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Jacinta Laurent <Jacinta@www.alzado.net> : Alzado Vectorial | 0 8 |
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katasonix <data@katasonix.demon.co.uk> : Ccru datastream end: phase 1 | 0 9 |
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DeeDee Halleck <dhalleck@ucsd.edu> : Seattle tapes available | 1 0 |
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sinsite@ozemail.com.au <dLux> : d>art 00 | 1 1 |
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mezflesque.exe <mezandwalt@wollongong.starway.net.au>:Clone Beta Online | 1 2 |
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Date: Wed, 22 Dec 1999 14:56:57 -0800
From: Jacinta Laurent <Jacinta@www.alzado.net>
Subject: Alzado Vectorial
ENGLISH VERSION FOLLOWS!
=========================
PARA SU DISTRIBUCION INMEDIATA, 21 de diciembre de 1999. Escriba
a Jacinta Laurent al jacinta@alzado.net para m·s informaciÛn o
visite el espacio en la web http://www.alzado.net
ALZADO VECTORIAL, Arquitectura Relacional No. 4
UNA OBRA DE ARTE EN INTERNET PERMITE A GENTE DE TODO EL MUNDO VER
Y TRANSFORMAR EL CENTRO HISTORICO DE LA CIUDAD DE MEXICO USANDO
18 CA‹ONES DE LUZ.
"Alzado Vectorial" de Rafael Lozano-Hemmer Plaza del ZÛcalo,
Ciudad de MÈxico, 26 de diciembre de 1999 a 6 de enero del 2000.
Accediendo a la direcciÛn de internet http://www.alzado.net se
podr·n diseÒar domos de luz sobre el ZÛcalo Capitalino con 18
caÒones robotizados que estar·n alrededor de la Plaza. Los
enormes haces de luz se ver·n a 20 KilÛmetros a la redonda y
estar·n en constante movimiento respondiendo a las peticiones que
haga la gente por la red.
El sitio web constar· de un modelo del ZÛcalo en 3D para poder
dirigir los haces y crear un "Alzado Vectorial", es decir, un
domo geodÈsico de luz sobre la Ciudad. El interfaz permitir· a la
gente ver su diseÒo virtualmente desde cualquier punto de vista.
Cuando se envÌe una peticiÛn a MÈxico, los caÒones
autom·ticamente se orientar·n para realizar el diseÒo del
participante y tres c·maras tomar·n fotos digitales para
documentarlo. Una p·gina web se har· para cada participante con
fotos de su diseÒo, info rmaciÛn y sus comentarios.
TambiÈn habr· una retransmisiÛn en vivo desde las tres c·maras de
video localizadas en la Torre Latinoamericana, en el Gran Hotel
de la Ciudad de MÈxico y en un balcÛn de Palacio Nacional. El
video ser· enviado por un software hecho a medida para el proye
cto, denominado "kyx pyx", cuyo cÛdigo ser· distribuido en
abierto.
La instalaciÛn "Alzado Vectorial" es una obra del artista
electrÛnico mexicano Rafael Lozano-Hemmer, asistido por una
docena de programadores, modeladores y tÈcnicos de cuatro paÌses.
La especialidad de Lozano-Hemmer, que Èl denomina "arquitectura
relacio nal", tiene como objeto la transformaciÛn de edificios
emblem·ticos con nuevas tecnologÌas de interacciÛn que permiten
al p™blico formar parte integral de la obra. M·s informaciÛn
sobre su obra en
http://www.telefonica.es/fat/artistas/rlh/prlh.html
La pieza estar· operativa en el ZÛcalo de la Ciudad de MÈxico
diariamente del 26 de diciembre al 6 de enero desde el atardecer
al amanecer (18:00 a 6:00 horas). Se calcula que cientos de miles
de personas podr·n acceder al espacio en Internet y millones p
odr·n ver la pieza en vivo. Para aquellos interesados en
participar en el Alzado Vectorial y que no tengan el equipo de
cÛmputo necesario, se dispone de m·quinas de acceso gratuito en
todo MÈxico como en el Centro Nacional de las Artes, el Museo del
Papal ote, el Museo de Monterrey y en diversas bibliotecas
p™blicas.
El 31 de diciembre la pieza no funcionar· interactivamente, para
dar paso a los festejos de fin de aÒo. A las 23:37 horas,
Lozano-Hemmer seleccionar· algunos de los diseÒos del Alzado
Vectorial realizados hasta entonces para encadenar una secuencia
de ilu minaciÛn de 7 minutos de duraciÛn con m™sica electrÛnica
del DJ mexicano Bostich, del movimiento Nortec. El espect·culo
Ìntegro del 31 de diciembre ser· retransmitido por las c·maras de
video del Alzado Vectorial en el sitio web.
=========================
FOR IMMEDIATE RELEASE, December 21st, 1999. For more information
please contact Jacinta Laurent at jacinta@alzado.net or visit
http://www.alzado.net
VECTORIAL ELEVATION, Relational Architecture No. 4
A NET ARTWORK ALLOWS PEOPLE TO SEE AND TRANSFORM THE HISTORIC
CENTER IN MEXICO CITY USING 18 ROBOTIC SEARCHLIGHTS.
"Vectorial Elevation" by Rafael Lozano-Hemmer
ZÛcalo Square, Mexico City, December 26th 1999 to January 6th 2000.
Visitors to http://www.alzado.net will be able to design domes of
light over the Zocalo Plaza using 18 searchlights placed around
the city centre. These searchlights are powerful lightbeams that
can be seen from a 10 mile radius. They will be in constant
motion showing the designs arriving from the Net.
The website will feature a 3D interface that will allow
participants to point the searchlights and design a "Vectorial
Elevation", which is a geodesic light dome over the square. The
interface will allow people to see virtually their design from
any point of view. When a submission is sent to Mexico, the
searchlights will orient themselves automatically to render the
participant's design and three webcams will take pictures to
document it. A web page will be made for each participant with
photos of his o r her design, information, and comments.
A live netcast will take place using three webcams located at the
Latinoamericana skyscraper, the "Gran Hotel de la Ciudad" and the
National Palace. The video will be sent using "kyx pyx" streaming
software developed specifically for this project. This so urce
code will be available as a free download.
The installation "Vectorial Elevation" is a piece by Mexican
media artist Rafael Lozano-Hemmer, in collaboration with over a
dozen programmers, designers and technicians from four countries.
Lozano-Hemmer's "Relational Architecture" projects aim to transf
orm emblematic buildings with new interactive technologies that
allow the public to be an integral part of the artwork. More
information on his work can be found at
http://www.telefonica.es/fat/artistas/rlh/prlh.html
The piece will be running every night , dusk to dawn (6PM to 6
AM), from the 26th of December to the 6th of January. Hundreds of
thousands of people will access the piece through the net and
millions will see it live in Mexico City. For those who do not h
ave net connectivity a number of free public terminals are
available across the country, mostly in museums and libraries.
On the 31st of December the piece will not be running
interactively in order to accommodate the New Year's Eve
celebration. At 11:37 PM, Lozano-Hemmer will select a few of the
"Vectorial Elevation" designs already done by the participants
and will make a 7 minute light show. This show will feature
music by Mexican electronic DJ Bostich, from the Nortec scene.
The entire New Year's Eve celebration will be netcast by the
site's webcams.
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Date: Fri, 24 Dec 1999 01:28:32 +0000
From: katasonix <data@katasonix.demon.co.uk>
Subject: Ccru datastream end: phase 1 complete
Ccru: Cybernetic culture research unit
http://www.ccru.demon.co.uk
it@ccru.demon.co.uk
Y2k+ datastream phase 1 completion
KO99
Phase 2: current issue of Mute magazine - y2k positive - Mark Fisher
--
ccru via katasonix
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Date: Fri, 24 Dec 1999 00:07:18 -0400
From: DeeDee Halleck <dhalleck@ucsd.edu>
Organization: Deep Dish TV
Subject: Seattle tapes available
SHOWDOWN IN SEATTLE: 5 DAYS THAT SHOOK THE WTO
produced December, 1999 by Independent Media Center, Big Noise
Productions, Changing America, Headwaters Action Video
Collective, Paper Tiger TV, Deep Dish TV, VideoActive and
Whispered Media, working with the footage of dozens of video
activists from the IMC..
Showdown in Seattle features an on-the-ground, non-corporate
perspective and in-depth analysis you won't find anywhere else,
inaddition to footage of police repression and popular
resistance. Eachhalf hour show is made up of segments shot and
edited onlocation in downtown Seattle by an unprecedented
collaboration of video producers from around the U.S. The
programs in this series were produced daily on location in
Seattle and satellite cast across the U.S on each day of the WTO
ministerial.
Show One: Seattle Prelude 25 min.
Produced on Nov 29th, satellitecast morning of Nov 30th. The
issues of the WTO ministerial are laid out by Kevin Danaher of
Global Exchange, Anuradha Mittal of Food First, and author
Michael Parenti. Seattle warms up as thousands pour into the city
for week-long rallys and demonstrations activists say "why we are
here". Included are acrobatic banner drops, a building takeover
by housing activists and preparations by the Direct Action
Network. Interviews with Jubilee 2000 participants, labor leaders
and congresspeople Maxinne Walters and Paul Wellstone.
Show Two: People Unite, Police Riot 28 min.
Produced on Nov 30th, satellitecast morning of Dec. 1st. Direct
action blockades by activists delay the beginning of the WTO
meetings and are met by Seattle Police and barrages of chemical
weapons and rubber bullets. Labor launches their big rally and
march through Seattle with nearly every labor leader in atten-
dance making their voices heard. A segment on how riot batons are
manufactured with graphic illustration of their (mis)use by
Seattle Police, including a blockade of the Independent Media
Center .
Show Three: Occupied Seattle 28 min.
Produced on Dec. 1st, satellitecast morning of Dec. 2nd. The
SteelworkerÌs rally/march is met with Police teargas when they
venture to close to other protesters. Mary Reeves (National
Lawyers Guild) and attorney Amy Kratz- examine the legal issues
posed by the Police abuse of civil liberties. A segment on
Filipino Labor History with Dr. Carol Pagaduan (Araullo-BAYAN)
and activist Liza Largoza-Maza Gabriela. A look at Indigenous
issues and the WTO with Tom Gold Tooth (Indigenous Environmental
Network), Ciprianna Jurapo (Center for Investigation and worker
Solidarity) and Carol Kalafatic (International Indian Treaty
Council). A critical look at how the media has covered the
protests and a revealing video veritÈ walk with a WTO delegate.
Show Four: Unwilling Captives 28 min.
Produced on Dec. 2nd, satellitecast morning of Dec. 3rd. Over 600
arrests and questionable legal processing are discussed in a
segment with Larry Hauser (King County Council member) and Doug
Hoenig (ACLU) from King County Jail. Interviews with Seattle
locals and bystanders caught in the Police melee. A look at the
environmental hostages of WTO economic policy; the Global Free
Logging Agreement and Genetic Engineering. A final segment on the
international solidarity of farmers with French farmer JosÈ BovÈ,
Ralph Nader, Jim Hightower and Vandana Shiva.
Show Five: What Democracy Looks Like 28 min.
Produced on Dec. 3rd, satellite cast morning of Dec. 4th. The WTO
ends in failure and celebration. Interviews with Victor Menotti
(Int.Forum on Globalization), John Mwaniki (Zimbabwe delegate),
Lori Wallach (Public Citizen), Scott Nova (Citizen Trade
Campaign), Mr. Shinohara (Japanese Delegate) and others. A look
at the youth participation in Seattle protests and what the WTO
means to them . The Longshoreman Rally closes labor's week of
events. An ironic look at holiday shopping in Seattle during the
siege. An inside look at the Independent Media Center and the
process that made it work. The series closes with reflection on
the week' s events: the inspiration that will be carried home and
the mobilization ahead.
Available from Deep Dish TV 339 Lafayette St NY NY 10012 212 473 8933
DEEP DISH PRESENTS WTO BACKGROUND BRIEFING SERIES The following
documentaries are useful background programs about international
lending programs and globalization patterns and their impact on
countries around the world.
Global Village or Global Pillage 30:00
This project shows constructive ways ordinary people around the
world are addressing the impact of globalization on their
communities, workplaces, and environments. It weaves together
video of local and transnational activities, interviews, music,
and original video comics to show that, through grassroots
organizing combined with mutual support around the world,
ordinary people can empower themselves to deal with the global
economy.
http://www.villageorpillage.org/ by Jeremy Brecher, Tim Costello, Brendan Smith
Korea: Crisis of Capital, Hope of Labor 30:00
General strikes, mobilizing thousands of workers and their
families, have successfully shut down entire cities as labor has
forced ìneo-liberalî economic reforms to be reconsidered.
Neo-liberal reforms in Korea, not unlike those imposed on
countries like Indonesia, Brazil, and Mexico, have caused
considerable social unrest, and have devastated the lives of
working people across the globe. These economic policies, often
advanced by U.S.- backed institutions like the World Bank and the
International Monetary Fund, demand that ìdevelopingî governments
slash social services, and allow for unrestricted levels of
foreign investment. The Korean Labor Movement serves as an
extraordinary example of people working together to resist these
practices. by Korean Labor News Production
Deadly Embrace: Nicaragua, The World Bank, and the IMF 30:00
The war in Nicaragua is not over; it has only become more
invisible to the outside world. Deadly Embrace traces the history
of U.S. involvement in the region, focusing on the current
economic attack of the IMF, the World Bank and U.S. agencies. The
tape combines footage of the everyday struggle to survive with a
textbook-clear analysis of structural adjustment, the debt crisis
and free trade. After five years of IMF and World Bank programs,
Nicaragua has experienced the worst economic collapse in its
history and has been reduced to one of the poorest countries in
the world. by Liz Canner
Haiti's Piggy Bank: The Loss and Recovery of the Creole Pig 30:00
In Haiti's rugged countryside, the Creole pig was a poor family's
most important economic asset, a staple for both food and
culture. When swine flu broke out in 1980, USAID pressured Haiti
to eradicate this indigenous pig population. This video shows
the self-interest of US aid, the interconnected nature of
resources, and the trauma caused by harsh agricultural policies
imposed from above. But it also teaches that resistance can
bring renewal and hope: through grassroots and human rights
assistance, the Creole pig has returned. This is an example of
how local actions can solve local problems. by Robin Lloyd
Cancel the Debt Now 30:00
Jubilee 2000 is a worldwide movement to cancel the unpayable
debts of the most impoverished countries in the world by the end
of the year 2000. This film explains the origin of these debts,
and why they should be canceled. It shows the devastating impact
of debt upon the people and the environment in poor countries,
and it invites the American people to work in solidarity with
people from the developing countries to
help alleviate the suffering of hundreds of millions of people
throughout Africa, Latin America and Asia. by Anne Macksoud
Available from Deep Dish TV 339 Lafayette St NY NY 10012 212 473 8933
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Date: Fri, 24 Dec 1999 12:08:36 -0800
From: sinsite@ozemail.com.au <dLux>
Subject: d>art 00
>art 00
june / july 2000 Sydney, Australia
d>art 00 is dLux media arts' acclaimed annual event. A showcase of
inter/national experimental
film | video | animation | web | internet | cd rom and sound art works. The
d>art 00 screening will once again be shown to capacity audiences at the
prestigious Sydney Film Festival with various components installed at other
well known venues in Sydney throughout June / July 2000. The program will
then tour inter/ nationally.
-----------------------------------------------------
conditions of entry + general information
-----------------------------------------------------
* closing date for entries>>>
Entries should be received at the office of dLux media arts on or before
fri 31 march 2000, addressed to:
d>art 00
dLux media arts PO Box 306 Paddington NSW 2021 Australia
(there is no entry fee applicable to d>art 00)
* selection criteria >>>
* d>art 00 is open to all Australian and International artists.
* art works should be new ( preferably completed after 1 january 1999)
* art works should be innovative | experimental | radical | challenging |
unexpected |
>>> art works should reach beyond their means and methods of production
>>>
* film / video / sound art works should be less than 15 mins duration
(longer works may be considered in exceptional cases)
* a panel of representatives from the screen / audio arts industries will
decide on the final selections
* preview formats >>>
for each work submitted - please send preview materials in ONE of the
following formats:
- film / video work: SP Betacam (PAL only), VHS PAL or NTSC
- cd-rom: Mac or PC
- audio tape or cd
Works submitted in other formats will not be eligible for consideration.
Please DO NOT send original master copies. All films must be submitted on
video for previewing
* screening formats >>> (n / a cd-rom, web, internet and sound works)
video / animation artists whose work/s are selected for d>art 00 will be
asked to provide an
SP Betacam version of their work/s which will then be compiled onto an SP
Betacam master for screening.
filmmakers, if selected must also provide a Pal SP Betacam copy of film, to
be included in the d>art 00 touring program. 16mm / 35mm film with optical
sound can only be projected at the Sydney screening of d>art 00.
* promotional materials >>>
If convenient, please include images (clearly labelled) from your work/s
for possible promotional use. Formats: 35mm photo print or slide
transparencies (colour or b&w)
TIFF, EPS or JPEG files on Mac disks / cd / zip disk only.
* exhibition fee paid to artists >>>
Artists whose work is selected for inclusion in d>art 00 will be paid a
once-only fee of AUD150
+ one complimentary ticket to the screening component of d>art 00 in Sydney.
* exhibition dates / venues >>>
June 2000 (+ tour) - dates, times, venues to be announced
* program details >>>
A program brochure will be printed which will include details of all works
selected for d>art 00
(based on the information supplied by the artist on the entry form). A copy
of the brochure will be distributed to ALL artists who submit work.
* promotion >>>
dLux media arts reserves the right to use an audio and / or visual excerpt
of the work and / or any image / graphics supplied by the artist and / or
reproduce images from the work in order to promote both the work and the
d>art 00 event. In such cases, dLux will take all reasonable care to ensure
that the artist and work are duly and correctly acknowledged.
* return of tapes >>>
Preview tapes, cd-roms and promotional materials can only be returned if
the cost of return postage is included with entry form. If you wish to have
your materials returned, please include a money order for:
- AUD20 (for international return postage)
- AUD7 (for return postage within Australia).
* liability >>>
The artist agrees:
- to obtain all rights, permissions and clearances in respect to the work/s
necessary for her / him to enter this agreement
- that the work/s contains no libellous or scandalous material and
- that s/he will keep dLux media arts, the Sydney Film Festival and other
d>art 00 exhibiting parties forever indemnified against any possible claim
whatsoever made against dLux media arts, the Sydney Film Festival and other
d>art 00 exhibiting parties in relation to the work/s.
* copyright >>>
- Copyright of the work/s remains with the director / creator / producer.
- Copyright of the event, title, program and notes remains with dLux media
arts
* censorship clearance >>>
dLux will apply to the Office of Film and Literature Classification for
exemption from classification for all works included in the screen
component of d>art 00. A condition for exemption is that admission be
restricted to adults 18 years and over. To obtain the exemption a brief
description of each work must be submitted by dLux to the Office.
Therefore, it is essential that you include with your entry form a clear
and unambiguous synopsis / description of your work/s.
* dLux archives >>>
dLux media arts is committed to the preservation of innovative screen and
sound arts. We are dedicating some of our limited resources to this
valuable project. The archival materials will be used for research purposes
and as an educational and / or promotional resource, and will not be
broadcast or sold commercially. Please indicate where shown on Declaration
Form if you wish your work/s to be included in the d>art 00 archival
collection.
* agreement >>>
Works can only be accepted for consideration for inclusion in d>art 00 if
the above terms are agreed to by the copyright holder of the work/s. Please
sign the declaration attached and submit it along with a copy of your
work/s, support materials (optional) and a fully completed entry form.
* information >>>
entry forms, membership details + further information about dLuxevents
please contact :
anna davis, project assistant, dLux media arts
PO Box 306 Paddington NSW 2021 Australia
tel 61 2 9380 4255 fax 61 2 9380 4311
dLux@dLux.org.au
www.dLux.org.au
The innovative programs presented by dLux media arts are reliant on your
support. As a dedicated supporter of the arts please consider joining or
renewing your membership with dLux media arts. Your membership is vital to
us as it allows dLux to continue to present the dynamic, cutting edge art
events you have come to expect. As a dLux member you will be taking an
active role in maintaining a vibrant Australian media art and screen
culture. dLux media arts is a not-for-profit organisation. All revenue from
ticket sales will help offset artists' fees and related administration,
production and promotional expenses. Thank you for your interest in dLux
media arts.
d>art 00 entry form + declaration
-----------------------------------------------------
* closing date for entries, friday 31 march 2000
please complete details below, sign declaration on reverse side of this
page, and return with your work and other materials.
-----------------------------------------------------
* contact details
name
............................................................................
.....................
address
............................................................................
.....................
............................................................................
.....................
..................................................... p/code
...................
home phone ( ) ..................................... business phone
.......................................
mobile ......................................................... fax
............................................................
email
.............................................................................
........
URL
www.........................................................................
..
-----------------------------------------------------
* details of artwork - please fill in gaps and circle the appropriate
answers, or attatch a separate page
title
............................................................................
.......
duration (n / a cd-rom, web, internet) ....................................
year of production
............................................................................
.......
has this work been shown at any other festivals / received awards Yes
No (if yes, please attatch list)
medium shot / recorded on .................................colour /
b&w stereo / mono
medium completed on ..................................colour / b&w
stereo / mono
producer
............................................................................
.......
director / creator
............................................................................
.......
other major collaborator / s
............................................................................
.......
(please attatch list if necessary)
............................................................................
.......
film works only (please circle) 16mm / 35mm colour / b&w
ASPECT RATIO - academy / 1:1:85
SOUND - optical / mute
FRAME RATE - 24fps / 25fps
If selected for d>art 00, I agree to provide a pal SP Betacam copy of my
film for touring purposes Yes No
16mm /35mm film with optical sound can only be projected at the Sydney
screening of d>art 00.
-----------------------------------------------------
* artist bio
fill in here or please attach:
- biographical notes of director / creator (maximum 50 words)
.............................................................................
............................................................................
............................................................................
............................................................................
............................................................................
............................................................................
............................................................................
............................................................................
............................................................................
............................................................................
.............................................................................
............................................................................
.................................................
* short synopsis
fill in here or please attatch (maximum 50 words)
............................................................................
............................................................................
............................................................................
............................................................................
............................................................................
............................................................................
............................................................................
............................................................................
.............................................................................
............................................................................
.............................................................................
............................................................................
................................................
* stills
please include images from work (slides, photo print, TIFF or EPS mac
computer files on floppy disk, cd or zip disk)
* declaration
- I understand that the decisions of the d>art 00 selection panels will be
final, and that no correspondence about the decisions will be entered into.
- I have read and understand all the conditions of entry, and agree to the
terms specified therein.
- I do/ do not (circle applicable word / s) wish to have my work / s
included in dLux media arts'
d>art 00 archival tape / cd-rom / audio collection.
director's / creator's / producer's (copyright holder's) signature
.............................................................................
.......
date
...........................................................................
director's/creator's/producer's (copyright holder's) name (please print
clearly)
............................................................................
.......
postal address
............................................................................
.......
............................................................................
.......
............................................................................
.......
.......................................................p/code
................
-----------------------------------------------------
* closing date for entries - fri 31 march 2000
-----------------------------------------------------
* information
entry forms, membership details + further information about dLuxevents
please contact
Anna Davis, Project Assistant or
Alessio Cavallaro, Director
dLux media arts
PO Box 306 Paddington
NSW 2021 Australia
tel 61 2 9380 4255
fax 61 2 9380 4311
dLux@dLux.org.au
www.dLux.org.au
dLux media arts encourages and promotes the development and critical
discussion of innovative film, video, digital media and sound arts in
Australia,
and exhibits this work to diverse audiences nationally and internationally.
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Date: Fri, 24 Dec 1999 10:06:01 +1100
From: "mezflesque.exe" <mezandwalt@wollongong.starway.net.au>
Subject: PROJECT ANNOUNCE.MENT::Clone Beta Now Online
______:::::Point In The Fluid Productions presents:::::_____
____________________________________________________________________
++++CLONE BETA: _Clo[h!]neing God N Ange-Lz_+++++
_____________________________________________________________________
[Wot wood happen if Angellez scribed their songz in alt-turd DNA?]
[Get Yr Godstrandz here!]
[N-sert wingz here]
++
[Watch the God Mut[e]antz on their Helix Shrivelled Flesh!]
http://workxspace.de/mez/clonegod.htm
++
_______________________________________________________________________
clone alpha+beta r bought 2 u bi Point In The Fluid Productions, a subsidiary
company of mezflesque.exe
_____________________________________________________________________________
+IF underground spa[z]m = flesh sub.stance of n anim[us].all body//
+THEN *.esque = n-dicating style, manner, dis[junct]tinc.tive charact[h]er
+AND _____________________________________
+wollongong.starway.net.au/~mezandwalt <<<<<<<<<<<<<<<<<<[flesque is born]
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - > > > >
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