Today, we’re going to take a deeper dive into scanning, and in particular 3D scanning art, and on an initiative that is really trying to scan the whole world in reality. It’s pretty ambitious. We’ve got Jon Beck on the show. He’s Project Manager at MyMiniFactory for the Scan The World project. It is very cool. It is the idea that they’re going to scan sculptures around the world in hopes of 3D print art preservation and 3D scanned art preservation of course. Also, to really make these 3D scans available to people around the world to be able to print and experience the art when they don’t have the ability to travel to see the original. Let’s hear from Jon and then we’ll talk on the other side.
Listen to the podcast here:
Scan The World Initiative, with Jonathan Beck
Jon, thanks so much for joining us this late at night. It’s late London time.
It’s only six o’clock, it’s fine.
That’s not too bad. Thank you for joining us. We really appreciate it. We’re excited to talk about this Scan The World initiative. Why don’t you tell us a little bit about MyMiniFactory though and how it got started there?
As you might know, MyMiniFactory is an online platform and social platform for 3D printable models, encouraging designers and makers around the world to get involved, learn about 3D printing, and in my case, 3D scanning in order to further their skillsets and just get to know other interesting people within the industry. Two and a half years ago, I approached MyMiniFactory with this wacky idea of scanning sculptures and getting people around the world to get on board and try to learn a bit more, have an introduction to the whole 3D printing and 3D scanning side of the world.
The overall goal of Scan The World is basically to digitize objects of cultural significance from across the globe using various 3D scanning equipment. Because it is part of MyMiniFactory, we curate the content and work with freelance designers from across the world in optimizing them for 3D printing. This varies. We start off with photogrammetry, which is the basic means of scanning using an iPhone or smartphone or digital camera. I also work with other larger companies and experimenting with their hardware, such as the EinScan Pro by Shining 3D and the Artec and everything like that. It was for the greater cause and maybe more holistic cause of looking after artwork for various reasons; for education, accessibility, restoration.
Are you getting permission from the museums or other places to scan these sculptures?
When I first started, I approached the museums, gave them a lot of Q&A about what they know about 3D printing, 3D scanning. From what I learned in doing that, I learned that the museums, institutions are quite multiheaded beasts. They do take a very long time to get things done. I found that with the curators and the front end people, they’ll be very much interested in experimenting with that. But because it is usually quite a large team of people, things would take a long time. What I decided to do was get a bunch of friends together with digital cameras or whatever, visit the major institutions in London and just get scanning. We learnt how to do photogrammetry, we’d walk around, take plenty of subjects to photograph, photograph everything we could, work with the freelancers and the designers and making them 3D printable, uploading them to the websites and then printing all of them and delivering them back to the institution to say, “Look what we’ve done.”
Show them how good it could be.
Exactly. They didn’t quite get the concept to begin with, but until I gave them these things and told them, “To make a hundred millimeter sized representation of one of your objects, it cost me about 5P overall. Here’s something that you should be able to explore.” Most of them did take it in stride. Last year, I exhibited with the V&A at the Biennale in Venice, which was very much exploring the idea of the copy, tying in old fashioned casting techniques, which is what the V&A started up as. We’re making artwork accessible to the people and tied it all in with new means and new technologies for making copies and facsimiles of artworks. That happened, and from then on, a lot more museums now are focusing on how to best approach the idea of using 3D technologies in their collections, whether it be for archiving or other things like that. I’ll try and work with them as a guide, saying, “I’ll do it all for free under the condition that we can share this culture with the world.”
It seems like a lot of these curators at the museums or whoever is in charge at these museums didn’t really understand the point of what you were trying to do. You adopted a policy of rather than asking permission, you would do it and apologize for it after the fact or show them how good it could be, ask them permission once they can see it.
Exactly. The idea was also that with all of the people that I went out scanning with and all of the people who helped process the models into 3D printable models and all the makers around the world, you helped contribute to making a singular object live on Scan The World. Now, we have 5000 plus of them really showing the huge community focus and value that it might have. Working and scanning a sculpture is actually a lot more exciting than what a lot of people would think. When you walk around the museum and you are engaged with the sculpture or an artwork, a lot of people will spend maybe five seconds looking at it and then walk on and probably forget about it.
Now that you could have a camera in your hands and you have to stitch all of these photographs and all of this data about the artwork all together, you get a further understanding and appreciation for the artwork. For many people who contributes, they’ll go out traveling and they’ll want to create a little postcard of where they visited. They’ll visit a museum or they’ll visit a sculpture industry which looks cool or it’s depictive of what they were getting up to or of their travels and would want to just provide that just so that they have this little thing at the end of it when they come back home. We send them up a little free 3D print to say thank you for contributing.
That makes a lot of sense actually. I like the concept of that. Boy, I’m thinking right now how times have changed. We both went to art school so we had a lot of art history education. When we would go into museums with cameras, they flipped out. It was almost like a federal offense to walk into the museum with a camera. I remember one of our professors who did a lot of art history lectures, his name was Professor Kirshenbaum. He was over in Europe visiting, I forget what museum has the painting of Guernica by Picasso in it. He was in that. He smuggled his camera in. He had this slide of the painting that was at a strange crazy angle and part of his coat was covering it. Because he said in order to get a picture you have to do gesundheit photo where you pretend to sneeze to mask the sound of the shutter so you don’t get caught. Because you couldn’t turn it off back then.
It has totally changed. Now, what we have to do Google Image the Mona Lisa or whatever and you’ve got thousands of copies of it. Museums, for the past few years, now with digital photography and everything like that, has become so accessible, that they couldn’t really stop these people from taking photos in the museum. Now they try to encourage it by the amount of selfies and hashtags that you see of people engaging with the museum. Because of it, in this internet age, they needed to embrace it. This is an extra part of what they go down with thinking about the archiving.
I would think that the way that you’re scanning and digitizing them and putting them together like that and you see all of these flaws and/or the artistic hand or fingerprints in there of the artist, it makes you want to see it in person more.
Exactly. I think having all of these sculptures within the archive really encourages people. Actually, I’ve got in my hands right now the Venus of Willendorf, which is possibly one of my little favorite statuettes, which was created something like 30,000 years ago, 20,000 years ago by this pregnant lady who was holding this piece of stone and was whittling it away. I’ve seen photos of it in the past. We were given a scan of it last year and we printed it off and had a little thing for it because it’s just such a nice little object. It maybe want to visit Vienna to go and see it in person. The fact that I could actually hold it as well was a really magical experience. It’s obviously not the same thing, but to be able to hold an almost perfect representation of this original object is really quite beautiful.
That is amazing. That’s really something. What a great tool for education in many different ways, whether that’s art education or just appreciation. It’s one thing for an aspiring artist to be able to go and see some things in person, if they’re lucky enough to live in a major metropolitan area that has a really good museum. But there’s wonderful art all around the world. This is really bringing the world closer together it would seem.
Exactly. For someone who’s in Australia who’s a big fan of Rodin and can’t make it over to Paris to see all of his work, they can perhaps do it virtually and print it home to have an idea of what it is and maybe appreciate it some more. Then when they do end up going traveling to Europe, they can actually see it in the flesh, which is quite exciting. There’s one overall beautiful thing about this, is that for us who can access these sculptures online or even in the physical or print them up ourselves, we forget a lot about the idea of accessibility. Beyond whether we can visit it, what about whether we can see it? Working with blinds and the visually impaired is a huge aspect, which I want to go a lot more down. Just due to the idea that what does culture mean and what does a museum mean to someone who can’t see? Even if it’s something like a building or if it’s the Venus de Milo and you walk around the Louvre and you have a guided or visual or audio tour and it says, “She has her breasts out and she has a piece of cloth on.” That’s hardly inspiring. You hear that and you’re like, “Okay.”
“What does that mean?”
Exactly. Once you manage to hold a little 3D representation in your hand, which didn’t cost much at all. I’ve worked with some people before. You know of the building The Shard in London, big panes of glasses, one of the largest buildings in London, and very ugly. We had a short event and I hadn’t really thought about the beauty of its accessibility in the sense that had printed off a little visual thing or a little print of The Shard. The man who is entirely blind came to visit our stand, he asked, “What are you doing here?” “We’re 3D printing culture I suppose.” He said, “Give me this thing. What is this?” He was holding it and I told him it was The Shard. I could see in his eyes that he could kind of see it. He felt it, he understood that it was three or four shards of glass pressed against each other. His first reaction was, after laughing, saying how ugly it was.
He had the same reaction we all do with our eyes.
Exactly. To be able to give that gift to people. We take visual culture nowadays for granted. The amount of images that we see online or the amount of objects or just general people that you see flashing passed you in major cities or whatever on a day to day basis. T, this is something that is just totally abnormal to someone who might be visually impaired or blind. To give that gift to someone, I think really speaks for just the project itself. It’s a very, very huge argument for why people should be doing this. That openness of culture should allow people to travel the world in the virtual or print it up and have their own virtual museum or printed museum. For a blind person, it’s almost making culture incredibly accessible to them.
Interesting. It also begs the question, how much are we missing by only viewing with our eyes as well, as seeing people? That’s an interesting idea to be experiencing our work in a different way. I have to say, there’s paintings that I’ve always just wanted to touch and you just can’t. Just to be able to feel what that texture might be would be so amazing. I think that opens it up to everyone. I want to shift gears a little bit and talk tech. Because you guys had to work to really get the photogrammetry and all of that working for you. How challenging was that? How much time did that take?
It wasn’t too difficult, surprisingly. It took me a couple of days walking around museums, taking hundreds of pictures from different angles, trying to figure out how it worked, processing them in, I just love PhotoScan, which is my software preference, and getting big old messes, just awful looking things. After a couple of failed attempts and understanding that it is as simple as a series of overlapping photographs which are stitched together to create this 3D representation, there are specific rules that you need to adhere to, such as overlapping photographs, it’s like a reverse panorama in a way, the other way around. Also the technical ideas of shooting preferably on a DSLR camera over an iPhone because of the amount of megapixels and the selective focus that you can make.
Overall, I didn’t find it too difficult. I think that’s one of the beauties of engaging with this technology, is that because it was so simple for me, who hadn’t really had any experience with 3D printing prior to this and to get into the whole idea of 3D technologies, I found that my gateway was indeed actually just using photogrammetry. What Scan The World can also stand for in a technical aspect is encouraging people to get involved with this whole new industry and whole new technology, that you don’t have to be a wiz kid in ZBrush or CAD software or know exactly what a 3D printer is in order to understand it. To obtain that data can be as simple as taking a series of photographs. That can send you further into the route.
Give you the bug.
Jon, for our listeners who don’t have experience with photogrammetry, can you walk us through the process of using the software? What it sounds like to me, and I want you to correct me if I’m wrong, is you’re taking a lot of photographs from all different angles and overlapping photographs of an objects. Do you then load all those into a software program and it automatically creates the object model for you? How does that work?
To start off with, you don’t necessarily need hundreds of photographs. You can get away with about 30 to 40, depending on the size of the object. Let’s say, it’s about a human sized bust. You can walk around taking an overlapping photograph and get away with about 30, 40 pictures. These are then loaded into a piece of software which stitches them together, as you said. There are different software that you can use. I just love PhotoScan for its batch processing because I receive a lot of scans a day that I need to get them all set up during the day and then I can wake up and they’re all fine. Autodesk, they used to have a software called 123D Catch, which was accessible through your smartphone. It was an app that you could download.
That is now Remake, which is a cloud based piece of software where you simply load in your photos, you say the quality that you want it to be, that gets zipped up into the cloud. About 20 minutes later, you can download it again and you should have a good scan. The nice thing about Remake is that once you get your model, your raw model, you have the options of turning on and off the cameras so you can see exactly where you have more cameras and maybe where you have missed out. Missing out on some photographs, you can miss data on certain aspects of the bust.
You can adjust it. If you find it’s not quite right, it’s off or it’s missing a piece, you can go back and add them?
Exactly, you can go back and take a few more pictures and then load it all in. From there, they’ve introduced a slight 3D modeling tweaking aspect. Once you’re happy with your scan, you can cut the base so it’s completely flat, you can disseminate it, you can remove the texture. What they’re developing now is a slicing software where you can send it directly up to your printer. We recently run a competition with them through MyMiniFactory, just a little bit different to Scan The World but have the same idea of using photogrammetry to produce these 3D models.
The competition was with Agisoft or with Remake?
With Autodesk Remake. Advertising their software and working with them and getting people out there to try out scanning and to try and make something from this and something printable at least as well. They prided themselves on optimizing 3D scans for printing. Now working with them further, we should be working up on a cultural heritage aspects so that people can upload directly to Scan The World from their software.
You said that you can remove the texture, but don’t you want to leave that in? Don’t you want to add a layer of texture so that it has the same pitted look that the stone might have if it was carved in stone? Whatever that is. Are you able to do that?
Yes. With many of the sculptures on Scan The World, a lot of them aren’t actually textured. Many sculptures, they’re pure marble, and with that, that’s just the texture that you get. What I find with a lot of other people who use 3D scanning and have their heritage projects and stuff like that, they will include the texture, even if it is a marble sculpture. If it’s a bust again, it will produce a beautiful texture over this spherical shape, which could represent or resemble the eyes. Once you remove that texture, it just becomes a little bit blobby. When you print it, it just turns out to be a bit of a spherical mass, which is a little bit of a disappointment. Working with my freelancers, we’ll use the texture to refine any details, those little pits of marble or those little thumbprints if it’s a terracotta model or something like that, to ensure that when you do print it, you can feel those or see those extra little problems or bumps within the model.
You can recapture the original in that way. But it’s handwork, which is really interesting. You’re going to have almost another artist putting details back in. That’s the beauty of restoration in general, which happens at museums all the time.
Exactly. We don’t want to try and say that we are making the original. The majority of our models, which do originate from photogrammetry data, will be missing say the top of the head or some hard to reach places, which the freelancers will work upon. Say if there’s any extra detail which needs to be added on into the eyes, we’ll add that on, which is really nice. As you said, it works with the restoration of paintings and stuff like that, that it’s always worked on.
As we want to be as open and community built as possible, we don’t want to expect everyone to produce this incredible amazing scan, which is why after building up these relationships with the museums, I would bring in, once I have their permission, these different types of scanners, handheld scanners and laser scanners and everything like that to produce really high quality representations and have them shared. Maybe we’ll add upon the original model, which we’ve done a couple of times, especially at the V&A. A few of the busts, for example, or a couple of mini sculptures, we weren’t quite happy with what I had scanned, probably one of my first scans to be fair, going back in there using a handheld scanner just to bring out that data and detail a lot more.
Interesting. How does someone participate? Let’s say they want join the mission and scan some sculptures in their areas. Do you have an education that says, “Here’s the rules we apply,” so they can get a little jumpstart, “Here’s the software we use. Here’s the type of cameras we use.”?
I have a couple of videos already on YouTube, which I believe are under the MyMiniFactory profile, and a few tutorials on the Scan The World website, which is part of MyMiniFactory, which basically give you an overview of how photogrammetry works and how you can get into the 3D modeling side as well. Also, if you’re a maker, how to get involved with test printing all of the models before they go online. What I also run, especially in London, I wish I could travel further, is doing these scan-a-thons. Because that’s how I balance, as it is a very hands on technology, getting people all together and giving a short presentation and working around the museum and taking a bunch of pictures to teach them how it works, I find is often the most effective. I do one to one teaching as well just free of charge. You can send me an email and I’ll teach you that.
That would be great for maker spaces around the world, to be able to offer that kind of thing, that kind of workshop. Virtually, they could have your lesson and then they could go out in their community and do some things like that. I think that would be a really exciting and fun thing to do for kids of all ages, myself included.
I’d be very happy to do that. I feel that being as open as possible and I feel like in me teaching others the most accessible and fun thing to scan is perhaps a sculpture. To be able to provide it to this growing archive of objects of cultural significance no matter where you are from around the world. It all comes back and I’m happy to share. If there are any maker spaces out there which want to do a little workshop or online workshop, I’d be happy to do that.
I can see this being really not just a great fun project if you’re into the arts, but I also see it being very important for preservation of the art. Because we’re seeing this year and probably in a lot of years, we see that, especially in areas that are in war like the Middle East, you learn about certain sculptures or pieces of architecture that have been just disseminated by war and are now no longer going to exist. I think the quicker you can band together people around the world to really capture these wonderful works of art and preserve them at least in some way, it would be really valuable to the world community. I’d like to see it go a little bit further too though to include, like you talked about with The Shard, architecture. There are something great amazing architecture out there, the details in the walls. A lot of those buildings are just gone.
Exactly. Museums is just one small section of Scan The World I suppose. It is the accessible place and it is the place where you can broadcast to a larger audience. It’s the go to place to go to for this culture I suppose. Focusing back on the community side as well is that anyone from any culture can scan and they just need to take some photos, no matter what it is, and I’ll help them in making it 3D printable. Being a startup and working on the project by myself, I try and speak with charities as much as possible and organizations and groups who try and go out there and try and do work in preserving or looking after war torn countries or post-earthquake or natural disaster in order to help them rebuild or something like that. The people who I speak to often are already out there.
One nice story is a man in a very small town in India. He just got in touch one day and said, “Can I just send you a few pictures of this sculpture that means a lot to me? I see it every day. With everything going on, I just want to make sure that I have this blueprint that in the future my kids and my grandkids and my friends and family and people around the world can see what my culture is, just in case worse comes to worst?” I processed the photos for him, turned them 3D printable and it’s being put online.
I think that’s already beautiful thing, is getting the people out there to just go around, scanning things which means something to them. Not this westernized idea of beautiful Greek sculptures or very curated specific objects. There are beautiful cultural artifacts all across the world, which are, one, hidden. Also, two, being removed or destroyed. 3D printing I find is an incredibly valuable tool for this preservation side of these artifacts. Going back to your idea of architecture as well, I’ve had a few people wanting to scan, say, Buddhist temples, everything like that. Very complicated shapes, very difficult to scan. That would be something that I’d love to go further down in the future and work on larger projects with other people. As I said, working on my own, it would be great just to team up with others who follow a similar dream and just want to make culture accessible to people.
Wow, gosh. I certainly think you have quite some job security there because there are just an endless number of works of art and pieces of architecture that could be moved on to after that among many other things. Wow, that’s fantastic. Thank you Jon, so much for being on our show today. We really appreciate it. We’ll be sure to make sure that everybody knows how to reach you.
Great. Thank you so much.
The Art of Scanning the World – Final Thoughts
That was a lot of fun. I enjoyed that conversation with Jon. He’s very passionate about what he’s doing. He seems to be a solo entrepreneur really within MyMiniFactory where they feel it’s important for what they’re doing with the models they make available to the community. They’ve already got 5000 of them in their data banks. These aren’t just 5000 scans, these are printable sculptures. They processed them. That’s very cool. That’s no small task. I know certain file repositories have hundreds of thousands of files. These are legit real sculptures. It does, it takes a lot of time and energy to do that. I really like learning, and I can see more now, after that interview, how scanning of art or architecture, any object that you want to preserve, could be a really slippery soaps gateway into 3D printing. I could totally see how it excites you about it.
This is the thing that I think back, we were mentioning art history classes in college, which it was old school. We used to have slides that would go up on the big screen and you sit in the auditorium and try not to fall asleep, all of that. Seeing those big slides of art work made us want to go see these things. They do zoom in details on the texture of the paint or the pits in the sculpture. It made us want to go see those. One of the reasons we went to Greece shortly after we got married and went to go take rubbings of stones and see Greek sculpture, that’s why we wanted to go. We wanted to go see the ruins all around that part of the world while it was still standing.
That’s one of the things, we went to Taliesin half a dozen years ago or something like that. You can see the deterioration of the details that are on the sides
of the building because the concrete was not quite made for the conditions in Arizona and going on right now. They’re working to preserve those things. They have an organization that’s full of that. What if your community doesn’t? What if there’s this beautiful sculpture in the park and it’s just not being maintained because the city’s running out of money or an earthquake happens? It could happen here.
Or what we see happening so much in the south and midwest and it’s just happen even recently before we’ve recorded this, is you have tornadoes and things sweeping through and destroying entire towns. If you’ve got some really unique statue, monument or some other important object that you want to make sure is not forgotten if some disaster were to happen, I think this is a fantastic idea to preserve it.
I think it’s a great way to do that. I also do want to point though that, we didn’t really touch on it, but the printing side of things, it’s not good enough yet. It’s still going to be plastic or maybe metal if you go that way or a sand stone-ish. Your mini of it is not going to have the same qualities that the sculpture has. That doesn’t mean that it’s not worth printing out and exploring and seeing some forms and shapes and things that you couldn’t see in a photograph.
I definitely think that if you’re trying to really get a good understanding of the three dimensional object, that having a model in your hand is going to be much better than seeing a photograph. Regardless of whether you’re looking at a photograph or having a miniature model in your hand that you’ve 3D printed, you still are missing the actual and true scale of the object. It’s really hard to grasp that. To me, it’s just another way to have your senses experience the object or the art or the architecture. I don’t think that it’s a replacement in any way for going to see the real thing, which is I think why a lot of these museums are not too concerned with copyright issues. I’m sure a lot of this art is so old that there really are not any copyright issues. I think that you’re not making a duplicate of any of these items.
That being said, you need to get permission. Even in a town square, other things like that, you need to get permission to make sure that if you’re going to reproduce these in any way, shape or form, you can certainly do it for your own purposes and all of that. Even if you’re going to send it up to the Scan The World project, you really should have some permission and let them know that you’ve done this and offer it up to the museum, the community, whatever that is as a way of them using it on their website to promote why you should come see it, look at it up close. It’s a way to drive new traffic to coming to your town or your museum.
I think it’s an important note. First of all, we’re not lawyers again. We always try to say this when we discuss anything legal. But we do have quite a bit of experience with legal matters regarding intellectual property. Copyright certainly does apply to sculptures. I think you need to be careful if you’re going to take 100 pictures or even 30 or 40 pictures of an object to try to turn it into a 3D model. You may run across some issues, depending on how new the sculpture is, if the artist is still alive or not and who technically owns it.
There have been a couple of cases, I think in particular there was one in 2014 about a sculpture in a public park. I think it became an issue and then it went away relatively quickly because clearly that sculpture is in a public place, in plain sight view for anybody to see. It couldn’t be more in the public domain, so to speak. I think it ended up becoming much ado about nothing. Certainly, not every sculpture or object you might scan is going to fall into the same category. Just be careful.
It doesn’t mean it’s not worth it and not exciting for yourself to experience the process of doing that. Stitching together an image is an interesting idea to think about how something is formed, but it’s very surfaced. You’re still not getting the experience of how the sculptor created it, for instance, it’s the opposite of that. It doesn’t mean you’re not experiencing it in a new way and seeing surface things that you never saw before, you’re getting up close, you’re seeing details that you didn’t see before. To me, that sounds like a worthwhile venture. I don’t think there’s any danger of it replacing actual sculpture and manipulation of other materials. To me, it just enhances the process or enhances the experience that the observer can have with the object. I think it’s very cool.
It was interesting to me to listen also to what Jon was saying about the process of photogrammetry. I think I need to try this. I want to find out, whether this is a cloud based software or one of these others, I want to see. I think we need to get that and give it a shot. When you think about even taking only 30 or 40 pictures around an object, if you think about the theoretical circle around an object, 360 degrees, you’re talking about taking a picture almost every ten degrees. How do you measure that if you’re just an individual around it? I don’t think it’s easy to do that. I can understand why taking more pictures is better than less. This is not a case where less is more. I think more may be more.
I think he indicated that there is a tipping point of too much and it’s not useful, it doesn’t make it any easier to stitch together in a sense. That may be because there’s too many overlapping lines and too much confusion in the way that the algorithm of the software works. I think it’s really interesting. Kudos to Autodesk Remake and Shining 3D for sponsoring and working on these projects and sponsoring contests and other things. That really just started building up a bigger community with a gateway to 3D printing. I’m all for that.
The cloud based software conceptually makes a lot of sense to me because you’re talking about uploading a lot of pictures that have a lot of megapixels in them. It’s a lot of data you’re uploading. Crunching that data for your own home computer, it might take a really long time to do it. The great thing about a cloud based system is I’m sure their servers have processors that are a lot faster than what any of us have in our home or office. I like the idea of that, even if there’s an upload reality to uploading gigabytes of pictures initially. It’s cool.
If you would like to sponsor a scan-a-thon in your maker space or community, or if you would like to join the mission to scan the world, you can find out more information on our website, 3DStartPoint.com, in the blog post for this podcast. You can also connect directly with Jon Beck through that link. All the information will be there for you.
Of course, if you’ve done some scanning of your own, please reach out to us. Post it on Facebook, reach out to us there or LinkedIn or Pinterest. Pinterest is where we’ve chosen to deal with photographs. We’re no longer using Instagram just because it wasn’t doing much for us. Check it out. That’s all @3DStartPoint. Thanks again for listening. This has been Tracy and Tom on the WTFFF 3D Printing podcast.
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