Royal Academy Research Articles

Live music in the intensive care unit – a beautiful experience

ABSTRACT Background The growing number of lightly or non-sedated patients who are critically ill means that more patients experience the noisy and stressful environment. Live music may create positive and meaningful moments. Purpose To explore non-sedated patients’ experiences of patient-tailored live music interventions in the intensive care unit. Design A qualitative study using a phenomenological-hermeneutic approach. Data were collected at two intensive care units from September 2019 to February 2020 exploring 18 live music interventions performed by music students from The Royal Academy of Music, Aarhus, Denmark. Methods Observations of live music interventions followed by patient interviews. All data together were analysed using Ricoeur’s theory of interpretation. The Consolidated Criteria for Reporting Qualitative Research (COREQ) checklist was used. Results Five themes emerged: 1) A break from everyday life, 2) A room with beautiful sounds and emotions, 3) Too tired to participate, 4) Knowing the music makes it meaningful and 5) A calm and beautiful moment. Conclusion Patient-tailored live music to awake patients is both feasible and acceptable and perceived as a break from every-day life in the ICU. Implications for practice Supporting health and well-being by bringing a humanizing resource into the intensive care setting for patients and nurses to enjoy.

The Invention of Tribology: Peter Jost’s Contribution

Peter Jost is known to the international tribology community as the father of the subject—‘the man who made the world spin a little easier’. He was the author of the eponymous ‘Jost Report’, the report of the Working Group set up in 1964 to investigate the state of lubrication education and research in the UK. Over the following five decades, up to his death in 2016, he was tireless in extolling the importance of tribology to manufacturing efficiency, energy conversion and environmental sustainability. He was instrumental in establishing the International Tribology Council and its prestigious gold, silver and bronze medals. Jost was himself the recipient of numerous national and international awards. In 1976, he was the President of the Institution of Production Engineers, and in 2013, he received the Sustained Achievement Award from the Royal Academy of Engineering. What is less well known is the story behind the Jost report—what was it that led the recently elected Labour government and its newly established Ministry of Technology to investigate lubrication and to choose Jost to lead the investigating panel? The story illustrates the combination of serendipity and determination on which success can so often depend.

Medische rijgeschiktheid: synthese en aanbevelingen van het symposium van de Koninklijke Academie voor Geneeskunde van België op 29 april 2023

Medical fitness to drive: summary and recommendations of the symposium by the Royal Academy of Medicine of Belgium on April 29, 2023 Mobility is considered a fundamental right, with most people aspiring to exercise this right by driving themselves. To do so safely, the European Commission has established standards for drivers, which the Belgian legislator has translated into national laws and regulations. This article introduces 3 crucial concepts: knowledge, skill and medical fitness, which determine whether someone can safely participate in traffic. Problems can arise due to insufficient knowledge of traffic rules, inadequate control of the vehicle or insufficient health. A driver’s condition is often the result of interactions between these factors. Health is a significant condition for license holders, assessed through medical criteria. In Belgium, physicians can make decisions regarding the fitness to drive and they are required to inform the patient if this person no longer meets the medical criteria. This decision can also be delegated to CARA, a specialized entity that evaluates the fitness to drive in a multidisciplinary manner. Making fitness to drive decisions and the associated discussions between the physician and the patient are often sensitive due to the complexity of the topic and the impact on the physician-patient relationship. Integrating the evaluation of the fitness to drive into regular medical practice and providing concrete and validated guidelines can improve the perception of this process. The text then discusses topics related to fitness to drive, including aging (both pathological and non-pathological), Alzheimer’s disease and the use of psychotropic substances such as alcohol and medication.

Possibilities of implementing HEI’s third mission in Ukraine before a full-scale war and correction of these processes in wartime

Every year, the problem of the third mission of a university is popularized in scientific discourse. The social responsibility of higher education institutions in the conditions of the war between russia and Ukraine and the post-war period is to overcome the multidirectional tasks of higher education, concentrate and strengthen efforts to implement social projects, expand directions for the development of interaction between universities and territorial communities, improve the quality of research to restore the state economy and its development. Therefore, there is a need to rethink the ways of direct and indirect influence on society, the country in particular. The purpose of this paper is to determine the level of awareness and readiness for interaction between the university and the community. The study was conducted from January to June 2020 with the participation of 1,050 respondents from 25 regions of Ukraine. According to the conducted survey, the majority of respondents believe that universities should contribute to the development of the community and note the mutual benefit of university-community interaction for universities and local communities. However, the survey results also showed a low participation experience combined with the willingness to participate in activities offered by higher education institutions. Due to the full-scale war, which fundamentally changed the conditions and affected the efficiency of both universities and most communities, the choice of a community involvement model within the third mission of a university, taking into account the pre-war readiness of universities for a productive community and modern military challenges, remains relevant. Acknowledgment This contribution is prepared in the framework of the realization the Erasmus+ KA 2 CBHE project “Universities-Communities: Strengthening Cooperation” (Grant Agreement 101083077) and with the support and funding under Researchers at Risk Fellowships Programme led by the British Academy in partnership with the Academy of Medical Sciences, the Royal Academy of Engineering, the Royal Society and Council for At-Risks Academics (CARA). The European Commission’s support for the production of this publication does not constitute an endorsement of the contents, which reflect the views only of the authors, and the Commission cannot be held responsible for any use that may be made of the information contained therein.

Refusing the Fictions of Unmarked Whiteness: Challenging Human Rank, Race, and History

The 2017 inauguration of a statue in Lisbon, Portugal, to the seventeenth-century Jesuit missionary in colonial Brazil, Father António Vieira, offers an opportunity to discuss history writing as a narrative genre. The statue epitomizes the naturalization of Portugal’s imperial narrative genres of history writing, instantiating their recapitulation into the future. Vieira’s statue exposes how colonial mythologies constitute a narrative of power premised on the erasure of colonial resistance. These dynamics, I argue, are intrinsic to the history of history writing. They arch back to a panegyric tradition of narrating the past that emerged in the eighteenth century in the Portuguese Royal Academy of History. Confronting eighteenth-century fictions demands exposing the epistemic whiteness undergirding Western exercises of recovery of the past and narrating history. Focusing on History as a genre, and its attending exercises of curatorial knowledge-production, exposes the deliberate erasure of Black, Indigenous, and other historically marginalized agents of anti-colonial resistance.

"Michelangelo's Seal" in Translation: Élisabeth-Sophie Chéron and the Polemics of Print

Abstract: In 1709, the French painter Élisabeth-Sophie Chéron (1648–1711) designed a print after an engraved carnelian held in Louis XIV's collection and known as "Michelangelo's Seal" for its supposed previous owner. Soon after its 1710 release in Paris, this print prompted a quarrel between Chéron and antiquarian scholars who condemned her unfaithful reproduction of the prized gem, a judgment later reiterated by the connoisseur Pierre-Jean Mariette in his Traité des pierres gravées (1750). While previous studies of "Michelangelo's Seal" have discussed the negative reception encountered by Chéron's print, this essay examines how she formulated the image in the first place. Following recent interest in the role of prints in shaping early modern forms of intermediality, the essay treats the 1709 print as a résumé of Chéron's prior achievements in painting and poetry. I adopt a Benjaminian hermeneutic of translation to analyze the artist's visual strategies and engagement with two of the meanings ascribed to engraved gems in her time: their monumentality as cultural remnants of antiquity and their use as seal-stones. I argue that Chéron tailored her translation of "Michelangelo's Seal" according to her skills and status as an active member of the Royal Academy of Painting and Sculpture since 1672. Moreover, in the process, she subverted not only the intended status of female members of that institution, but also broader, gendered norms of artistic creativity.

Amanda Maier’s String Quartet: an interpretation of the Romantic genre model

Statement of the problem. The proposed study is devoted to the chamber instrumental heritage of the Swedish violinist and composer Amanda Maier-Röntgen, a graduate of the Royal Academy of Music in Stockholm and the Leipzig Conservatory, whose person and work are practically unknown in the Ukrainian musical community. However, her chamber instrumental compositions are of indisputable interest for performers and have recently gained popularity among the latter. Also, the study of the composer’s best opuses, undoubtedly, enriches scientific ideas about the development of the leading genres of musical culture in the second half of the 19th century. Recent research and publications. The creative person of A. Maier-Röntgen is sporadically mentioned in reviews considering the Swedish musical culture (Jönsson, 1995; Karlsson, 1994; Öhrström, 1987; Öhrström & Eriksson, 1995; Riemann, 2017; Laurence, 1978), in some reference materials (Öhrström, n.d.; Riemann, 2017; Laurence, 1978). The name of the composer is also found in sources covering the work of J. Brahms, E. Grieg, and Julius Röntgen, the husband of Amanda Maier, also a romantic composer (Fuchs, 2001; Hofmann & Hofmann, 2006; Grieg, 2001; Vis, 2007). At the moment, there is the only research that directly examines A. Maier’s person – it is the dissertation of J. F. Martyn (2018), where considerable attention is paid only the life and creative path of the musician, her performing activities, as well as the general problem of gender inequality in the musical environment of the second half of the 19th century. Thus, today there are no musicological studies dedicated to the composer work by A. Maier. Objectives, methods, and novelty of the research. The purpose of the study is to consider one of the chamber instrumental opuses of the composer, the String Quartet in A Major, from the standpoint of an individual interpretation of the Romantic genre model. The novelty of the research consists in the first experience in Ukrainian musicology of studying the genre-stylistic features of Amanda Maier’s String Quartet. The research results are based on the use of such methods as historical and stylistic, genre and stylistic, comparative, as well as on the set of analytical musicological methods. Research results and conclusion. A. Maier’s String Quartet imitates the features inherent in the genre model formed in the Austro-German tradition, in particular, in the work of F. Schubert, the peculiarities of which are the reliance on song and dance genre elements, a large specific weight of lyrical and epic images and narrative, the absence pronounced conflict in the sonata allegro. But in the cycle there are contrasts between the dance-genre, lyrical and lyrical-dramatic spheres, which causes a certain “mosaic” of the form with rapid changes of images that reminds of the chamber works of F. Mendelssohn and R. Schumann. Manifestations of virtuosity in the Finale of the Quartet testify to the composer’s deep understanding of the specifics of playing stringed instruments and become an imprint of her performing individuality. At the same time, the Quartet also shows certain tendencies to experiment with the already existing Romantic model, which are manifested in the tonal openness of the cycle, the absence of typical tonal correlations between its parts and between the fragments of the form within of the parts, and in a bright contrast between the First part and the Finale.

Informal speech in primary school children in their leisure time: the influence of Spanish or French on their spontaneous expressivity

This study was funded by the Mintzola Project of the Royal Academy of the Basque Language (Euskaltzaindia), by the Basque School Association (Ikastolen Elkartea) and by Mondragon Unibertsitatea. Our purpose was to examine whether speech among friends ina formal setting can have a positive effect on increasing informal speech in Basque among students. We present the first steps of this research here. Ten schools (ikastolas) from different territories in the Basque Country were selected, and the language habits of students in their fourth year of Primary Education at home, outside the home and at school were initially examined via a questionnaire in order to obtain baseline information about the sample in as much detail as possible. We then observed the participating children in the recreational areas of the schools in order to determine which language(s) they speak with their friends during their free time.

Between Art Historical Representation and Didactic Functionality: The Cast Collection of the Royal Academy of Fine Arts of Antwerp

During the long nineteenth century, the Royal Academy of Fine Arts of Antwerp – just like many other art schools in this period – assembled a collection of some 500 plaster casts after ancient and modern sculptures, which played an essential role in the education of young art students. The creation of such collections went in parallel with the blossoming of cast museums all over Europe, as well as the emergence of a large-scale exchange network set up to facilitate the international dissemination of plaster casts. However, in contrast to cast museums, which brought together masterpieces of classical Western sculpture in order to contribute to the aesthetic edification of the public, the cast collections of art academies had a more pragmatic and didactic function. This article focuses on cast collections at art academies, and how the formation and functioning of such collections related to broader educational concepts and practices at these schools. Taking the collection of plaster casts at the Royal Academy of Fine Arts of Antwerp as a case study, we will trace the various actors, methods and strategies employed to create the collection, uncover how the collection related to the artistic idea(l)s expressed in the educational programme of that institution, and discuss how and where it was located and displayed. Based on the rich archives of the academy, it examines a broad range of different sources, including purchase lists, inventories and correspondence concerning the formation of the collection, as well as floor plans, photographs and original drawings attesting to the location and use of the casts. It traces the provenance of the objects, analyzes the profiles of the individuals and institutions involved in creating the collection, and identifies to what extent and how creative repurposing played a role in the collection’s functioning. The article argues how cast collections formed by art academies – in addition to representing the art historical canon of a given place or period – are an important reflection of the didactic practices, aesthetic priorities and, above all, the creative encounters that distinguish these institutions from the purposes of the public (cast) museum.

Typological passport of Basque as a minority language

The aim of the research is to make an inventory of the most salient typological traits of Basque as one of the extant minority languages, whose origin and typological status have been debated ever since the 16th century. Despite the well-meaning attempts to compile a unified standard of Basque, the majority of its speakers communicate using one of its numerous dialects. Apart from that, most of the contemporary coursebooks of Basque convey contradictory messages about its main grammatical features. This lack of uniformity acts as an impediment on the way to learning Basque or forming a well-defined concept of its typology. To enhance and spread knowledge about Basque typology, the present research adopts the methodology of contrastive-typological studies, namely, the method of typological passport developed by Professor V.D. Arakin. The empirical data for the research were drawn from the courseand textbooks recommended by The Royal Academy of the Basque Language. Research results revealed a number of universal typological traits shared by Basque with well-studied languages of the world, such as the presence of articles, cases, assimilation, post-modifying adjectives, etc. However, from the perspective of contrastive typology, it is the unique typological features that are most typologically and conceptually salient, such as voiced and devoiced aspiration, variations in the pronunciation of diaphonic sounds, non-systematic (non-pleonastic) marking of number, conceptual salience of specific numerals (2, 4, and 11), neutral and emphatic world-building patterns as well the absence of some models altogether (blending, shortening, back-formation). Research results show that the typological passport of Basque can be defined as an agglutinative language with suffixes, syntactic agreement and fusions at morphemic junctures. One of the avenues for further research is a multifactorial analysis with a view to obtaining statistical data about typologically significant categories of Basque.

The Young Naturalist by Henry Weekes: intermediality, industry and international exhibitions

The Young Naturalist by Henry Weekes (1807–77) was first presented in plaster at the Royal Academy of Arts in 1854. Beginning as an object located firmly in the domain of the fine arts through its modes of production and sites of display, the sculpture encountered industry through a series of international exhibitions in Paris, London and Manchester during the 1850s and 1860s. Not only was the work in proximity to industrial objects, processes and collectors, it was fundamentally transformed by them, resulting in a collaboration between Weekes and the Birmingham-based manufacturer Elkington & Co. This article charts the changing status of sculpture and labour in the second half of the nineteenth century, with its increasing visibility and availability to new markets through both emerging and established technologies of reproduction.

Moving statues: Monuments to empire from London's Waterloo Place to the Maidan in Calcutta

From the end of the Napoleonic wars through the First World War, London was made into a historic city that showcased it as the heart of a growing empire. Waves of urban reform produced public spaces, such as Waterloo Place, that were populated with statues of military and imperial heroes involved in Britain's territorial conquests. The result was that London came to be imagined as old, designed in a neoclassical style that could be seen across the empire in cities such as Calcutta, which had been the capital of British India through the nineteenth century. Some statues installed in Calcutta were made in London and displayed at the Royal Academy or elsewhere before they were sent abroad. In spite of the seeming permanence of statues, this essay shows that throughout the nineteenth and early twentieth centuries, statues were moved on multiple occasions to respond to changing political and aesthetic demands.

A pro-American perspective on the American Revolution: Johann Heinrich Ramberg’s (1763–1840) adaptations of illustrations by Daniel Chodowiecki

The Allgemeines Historisches Taschenbuch, oder Abriss der merkwürdigsten neuen Welt-Begebenheiten (General Historical Pocketbook, or Outline of the most remarkable new world events), published in Berlin in 1784 and supported by the Academy of Arts, contained one of the most important contemporary accounts of the North American Revolution, titled Geschichte der Revolution von Nord-Amerika (History of the North American Revolution) by Matthias Christian Sprengel, professor at Göttingen University. It further contained influential illustrations, among them twelve engravings designed by Academy member Daniel Chodowiecki, each depicting a key motif from the American struggle for independence and its outcome. In the Metropolitan Museum of Art (New York), an original copy of the pocket book with the Geschichte der Revolution has been preserved, and it is unique in that eleven drawings by Johann Heinrich Ramberg are glued in in addition to the original plates. Ramberg of Hanover was to follow Chodowiecki as the most prolific artist in German book illustration. Several of the drawings are dated 1786 or 1787, when the young Ramberg was a fellow at the Royal Academy of Arts in London, studying under the American history painter Benjamin West. These drawings are examined and published in their entirety here for the first time. An article published in Amerikastudien in 1978 first mentioned the drawings in the Metropolitan Museum and their obvious connection to the Chodowiecki prints, stating they posed a “puzzling iconographic problem” because the German artist in London appeared to change the viewpoint in at least one case. This article follows up on Jantz’s observation. It examines how Chodowiecki’s designs all show the perspective of the British or share a “neutral” outsider perspective. I argue that in nearly all cases, Ramberg moves the observer closer to the action, takes on the perspective of the Americans or one sympathetic to them, shows more emotion and movement than Chodowiecki, and thus invites an emotional reaction from the viewer. The question of whether Ramberg planned publication, though, remains unanswered.

Higher education audiometric research: HEAR—Onsite Assessment of Conservatoire Students

Through analysis of the ISO 1999 dataset it was found that half of noise induced hearing damage occurs in the first three years of adult life. As a result the Higher Education Audiometric Research project was founded in the UK with the ambition of minimizing this damage through educational awareness and on-site testing and assessment. In the UK, 50% of this age group are in higher education. Through the newly established UK Hearing Conversation Association awareness was raised through the “Love Sound – Listen with Care” campaign. Using long-term links with the Royal Academy of Music two on-site hearing screening methodologies were compared in a pilot study involving 23 students. The obvious advantage of onsite testing and assessment being convenience. The two methodologies were audiometry using Kudawave Prime based on active noise canceling headphones, and otoacoustic emissions using Hearing Coach software and Path Medical instrumentation. Presented are the results in terms of consistency, test-retest, and ease of use/practical application.

Study of Secondary and Higher Secondary School Syllabi in India to Develop Engineering Thinking

Abstract: In this article, the authors explore and understand what constitutes engineering thinking and whether secondary and higher secondary school curricula in India empower students to make an informed decision regarding engineering as a career choice. To analyse the elements of engineering thinking, the principles of K12 level engineering by t he Na t io nal Aca demy of E nginee ri ng a nd Engineering Habits of Mind (EHoM) by the Royal Academy of Engineering are referred to. The syllabi of the Central Board of Secondary Education (CBSE) and four Indian states (Tamil Nadu, Maharashtra, Andhra Pradesh and Karnataka) are studied, which reveal that CBSE includes only one element of EHoM (creative problem-solving) in higher secondary grade curriculum. The syllabi of four Indian states revealed that the principles identified by the National Academy of Engineering (NAE) are missing in both grades. As an exception, the syllabus of Maharashtra has a creative problem-solving element in class-12 of higher secondary grades. The authors believe that introducing engineering thinking in schools will empower students to choose engineering as a career. Keywords: Engineering habits of mind, Engineering thinking, Indian school curriculum, STEM, secondary and higher secondary school

The Earl of Manchester and opera in London

Abstract Charles Montagu (c.1662–1722), Earl (later Duke) of Manchester, played an important role in furthering the establishment of Italian-style opera in London. He gained knowledge of opera and continental singers and musicians on his Grand Tour and three diplomatic missions abroad. This article prints relevant portions (some for the first time) from his correspondence and other printed and manuscript sources to expand our knowledge of his involvement with opera in London, Vienna, France and Italy. The correspondence suggests why his advice and assistance were sought by John Vanbrugh and later by the Royal Academy of Music and adds to our knowledge of the history of opera in London in its so-called ‘critical decade’. Most important was his mission to Venice in 1707–8. Although no evidence has emerged that Manchester met Handel in Venice or extended to him an invitation, he was responsible for the recruitment of Nicola Grimaldi (called ‘Nicolini’), painters and other singers to London. Even at this early stage, opera in London was part of an operatic system that extended across Europe, involving not only musicians and impresarios but also ministers of state and foreign diplomats.

Staging Grounds: Loutherbourg and Warley

Abstract In 1778, Philippe-Jacques de Loutherbourg began work on a pair of companion pictures marking George III's attendance at a spectacular military review on the broad expanse of Essex wasteland that was Warley Common. Scholars of the painter's art have largely overlooked these ambitious, large-scale landscapes, but their commission and subsequent display at the Royal Academy played a key role in advancing Loutherbourg's career. Strikingly novel, the paintings attracted a good deal of critical attention for their curious mix of the patriotic and the satirical, the topographic and the scenographic. Taking its cue from this latter stage set-like quality, this essay situates Loutherbourg’s Warley scenes in relation to a series of dramatic spaces, moving from the ‘battlefield’ depicted to the London stage to the Academy exhibition room, highlighting a series of connections and interactions that shed new light on the performativity of Georgian art, culture and spaces of display.

Tacita Dean’s Affective Intermediality: Precarious Visions in-between the Visual Arts, Cinema, and the Gallery Film

Tacita Dean’s art relies on the perception of liminalities, of moving in-between, of one medium unfolding into another through dispersed, “molecular” sensations, either subverting or augmenting impressions of art forms perceived on the level of larger, structural wholes. Arguing against the wide-angle perspective employed by media studies approaches and for a close-up analysis of an “affective intermediality” in Tacita Dean’s art, the author looks at the landmark exhibitions at the National Gallery, the National Portrait Gallery, and the Royal Academy in London organised in 2018. The article singles out some of the individual works in the context of the exhibition as a work of art, and focuses on questions like the cross-media phenomenon of the “cinematic”, the affective performativity of the various dispositifs employed in her installations of celluloid films, the affordances of Dean’s signature aperture-gate masking technique, as well as the relation between narrative cinema experienced in a theatrical space and film as the medium of a visual artist. The essay concludes with a brief analysis of her gallery film, Antigone (2018), unravelling an allegorical journey through cosmic time and atmospheric landscapes, viewed as an ode to the “blind vision” of photochemical film and as a synthesis of key features of her intermediality conceived as a strategy for the re-sensitization of mediums by approaching one art from the point of view of another.

Robert Heller’s Magical Mystery Tours

Robert Heller, a virtually unknown figure in music-historical accounts, trained in the 1840s at the Royal Academy of Music in London and gave the American premieres of Beethoven’s Fourth and Fifth Piano Concertos with the Germania Musical Society. But he also pursued a parallel career in theatrical magic, using his musical virtuosity to elevate his social and artistic stature as a conjurer. Between 1852 and 1878, his magic act was seen by millions in Europe, East Asia, and the United States, including states and territories in the American West never visited by contemporary piano virtuosos like Thalberg and De Meyer. While magicians routinely incorporated music in their acts, Heller’s virtuosity set him apart from his conjuring peers, including those who were themselves musicians. Using his musical expertise, he blended the magic show with other popular forms of spectacle, including minstrelsy, burlesque, and the piano recital, framing the latter as an extraordinary attraction. Advertisements and accounts of his performances reveal the marketing strategies Heller employed to negotiate the crowded landscape of consumer culture and American popular entertainment, especially during the tumultuous years of the Civil War. These strategies included co-branding, altering the titles and descriptions of musical compositions (particularly “Dixie”), and joining forces with “Blind Tom” (Thomas Greene) Wiggins, the Black, enslaved musical prodigy whom Heller had briefly tutored; they performed together in Louisville during one of the magician’s last appearances in the South. Throughout the 1860s, Heller was influenced by gendered musical practices and regional attitudes toward race and politics, leading him to market his act specifically toward middle-class women, music lovers, Unionists, and those seeking postwar reconciliation.

Proposing a DEI Strategy for INCOSE Based on the Diversity and Inclusion Progression Framework 2.0

AbstractInstitutions that embody diversity, equity, and inclusion (DEI) as a key value and key objective of the organization better understand the positive and negative impacts of strategic decisions on the communities they serve. This paper describes a process for developing a DEI strategy for the International Council on Systems Engineering (INCOSE) based on the Royal Academy of Engineering and Science Council's Diversity and Inclusion Progression Framework 2.0. The paper investigates four of the eleven areas of the framework, benchmarking INCOSE's progress and developing a set of initiatives to support INCOSE's DEI progression. Based on this paper's research, and confirmed by dozens of other societies in similar exercises, DEI progression requires careful planning and proactive steps, as part of a comprehensive strategy consistently implemented over time. But most of all, success in transforming into a diverse, equitable, and inclusive institution requires the passion and motivation of the organizational members to change.