Robert-Goldwater-Library

Aluka adds valuable Asante documentation

Aluka, the online digital library of scholarly resources from and about Africa, announces the addition of The Ashanti Stool Histories, a valuable source for the social and political history of the Asante.

<Click here for our earlier post about Aluka.>

Quoting from its press release,

The Ashanti Stool Histories, a two-volume, 1300-page collection, ... is a history of the political offices developed within the Asante state from its beginnings as an upstart confederacy in the late 17th century to its height as a formidable 19th-century empire with a complex bureaucratic government. It is also the history of the officeholders, bureaucrats, and civil servants who, through inheritance or by appointment, worked within the Asante government. The term ‘stool’ was coined by the British to describe the intricately carved wooden Asante seats that, to this day, serve as symbols of political office and ritual observance. Originally existing primarily in oral form, the histories of these offices were collected and translated by Joseph Agyeman-Duah and were compiled by K. Ampom Darkwa and B. C. Obaka.

Containing a wealth of information on the structure of the Asante political system as well as the social history of the Asante people and their West African neighbours, this collection is indispensable for any Africanist anthropologist or historian and invaluable for any student of Asante history and culture.

Archaeology magazine, Sept./Oct. 2007

Selected features of interest in the September/October 2007 issue:

• From the President: Common Ground: Can archaeologists and museums work together?, by C. Brian Rose
• Destination: We asked pioneering archaeoastronomer Anthony Aveni of Colgate University to name his favorite overlooked site
• Feature: A tangled journey home: Priceless artifacts return to Italy and Greece, but their histories remain lost, by Eti Bonn-Muller and Eric A. Powell.
• Museums: Ancient Americans (The Field Museum)
• Insider: The once and future Maya, by David Freidel [online version is an abstract]
• Letter from Peru: Mystery circles of the Andes, by Roger Atwood [online version is an abstract]

Timbuktu digital library project

From the NY Times, 8/7/2007

A copy of the Koran from the 12th century. According to notes in the text, it was bought for a Moroccan king for a sum of gold. (Candace Feit for The New York Times)

Timbuktu Hopes Ancient Texts Spark a Revival
by LYDIA POLGREEN

TIMBUKTU, Mali — Ismaël Diadié Haïdara held a treasure in his slender fingers that has somehow endured through 11 generations — a square of battered leather enclosing a history of the two branches of his family, one side reaching back to the Visigoths in Spain and the other to the ancient origins of the Songhai emperors who ruled this city at its zenith.

“This is our family’s story,” he said, carefully leafing through the unbound pages. “It was written in 1519.”

Photo source >
The musty collection of fragile, crumbling pages, written in the florid Arabic script of the sixteenth century, is also this once forgotten outpost’s future.

A surge of interest in ancient books, hidden for centuries in houses along Timbuktu’s dusty streets and in leather trunks in nomad camps, is raising hopes that Timbuktu — a city whose name has become a staccato synonym for nowhere — may once again claim a place at the intellectual heart of Africa.

“I am a historian,” Mr. Haïdara said. “I know from my research that great cities seldom get a second chance. Yet here we have a second chance because we held on to our past.”

This ancient city, a prisoner of the relentless sands of the Sahara and a changing world that prized access to the sea over the grooves worn by camel hooves across the dunes, is on the verge of a renaissance.

“We want to build an Alexandria for black Africa,” said Mohamed Dicko, director of the Ahmed Baba Institute, a government-run library in Timbuktu. “This is our chance to regain our place in history.”

The South African government is building a new library for the institute, a state-of-the-art facility that will house, catalog and digitize tens of thousands of books and make their contents available, many for the first time, to researchers. Charities and governments from Europe, the United States and the Middle East have poured hundreds of thousands of dollars into the city’s musty family libraries, which are being expanded and transformed into research institutions, drawing scholars from around the world eager to translate and interpret the long forgotten manuscripts.

The Libyan government is planning to transform a dingy 40-room hotel into a luxurious 100-room resort, complete with Timbuktu’s only swimming pool and space to hold academic and religious conferences. Libya is also digging a new canal that will bring the Niger River to the edge of Timbuktu.

Timbuktu’s new seekers have a variety of motives. South Africa and Libya are vying for influence on the African stage, each promoting its vision of a resurgent Africa. Spain has direct links to some of the history stored here, while American charities began giving money after Henry Louis Gates Jr., the Harvard professor of African studies, featured the manuscripts in a television documentary series in the late 1990s.

This new chapter in the story of Timbuktu, whose fortunes fell in the twilight of the Middle Ages, is almost as extraordinary as those that preceded it ... [Read more]

• Library of Congress online exhibition of Malian manuscripts from Timbuktu
• Timbuktu Manuscript Project (University of Oslo Centre for Development and the Environment)
  • Visit the Timbuktu Libraries
• Search WATSONLINE

Call For Items: New Blog, ARLIS/NY

Announcing the new blog for the Art Libraries Society of North America, NY Chapter (ARLIS/NY): http://www.arlisny.org - see also their Flickr photos.

via their home page:

To give our blog a personal touch, we are asking for your help in sending our way art-related, newsy information about yourself. Our membership is made up of creative, fascinating, cultured and knowledgeable people. Let's find out what we are all doing and share our news.

Information can include:

art-related awards you've received, milestones, professional activities, presentations, articles you've written, announcements, staffing changes etc.

Photos are also welcome.

Send submissions to Suz Massen at massen@frick.org or Alexandra de Luise

at alexandra.deluise@qc.cuny.edu

Thanks for your help in making the blog something we can all call our own.

Suz Massen & Alexandra de Luise

NG investigates the Maya collapse

Scholars have long puzzled over the Maya civilization's rise to glory and fall to ruin. The latest thinking is that a man named Fire Is Born made the Maya great. But no one person or problem caused the collapse. Simply put, everything went wrong.

The cover story of the August 2007 issue of National Geographic Magazine explores current theories on the rise and fall of the Maya. Joining the standard NG treatment ('imaginative' drawings recreating moments in Maya history) are selected art objects and dramatic photography of Maya sites. The online version of the magazine includes features such as an interactive map and interviews with the writer and photographer, and related links to other NG features, web sites and printed books and articles.

Too Cool for Their Shush-shirts

EAT, DRINK, BE LITERARY From left, Jessica Pigza, Maria Falgoust, Jeff Buckley and Sarah Murphy at a social event for librarians where the author Robert Sullivan, far right, spoke. photo: Michael Nagle for The New York Times

via NYTimes:

A Hipper Crowd of Shushers
By KARA JESELLA
Published: July 8, 2007
ON a Sunday night last month at Daddy’s, a bar in Williamsburg, Brooklyn, more than a dozen people in their 20s and 30s gathered at a professional soiree, drinking frozen margaritas and nibbling store-bought cookies. With their thrift-store inspired clothes and abundant tattoos, they looked as if they could be filmmakers, Web designers, coffee shop purveyors or artists.

SOCIAL BOOKWORMS Maria Falgoust helped start Desk Set to meet like-minded librarians. Photo: Chester Higgins Jr./The New York Times

“Maria Falgoust, 31, is also a founder of Desk Set, which took its name from the 1957 Katharine Hepburn-Spencer Tracy romantic comedy. A student who works part time at the library at Saint Ann’s School, she was inspired to become a librarian by a friend, a public librarian who works with teenagers and goes to rock shows regularly.

Since matriculating to Palmer, Ms. Falgoust has met plenty of other like-minded librarians at places such as Brooklyn Label, a restaurant, and at Punk Rope, an exercise class. “They’re everywhere you go,” she said.”

When talk turned to a dance party the group had recently given at a nearby restaurant, their profession became clearer.

“Did you try the special drinks?” Sarah Gentile, 29, asked Jennifer Yao, 31, referring to the colorfully named cocktails.

“I got the Joy of Sex,” Ms. Yao replied. “I thought for sure it was French Women Don’t Get Fat.”

Ms. Yao could be forgiven for being confused: the drink was numbered and the guests had to guess the name. “613.96 C,” said Ms. Yao, cryptically, then apologized: “Sorry if I talk in Dewey.”

That would be the Dewey Decimal System. The groups’ members were librarians. Or, in some cases, guybrarians.

“He hates being called that,” said Sarah Murphy, one of the evening’s organizers and a founder of the Desk Set, a social group for librarians and library students.

Ms. Murphy was speaking of Jeff Buckley, a reference librarian at a law firm, who had a tattoo of the logo from the Federal Depository Library Program peeking out of his black T-shirt sleeve.

Librarians? Aren’t they supposed to be bespectacled women with a love of classic books and a perpetual annoyance with talkative patrons — the ultimate humorless shushers?

Not any more. With so much of the job involving technology and with a focus now on finding and sharing information beyond just what is available in books, a new type of librarian is emerging — the kind that, according to the Web site Librarian Avengers, is “looking to put the ‘hep cat’ in cataloguing.”

When the cult film “Party Girl” appeared in 1995, with Parker Posey as a night life impresario who finds happiness in the stacks, the idea that a librarian could be cool was a joke.

Now, there is a public librarian who writes dispatches for McSweeney’s Internet Tendency, a favored magazine of the young literati. “Unshelved,” a comic about librarians — yes, there is a comic about librarians — features a hipster librarian character. And, in real life, there are an increasing number of librarians who are notable not just for their pink-streaked hair but also for their passion for pop culture, activism and technology.

“We’re not the typical librarians anymore,” said Rick Block, an adjunct professor at the Long Island University Palmer School and at the Pratt Institute School of Information and Library Science, both graduate schools for librarians, in New York City.

“When I was in library school in the early ’80s, the students weren’t as interesting,” Mr. Block said. 

Since then, however, library organizations have been trying to recruit a more diverse group of students and to mentor younger members of the profession.

“I think we’re getting more progressive and hipper,” said Carrie Ansell, a 28-year-old law librarian in Washington.

In the last few years, articles have decried the graying of the profession, noting a large percentage of librarians that would soon be retiring and a seemingly insurmountable demand for replacements. But worries about a mass exodus appear to have been unfounded.

Michele Besant, the librarian at the School of Library and Information Studies at the University of Wisconsin-Madison, said the Association of Library and Information Science statistics show a steady increase in library information science enrollments over the last 10 years. Further, at hers and other schools there is a trend for students to be entering masters programs at a younger age.

The myth prevails that librarians are becoming obsolete. “There’s Google, no one needs us,” Ms. Gentile said, mockingly, over a drink at Daddy’s.

Still, these are high-tech times. Why are people getting into this profession when libraries seem as retro as the granny glasses so many of the members of the Desk Set wear?

“Because it’s cool,” said Ms. Gentile, who works at the Brooklyn Museum.

read on...

Digital Library of Scholarly Resources on Africa

The Summer 2007 issue of African Arts includes a 'first word' column on a promising new online scholarly research resource for Africa. This resource first came to the library's attention in early April, when Aluka announced the roll out of its cultural heritage site component.

[A future post will review the resource and give tips on navigation]

Aluka is "an international, collaborative initiative [to build] an online digital library of scholarly resources from and about Africa," according to the project's History and Mission page.

Aluka seeks to attract high-quality scholarly content about Africa from institutions and individuals across the globe ... By aggregating these materials online, the Aluka collections link materials that are widely dispersed and difficult to access, opening up new opportunities for research, teaching, and broader public discussion. One of Aluka’s primary objectives is to provide African scholars and students with access to scholarly materials originally from Africa, but now out of their reach.

Aluka is a project of Ithaka, a not-for-profit organization formed “to accelerate the adoption of productive and efficient uses of information technology for the benefit of the worldwide scholarly community.”  Aluka is affiliated with both JSTOR and ARTstor. Work began on Aluka in early 2003.

Aluka's target audience is primarily the "higher education and research community," with most resources selected and pitched to undergraduate students and their instructors. Some resources may have particular application to specialized researchers.

Access to Aluka is open to "any educational, research, cultural, or other not-for-profit organization that joins Aluka by signing a participation agreement." Outside of Africa a fee is involved. During the 'Preview Period' any institution with access to JSTOR (including this one) has free access to Aluka content. (There is no indication how long the Preview period will last.) The Preview period will end December 31, 2007.

In addition to the content areas themselves, additional pages highlight Featured Collections (for instance, the Melville J. Herskovits Library of African Studies) and a running list of Latest Additions. There is also an FAQ Page.

At the moment Aluka presents three constantly expanding 'content areas':

• Struggles for Freedom in Southern Africa "consists of more than 180,000 pages of documents and images, including periodicals, nationalist publications, records of colonial government commissions, local newspaper reports, personal papers, correspondence, UN documents, out-of-print and other particularly relevant books, oral testimonies, life histories, and speeches" reflecting the history of the struggle itself: "colonial rule, dispersion of exiles, international intervention, and worldwide networks that supported successive generations of resistance within the region."

• African Plants "comprises scientific data contributed by the African Plants Initiative (API) ... API's long-term goal is to build a comprehensive online research tool aggregating and linking presently scattered scholarly resources about African plants, thereby dramatically improving access for students, scholars, and scientists around the globe."

• African Cultural Heritage Sites and Landscapes "content area links high-quality visual, contextual, and spatial documentation of African heritage sites.The digital library includes photographs, 3D models, GIS data, site plans, aerial and satellite photography, images of rock art, excavation reports, manuscripts, traveler's accounts, historical and antiquarian maps, books, articles, and other scholarly research." [N.B.: Until June 30, 2007, downloading of the the datasets for three-dimensional site models, GIS data, and digital video has been disabled.]

It is this last collection which has the potential to provide the most valuable information for our research community. The collection is organized around what Aluka calls a "cultural landscape." As of April 2007 five cultural landscapes had been identified: Kilwa Kisiwani—a medieval city on an off-shore island in Tanzania; Lalibela, Ethiopia—capital of the Zagwe Dynasty and famous for its rock-hewn churches; The Asante Temples at Besease and Patakro, Ghana; Djenné and Timbuktu, Mali, celebrated for mosques in Sudanic style; and a preliminary collection of digitized photographs of African Rock Art. Future landscapes will include the stone ruins of Great Zimbabwe; the stelae field at Axum, Ethiopia; Elmina, Ghana; Lamu archipelago located on Kenya's northern coast; and five rock art shelters and caves in South Africa’s Cederberg Mountains.

Each of these cultural landscape areas "includes a vast range of visual and textual materials ... [including] high-resolution, metrically accurate digital photographs, two-dimensional site plans, three-dimensional models of structures, towns, and landscapes, spatial/geographic information systems (GIS), digital video and panoramas of the sites, and in the future, computer visualizations with walk-through capabilities.

"Related contextual materials ... include, for example, a selection of digitized scholarly articles, monographs, and travelogues from the National Museum of African Art, Smithsonian Institution Libraries, and the Melville J. Herskovits Library of African Studies at Northwestern University; some antiquarian maps of Africa from the Afriterra Free Cartographic Library; selections of narratives, drawings, and documents of and by the |xam and !kun people of southern Africa as collected in the 19th century by Lucy Lloyd and Wilhelm Bleek; and a unique collection of field notes and images from excavations at Kilwa Kisiwani carried out during the 1960s and early 1970s by Neville Chittick, the first Director of the British Institute in Eastern Africa."

A Schomburg Renaissance

Ruby Washington/The New York Times

A 1925 sign from the New York Public Library’s Negro division.

via the NY Times:

Harlem’s Cultural Anchor in a Sea of Ideas
By FELICIA R. LEE
Published: May 11, 2007

YOU could almost see the ghosts among the new furniture and modern recessed lighting. It was a few days before the staff at the Schomburg Center for Research in Black Culture, at 135th Street and Malcolm X Boulevard in Harlem, finished hanging two exhibitions and stripping the paper off the doors at its bigger, brighter new entrance. Amid the sounds of hammers and drills, they prepared for tomorrow’s public celebration of the center’s two-year, $11 million renovation.

The Schomburg is as much a monument to an idea as it is a building. So those ghosts, workaday and luminous, inhabit a space of many incarnations, tracing its roots back to the 135th Street New York Public Library branch that opened there in 1905. Predominantly Jewish then, Harlem was mostly black by 1924. Over the years, Alex Haley researched “Roots” at the Schomburg; James Baldwin and Gordon Parks both found it a refuge; a young Ossie Davis honed his craft there.

By the time it officially became the Schomburg in 1972, taking its name from Arturo Alfonso Schomburg, the Puerto Rican-born black bibliophile who donated his collection, it was a one-stop connection with the global black experience. Its wonders include a rare recording of a Marcus Garvey speech, documents signed by Toussaint L’Ouverture, a signed first edition of Phillis Wheatley’s poetry, daguerreotypes of African-Americans from the 1830s, Benjamin Banneker’s almanacs. Its exhibitions have tracked black migration and displayed the contents of Malcolm X’s pocket when he was gunned down at the Audubon Ballroom.

“The center has increasingly become one of the cultural anchors of the greater Harlem community, one of the top three tourist destinations, along with the Apollo and the Studio Museum in Harlem,” said Howard Dodson, the Schomburg director. “The kind of change that’s taking place in Harlem is of political, social and historical interest to the center, and we’ll be here to document it. We are not going anywhere.”

As the Schomburg unveils its facelift, Harlem itself is also undergoing one of its periodic renaissances. There’s new real estate development, new stores and restaurants, new places to imbibe culture. The association with Harlem has been the constant for the Schomburg trove of more than five million items: art, manuscripts, films, photographs. The center has been a place for community meetings and for local politicians, for schoolchildren and eminent researchers like the historian John Hope Franklin.

Thelma Golden, the director and chief curator of the Studio Museum, is among those who see the renovated Schomburg as an emblem of a Harlem at the top of its game. Hundreds of thousands of tourists pour into Harlem annually to shop in the stores on 125th Street, sit in the pews of the historic Abyssinian Baptist Church or revel in the serendipity of finding new cafes or dowager buildings.

“The Schomburg stands as a bearer of the idea that our history and culture are important,” said Ms. Golden, who is African-American. “The renovation will reinvent the sense of the institution as living, breathing space. All the cultural institutions in Harlem are going through a period of incredible growth, and it’s not just about physical renovation.”

A walk through Harlem makes vivid its embrace of many worlds. There are the tiny African braiding shops, mom-and-pop restaurants with an African or Caribbean flavor, as well as Citarella and Starbucks amid the cacophony of 125th Street, the area’s commercial spine. It is dotted with stores like Old Navy, as well as the Apollo and the Studio Museum. The streets are cleaner and safer than they have been in years. (read on ...)

And take note of the following:

Two exhibitions will be on view through Oct. 28: “Stereotypes vs. Humantypes: Images of Blacks in the 19th and 20th Centuries” and “Black Art: Treasures From the Schomburg.”

The “Stereotypes” exhibition is meant to show the prevalence of caricatured images of blacks for most of the early 19th and early 20 centuries. It uses items like sheet music, posters, advertisements and postcards to show how words like “darktown” and “coon” were casual companions to depictions of blacks with distorted features.

Some of the items are on loan from the Jim Crow Museum of Racist Memorabilia at Ferris State University in Big Rapids, Mich.

“A small amount of this is from the South,” Mr. Dodson noted. “A significant amount of the stereotypical ads come from New York.”

The propaganda is contrasted with real-life black images from that period: couples in their wedding finery, 1920s bathing beauties, formal banquets.

“Black Treasures” is an eclectic display that includes the 1868 marble and bronze “Portrait of Ira Aldridge as Othello,” by Pietro Calvi, as well as the 1969 collage “Black Manhattan,” by Romare Bearden, and dozens of other work by Elizabeth Catlett, Augusta Savage, Jacob Lawrence, Benny Andrews, Henry Ossawa Tanner, Horace Pippin, Faith Ringgold and others.

   

MMA SYMPOSIUM: Coaxing the Spirits to Dance: Art of the Papuan Gulf

SYMPOSIUM
Sunday, May 20, 2007

Coaxing the Spirits to Dance:
Art of the Papuan Gulf

Noted scholars present a series of lectures about the traditional sculpture of the Papuan Gulf and the photographs that chronicle it. Topics include new discoveries about the Museum’s rare photographs, the ways in which these images form visual biographies of the objects,
and how they expand our knowledge of the history of art and photography in the Pacific.

LECTURES

10:30    Welcome and Introductory Remarks
His Excellency Evan J. Paki, Ambassador of Papua New Guinea to the United States of America

11:00    Art Forms across the Papuan Gulf
Robert L. Welsch, Visiting Professor of Anthropology, Dartmouth College, and Adjunct Curator of Anthropology, The Field Museum

11:30    Papuan Gulf Art and the National Museum
Sebastine Haraha, Senior Technical Officer, Department of Anthropology, National Museum and Art Gallery of Papua New Guinea

12:00    Break for lunch

1:30    In Situ: Photographs of Art in the Papuan Gulf
Virginia-Lee Webb, Research Curator, Department of the Arts of Africa, Oceania, and the Americas, The Metropolitan Museum of Art

2:00    Creating Images: Frank Hurley and the Australian Museum’s Collections
from the Gulf of Papua
Jim Specht, Senior Fellow, Australian Museum

FILM

2:30    The Mythic Camera of Frank Hurley (2004)
Directed by Simon Nasht (53 min.)

LECTURES

3:30    A Century After Outsiders Came to Visit: Life in the Purari Delta Today
Kaia Rove, Local Level Government Councillor of Ward 14, Baimuru District, Gulf Province, Papua New Guinea

4:00    Canoes, Carvings, and the Ancestors: Fluid Forms of the Purari Delta of
Papua New Guinea
Joshua A. Bell, Lecturer in Arts of the Pacific, Sainsbury Research Unit for the Arts of Africa, Oceania and the Americas, University of East Anglia

Free with Museum admission; tickets and reservations are not required. For more information, please consult the Museum's online Calendar at www.metmuseum.org,
call (212) 396-5460, or contact lectures@metmuseum.org.

This symposium is made possible by The Billy Rose Foundation, Inc.

The exhibition Coaxing the Spirits to Dance: Art of the Papuan Gulf is on view at The Metropolitan Museum of Art until December 2, 2007.

The exhibition is made possible by the William Randolph Hearst Foundation.

It was organized by the Hood Museum of Art, Dartmouth College, in collaboration with The Metropolitan Museum of Art, New York.

Programs occur in The Grace Rainey Rogers Auditorium, The Metropolitan Museum of Art, 1000 Fifth Avenue, New York, NY.

Museums + folksonomies: bridging the semantic gap

via NYTimes:
One Picture, 1,000 Tags {excerpts}
By PAMELA LiCALZI O’CONNELL
Published: March 28, 2007

[...]

"Museums have recognized that their online collections are not doing the job — we're hiding the content away from nonspecialists," said Jennifer Trant, a partner at Archives and Museum Informatics in Toronto. "We've got to provide access on the same level as visual memory."

Now, after spending millions of dollars and years of effort on their virtual homes — which draw many more visitors than their physical ones — museums are rethinking their online collections. They are experimenting with one of the hottest Web 2.0 trends: tagging, the basis for popular sites like Flickr.com. In social tagging, users of a service provide the tags, or labels, that describe the content (of photos, Web links, art), thus creating a user-generated taxonomy, or folksonomy, as it's called.

Museums plan to encourage the public to annotate their collections by supplying descriptive tags that could exist alongside professional documentation, creating a new shared vocabulary. Van Gogh's "Starry Night," for example, could elicit tags like "stars," "planets," "swirls" or "insanity."

The Cleveland Museum of Art, the Smithsonian Institution and the Powerhouse Museum in Sydney, Australia, already have prototype tagging applications on their Web sites, and nearly a dozen other museums plan similar projects.

But can the public be trusted to tag art? Will curators let them?

The Metropolitan Museum of Art ran a test in fall 2005 in which volunteers supplied keywords for 30 images of paintings, sculpture and other artwork. The tags were compared with the museum's curatorial catalog, and more than 80 percent of the terms were not in the museum's documentation. Joachim Friess's ornate sculpture "Diana and the Stag," for example, was tagged with the expected "antler," "archery" and "huntress." But it was also tagged "precious" and "luxury."

"The results were staggering," said Susan Chun, general manager for collections information planning at the Met. "There's a huge semantic gap between museums and the public."

Based on this and other research, a group of museums formed the steve.museum tagging project, which recently received a two-year grant from the Institute of Museum and Library Services. The grant work, which began last fall, is based at the Met and the Indianapolis Museum of Art, and includes the Cleveland Museum of Art, the Denver Art Museum, the Guggenheim Museum, the Minneapolis Institute of Arts, the Rubin Museum of Art in Manhattan and the San Francisco Museum of Modern Art. People may tag selected art from these museums on the project Web site; some of the museums plan applications on their own sites as well.

[...] Aside from the prohibitive cost of subject indexing thousands of works, there are other reasons museums want the public to tag art. For one, "art professionals can find it surprisingly difficult to describe the visual elements of a picture," said Ms. Trant, who is managing the grant work. She recalled that during early testing of tagging at the Met, a frustrated curator complained, "Everything I know isn't in the picture." [read on...]