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jmadigan

jmadigan

I am an I/O Psychologist, writer, father, husband, video gamer, armature photographer, and appreciator of llamas who lives in an undisclosed location in the Midwest United States. I also lived in San Diego and Orange County, California for several years. See my personal blog at http://www.jmadigan.net
  • OK, USA
  • member since July 12 2007

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Displaying 41-50 of 152 reviews
  • Predictably Irrational
    3 of 3 members found this review helpful.
    • Rated 5 stars

    It's only about the middle of the year, but I think Dan Ariely's Predictably Irrational is a shoe-in for my favorite non-fiction book of 2008. When I was studying psychology one of my favorite topics was judgment and decision-making, which dealt in large part with the kinks in the human mind that could lead us to irrational behavior and decisions. Why are you likely to pay more for something if you are shown a large number completely unrelated to the price? Why do people who read words like "elderly," "decrepit," or "senior" tend to walk more slowly when they get up and leave the room? Why does losing a dollar cause us more pain than gaining a dollar gives us pleasure? Why are we more likely to buy a product we're not even shopping for or don't even need if we're given a free sample? And, perhaps most importantly, how do people in the know --people like advertisers, politicians, and psychology graduate students-- use these ideosycracities to subtly manipulate us? These are the kinds of questions that Ariely, a professor at MIT, discusses under the rubric of "behavioral economics." Each chapter is dedicated to a particular concept, like the anchoring effect, priming, social norms, supply and demand, procrastination, loss avoidance, the effects of price on perception, and the like. Ariely usually chats you up a bit about the concept, then walks you through a scenario or hypothetical situation that invites you to make predictions about human behavior, then comes at you with some findings from scientific research (often experiments that he's done himself) that turns your assumptions on their little figurative ears. Ariely's style is great --conversational, to the point, made relevant to some part of your life, and easy to follow despite navigating some tricky twists of the human psyche. And it's not just dry recitations of clinical psychology experiments --everything talked about here is ensonced in everyday life. For example, this book should win some award for describing some fascinating research on the effects of sexual arrousal on decision making. Let's just say that it involved naughty pictures, experimenter issued laptops covered in protective Seran Wrap, and answering some very odd questions while in the throes of ...well, you know. I'm now more disappointed than ever that all of my extra credit in college psychology classes was never earned from anything so interesting. I just had to look at ink blots and fill out the MMPI over and over again. Really, anyone with even an ounce of curiosity about how the human mind works --or fails to work-- within the context of every day life should find a lot of fascinating material in this book. You should definitely pick it up. And then, preferably, read it.

    jmadigan wrote this review Monday, June 2 2008. ( reply | permalink )
  • The Ten-Cent Plague: The Great Comic-Book Scare and How It Changed America
    1 of 2 members found this review helpful.
    • Rated 1 stars

    In The Ten-Cent Plague: The Great Comic-Book Scare and How It Changed America, author David Hajdu attempts to examine the birth of the comic book in America and trace its childhood and adolecense up to the point where people generally freaked out about how this wicked, perverted, and macabre art form was mauling the morals of this great country and how it had to be stopped. Or at least injured a bit. We get incredibly detailed discussions of how these funny books started out as Sunday newspaper supplements, then pulpy entertainment for teens, then darker and more meaty fare that included side servings of sex, horror, mystery, intrigue, and weird bondage fantasies (I'm looking at you, Wonder Woman). Hajdu sets a huge cast of characters on parade through the pages, including artists, businessmen, writers, politicians, and crusaders for the moral majority. The bredth and depth of original research Hajdu dug through is quite impressive. He cites from original interviews, letters, and other sundry documents, and gives us personal and detailed accounts of each player's story, eccentricities, and contributions. Unfortunately the author seems to be a better researcher than he is entertainer, and the book gets mired down in WAY too many details about WAY too many people. After a while I couldn't keep them all straight, and what's worse I really didn't care to. To use an apt analogy, the book was like a comic full of dynamic, detailed, and flashy images, full of splash pages and crazy action without much focus. It's impressive from a technical standpoint, but it wouldn't compare too favorably to a better crafted book with neat and more easily comprehensible art guided by orderly and appropriate transitions and word baloons that don't crowd out the subject. Going along with this idea, the other thing that I found lacking about The 10 Cent Plague was that for a book about comics, it didn't have nearly enough pictures. Hajdu periodically does an admirable job using words to thoroughly describe the contents of the comics in question, but it seems like it would have been a lot more effective and efficient to simply include a picture of it there on the page. There is a section of photographs and some sample art, but it's not nearly enough given the subject matter. All in all, I can't really recommend this book unless you're particularly bent on learning about the early history of comic books. Hajdu presents some neat trivia and the occasional vignette or story that stands out from the rest of the noise, but in general it's way too detailed, too cluttered, and lacking in focus just for the sake of cramming in as much information as possible.

    jmadigan wrote this review Monday, June 2 2008. ( reply | permalink )
  • Blood Meridian
    3 of 4 members found this review helpful.
    • Rated 2 stars

    Since I had enjoyed The Road by Cormac McCarthy so much, I decided to pick up what is supposed to be his most impressive work, Blood Meridian or, The Evening Redness in the West. Yikes. I mean, yikes. Talk about disturbing...

    On the surface, this is a Western novel in that it's got cowboys, Indians, shootouts, deserts in the Southwest, ponchos, and all that stuff. But that's just the veneer. The story mostly follows the Galton Gang, a group of marauders who hunted the scalps of Indians and Mexicans along the US/Mexico border. The group is accompanied by the enigmatic Judge Holden, who is as violent as he is intelligent --that is, very on both counts. Imagine Marlin Brando's Colonel Kurtz from Apocalypse. Except that he's not as warm and cuddly. When he's not murdering people, The Judge often delivers long, drawn out lectures on philosophy, the meaning of life, and other weighty subjects. Actually, I take that back --sometimes he does the murdering and the philosophizing at the same time.

    In fact, violence and cruelty infuse the entire book. This was, in parts, a very difficult book to read because of its unflinching examination of the murder, mutilation, sadism, brutality, cruelty, torture, and other atrocities that the Galton Gang revel in as they scrape a bloody wound across the U.S/Mexico border. Really. Think of the most disturbing act of violence you can. Now double it. And that's a good starting point, but it get a lot worse. Consider yourself well adjusted that you can't picture the kind of stuff I'm talking about at this point.

    But at the same time, Blood Meridian is more than a gorefest. A lot more, in fact. I can hardly claim to have absorbed it all, but I can tell you that there's a lot more going on under the surface about the nature of man, obsession, man vs. nature, freedom, morality, and the like. The text is also rife with allusions and references to other literary works, as well as religious doctrines, philosophical debates, and history. There's a lot to pick through there, and if you can excuse McCarthy for his frequent and annoying eschewing of proper punctuation and grammar you can tell that the novel is masterfully crafted. Ironically, the prose is often beautiful.

    But would I recommend you it? That's a tough question, but the answer is probably "No" unless you're really set on it. The book is a powerful work of literature but it's just too vile in its descriptions of violence and too nihilistic in many of its messages. It's a testament to McCarthy's prowess that Blood Meridian is both beautiful and horrible.

    jmadigan wrote this review Thursday, July 24 2008. ( reply | permalink )
  • Childhood's End
    1 of 1 members found this review helpful.
    • Rated 2 stars

    When science fiction great Arthur C. Clark died a few weeks ago I was moved to pick up something by him to mark the passage. Since I've read his Space Odyssey books already, I grabbed a small, lesser known work by the name of Childhood's End. Stuffed with themes like humanity's place in the universe, the nature of utopia, the impact of first contact on society, and the potential for human achievement, it's definitely classic sci-fi. I just wish Clark had expanded a lot of these themes and built out a complete story instead of something that seems like it can't decide if it should be a short story or a novel. The basic gist is this: one day Earth is visited by inconceivably powerful aliens, who dub themselves our benevolent overlords and supervisors. These aliens refuse to show their faces or communicate directly with most of humanity, but besides enforcing a few strict rules designed to make us play nice with each other, they mostly leave us alone and stick to their massive hovering spaceships. After a generation has passed, humans grow used to the overlords, but thanks to the utopia that their presence fosters and some of the technology that they share, the human race has gotten compliant and lax in the drive for achievement that had characterized it in the time preceding the arrival of its interstellar houseguests. Then the overlords decide to reveal themselves and it's really impossible to discuss anything beyond that without spoilers. There are some interesting ideas here, but as I hinted at earlier it feels like Clarke isn't exploring them very deeply. The whole idea of how humanity reacts and adapts to the overlords rule is largely glossed over, even though that kind of thing would probably tell us a lot about ourselves. So too is the aftermath of the massively important events at the end of the book largely ignored, even though it was ripe for the writing. In general, I feel like Clarke had some cool ideas here, but didn't really follow them through. Too bad, because there was a lot of potential.

    jmadigan wrote this review Wednesday, May 21 2008. ( reply | permalink )
  • Gardens of the Moon
    2 of 2 members found this review helpful.
    • Rated 3 stars

    Gardens of the Moon is the first in Steven Erikson's gargantuan and oddly named fantasy series, Malazan Book of the Fallen. What's odd about it is that it took me THREE tries to get through this first volume. The first two times I tried, I got one or two hundred pages in and just lost interest, mainly because I was confused and didn't know what was going on. But the third time I tried it just clicked and I enjoyed it. Figuring out why this is the case took some thought, and I believe it boils down to two basic and interconnected reasons. First, Erikson has an extreme "show, don't tell" kind of style. The very first chapter dumps you head over heels into the middle of an epic storyline full of action, with hardly any exposition at all. There's no narrator saying "Okay, there's this nation called the Malazan Empire, and they've been engaging in a protracted military campaign against a group of allied Free Cities. We're going to enter the story as the Malazan forces prepare to attack one of these cities, which has formed an alliance with this one badass dude who controls a flying fortress. Now, let's talk about the structure of the Malazan military..." No, none of that. Instead, after a brief prologue where you eavesdrop on a few characters, you get action action action and you're left to yourself to figure it all out by paying close attention and making your own inferences based on what's said and done. This is mainly what put me way off balance on my first two attempts at reading this tome. The offsetting effects of show-don't-tell style are exacerbated by something else Erikson does: he eschews many of the typical fantasy staples that usually act as guideposts to new readers. There's a reason why not many books stray from the formula of a hapless youngster being apprenticed to an elder wizard or military veteran or adventurer or whatever who guides him through the world that has been opened up to both him and the reader. It allows the author to slyly provide exposition about the world by having the master explain things to the apprentice while the reader just sort of listens in. And going along with all that, other fantasy staples act as familiar sign posts and landmarks so that you don't get lost. Not so much with Erikson. Sure, his books have wizards and dragons and dudes on horseback slinging swords around, but in general Erikson's world is different enough that you don't necessarily know what's going on, and his staunch adherence to the show-don't-tell method means you gotta figure things out on your own. What's a "warren" and what does it mean when a wizard "enters" one to perform his hocus pocus? That's not explained. Figure it out. Or don't. It's all on you, hapless reader. But eventually I did figure enough of it out, and in time I began to see both Erikson's style and his kicking of conventions to the curb as good things. I enjoyed the story and the richness of the world that he was building. If I've got one complaint it's that at least in this book Erikson can't seem to help upping the ante with how powerful each character or threat gets. Okay, here's these really frightening and legendarily powerful Hound things and --oh, okay, this even tougher dude with a big black sword just killed three of them. Guess they weren't that tough. But this wizard is really powerful oh, no he just got stabbed in the neck by an assassin chick who's apparently even further to the right on the badassedness curve. Now here's a demon king fighting a dragon while a pissed off demigod is kicking over mountains like they were sandcastles RRRAAAWWWWOOOOEERRAAHH PEW! PEW! PEW! After a point it borders on ridiculous, but fortunately there are a number of more mundane (and more interesting) characters to tether things down a bit. I look forward to seeing where he goes with it all in the subsequent books.

    jmadigan wrote this review Wednesday, May 21 2008. ( reply | permalink )
  • I Am America (And So Can You!)
    4 of 5 members found this review helpful.
    • Rated 4 stars

    This book by Stpehen Colbert (of The Colbert Report basic cable fame) is pretty much what you expect: his TV show in book form. For those of you who don't know, that shtick involves playing a character that parodies ultra-conservative media pundits like Lindbaugh, O'Reilly, and Dobbs. Just about every line is dripping with that old comedic staple irony, so that after a minute or two any reasonable newcomer to the act can discern the implicit comedy and subtexts. Or so you hope. At any rate, Colbert's character is bombastic, outrageous in his opinions, and jingoistic in his attitude towards the U.S. of A., and completely absorbed in himself and his own perceived infallibility as a self-appointed pundit. It's not a unfunny act, aided as it is by the real comedic genius of Colbert and his authors. It's really funny stuff. This book is much more of the same, except that the current events from the show are replaced with a hodge podge of topics like the elderly, sports, homosexuality, the media, immigrants, and the entertainment industry. This approach seems like it would differentiate the book from the show, but really a lot of the material and style are the same (probably quite deliberately), and all too often the pages look like what you might find most nights if you could see Colbert's teleprompter. But that isn't necessarily bad. It is really funny, and the book does occasionally break out and use the medium in creative ways, with graphs, charts, stickers (yes, stickers), and Colbert's own little notes and counter-points written in the margins (notably in red ink, not unlike the words of Jesus in some editions of the New Testament, which goes hand-in-hand with the character's God complex). Honestly, I laughed out loud a LOT while reading this thing, even if by the end the whole shtick was starting to wear thin.

    jmadigan wrote this review Wednesday, May 21 2008. ( reply | permalink )
  • Shakespeare
    1 of 1 members found this review helpful.
    • Rated 3 stars

    I'm really not quite sure why Bill Bryson wrote Shakespeare: The World as a Stage. I know that writing his books is Bryson's thing (and God bless him for it), but in most ways this book isn't about the eponymous bard. It is instead about the Shakespeare shaped hole in history given that outside of his writings we know next to nothing about the man except for the few uninteresting facts that can be scraped from a paltry few official documents. This is substantially less interesting than actually knowing things about the guy. Really, Bryson simply moves through various stages of Shakespeare's life and basically says, "Nope, don't know nothing about what he was doing at this point, either. But here's some interesting side notes!" These side-bits ARE often interesting, though, and the book is at its best when Bryson is chatting you up about the culture and civilization surrounding Shakespeare's age --the Protestant vs. Catholic conflicts, the defeat of the Spanish armada, the plague, the business of running a theater, social hierarchies, etc. I was often irritated when the author returned to discussions about everything we don't know about Shakespeare because I had gotten caught up in these trivia. I kind of wish that Bryson had written a more expansive history book about the Victorian era, with Shakespeare included in a chapter or three. But it helps that this is Bill Bryson, and even though he's not being as witty and funny as he usually is in something like The Life and Times of the Thunderbolt Kid or his travel diaries, he's still snappy and easy to read. The best bits are actually towards the end, where Bryson goes after the kooky Shakespeare conspiracy theorists --those who think that Shakespeare did NOT write Shakespeare and was secretly someone else or even a group of people-- with the kind of wry, poking you in the ribs while we share a joke kind of way. This is the kind of Bryson I liked best, even if there was all too little of him. Still, fun as it was to read I still closed the book at the end and thought "Well what was the point of that?" It was, if you will forgive me for making the painfully obvious joke, much ado about nothing.

    jmadigan wrote this review Tuesday, April 29 2008. ( reply | permalink )
  • Jennifer Government
    2 of 2 members found this review helpful.
    • Rated 2 stars

    In some ways, Max Barry's Jennifer Government is like the inverse of Orwell's 1984. It's set in the near future where things have gone loopy, but instead of an out of control, totalitarian government oppressing everyone, it's uncontrollable megacorporations and hypercapitalism (or, one could argue, hyperlibertarianism) that's ruining everyone's day. Unfortunately, Jennifer Government is unlike 1984 in that it's not particularly well written. The hook, like I said, is that Barry has created a near-future world where capitalism and its slothful cousin consumerism are the defining forces in the free world, to the point where the USA has taken over most of the planet, abolished taxes, moved nearly all traditionally governmental functions like education to the private sector, and yelled "Okay, let 'er rip!" It's the kind of place where McDonald's and Mattell run the grade schools, the police are mercenaries who dispense justice only after your credit card clears, and most of the world's ginormous corporations are banding together into ruthless syndicates centered around competing frequent buyer clubs. The consumer culture is so extreme that one's job is the most important thing in life, so that people do the very improbable thing of taking on their employer's name. So you got among the cast of characters John Nike (two of 'em, in fact), Billy NRA (uh, two of those, also), and one would assume Alice Freeonlinecreditreports.com (but just one of them). By this you may surmise that the titular character, Jennifer Government, is one of the few people left in the employ of the dwindling public sector. She is, in fact, a law enforcement officer, and one of the last laws that remain in her world is a proscription against murder. So Jennifer gets involved when John Nike and his colleague the other John Nike launch a marketing campaign that involves assassinating 12 of the first youngsters to buy their new sneakers. You know, for the free hype and street cred. The book jumps around between the points of view of several characters, including Jennifer Government, a suicidal stock broker, an anti-consumerism saboteur, a computer hacker with a screw loose, and the megalomaniacal marketing executive John Nike. But in general it's a tale of revenge and thrills. In fact, Jennifer Government is so obviously cast in the same mold as every rogue cop in every formulistic cop movie you've ever seen that I kept expecting her to fall to her knees, throw her head back, and howl "MEEENNNNDOOOOZZAAAAA!" And then she practically did just that. The other main problem I had with this book was that the author's hand was WAY too visible in the plot, shoving things this way and that so that they went the way he wanted. There are a lot of threads and characters introduced, which in a way is great because it gives us more points of view into this potentially very interesting world that Barry has created. But what really kind of broke the magic for me was that unlikely coincidences started piling up and the characters started to do very improbable things so that those threads could be twisted together. There are cases of mistaken identity thanks to so many people having the same name but apparently no other way of establishing identity, chance meetings on airplanes and street corners, spontaneous and completely unexplainable romances, and overly convenient job assignments that bring characters together. It feels a lot less like the author is weaving various threads together and a lot more like he's yanking us around by the nose. In other words, it's not that the plot is so contrived, it's that the reader is so aware of it. This is too bad, because the situation and world that Barry has created has a lot of potential. I wish he had expanded on the book a bit more and had the guts to slow things down a bit so that we got more vignettes and viewpoints about what it's like to live in a world where corporate executives can literally have you killed and get away with it, buying things is a way of life tantamount to religion, and class structures are defined less by race and wealth and more by which frequent buyer's club card you have in your wallet. The role of the media (tv, print, web) in this kind of world was also completely unexplored in the book. The author had some neat ideas going on here, but he seemed less intent on exploring them and more intent on railroading us through a predictable yet ham-fisted crime thriller. Still, it is fun and interesting enough in places that I can mildly recommend it as a kind of quick, entertaining read. It's kind of like a summer blockbuster action movie in book form.

    jmadigan wrote this review Tuesday, April 29 2008. ( reply | permalink )
  • In Defense of Food
    2 of 2 members found this review helpful.
    • Rated 3 stars

    This book by Michael Pollen about nutrition and eating well does signal a bit of a departure for me. Pollen's manifesto here isn't actually that much about nutrition, though. His specific advice about what to eat doesn't get much more specific than what he presents as both his "eater's manifesto" and his seven word summary of the whole book: "Eat food, not to much, mostly plants." The rest is just elaboration. The elaboration starts with Pollen's differentiating "food" from "non-food." He does this mainly by railing against what he calls "nutritionism," which is the recent trend where food scientists (and food marketing professionals) focus on the nutritional content of food rather than whole foods. A lot of this has its genesis from when the U.S. government wanted to recommend eating less meat and dairy, but the lobby groups from those industries had a Class A freakout and through political pressures got the recommendations changed to focus more on nutrients rather than foods. So "Eat less meat and dairy" got malformed into "Choose lean protein sources like fish, chicken, and fat-free dairy products." This is bad, Pollen argues, because scientists and policy makers don't know that much about how the individual nutrients behave outside of their complex, whole food systems. And, worse, they're sometimes wrong in entirely harmful ways. Think margarine here. This whole nutrient obsession has also created bizarre creations like low carb pasta (what?), fat-free half-and-half (what IS one of the halves, then?), and other culinary impossibilities. Pollen goes into detail about why such concoctions are not "food" per se, but "food products" and generally bad for you. His advice is generally to avoid anything that your great-grandmother wouldn't recognize as food, especially if it tries to make health claims. Replace that stuff with whole foods, especially plants and especially the leafy greens of plants. In general, a lot of Pollen's suggestions make sense, and the book is written in an easy to read, almost conversational tone that makes it easy to (pardon the pun) digest. Some of his advice is hard to swallow (dang, another pun), like eschewing (oops, puns everywhere) anything with more than five ingredients and only buying stuff that you've either grown yourself our bought directly from a grower. Still, it's good food for thought (ah, sorry), and a lot of what he says about how senselessly the government regulates food labeling gives you plenty to chew on (dang, that one just slipped in there).

    jmadigan wrote this review Tuesday, April 29 2008. ( reply | permalink )
  • Heretic
    1 of 1 members found this review helpful.
    • Rated 3 stars

    This series by Bernard Cornwell consists of three books: The Archer's Tale, Vagabond, and Heretic. I'm just gonna lump them all together here since there's really not a whole lot to set them apart. By that I mean that they've definitely got the trademarks of an overly prolific author who just churns stuff out within his comfort zone (e.g., I got tired of hearing about how an arrow head "pierced mail and leather" after the fifth time in one book) so that you get largely the same story being told 3 times, with slight variations and a big payoff at the end. So it makes sense to consider them all at once, because otherwise I'd just end up repeating myself. A lot like the author. But actually, I kind of enjoyed these books despite how they felt stretched out and meandering. They tell the story of Thomas of Hookton, an English archer during the middle ages who is searching for the Holy Grail. The Grail-with-a-capital-G is, as you may know, supposedly the cup from which Christ drank at the last supper and which caught the blood from His side as He hung on the cross. The Grail Quest books are, as you might further surmise from this short description, works of historical fiction set towards the end of the middle ages. In a way, the books read a lot like fantasy except that all the fantasy staples that makes me groan and roll my eyes every other page are have blessedly gone missing. You've still got big beefy guys in armor who scream battle cries as they storm castles, trample the country side, and generally hack the living daylights out of each other, but you don't have tired stuff like wizards, elves, prophecies, magic, political intrigue, and whatever other junk most fantasy authors like to fish out of the recycling bin. It was oddly refreshing, even if it's only because I've not read much historical fiction before. It's also a lot of what I would call "military pr0n" of the medieval variety. One of Cromwell's hallmarks seems to be that he takes an imaginary character (such as the aforementioned Thomas of Hookton) and slips him in to real historical events, like this battle or that siege or that some other big event that generally takes a name according to the "The Verb of Location" standard. Cromwell then goes to great, delightful lengths to describe the tactics and strategies that each side used, steeping the whole thing in human drama from a soldier's point of view. At times it read a bit like the instruction manual to a real-time strategy game like Age of Empires with detailed explanations about how the English placed their pike men along a low ridge that gave them an attack bonus against mounted infantry that stacked with their terrain bonuses AND faction attributes. Well, maybe it wasn't that blatant, but I still dig that kind of thing. And casting the main character in the role of an English Archer with his big ole longbow (though, oddly, it was never called by that name) gave him a good excuse to teach us all about archery and the overwhelmingly effective use of such archers in warfare. Fun stuff. But even if there was a history-cum-videogame abstraction to the battles at times, I was nonetheless struck by how incredibly savage and harsh warfare apparently was in those days. Cornwell didn't shy away from vivid descriptions of bloody hand-to-hand fighting and brutal tactics that don't much resemble the romanticized image of a chivalrous knight of the Round Table. I was also forced to admit that Cornwell writes some of the best insults I've ever seen. When one side accuses the other of being "turds birthed from Satan's own arse" that's the kind of curse that you just gotta sit up and admire. What about the story? Well, it's nothing too fantastic, mainly following Thomas around as he follows the trail of the Holy Grail while being pursued by his villainous cousin. Well, when he's not busy being an archer, bedding wenches (he goes through three love interests in a very James Bond-esque fashion in the course of the trilogy), laying siege to castles, and getting tortured by the Spanish Inquisition (which, by the way, everybody expected as soon as the first Dominican priest was introduced, contrary to what any flying circus tells you). But while his path is circuitous, this is the quest that ties all the books together, and it's resolved nicely at the end so that I was left with a satisfied feeling that I had seen something that was entertaining and a bit educational, but not necessarily full of itself.

    jmadigan wrote this review Tuesday, April 29 2008. ( reply | permalink )
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