":{"name":"Geohumanities","volume":null,"pages":null},"PeriodicalIF":0.7,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77605602","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 : 2023-01-02DOI: 10.1080/2373566X.2022.2155561
José Quintero-Weir, Pablo Mansilla-Quiñones, Andrés Moreira-Muñoz
The anthropocene and its contemporary environmental crisis are symptomatic of an exhausted phase and space of modern rhetoric regarding a nature/culture dichotomy. Its consequences are especially evident in indigenous territories, where it imposes a hegemonic vision of nature as an object of conquest; it affects ways of being, knowing, and existing with(in) the territory, and justifies ecocide and epistemicide. Other epistemologies and geonarratives are timely needed in the transit from the anthropoce towards an imaged new epoche of conviviality between humans (indigenous and non-indigenous) and more-than human species. This work addresses that challenge from a decolonial and transdisciplinary perspective based on Wayúu indigenous knowledge and their relationship with the hydrosocial territory in the Venezuelan Guajira. Wayúu geonarratives, based on the memory of their elders, are applied to reconstruct the climate calendar and the transformations it has undergone. These geonarratives of water trace a path toward knowledge that contributes to the design of pluriverses articulated from the edges of modernity across indigenous perspectives.
{"title":"The Exile of Juyá: Decolonial Geonarratives of Water","authors":"José Quintero-Weir, Pablo Mansilla-Quiñones, Andrés Moreira-Muñoz","doi":"10.1080/2373566X.2022.2155561","DOIUrl":"https://doi.org/10.1080/2373566X.2022.2155561","url":null,"abstract":"The anthropocene and its contemporary environmental crisis are symptomatic of an exhausted phase and space of modern rhetoric regarding a nature/culture dichotomy. Its consequences are especially evident in indigenous territories, where it imposes a hegemonic vision of nature as an object of conquest; it affects ways of being, knowing, and existing with(in) the territory, and justifies ecocide and epistemicide. Other epistemologies and geonarratives are timely needed in the transit from the anthropoce towards an imaged new epoche of conviviality between humans (indigenous and non-indigenous) and more-than human species. This work addresses that challenge from a decolonial and transdisciplinary perspective based on Wayúu indigenous knowledge and their relationship with the hydrosocial territory in the Venezuelan Guajira. Wayúu geonarratives, based on the memory of their elders, are applied to reconstruct the climate calendar and the transformations it has undergone. These geonarratives of water trace a path toward knowledge that contributes to the design of pluriverses articulated from the edges of modernity across indigenous perspectives.","PeriodicalId":53217,"journal":{"name":"Geohumanities","volume":null,"pages":null},"PeriodicalIF":0.7,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80528479","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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