As more and more people live longer, the number of people with disabilities will
continue to rise. The good news is that web applications can enhance the lives of
people with disabilities. The bad news is that many applications are poorly designed
for this increasingly significant audience.
Too often, people approach accessibility only when required to, and simply by looking
at a checklist. But accessibility is not a checklist; accessibility happens by
considering it from the beginning, understanding industry best practices, and by taking
a user-centered design approach. This means knowing how people with various
disabilities will interact with your product in a way that is successful.
Learn how to incorporate accessibility in a cost-effective manner into your projects.
Jimmy Chandler will demonstrate 10 methods in 20 minutes for improved accessibility
that all interaction designers can use right away. These tips will help you enhance the
user experience for those without disabilities, including those using mobile devices.
At the end of this session, you will understand how to include people with disabilities
in usability studies, what the most important principles of accessibility are, how to
look out for the biggest pitfalls, and where to go and what to do next.
When it comes to setting the stages upon which individuals build experiences, Designers
can look to a number of industries for lessons and inspiration. The film industry, over
its long life, has at times both excelled and fallen short of honoring its audience
with solid material and engaging stories.
Well-made films have shown us that they can drive engagement and interaction. The
marketing world has long used this to its advantage. Films succeed in evoking responses
and engaging the audiences only when there is a combination of well-written narrative
and effective storytelling techniques. It's the film maker's job to put this
combination together, and to do so they've developed an extensive set of tools and
techniques that allow them to focus (and disrupt) attention, emphasize information,
foreshadow and produce the many elements that together comprise a well-told story.
We're responsible for creating products that aren't just easy to use, but that people
desire to use. Our designs should drive users to want to interact with them. It stands
to reason that the methods being used in the film industry to communicate with and
engage audiences can also be used in the interaction design space.
The purpose of this presentation is to extend the current topic of the use of stories
in design and focus on the technical aspects used in film to communicate with
audiences. We'll look at some tools used by film makers such as: cinematic patterns,
beat sheets, storyboards and editing techniques. We'll consider how, why and when
they're used and which aspects of these tools we can make use of as Designers.
In established design fields — i.e., architecture, graphic design, and industrial
design — much has been written about what makes design under these classifications
beautiful. Common design elements such as form, line, balance, unity, variety, rhythm,
contrast, texture and color have been analyzed and presented to design students for
decades, resulting in codified visual languages that constitute good design.
But as system interactions that span two or more of these older disciplines become an
increasing part of our everyday lives, what of the relatively new field of interaction
design, the beauty of which is not generally confined to the visual? What are the
design elements that make an interaction beautiful and to what human senses do they
appeal? In what ways are these beauty-forming elements similar or different from other
design disciplines? Which ones are new? Which are shared?
Through cross-analysis of these related design fields and general notions of beauty
throughout the world, I will define what makes an interaction beautiful and propose a
theoretical framework for codifying design elements in interaction design.
Why is it that computer science curriculums in the United States have such a hard time
attracting and keeping prospective female students? Many university computer science
curriculums focus on the theoretical rather than the practical applications of the
science. Many of the women I've encountered are looking for something more hands-on,
with more direct social benefit. Interaction Design as a field hits the right balance
of technology, social benefit, and creativity — but our chosen career is still
relatively unknown outside the walls of this convention! This session will discuss
trends in computing education, and suggest outreach activities to get the word out and
spark the imaginations of the next generation of career women (and men).
Have we lost balance in life? Our daily routine moves in hyperdrive with content
creation, curation, and consumption at every step. It is now possible to shoot, edit,
and upload a video before your morning coffee, yet it is also possible to spend an
entire 8 hour shift without leaving the warm glow of Google reader. Designers and
developers now have the tools to build highly influential devices and systems which
users can be defenseless against. From the eyes of our clients, we are designing
beautiful systems where users pleasantly consume glorious amounts of rich content, yet
how is this impacting our overall lives? We are now only a misguided click from falling
down a rabbit hole of continual consumption. As we witness more and more people being
constantly connected to at least one form of media, we must consider the ugly side of
our beautiful designs.
I wish to analyze the balance of consumption, curation, and creation throughout history
and will attempt to determine what an ideal balance is. I will then estimate when,
where, and how today's designs have influenced our everyday balance of life. Finally I
will instruct upon how to design systems which encourage a positive change towards a
healthy balance in life. As a community that prides itself upon a building a better
world, it's time to turn hyperdrive off, and take a much needed step back to ensure
that we are moving in a positive direction.
Interaction design and the broader user experience design field have no ethics
guidelines. Practitioners take shortcuts due to time and budget pressures, participate
in questionable business practices and projects, and act without considered thought.
These all have a direct impact on ethical lapses and opens the door to unintentional
mistreatment of our clients and peers, participants in research studies, and the people
who use our designs. In contrast, other design disciplines (architecture, graphic
design, industrial design) and social sciences (anthropology, psychology, sociology)
have long-established ethics frameworks. Behavior of professionals and how work product
is handled and used are shaped by ethical principles and practices. This ethical
imperative aims to protect stakeholders' welfare and govern how practitioners treat
them. Issues and scenarios discussed include: Privacy/publicy, locus of control,
default choices, and digital, physical, social, and emotional aspects of our practice.
This session is recommended for anyone who wishes to address the ethical challenges
we face in day-to-day practice, and begin thinking about how to best bring design ethics
to our work.
Photoshop.com debuted three years ago with mixed results: customers liked the online editing and sharing tools but also wanted access to information and inspiration, as well as faster performance. Today, Photoshop.com attracts more than 3 million unique visitors per month, and provides a mix of tips, techniques, stories, and online photo tools for a diverse audience. This presentation tells the story of how the Adobe XD (Experience Design) team, using a design-driven strategy, collaborated with engineering and marketing on a top-to-bottom redesign of photoshop.com. You'll get a behind-the-scenes look at how we drove a customer-centric design concept to market. We'll also describe our practices for designing the ecosystem of web pages, web apps, and mobile apps at the heart of Photoshop.com.
As designers explore how to appropriately develop technology for users in the developing world, they must reconsider the interaction styles embedded in the applications and devices they create. In this talk, I present results from a study examining how professionals living and working in Nairobi, Kenya, use computers in their everyday lives. There are two takeaways from this presentation. First, I describe the constraints participants encountered when using technology in an infrastructure-poor setting. These constraints are limited bandwidth, high costs, differing perceptions of responsiveness, and threats to security. Second, I use these findings to critically evaluate the "access, anytime and anywhere" construct shaping the design of future technologies. I present an alternative vision called "deliberate interactions" — a planned and purposeful interaction style that involves offline preparation — and describe how technology can be designed to support this online usage behavior.
Making sense and gaining advantage through a pragmatic understanding from the front
lines of the Web — using the lessons of history from the Roman spread of civilization
to the Nasa Space Progam and through to an insider's view of the design world over the
last 10 years.
The danger we face as people —designers, leaders, strategists, team members —is
that as we grow larger, we can get farther and farther away from each other, and
ultimately farther away from the people we design for.
Learn from a leader in bringing a dedicated business sense to the Design world about
the power of proximity in creating satisfaction and achievement in both a personal and
Using his own unique path from US Navy Nuclear Engineer to Harvard MBA to leadership
roles at IDEO, Frog Design and Adaptive Path, Michael will frame both the business and
organizational imperatives for the new millennium, based on a renewed sense of
team-building, expression and client understanding — and the maximum impact that we can
gain from applying our internal best practices to our external audiences.
What are the structures we need to put in place to design and maximize the closeness of
designers, engineers, users, and business decision makers — using the tools and
technologies we have now? If we don't stay true to our core, how can we design for
Imagine a brilliant yet egocentric group of people with highly established social
hierarchies, fickle brand affinities, a strong sense of right and wrong, limited powers
of deduction, and more creativity than you can possibly comprehend. Now imagine that
you have to design a virtual world for these folks that they'll not only be able to
use, but frequent, praise, evangelize, and maybe even help build.
Oh, yeah, and most of these people can't read.
Welcome to the wild and wonderful world of designing online immersive environments for
This session will show a variety of non-digital solutions to interaction problems, i.e.
that did not involve making a website or coding an app. These are found solutions, not
my own, and come from a variety of sources. For example:
By demonstrating a variety of successful solutions to problems, the goal is to broaden
the pallet of tools interaction designers consider. This is not to suggest that digital
solutions are inferior, but to demonstrate a variety of approaches and to initiate
discussion around how different approaches might be appropriate for different
This would be most interesting to individuals working for clients and looking for
solutions to existing problems, particularly those working for community/government
clients interested in social innovation. The specific examples might be less
interesting to theorists and artists, but they might also benefit from discussing a
variety of solutions to interaction problems.
Over the past 100 years, design had played a significant role in advancing
agri-business by producing products, systems, and services that support large-scale
corporate farming. The question we ask is, Can design now play a role in shifting us
towards more sustainable modes of agriculture? What kinds of products, services and
systems would need to be designed that shift? How can the technologies of automation
and monitoring that support large-scale corporate farming be redesigned for local
small-scale agriculture? The growBot Garden project explores these questions by
bringing together interaction designers, farmers and other food producers to ask: How
might robotics and sensing technologies be used in support of local small-scale
The growBot Garden project is structured around a series of public and participatory
design workshops that draw from practices of co-design design, critical design,
tactical media and hacking. In these workshops, people come together to collaboratively
make speculative representations and prototypes of possible, alternative, agricultural
futures. These representations and prototypes are documented and shared through public
forums to provoke consideration of new assemblages that might emerge at the
intersection of technology and agriculture.
In this lightening session we will present the growBot Garden project, calling
attention to both it's specific successes and failures, and the broader challenges and
opportunities of melding co-design and interaction design in the context of sustainable
agriculture. Attendees will be inspired, and too, will come away with a case-study of
socially-engaged interaction design they can extend to their own projects.
We find ourselves at a critical moment in the evolution of healthcare. The progress of
medical science means that people can now overcome many previously fatal and
debilitating conditions, and we know enough for most people on the planet to live long,
healthy lives. But we are not yet achieving this dream: even people who have access to
healthcare are not universally enjoying the kind of outcomes science suggests they
should, and the cost of healthcare has been rising quickly, to the point it is in
danger of being unsustainable, on a personal and global level.
Watching the public debate, it's easy to see this as a policy issue, but the
politicians, doctors and insurers could use a hand in the imagination department. Many
of the biggest opportunities to improve healthcare have to do with interfaces and
interactions. Some of these interfaces and interactions have to do with onscreen GUI's,
and some are between people and institutions. Almost all of them stand to benefit from
the kind of holistic, imaginative problem-solving designers can help with.
In this talk, I'll briefly frame the big opportunities for interaction designers to
help revolutionize healthcare, from encouraging healthy behavior by individuals, to
increasing the reach and impact of healthcare institutions, to improving the way care
is delivered by those institution. The bulk of the talk will focus on design strategies
for this latter area, using examples from work I've been involved in as well as from
the broader industry. Topics will include clinical decision support, knowledge-enabled
workflow management, treatment and other point-of-care interfaces, and how systems can
better enable the practice of evidence-based medicine.
There has been a historical divide between human-centered design for the physical world — considered the domain of industrial designers and engineers — and the digital world — the domain of user experience designers, information architects, and human-computer interaction specialists.
We are entering an era of ubiquitous computing where digital experiences will no longer be limited to desktop computers and mobile devices and will seamlessly integrate into everyday objects and activities. As this intersection between technology and the physical world becomes more central to our everyday lives, there is a need for a new, cross-disciplinary approach where industrial and digital user experience designers look to each other for input and to create new standards.
Based on their experience and backgrounds in both industrial design and user experience design, Austin and Lindsay will demonstrate how they've redesigned three everyday objects based on the combined disciplines of industrial and digital interaction design.
From this process, they will demonstrate the design aspects that these two disciplines can learn from one another, such as:
About 9 months ago, I started a fairly innocent task of creating an experience strategy for a personalization initiative introduced by our client, a major telecom service company. As would be expected, the client's initial focus was primarily on marketing opportunities: getting the best offer in front of the right person at the right time. But as we began formulating a strategy, we saw an opportunity to rethink what it meant to have a personalized brand, product and shopping experience. Where we landed, very simply, was with a deeper, more robust idea of conversation: dynamic, real-time, transparent, social, multi-channel and controllable. We wanted to create an individualized (not merely personalized) experience that recognizes desires, anticipates needs and provides utility, real value and service to the customer. But how could it be done? What would it do for the company? What would be needed to support it?
This presentation will ask more questions than give answers. Rather than give you a reveal of Everything We Learned, a fully-baked case study, or prescriptions for design this presentation will meditate on some issues that have arisen in the midst of designing for cross-channel personalization, issues that will have implications on our design future.
Hopes and dreams now pinned to the iPad notwithstanding, the publishing industry in general — and traditional newspaper journalism in particular — remains in a state of crisis.
This session describes how principles of IA, ID and UX must be on the agenda for journalism schools and old media bastions looking to effectively create and distribute content online and across multiple platforms.
Classic divisions of labor, print prejudices, institutional inertia and ivory tower thinking are no longer viable, as content producers both large and small struggle to remain relevant and profitable.
As the paradigm shifts beneath them, content publishers will need to not only embrace, but also fully understand concepts and processes that most new media professionals now take for granted.
Finally, this session shares theory and practice focused on connecting Information Architecture to the business needs and Interaction Design to the customer needs for content sites, with a special focus on the user experience of news and information sites.
This is the story of a radio company returning to its roots: enlightening and
entertaining people in the comfort of their living room (or wherever they roam). When
Steve Jobs first demonstrated the iPad, he was seated, lounging in a leather armchair.
Our challenge at NPR was to design an app that fulfilled the promise of a lean-back
experience on a transformational new platform. What you'll learn:
Yes, business applications can be made fun and gamelike. No, points, levels and badges
are not the way to create sustained interest.
While many sites have added superficial gaming elements to make interactions more
engaging, the companies that "get it" have a better understanding of the psychology
behind motivation. They know how to design sites that keep people coming back again and
So what are the secrets? What actually motivates people online? How do you create
sustained interest in your product or service? Speaker Stephen P. Anderson will share
common patterns from game design, learning theories, and neuroscience to reveal what
motivates—and demotivates—people over the long haul.
With today's ever advancing technologies—better tools, frameworks, libraries—
software/web development is becoming increasingly faster in many regards. Yet in large
companies, the processes for designing, developing and deploying software/web products
remains cumbersome. To a great extent, the processes have remained the same for nearly
a decade, and are very slow. On the other hand, smaller companies (startups) are able
to go from inception to deployment in very little time. They are able to iterate and
experiment with new features sometimes on a daily basis. Can large companies learn from
small company processes, and vice versa?
Kalani Kordus and Karl Adam will juxtapose their large company (yahoo!), large team
experience with their small company (smudgeproof), small team adventure. Their current
design/development process—a mashup of traditional and progressive techniques—is akin
to musical improvisation, Dirty Jobs and UFC cage fighting.
If you can't quite make every type of user mistake impossible, then you should at least
make them fun, right? Game mechanics and game design techniques have been a much
proliferated meme in the UX, IxD, and design worlds as of late (for varying definitions
of 'late'). Touted as a 'solution' to the challenge of motivating certain behavior in
users, or making experiences more engaging, sadly these elements of the game
development world are often blindly applied without finesse or elegance - akin to to
hitting the user over the head with a colorful hammer.
In an effort to put this right, and help correct the flaws in the application of game
mechanics that our team was seeing over and over again, we put together this 10 Step
Plan to borrowing from the world of game design when considering your interaction and
user interface design. Game design techniques aren't applicable to every interaction
design situation, but when they are they can make the experience that much more
compelling, sticky and entertaining.
Learn when, and when not to consider game design and mechanics, and how best to
leverage them when appropriate. Learn why game mechanics aren't just a set of
interrelated feedback loops (with a heavy set of rules) and see how to integrate
classic mechanics, such as collection and feedback, as well more interesting elements
such as obstacles, difficulty, competitions and mini games. Finally, learn how and when
to use the most interesting game mechanic of all: rewards. Oh, and most importantly:
learn how to stay true to the interaction you're designing without turning it into an
This session is about putting the heart and soul of game design into IxD, and using it
to focus the well-meaning intention of games in the first place: making stuff more fun!
This session is for everyone.
Mention "marketing" to most design professionals and their thoughts turn to bloated ad
campaigns based on broad conclusions drawn from dated demographic research. Marketing
has been perceived as manipulative, pushy and greasy. It's that breathless,
in-your-face infomercial or the annoying guy calling you at dinner. Some traditional
marketers have given the craft of marketing a bad name.
But a new strain of marketing is less about manipulation and deception, and more about
two-way conversations, transparency and personalization. It's about building something
that people actually want to use, or writing a blog post that 200 people comment on.
The old mindset has been that designers craft the product & marketers peddle the
product. Today, effective marketers and designers both build loyalty, trust, perceived
credibility and meaningful experiences. This directly affects profitability, retention,
satisfaction and word-of-mouth recommendations.
As designers venture further into creating evocative experiences, the line between
design and marketing blurs even more. Now great marketing - and, yes, there is such a
thing! - comes from truly understanding who your users/customers are and what they
want/need to do. Throw in deep understanding of their emotional triggers and cognitive
expectations and "marketing research" starts to sound a lot like design research.
We remember the TV ads that make us cry - marketers count on that. But designers know
that products that deliver a compelling and elegant experience stand out from the crowd
because they evoke and sustain emotion from the user. Great marketing, like great
design, goes for our hearts as well as our heads.
The "pass-back effect" — when parents hand their mobile device to kids in the backseat
or whenever they're on-the-go — creates unique challenges to optimize kid-friendly
mobile apps and educational opportunities within the constraints of devices designed
for grown-ups. I'll discuss challenges & solutions to address this diverse &
growing niche audience, as well as our usability testing and educational efficacy
findings. The intended audience are those interested in design for mobile interfaces
and kids educational games.
How should UI designers bring to life their ideas for mobile experiences? Should we
think in terms of standalone apps on a platform or also for web flexibility? How do you
integrate the user's experience to flow seamlessly between Apps and the Web? When
developing Windows Phone 7, our team created a design language codenamed Metro which
uses content, typography and motion to define its visual identity. The Metro
principles can be used to develop integrated apps on devices as well as beautiful web
experiences. For example, you can take pictures with your phone's camera and
immediately go see them on the web without losing context making the experience feel
personal, relevant and always connected. The focus on the user's content with our
signature motion and type helps unify the experience regardless of how and on which
platform it was built.
Designers have grown complacent — overly dependent on anachronistic
design patterns to provide ready-made solutions for the design problem at
hand. In many cases this complacency is exacerbated by process, schedule or
resource constraints that have always been a factor in preventing designers
from truly innovating for users. Additionally, the pressure to design a 'usable'
system often prevents designers from taking risks and exploring superior
solutions than what may be found by using traditional 'off the self' GUI
The lost relevance of these common patterns is clouding the future of
interaction design and creating a barrier to well-designed products. This
clouding effect can manifest as 'complacency artifacts' that appear in the
design solutions we create when we do not apply the appropriate degree of
design diligence. To create new solutions that are engaging, relevant and
usable, interaction designers must understand the mechanisms of control logic
underlying commonly used GUI widgets.
Armed with an understanding of the abstraction of control logic, designers
can identify their own complacency artifacts and begin formulating new and
differentiated interaction models that provide value to clients and end users
While it may seem scandalous to reject design orthodoxy, we are finding
ourselves working with an increasingly unconstrained medium with limitless
possibilities, so let’s bring scandal back to design and reject the limitations of
the past. It makes things far more interesting!
This talk will present the innovation process, the implementation of participatory
culture and the appropriation of technologies as it is experienced in Tecnobrega,
Brazil's "Cheesy Techno". This music turned many conventions of the mainstream music
industry upside down. Its musicians decided to forgo copyright in favor of allowing
their music to circulate (and mutate) freely. Today, in a city with very limited
economic resources, Tecnobrega is a thriving, commercially viable, industry. The
genre's audiences, not only assist in the circulation of content, but through their
socializing (on and off-line), they create and trade symbolic capital that directly
affects the popularity, and consequently the perception of value, of various parts of
the industry. Tecnobrega's commercial success relies as much on the non-monetary
contributions of Tecnobrega audiences and fans as it does the market forces that shape
the production and distribution of cultural goods. A good part of its legitimate
revenue, for instance, is drawn from sales through 'pirate' street vendors and of
'unprofessional' live recordings. Similarly, Tecnobrega's equipes — the groups
super-fans of the genre organize themselves into — eventually see financial rewards for
their proselytizing and evangelizing of the culture.
Brazil's has become an increasingly relevant market; this case study offers a glimpse
into its proactive, heterogeneous and creative audiences. It is the result of
ethnographic research I conducted while at the Convergence Culture Consortium at MIT.
Dopamine is released in our brains when we recognize a pattern that our past experiences have taught us will lead to achieving our goals. It is not the achievement alone that produces the dopamine reward; it is the detection of patterns that we think will lead to success that first triggers the chemical. “False positives”—instances where we get the shot of dopamine but then do not achieve our goals-- are frustrating, but they lead to better learning about which patterns will lead to reward, and which will not. This sets up an interesting dilemma: How can designers introduce something totally new, yet familiar? This discussion should appeal to audiences interested in connections between cognitive/linguistic theory and interaction design, illustrated with real-world examples.
Most interactions have an underlying rhythm. For example, an application may ask a user
to scan a list of items, then click to select one, leading to another list to scan and
click. Scan, click, scan, click. The best such experiences induce a state of flow, in
Csikszentmihalyi's sense, during which users get into such a groove that the mechanics
of operating the program disappear, allowing users to focus entirely on meaning. Flow
is associated with increased learning and positive feelings. Great flows can even cause
users to regard the interaction itself as intrinsically rewarding. (Wouldn't that be
As guardians of dynamic behavior, interaction designers own rhythm. Yet our work
practice lacks appropriate tools and vocabulary. How do you portray a groove in a
wireframe, flow chart, or PowerPoint deck? This is becoming critically important as
things like animation, hover responses and video make their way into more and more
interactive experiences. This is in your future.
This session will dive into how we can design pacing, tempo and rhythm into our
interfaces, with examples from the presenter and (even better!) the audience. This
could include adapting techniques from animation and movies, game systems, audio
interfaces, music and choreography.
Like it or not, more and more interactions between companies and their customers are
occurring via an interface. Careful consideration of the interaction and visual design
is of paramount importance to any company wishing to grow their customer base or
loyalty. The importance of visual interface design has risen sharply since the
introduction of smart phones and tablets and is becoming ever more complex. Executives
now care more than ever about the visual interface and what it means to their brand. So
how does one stand out?
This talk will help designers create visual interfaces for dense, complex products and
make their experiences memorable and useful. The talk highlights some of the key
differences between more traditional visual design mediums and designing for the
interface. It will also discuss how to design a unique visual interface but put the
needs of users first, how to add surprise and delight to critical moments of the
experience, and how craftsmanship and attention to detail can set you apart in a
visually complex medium.
The tried-and-true "Don't Make Me Think" principle doesn't always hold. Discover how
carefully placed friction in an interface can actually improve user experience by
encouraging people to slow down and think. Complexity itself isn't bad; the trick is
making complexity seem uncomplicated. Explore examples of websites and mobile apps that
incorporate friction without frustration, with elegantly simple interfaces that
nevertheless deploy complex interactions to involve users, prevent errors, improve data
collection, and create more immersive experiences.
This is an intermediate talk aimed at designers and information architects, and the
goal is to show how simplicity and complexity can live in harmony in the same interface
to improve user experience.
I'm the author of "Tapworthy: Designing Great iPhone Apps" (O'Reilly Media, 2010) and
"Best iPhone Apps" (O'Reilly Media, 2009). I'm a 15-year designer and developer now
specializing in mobile app design and user experience. My outfit Global Moxie offers
workshops and design services to help creative companies create tapworthy mobile apps.
In the time that I've worked with interaction designers and written about the IxD
field, I've noticed a consistent discrepancy between the discussions that occur within
the profession, and the impressions of those outside it. Interaction designers tend to
have excellent communication skills when it comes to any topic other than interaction
This is a real problem for the profession, which is missing opportunities to extend its
influence and utility by communicating how valuable it is. It's an even bigger problem
for designers outside of IxD, who continually reinvent the wheel when they fail to
realize that many of today's design problems are, in fact, the bread and butter of
This session presents IxD as seen from the outside, starting with 10-15 quotes and/or
video clips of non-interaction designers attempting to describe the value of IxD and
the skillset needed to pursue it. It then summarizes these external perceptions (as
well as my own) and contrasts them with the dialogs within IxDA and among acquaintances
in the Portland IxD community. It concludes with suggestions for narrowing
thisdiscrepancy through the use of metaphor, familiar terminology and example-driven
Special thanks to our sponsors, who have generously supported the IxDA and our annual conference.
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