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Survey Results on Contingent Faculty in Higher Education

posted by Christopher Howard


The results of a 2010 survey of contingent faculty members and instructors in American higher education, published today by the Coalition on the Academic Workforce (CAW), have confirmed much of what has been reported anecdotally: part-time faculty members demonstrate a dedicated level of commitment to teaching and to the institutions that employ them, but this commitment is not reciprocated by those institutions through compensation or other professional support. The findings also describe larger course loads for teachers, imbalances in compensation in relation to not only professional credentials but also gender and race, and minimal participation in academic decision-making. Further, contingent faculty face longer durations of provisional employment and slim prospects for career advancement, with schools failing to meet their preference for full-time status.

According to a 2009 government study, 75.5 percent of all faculty members at colleges and universities in the United States are contingent: that is, they hold part-time or adjunct positions, have full-time non-tenure-track jobs, or serve as graduate-student teaching assistants. Part-timers alone make up nearly half the total professoriate. The US Department of Education, however, has not kept statistics on contingent-faculty salaries since 2003, when it last carried out its National Study of Postsecondary Faculty. CAW’s comprehensive survey, administered in fall 2010, was conducted in an effort to provide meaningful data for this rapidly growing concern. Of the nearly 30,000 survey respondents, 1,102 were CAA members: 591 in studio art and design, 362 in art history, and 149 in art education. The CAW report focuses on the largest group of contingent faculty: part-timers.

CAA is a founding member (1997) of CAW, which is a group of higher-education associations, disciplinary associations, and faculty organizations committed to addressing issues associated with deteriorating faculty working conditions and their effect on college and university students in the United States. Specifically, CAW’s purpose is to: collect and disseminate information on the use and treatment of full- and part-time faculty members serving off the tenure track and the implications for students, parents, other faculty members, and institutions; articulate and clarify differences in the extent and consequences of changes in the faculty within and among the various academic disciplines and fields of study; evaluate the short-term and long-term consequences of changes in the academic workforce for society and the public good; identify and promote strategies for solving the problems created by inappropriate use and exploitation of part-time, adjunct, and similar faculty appointments; promote conditions by which all faculty members, including full- and part-time non-tenure-track faculty members, can strengthen their teaching and scholarship, better serve their students, and advance their professional careers.

Andrew Delbanco, the author of College: What It Was, Is, and Should Be (2012), stated that, in 1975, 60 percent of college professors were full-time faculty with tenure. The reasons for the accelerated shift toward contingent labor since that time are many. Decreases in state funding, capital expansion without commensurate revenue, increases in specialized knowledge requiring thousands of course offerings, and swelling student enrollment all have had a detrimental effect on faculty budgets, more so than on any other area of expenditures in higher education. Jane Wellman, who led the Delta Project on Postsecondary Education Costs, Productivity, and Accountability, affirmed these observations in a recent New York Times interview:

What the evidence shows is that we’ve done more to cut costs in the faculty area than elsewhere in the budget, and we’ve done it by bringing in more adjuncts and part-timers. So there’s a handful of professors with tenure, who don’t teach very much, and then there’s [a] lot of people who have no benefits who do more of the teaching. I think it’s probably hurting academic quality, especially at institutions where the students are not well prepared. The attrition [of students] is mostly in the first two years, and that’s mostly where the adjuncts are.

While no hard evidence has determined that an increase of adjuncts has diminished the quality of teaching in higher education, the CAW survey results clearly demonstrate pressure on part-time faculty due to not only expanding workloads and larger classes—especially for part-time faculty teaching at multiple institutions—but also expectations to be involved in academic decision-making without additional compensation.

Professors of studio art and art history are acutely aware of all these issues. Enrollment has risen persistently for art-history and studio courses for years, while tenured positions have diminished. The survey results do bring some slightly positive news: median pay for contingent faculty in studio art and design and in art history is $3,000 per three-credit course (the nationwide median is approximately $2,700). In addition, workers at campuses with a union presence earn more than those at nonunion schools. Compensation is lower, however, for survey respondents who identified themselves as black, although the number of African Americans who participated in the survey was low. Please visit the CAW website for details on these issues and more.

The CAW report will provide important data for discussions taking place in several of CAA’s Professional Interests, Practices, and Standards Committees. The Student and Emerging Professionals Committee will be addressing contingent-faculty issues at a panel at the 2013 Annual Conference in New York, which will include Michael Bérubé, president of the Modern Language Association and director of the Institute for the Arts and Humanities at Pennsylvania State University, who will present an overview of the Academic Workforce Data Center, a compilation of historical data of the growth of contingent faculty by universities. Bérubé will also discuss the need to nationalize the academic-job market. Jeanne Brody, an adjunct professor at Villanova University and Saint Joseph’s University, will summarize the ways in which adjunct faculty members are effectively organizing and advocating better treatment within the university system. Victoria H. F. Scott of Emory University will discuss the establishment of an Art History Society of the Americas, which would explore abolishing adjunct position types, raising salaries, collecting statistics, and setting policies to improve and monitor working conditions.

The Committee on Women in the Arts, which focuses on women’s issues in the workplace and beyond, will respond to survey results on gender. Although women make up two-thirds of all CAA members, they tend to occupy the lowest rungs of academia, while men continue filling the higher-ranking and higher-paid positions. To continue the discussion, the committee will present a panel at the 2013 conference, chaired by the artist and professor Claudia Sbrissa, on how the “feminization” of art history may have contributed to lower salaries and prestige for women.

Similarly, the Committee on Diversity Practices will discuss issues related to retention of faculty members of color during its panel at the 2013 conference.

CAA would like to thank the individuals who generously volunteered their time and expertise to develop and tabulate CAW’s survey: John Curtis, director of research and public policy, American Association of University Professors; David Laurence, director of research, Modern Language Association; Kathleen Terry-Sharp, director of academic relations and practicing and applied programs, American Anthropological Society; Craig Smith, director of higher education, American Federation of Teachers; and Robert B. Townsend, deputy director, American Historical Association.



CAA Workshop for Artists in San Diego

posted by Michael Fahlund


CAA, in partnership with the San Diego Foundation and the City of San Diego Commission for Arts and Culture, will present its next National Professional-Development Workshop for Artists on Friday and Saturday, June 29–30, 2012. The two-day event, called “Business of the Arts for Visual Artists: ‘Brand You’ and ‘Marketing Yourself to Market Your Art,’” will explore strategies for launching, renewing, and sustaining a career in the arts.

“Brand You” will take place on Friday evening, June 29, 5:00–7:00 PM, andMarketing Yourself to Market Your Art” is scheduled for Saturday, June 30, 8:30 AM–5:15 PM. Both sessions will be held at the San Diego Foundation, 2508 Historic Decatur Road, Suite 200, San Diego, CA 92106.

The workshop kicks off on Friday evening with a wine-and-cheese networking reception, after which David Lecours, owner and creative director of Lecours Design, will deliver the keynote address, “Brand You.” His presentation will focus on how artists can determine their unique strengths and individual voices, apply them in the marketplace, and promote a personal brand for success.

On Saturday, Ashley McLean Emenegger, an art consultant, independent curator, writer, visual artist, and career coach, will present a full-day session entitled, “Marketing Yourself to Market Your Art.” Participants will learn how to identify and reach the target audience for their work. A continental breakfast and boxed lunch, included in the registration fee, will be served. Following the workshop, the San Diego Foundation will host a wine-and-cheese networking reception for participants.

The workshop is $15 for Friday only; $25 for Saturday only; and $35 for both days. Participants attending both days will receive the second edition of Business of Art: An Artist’s Guide to Profitable Self-Employment. A limited number of stipends are available for those who register for both days; please contact Susan Schear, CAA national workshop project consultant, at 973-482-1000. You may pay by credit card, debit card, or PayPal. If paying by check, write it out to College Art Association and mail to: Meryl Zwanger, San Diego Foundation, 2508 Historic Decatur Road, Suite 200, San Diego, CA 92106; include your name, complete mailing address, email, and phone number. Please specify if your registration is for Friday only, for Saturday only, or for both Friday and Saturday.

CAA’s National Professional Development Workshops for Artists, which focus on supporting visual artists in underserved areas, are sustained by a generous grant from the Emily Hall Tremaine Foundation.

Workshop Partners

Founded in 1975, the San Diego Foundation promotes and increases effective and responsible charitable giving. It manages more than $560 million in assets, almost half of which reside in endowment funds that extend the impact of today’s gifts to future generations. Since its inception, the foundation has granted more than $700 million to San Diego’s nonprofit community. The CAA workshop, cosponsored by the foundation, is part of Innovation through the Arts, a multifaceted, multiyear initiative launched in 2010 to help San Diego realize its potential as a center of creativity and innovation. The initiative is achieved through three primary programs that together seek to advance San Diego’s artistic community by supporting professional artists, nonprofit arts and culture organizations, and strategic efforts that increase arts education in the city’s K–12 schools. Advised by the foundation’s Arts and Culture Working Group, Innovation through the Arts is made possible by the James Irvine Foundation and other generous philanthropic organizations and individuals.

The City of San Diego Commission for Arts and Culture advises the mayor and city council on promoting, encouraging, and increasing support for the region’s artistic and cultural assets. The commission also helps to integrate arts and culture into community life and to showcase San Diego as an international tourist destination. Supported in part by the National Endowment for the Arts and the California Arts Council, the commission has been officially designated by the City of San Diego as a CAC State/Local Partner since the early 1980s.

As a leading professional organization in the visual arts, the College Art Association serves the needs and interests of 12,000 individual and 2,000 institutional members. Founded in 1911, CAA publishes two scholarly journals in art history, an online reviews journal for books and exhibitions, a weekly email newsletter, and a website with news about the organization, its members, and the larger art and academic worlds. CAA also hosts an Annual Conference for 4,000 to 6,000 artists, scholars, and students, provides career services, and advocates the visual arts on a national level.



New Directories of Graduate Programs Coming

posted by Betty Leigh Hutcheson


The information on this page has been updated. Please visit the main directories page for the most up-to-date information.

This fall CAA will publish new editions of Graduate Programs in Art History and Graduate Programs in the Visual Arts. As comprehensive resources of schools across the United States, Canada, the United Kingdom, Australia, and New Zealand, the guides list over 650 programs in fine art and design, art and architectural history, curatorial studies, arts administration, and more.

Prospective graduate students will find everything they need to know before beginning the application process. The directories are also key professional references for career-services representatives, department chairs, graduate and undergraduate advisors, librarians, professional-practices educators, and professors interested in helping emerging generations of artists and scholars find success.

Graduate Programs in Art History covers four disciplines: Art History, Curatorial and Museum Studies, Arts Administration, and Library Science. This directory integrates programs in visual studies and architectural history into Art History. Similarly, Graduate Programs in the Visual Arts comprises four areas: Studio Art and Design, Art Education, Film Production, and Conservation and Historic Preservation. Studio Art and Design combines programs in fine art with those in graphic, industrial, and object design.

Organized alphabetically by school name within each discipline noted above, entries describe curricula, class size, faculty specializations, admission and degree requirements, library and studio facilities, opportunities for fellowships and assistantships, and more. Readers can draw important conclusions from these facts, such as the competitiveness of a program based on the amount of applications received and accepted. Need health insurance or housing while in school? Many programs provide details about what they offer.

The directories are available in multiple print and digital formats, as books, ebooks, and downloadable PDFs. The complete volumes of each directory are only available in print.

Print

The complete Graduate Programs in Art History and Graduate Programs in the Visual Arts cost $41 each for CAA members and $51 for nonmembers, plus shipping and handling.

You can also order all entries within five of the eight disciplines as discrete perfect-bound, soft-cover books. The prices below do not include shipping and handling:

Art History: $22
Art Education: $18
Curatorial and Museums Studies: $16
Film Production: $15

The three remaining disciplines—Arts Administration, Library Science, and Conservation and Historic Preservation—are available only as ebooks and cannot be ordered as discipline-specific books.

Individuals can order both directories and the discipline-specific books through the CAA website (link forthcoming). If you are ordering for a school, institution, or department within a college or university, please download the PDF form (forthcoming) and return the completed version with payment to Roberta Lawson, CAA office coordinator, who will ship the directories to you within two business days of your purchase.

Ebooks

All entries within a particular discipline may be ordered as single ebooks. After placing your order on the CAA website, you will receive an email with a link(s) to the ebook(s). Each ebook can be downloaded a limited number of times and will be compatible with your personal computer and most smart phones and ereaders (excluding Kindles).

You can also order all entries within five of the eight disciplines as ebooks:

Art History: $22
Art Education: $18
Curatorial and Museums Studies: $16
Film Production: $15
Studio Art and Design: $26

Ebooks of all entries in Arts Administration, Library Science, and Conservation and Historic Preservation are priced as follows:

Arts Administration: $14
Conservation and Historic Preservation: $14
Library Science: $12

Ebooks can only be ordered through the CAA website (link forthcoming).

Sets of Entries

Individuals can search the directories by discipline, faculty specialization, country, region, state, degree type, and availability of health insurance via the CAA website and download PDFs of entries from either or both directories for $2 per entry (up to twenty entries). Upon ordering the entries, you will receive an email with a link to a single PDF containing the entries you have selected.

Contact

Questions about ordering? Please contact Roberta Lawson, CAA office coordinator, at 212-392-4404.



CAA Workshop for Artists in Richmond, Virginia

posted by Michael Fahlund


CAA, in partnership with the School of the Arts at Virginia Commonwealth University (VCUarts), will present its next National Professional-Development Workshop for Artists at the Grace Street Theater on Saturday, October 1, 2011. The one-day event, called “Toolkit for a Sustainable Life in the Arts: Ideas XS, S, M, L, XL,” will explore strategies for launching, renewing, and sustaining a career in the arts.

“Toolkit for a Sustainable Life in the Arts” will take place 8:00 AM–7:00 PM at VCUarts, Grace Street Theater, 934 West Grace Street, Richmond, VA 23284 (map). The workshop is free for all VCUarts students, faculty, and staff; $25 for all other participants. A limited number of stipends are available; please contact Susan Schear, CAA national workshop project consultant, at 973-482-1000 for more information.

Check-in and registration begin at 8:00 AM, with a complimentary continental breakfast and an opportunity for group networking. At 9:00 AM, Aaron Landsman, a renowned playwright, actor, and teacher, will deliver the keynote address, “Exploring How a Life in the Arts Can Be Sustained.” Next, the artist Karen Atkinson, also an independent curator and the founder of GYST, will present “Analog Toolkit: Pragmatic Strategies for Creating Opportunities.”

After a buffet lunch (included in the registration fee), Peter Baldes, an artist and VCUarts professor in the Department of Painting and Printmaking, will lead workshop participants through “2.0 Toolkit: Extending Opportunities through Social Media, Web Presence, and New Distribution Channels.” Next, two speakers—Sarah Cunningham, former director of arts education for the National Endowment for the Arts and now VCUarts director of research, and Melissa Potter, an artist and faculty member in the Interdisciplinary Arts Department at Columbia College Chicago—will present “Solvent Toolkit: Realizing Grant Opportunities.”

The final panel, “DIY Toolkits: Innovative Models for Making Art and Collaborating with an Engaged Community,” moderated by Jack Risley, VCUarts associate dean of academic affairs, will consist of three VCUarts professors with diverse artistic practices: Kendall Buster and Corin Hewitt from the Department of Sculpture and Extended Media and Hope Ginsburg of the Department of Painting and Printmaking. A Q&A session will conclude the workshop.

Following the workshop, VCUarts cordially invites participants to a networking reception at its Anderson Gallery (907½ West Franklin Street, Richmond, VA 23284), to be held 5:30–7:00 PM. The exhibition Environment and Object: Recent African Art will be on view.

Registration for the workshop is first-come, first-served. Because space is limited, CAA encourages you to register in advance. Participants from VCUarts should contact Susan Schear at 973-482-1000; please include your name, mailing address, and telephone number in your voicemail or email to receive a confirmation for registration. All others can pay by credit card, debit card, or PayPal. If paying with cash or by check at the door, or if requesting a stipend, please contact Susan Schear and include your name, mailing address, and telephone number in your voicemail or email.

Partners

The School of the Arts at Virginia Commonwealth University comprises sixteen programs in fine art, design, the performing arts and art history. The main campus in Richmond hosts more than 3,000 undergraduate and graduate students in the arts, while a sister campus in Doha, Qatar, counts 214 students enrolled in five programs. VCUarts has grown to become the top American public university for the visual arts, as ranked by US News and World Report.

Founded in 1911, the College Art Association serves the needs and interests of 13,000 individual and 2,000 institutional members. It publishes two scholarly journals in art history, an online reviews journal for books and exhibitions, a weekly email newsletter, and a website with news about the organization, its members, and the larger art and academic worlds. CAA also hosts an Annual Conference for 4,000 to 7,000 artists, art historians, and students, provides career counseling, and advocates for national issues in the visual arts.




CAA’s two Directories of Graduate Programs in the Arts, covering MA, MFA, and PhD programs in art and art history, are now on sale: $15 for CAA members and $20 for nonmembers, plus $4 shipping.

Published in late 2008 and early 2009, the directories remain the most comprehensive resources available for prospective graduate students in the visual arts, listing hundreds of programs in the United States, Canada, the United Kingdom, Australia, New Zealand, and elsewhere worldwide. CAA will introduce revised, online versions of the directories in fall 2011, with a price to be determined.

The directories come in two volumes, each sold separately: Graduate Programs in Art History includes art history, visual studies, museum studies, curatorial studies, arts administration, and library science; and Graduate Programs in the Visual Arts comprises studio art, graphic design, applied arts and design, film production, art education, and conservation. An index lists schools alphabetically and by state and country for quick reference. An introductory essay presents a detailed description of the elements of a program entry, including explanations of the various kinds of programs and degrees offered, helping place your search and selection process in context.

CAA accepts online purchases from individuals only. If you are ordering on behalf of a school, department, library, museum, or other institution, please download and complete this form and submit it via mail or fax to: CAA, 275 Seventh Ave., 18th Floor, New York, NY 10001; 212-627-2381.

Updated on February 23, 2011.



Filed under: Books, Education, Publications, Students

Earlier this year, the Coalition on the Academic Workforce (CAW) published an issue brief estimating 72.5 percent of all faculty members at American colleges and universities are contingent, that is, they do not have tenure or are not on the tenure track. Since no comprehensive national data exist for pay scales, benefits, working conditions, and involvement in departmental decision-making—let alone specifics on academic-based artists and art historians, and for university museum researchers—this figure cannot be verified.

For this reason, CAW has developed a Survey of Contingent Faculty Members and Instructors, which will examine compensation and working conditions, among other issues, at the institutional and course levels. The goal of the survey, which is live from September 27 to November 30, 2010, is to gather accurate information so that CAW may advocate more effectively at the local and national level.

As an active CAW member, CAA supports workforce equity through its Standards and Guidelines, advocacy efforts, and data compilation, and it urges all contingent faculty, instructors, and researchers to complete this survey and to alert others to do the same.

Open to full- and part-time teachers, graduate students (remunerated as teaching assistants or employed in other roles), researchers, and postdoctoral fellows, the survey is an excellent opportunity for CAW to count contingent faculty properly and record their working conditions. Survey results will be shared with you once they are compiled. This information will also contribute to a national database that will assist future advocacy work.

CAA specifically requested that the survey include distinct categories for artists, art historians, and related researchers, so that the visual arts will be fully represented. On an individual level, the conclusions drawn may help determine your working conditions in relation to national trends. Results will also inform specific CAA Contingent Faculty Standards and Guidelines, as well as future advocacy by CAA on your behalf.

Take the Survey of Contingent Faculty Members and Instructors now. If you have questions about it or about CAW, please contact Linda Downs, CAA executive director.

Read reactions to the survey in Inside Higher Ed.




Eager to serve CAA members and curious about the possibility of a new source for earned revenue, CAA recently formed a Task Force on Practical Publications. A committed group of educators, administrators, and staff members has begun studying a potential program devoted to practical publications.

For several years, CAA has considered publishing slim books of an instructional nature devoted to the practical issues so many members face. Questions these publications might address include: What options do scholars have for online publishing? How does someone lead a dual studio-art and art-history department as chair? If I am faced with teaching Baroque or Abstract Expressionism for the first time and it is not my expertise, how do I best tackle this unfamiliar terrain? CAA members confront these and similar problems so often. And we regularly invent ways to resolve them. A program of pragmatic publications that share good solutions or best practices at a modest cost might be a great boon to the field, or so CAA leaders and staff have imagined for some time.

Such programs are already in place at many learned societies, and revenue from sales creates a vital source of organizational income. As CAA maneuvers through a still-unsteady economic climate, it must continue developing new sources of support—earned and contributed—to thrive as an organization. In this context, the Task Force on Practical Publications developed.

This summer, the task force offered an online survey that queried the membership about the perceived viability of this prospective program, as well as a host of related questions. About six percent of CAA members participated, a number within the range of reasonable expectation. A healthy 85 percent of respondents believed that CAA members would purchase this kind of publication, if available, and 65 percent said that they would buy such publications for their own use. Both statistics are impressive, given that people made a positive judgment sight unseen. The responses are also constructive in giving CAA a clearer picture of what needs to be done.

You will learn more about the discoveries and recommendations of the Task Force on Practical Publications on the CAA website in the months to come. Please stay tuned!

Patricia McDonnell is director of the Ulrich Museum of Art at Wichita State University in Kansas and chair of the Task Force on Practical Publications.




CAA National Professional-Development Workshop for Artists in San Diego CaliforniaSpace 4 Art will present a CAA National Professional-Development Workshop for Artists on Saturday, October 2, 2010, from 8:30 AM to 5:30 PM. The full-day event, called “The Nuts and Bolts of Professionalizing Your Art Practice,” will concentrate on career-building skills for both emerging and established artists. The San Diego Foundation is cosponsoring the workshop.

Presenters from the San Diego and Los Angeles areas will conduct the workshop, which includes these topics: “It’s All about You”; “Marketing Yourself to Market Your Art”; “Show Me the Money”; and “Getting Your House in Order to Do Business.” Karen Atkinson, an artist, curator, collaborator, and founder of GYST, will offer a lunch keynote on “Hybrid Careers.”

A light breakfast and lunch are included for participants, and a postworkshop reception will take place from 5:00 to 6:00 PM.

Registration for the workshop is first-come, first-served. The investment is $15 for students, seniors, and CAA members; $25 for all others. Stipends are available; contact Susan Schear, CAA national workshop project consultant, at 973-482-1000. You may pay by credit card or PayPal. Please make checks payable to College Art Association and mail to: CAA Workshops, Space 4 Art, 325 15th Street, San Diego, CA 92101.

CAA’s National Professional-Development Workshops for Artists, sustained by a generous grant from the Emily Hall Tremaine Foundation, focus on supporting visual artists in underserved areas. Three additional workshops are scheduled for this fall in Portland, Albuquerque, and Birmingham.




Each month, CAA’s Committee on Women in the Arts produces a curated list, called CWA Picks, of recommended exhibitions and events related to feminist art and scholarship from North America and around the world.

The CWA Picks for September 2010 include “Heritage and Hope,” an international symposium on women in higher education, with a focus on the global, to be held at Bryn Mawr College from September 23 to 25. Four special exhibitions on view this month—featuring women Pop artists, the photographer Catherine Opie, female artists from the Hudson River School, and women’s contributions to Fluxus—round out the selections for this month.

Check out past CWA Picks archived at the bottom of the page, as exhibitions highlighted in previous months are often still on view.




CAA National Professional-Development Workshop in Albuquerque New MexicoThe University of New Mexico in Albuquerque will host a CAA National Professional-Development Workshop for Artists on Saturday, October 9, 2010, from 8:00 AM to 5:30 PM. The full-day event, called “Professionalizing Your Art Practice,” will concentrate on career-building skills for both emerging and established artists.

Preceded by a keynote address from the art historian Libby Lumpkin on “The Changing Climate of the Art World,” the workshop will include these topics, each one hour in length: “CV/Résumé/Artist Statement Preparation”; “Creating a Digital Portfolio”; “Social Media: Facebook and Twitter”; and “Marketing/Self-Promotion/Networking.” A panel discussion on “Getting into Galleries” will conclude the presentations.

Registration for the workshop is first-come, first-served. The investment is $25 for students and CAA members; $40 for all others. Stipends are available; contact Susan Schear, CAA national workshop project consultant, at 973-482-1000. You may pay by credit card or PayPal. Please make checks payable to College Art Association and mail to: Dept. of Art and Art History, MSC04 2560, 1 University of New Mexico, Albuquerque, NM 87131.

CAA’s National Professional-Development Workshops for Artists, sustained by a generous grant from the Emily Hall Tremaine Foundation, focus on supporting visual artists in underserved areas. Three additional workshops are scheduled for this fall in Portland, San Diego, and Birmingham.




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