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                  <text>The Marshall M. Fredericks Collection consists of 200 linear feet of materials, including:&#13;
&#13;
Correspondence: (13 linear feet) including personal, foreign ministry, and general correspondence as well as special letters and card received by Fredericks&#13;
&#13;
Project (Job) Files: (7 linear feet) including correspondence between Fredericks and both sculpture commissioning clients and vendors that helped to fabricate the pieces&#13;
&#13;
Subject Files: (24 linear feet) document Fredericksâ€™ civic interests such as Disabled Americansâ€™ Denmark meeting (DIADEM), Rebild National Park, and Danish Consular work, as well as fraternal organizations and the Marshall M Fredericks Sculpture Museum&#13;
&#13;
Financial (30 linear feet) document the day-to-day operations of running a studio&#13;
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Photographs: (25 linear feet) including photographs in a variety of sizes, negatives, and slides relating to Fredericksâ€™ teaching career, projects, civic activities, and personal life&#13;
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Clippings/Articles/Books: (28 linear feet) including media articles, journals, etc. about Fredericks and his work&#13;
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Books and Magazines: (16 linear feet) including books and magazines which do not directly relate to Fredericks or his work&#13;
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Drawings: (10 linear feet) including life figure drawings, sculpture project sketches, presentation drawings, working drawings, etc.&#13;
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                <text>The full-scale plaster model for "Lord Byron" (The Poet)</text>
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                <text>Artists' studios--United States.&#13;
Byron, George Gordon Byron, baron, 1788-1824. &#13;
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Fredericks, Marshall M., 1908-1998&#13;
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                <text>According to MaryAnn Wilkinson, former curator of modern and contemporary art at The Detroit Institute of Arts, â€œHis last monumental work, Lord Byron, designed in 1938, enlarged by the artist, and cast posthumously in 1998 for the Marshall Fredericks Sculpture Museum paradoxically seems to refer back to Fredericks's earliest influences.  This literary figure clearly inspired by Rodin's Balzac, strikes a shameless dramatic pose: head flung back with his hand on his forehead, heavy cloak partially pulled around his body with the other hand flying out to the side and back.  Fredericks, in contrast to the symmetry that generally characterizes his designs, treated each side of the Byron figure in a different manner.  Along its right side, the figure is closed and solid.  The drop of the heavy cloak does not allow for articulation of forms or even for suggestion of the body beneath.  Rather, the artist exploits the long, unbroken line of the cloak from the figure's chin to the ground.  In contrast, the figure's left side is open and plastic with elbow and knee flung out at an angle from the nipped-in waist.  Like Sun Worshipper, The Poet: Lord Byron represents an important mid-career design that he was only able to realize in large scale at the end of his career.â€ (Marshall M. Fredericks, Sculptor, p. 15)  &#13;
&#13;
Byron was a member of the Romantics Poets movement and lived from 1788-1824. As a young adult, Fredericks developed a deep passion for Byronâ€™s poetry.  The Poet: Lord Byron was cast posthumously in 1998 and resides in the Marshall M. Fredericks Sculpture Museumâ€™s sculpture garden.   &#13;
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&#13;
Project (Job) Files: (7 linear feet) including correspondence between Fredericks and both sculpture commissioning clients and vendors that helped to fabricate the pieces&#13;
&#13;
Subject Files: (24 linear feet) document Fredericksâ€™ civic interests such as Disabled Americansâ€™ Denmark meeting (DIADEM), Rebild National Park, and Danish Consular work, as well as fraternal organizations and the Marshall M Fredericks Sculpture Museum&#13;
&#13;
Financial (30 linear feet) document the day-to-day operations of running a studio&#13;
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Drawings: (10 linear feet) including life figure drawings, sculpture project sketches, presentation drawings, working drawings, etc.&#13;
&#13;
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                <text>The full-scale plaster model for "The Expanding Universe Fountain"</text>
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                <text>This fountain celebrates the nation's first exploration of outer space. According to Fredericks, the sculpture "represents this age of great interest, exploration and discovery in outer space...[and] the immensity, order and mystery of the universe.â€&#13;
&#13;
The monumental central figure suggests a superhuman mythological being. Seated upon a ten-foot sphere, covered in a pattern of bright-star constellations, the figure holds two planets that he is sending off into space.  The dynamic spiral orbit-form swirling around the sphere represents the speed and perpetual motion of space.  Play of the water from numerous star-shaped sprays increases the feeling of movement. &#13;
&#13;
The full-scale casting of this sculpture is located in the South Court of the United States State Department Building in Washington, D.C.&#13;
&#13;
The fountain is also known as: "Man and the Expanding Universe"&#13;
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                <text>Hartwick, Maurice C.</text>
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&#13;
Correspondence: (13 linear feet) including personal, foreign ministry, and general correspondence as well as special letters and card received by Fredericks&#13;
&#13;
Project (Job) Files: (7 linear feet) including correspondence between Fredericks and both sculpture commissioning clients and vendors that helped to fabricate the pieces&#13;
&#13;
Subject Files: (24 linear feet) document Fredericksâ€™ civic interests such as Disabled Americansâ€™ Denmark meeting (DIADEM), Rebild National Park, and Danish Consular work, as well as fraternal organizations and the Marshall M Fredericks Sculpture Museum&#13;
&#13;
Financial (30 linear feet) document the day-to-day operations of running a studio&#13;
&#13;
Photographs: (25 linear feet) including photographs in a variety of sizes, negatives, and slides relating to Fredericksâ€™ teaching career, projects, civic activities, and personal life&#13;
&#13;
Clippings/Articles/Books: (28 linear feet) including media articles, journals, etc. about Fredericks and his work&#13;
&#13;
Books and Magazines: (16 linear feet) including books and magazines which do not directly relate to Fredericks or his work&#13;
&#13;
Drawings: (10 linear feet) including life figure drawings, sculpture project sketches, presentation drawings, working drawings, etc.&#13;
&#13;
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&#13;
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                <text>The full-scale plaster model of "Christ on the Cross" at K &amp; M Machine - Fabricating Inc. </text>
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Fredericks, Marshall M., 1908-1998&#13;
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                <text>Mrs. Dorothy (Honey) Arbury studied with Fredericks when she attended Kingswood School at the Cranbrook Educational Community in Bloomfield Hills, Michigan, in the 1930s. She met him through her uncle, Alden B. Dow, a prominent architect in Midland, Michigan, with whom Fredericks worked on architectural sculpture projects. In 1963, Mrs. Arbury was on the founding Board of Control of Saginaw Valley College, which later became Saginaw Valley State University (SVSU). She remained active on that board and on the SVSU Foundation Board into the 1990s. Mrs. Arbury and her husband, Ned Arbury, and Fredericks and his wife, Rosalind Fredericks, formed the idea of a permanent exhibit of Fredericks' work adjacent to the university's then-new facility for the art, music and theater departments. SVSU and the Arburys worked together toward an agreement to have the Marshall M. Fredericks Sculpture Gallery and Sculpture Garden built adjacent to the art department. &#13;
&#13;
The gallery opened to the public in the Arbury Fine Arts Center in May 1988. About half of the $7.2 million of private money raised for the building went to design and construction, restoration, transportation and installation. Fredericks oversaw installation of the more than 200 mostly plaster models in the permanent exhibit gallery. &#13;
&#13;
Through the years, private donors have made it possible for some of the bronze casts to be made for the Sculpture Garden. Fredericks gave the balance of the collection in 1994. After his death in 1998, the gallery received his remaining tools, equipment, archives, architectural site models, sculptures and more. With the growth of the collection, the Board of Advisors elevated the gallery to museum status in 1999. In October 2003, the $2.5 million Phase II Capital Campaign expansion became a reality, nearly doubling the museum's size. The addition includes the Sculptor's Studio, a classroom, archives vault, research reading room, two temporary exhibition galleries and a gift shop.&#13;
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                <text>According to MaryAnn Wilkinson, former curator of modern and contemporary art at The Detroit Institute of Arts, â€œHis last monumental work, Lord Byron, designed in 1938, enlarged by the artist, and cast posthumously in 1998 for the Marshall Fredericks Sculpture Museum paradoxically seems to refer back to Fredericks's earliest influences.  This literary figure clearly inspired by Rodin's Balzac, strikes a shameless dramatic pose: head flung back with his hand on his forehead, heavy cloak partially pulled around his body with the other hand flying out to the side and back.  Fredericks, in contrast to the symmetry that generally characterizes his designs, treated each side of the Byron figure in a different manner.  Along its right side, the figure is closed and solid.  The drop of the heavy cloak does not allow for articulation of forms or even for suggestion of the body beneath.  Rather, the artist exploits the long, unbroken line of the cloak from the figure's chin to the ground.  In contrast, the figure's left side is open and plastic with elbow and knee flung out at an angle from the nipped-in waist.  Like Sun Worshipper, The Poet: Lord Byron represents an important mid-career design that he was only able to realize in large scale at the end of his career.â€ (Marshall M. Fredericks, Sculptor, p. 15)  &#13;
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Byron was a member of the Romantics Poets movement and lived from 1788-1824. As a young adult, Fredericks developed a deep passion for Byronâ€™s poetry.  The Poet: Lord Byron was cast posthumously in 1998 and resides in the Marshall M. Fredericks Sculpture Museumâ€™s sculpture garden.   &#13;
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Clippings/Articles/Books: (28 linear feet) including media articles, journals, etc. about Fredericks and his work&#13;
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&#13;
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                <text>Mrs. Dorothy (Honey) Arbury studied with Fredericks when she attended Kingswood School at the Cranbrook Educational Community in Bloomfield Hills, Michigan, in the 1930s. She met him through her uncle, Alden B. Dow, a prominent architect in Midland, Michigan, with whom Fredericks worked on architectural sculpture projects. In 1963, Mrs. Arbury was on the founding Board of Control of Saginaw Valley College, which later became Saginaw Valley State University (SVSU). She remained active on that board and on the SVSU Foundation Board into the 1990s. Mrs. Arbury and her husband, Ned Arbury, and Fredericks and his wife, Rosalind Fredericks, formed the idea of a permanent exhibit of Fredericks' work adjacent to the university's then-new facility for the art, music and theater departments. SVSU and the Arburys worked together toward an agreement to have the Marshall M. Fredericks Sculpture Gallery and Sculpture Garden built adjacent to the art department. &#13;
&#13;
The gallery opened to the public in the Arbury Fine Arts Center in May 1988. About half of the $7.2 million of private money raised for the building went to design and construction, restoration, transportation and installation. Fredericks oversaw installation of the more than 200 mostly plaster models in the permanent exhibit gallery. &#13;
&#13;
Through the years, private donors have made it possible for some of the bronze casts to be made for the Sculpture Garden. Fredericks gave the balance of the collection in 1994. After his death in 1998, the gallery received his remaining tools, equipment, archives, architectural site models, sculptures and more. With the growth of the collection, the Board of Advisors elevated the gallery to museum status in 1999. In October 2003, the $2.5 million Phase II Capital Campaign expansion became a reality, nearly doubling the museum's size. The addition includes the Sculptor's Studio, a classroom, archives vault, research reading room, two temporary exhibition galleries and a gift shop.&#13;
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Correspondence: (13 linear feet) including personal, foreign ministry, and general correspondence as well as special letters and card received by Fredericks&#13;
&#13;
Project (Job) Files: (7 linear feet) including correspondence between Fredericks and both sculpture commissioning clients and vendors that helped to fabricate the pieces&#13;
&#13;
Subject Files: (24 linear feet) document Fredericksâ€™ civic interests such as Disabled Americansâ€™ Denmark meeting (DIADEM), Rebild National Park, and Danish Consular work, as well as fraternal organizations and the Marshall M Fredericks Sculpture Museum&#13;
&#13;
Financial (30 linear feet) document the day-to-day operations of running a studio&#13;
&#13;
Photographs: (25 linear feet) including photographs in a variety of sizes, negatives, and slides relating to Fredericksâ€™ teaching career, projects, civic activities, and personal life&#13;
&#13;
Clippings/Articles/Books: (28 linear feet) including media articles, journals, etc. about Fredericks and his work&#13;
&#13;
Books and Magazines: (16 linear feet) including books and magazines which do not directly relate to Fredericks or his work&#13;
&#13;
Drawings: (10 linear feet) including life figure drawings, sculpture project sketches, presentation drawings, working drawings, etc.&#13;
&#13;
Awards/Medals/Memorabilia: (16 linear feet) including awards and medals given to Fredericks as well as medals he designed&#13;
&#13;
Video/Films/Audio: (13 linear feet) including media relating to Fredericksâ€™ work, civic interests, and life&#13;
&#13;
Ephemera:(8 linear feet) containing portfolio postcards, posters, etc.</text>
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                <text>The future site of the Marshall M. Fredericks Sculpture Museum at Saginaw Valley State University</text>
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                <text>Fredericks, Marshall M., 1908-1998&#13;
Saginaw Valley State University. Marshall M. Fredericks Sculpture Museum&#13;
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                <text>Mrs. Dorothy (Honey) Arbury studied with Fredericks when she attended Kingswood School at the Cranbrook Educational Community in Bloomfield Hills, Michigan, in the 1930s. She met him through her uncle, Alden B. Dow, a prominent architect in Midland, Michigan, with whom Fredericks worked on architectural sculpture projects. In 1963, Mrs. Arbury was on the founding Board of Control of Saginaw Valley College, which later became Saginaw Valley State University (SVSU). She remained active on that board and on the SVSU Foundation Board into the 1990s. Mrs. Arbury and her husband, Ned Arbury, and Fredericks and his wife, Rosalind Fredericks, formed the idea of a permanent exhibit of Fredericks' work adjacent to the university's then-new facility for the art, music and theater departments. SVSU and the Arburys worked together toward an agreement to have the Marshall M. Fredericks Sculpture Gallery and Sculpture Garden built adjacent to the art department. &#13;
&#13;
The gallery opened to the public in the Arbury Fine Arts Center in May 1988. About half of the $7.2 million of private money raised for the building went to design and construction, restoration, transportation and installation. Fredericks oversaw installation of the more than 200 mostly plaster models in the permanent exhibit gallery. &#13;
&#13;
Through the years, private donors have made it possible for some of the bronze casts to be made for the Sculpture Garden. Fredericks gave the balance of the collection in 1994. After his death in 1998, the gallery received his remaining tools, equipment, archives, architectural site models, sculptures and more. With the growth of the collection, the Board of Advisors elevated the gallery to museum status in 1999. In October 2003, the $2.5 million Phase II Capital Campaign expansion became a reality, nearly doubling the museum's size. The addition includes the Sculptor's Studio, a classroom, archives vault, research reading room, two temporary exhibition galleries and a gift shop.&#13;
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                <text>Barth, Molly </text>
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                <text>Marshall M. Fredericks Papers&#13;
Series V, Box 25 Folder 4&#13;
</text>
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            <name>Date</name>
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                <text>1986-06</text>
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          <element elementId="47">
            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
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              <elementText elementTextId="341274">
                <text>Use of this image requires permission from the Marshall M. Fredericks Archives.</text>
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            <description>A related resource</description>
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                <text>V-25-04</text>
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                <text>University Center (Mich.)</text>
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                  <text>The Marshall M. Fredericks Collection consists of 200 linear feet of materials, including:&#13;
&#13;
Correspondence: (13 linear feet) including personal, foreign ministry, and general correspondence as well as special letters and card received by Fredericks&#13;
&#13;
Project (Job) Files: (7 linear feet) including correspondence between Fredericks and both sculpture commissioning clients and vendors that helped to fabricate the pieces&#13;
&#13;
Subject Files: (24 linear feet) document Fredericksâ€™ civic interests such as Disabled Americansâ€™ Denmark meeting (DIADEM), Rebild National Park, and Danish Consular work, as well as fraternal organizations and the Marshall M Fredericks Sculpture Museum&#13;
&#13;
Financial (30 linear feet) document the day-to-day operations of running a studio&#13;
&#13;
Photographs: (25 linear feet) including photographs in a variety of sizes, negatives, and slides relating to Fredericksâ€™ teaching career, projects, civic activities, and personal life&#13;
&#13;
Clippings/Articles/Books: (28 linear feet) including media articles, journals, etc. about Fredericks and his work&#13;
&#13;
Books and Magazines: (16 linear feet) including books and magazines which do not directly relate to Fredericks or his work&#13;
&#13;
Drawings: (10 linear feet) including life figure drawings, sculpture project sketches, presentation drawings, working drawings, etc.&#13;
&#13;
Awards/Medals/Memorabilia: (16 linear feet) including awards and medals given to Fredericks as well as medals he designed&#13;
&#13;
Video/Films/Audio: (13 linear feet) including media relating to Fredericksâ€™ work, civic interests, and life&#13;
&#13;
Ephemera:(8 linear feet) containing portfolio postcards, posters, etc.</text>
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              <text>The Garden in LindingÃ¶&#13;
Mr. M. M. Fredericks, 1930&#13;
Birmingham, Michigan&#13;
&#13;
Oh, God above,&#13;
I silently stand,&#13;
Before this materpiece,&#13;
From Thine own hand,&#13;
Created by Thee,&#13;
From Infinite Mind,&#13;
And given to bless,&#13;
Thine own,&#13;
Mankind.&#13;
Oh, God I pray,&#13;
That I should be,&#13;
That blessed one,&#13;
With gift from Thee,&#13;
To bring to Man,&#13;
Such Lovely thought.&#13;
As a chosen few,&#13;
Alone, have brought.&#13;
One, single thing,&#13;
Is all I ask,&#13;
One single thing,&#13;
Which ere shall last,&#13;
Until the end of Time,&#13;
And Man, &#13;
Oh, God I pray.&#13;
Choose me to be,&#13;
The one to bring, &#13;
A thought from thee.&#13;
&#13;
M.M.F.</text>
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                <text>The Garden at LidingÃ¶</text>
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          <element elementId="49">
            <name>Subject</name>
            <description>The topic of the resource</description>
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              <elementText elementTextId="448497">
                <text>Fredericks, Marshall M., 1908-1998&#13;
LidingÃ¶ (Sweden)&#13;
Poetry</text>
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          <element elementId="41">
            <name>Description</name>
            <description>An account of the resource</description>
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              <elementText elementTextId="448498">
                <text>Poem written at MillesgÃ¥rden by Marshall Fredericks in 1930.</text>
              </elementText>
            </elementTextContainer>
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          <element elementId="48">
            <name>Source</name>
            <description>A related resource from which the described resource is derived</description>
            <elementTextContainer>
              <elementText elementTextId="448499">
                <text>Marshall M. Fredericks Papers&#13;
Series I, Box 11, Folder 16</text>
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            <name>Date</name>
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                <text>1930</text>
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          <element elementId="47">
            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
            <elementTextContainer>
              <elementText elementTextId="448501">
                <text>Use of this image/text requires permission from the Marshall M. Fredericks Archives.</text>
              </elementText>
            </elementTextContainer>
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            <name>Format</name>
            <description>The file format, physical medium, or dimensions of the resource</description>
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                <text>image/jpeg</text>
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            <name>Language</name>
            <description>A language of the resource</description>
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                <text>eng</text>
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            <name>Creator</name>
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                <text>Fredericks, Marshall M., 1908-1998</text>
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          <element elementId="46">
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            <description>A related resource</description>
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                <text>I-11-16</text>
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        <name>MillesgÃ¥rden</name>
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