<html><body style="word-wrap: break-word; -webkit-nbsp-mode: space; -webkit-line-break: after-white-space; ">I appreciate hearing about these iimportant projects. Yet another chime, in that I wanted to re iterate this SL project and re-performance of Roberta and The Dante Hotel in 2006 , when there were about 75,000 SL members. It still is performed continually as an installation: 2007 at the Museum of Fine Arts Montreal, 2009 at SF MOMA 2010 at S.F. Cameraworks. Each time it is different, but mostly uses web cams to create a live exposure, and multiple viral ized avatars to underscore the blur. <div>Below are some thoughts about creating the first conceptual architecture for this work:</div><div><br></div><div><!--StartFragment--><p class="MsoNormal" style="mso-pagination:none;mso-layout-grid-align:none; text-autospace:none"><b><i><br></i></b></p> <h6><span style="font-size:9.0pt;font-family:Times">Second Thoughts on Second Life and <i>Life Squared</i></span><span style="font-size:9.0pt;font-family: Times"><o:p></o:p></span></h6><p class="MsoNormal" style="mso-pagination:none;mso-layout-grid-align:none; text-autospace:none"><span style="font-size:9.0pt">Th<span style="color:red">e <i>Life Squared</i></span> project sprung out of the desire to reanimate my archive, located in the Special Collections Library at Stanford University, using Second Life.<span style="mso-spacerun: yes"> </span>I wanted to extend my archive into digital, accessible space, and worked with the Stanford Humanities Lab to achieve this goal.<o:p></o:p></span></p><p class="MsoNormal" style="mso-pagination:none;mso-layout-grid-align:none; text-autospace:none"><span style="font-size:9.0pt;color:red"> <o:p></o:p></span></p><p class="MsoNormal" style="mso-pagination:none;mso-layout-grid-align:none; text-autospace:none"><span style="font-size:9.0pt">There are profound philosophical implications to working within the territory of an animated social network that relies on a fictional history as its spine.</span></p><p class="MsoNormal" style="margin-bottom:11.0pt;line-height:15.0pt;mso-pagination: none;mso-layout-grid-align:none;text-autospace:none"><span style="font-size: 9.0pt">Among the ideas generated by this project was the fact that nothing is ever lost, it simply transforms to a new and perhaps more relevant form, enabling renewed interpretations.<span style="mso-spacerun: yes"> </span>What does life extension mean in this world that defies gravity?<span style="mso-spacerun: yes"> </span>Can/should avatars die?<span style="mso-spacerun: yes"> </span>When I lost my avatar named Ssofft, I felt a profound sense of loss, similar to a death.<span style="mso-spacerun: yes"> </span>When she later revived, I was deeply relieved.<span style="mso-spacerun: yes"> </span>I had embedded in her a unique experience and I was not ready to have her disappear. By putting the archive of my work in Second Life, I was able to transcend the original essence of the piece into a new, hybrid interactive and participatory structure.<span style="color:red"> </span><span style="color:black">Converting the archive into a digital format of hybrid genre allows users of the content to dynamically revisit the past while simultaneously expanding the audience for this material.</span><o:p></o:p></span></p><p class="MsoNormal" style="mso-pagination:none;mso-layout-grid-align:none; text-autospace:none"><span style="font-size:9.0pt">For this exhibition <span style="color:red">(‘SFMOMA’)</span>, we created virtual replica rooms <span style="color:red">‘in Second Life’ </span>of every installation participating in the <span style="color:red">distributed network exhibition </span>plus we included The Montreal Museum of Fine Arts, where the <i>Life Squared</i></span><span style="font-size:9.0pt"> installation originated in September of 2007. The following are thoughts that were written by a team of individuals working on this project at the Stanford Humanities Lab.<span style="mso-spacerun: yes"> </span>The other participants were Michael Shanks, Henry Lowood, Jeffrey Shanks, Henrik Bennetson, Henry Seligsman and Jeff Aldrich.</span></p><p class="MsoNormal" style="mso-pagination:none;mso-layout-grid-align:none; text-autospace:none"><span style="font-size:9.0pt;color:red"> <o:p></o:p></span></p><p class="MsoNormal" style="margin-top:0in;margin-right:0in;margin-bottom:11.0pt; margin-left:.5in;mso-pagination:none;mso-layout-grid-align:none;text-autospace: none"><span style="font-size:9.0pt;color:black">Implementing the technologies of online game communities and pervasive media will instigate a hybrid genre. Archives derived from past materials, but digitally relocated, become the content for a "meta-archive” that will facilitate deeper analysis, investigation and exploration of the original work. Using emerging and pervasive technology as part of the structure will be a pioneering method of engaging the archaeology of space, the plasticity of time and the multi-layered interpretations of embedded artifacts.<o:p></o:p></span></p><p class="MsoNormal" style="margin-top:0in;margin-right:0in;margin-bottom:11.0pt; margin-left:.5in;mso-pagination:none;mso-layout-grid-align:none;text-autospace: none"><span style="font-size:9.0pt;color:black">The Dante Hotel is an archaeological space through which people pass, leaving clues about their identities. </span><span style="font-size:9.0pt">As Lynn put it in an interview<span style="color:black"> about the <i>Dante Hotel </i></span><span style="color:black">project, "once someone has occupied a hotel room, we can find out who they were by what they've left behind." <o:p></o:p></span></span></p><p class="MsoNormal" style="margin-top:0in;margin-right:0in;margin-bottom:11.0pt; margin-left:.5in;mso-pagination:none;mso-layout-grid-align:none;text-autospace: none"><span style="font-size:9.0pt;color:black">So the project aims at nothing less than converting the archive into wholly new works that are created in a mixed reality architecture and environment. This means reshaping the archival experience as active, fragmented, exploratory, and personal.<o:p></o:p></span></p><p class="MsoNormal" style="margin-bottom:11.0pt;line-height:15.0pt;mso-pagination: none;mso-layout-grid-align:none;text-autospace:none"><span style="font-size: 9.0pt;color:black"><b><i>The Dante Hotel*</i></b></span><span style="font-size: 9.0pt;color:black"><b> Part 1<span style="mso-spacerun: yes"> </span>1973 <span class="Apple-style-span" style="font-size: medium; font-weight: normal; "><span style="font-size: 9.0pt;color:black"><b>and Part 2</b></span><span style="font-size:9.0pt; color:black"><span style="mso-spacerun: yes"> </span>2006</span></span></b></span></p><p class="MsoNormal" style="margin-bottom:11.0pt;line-height:15.0pt;mso-pagination: none;mso-layout-grid-align:none;text-autospace:none"><span style="font-size:9.0pt;color:black">San Francisco, California<br> June 2006 – ? (infinite, if possible)<o:p></o:p></span></p><p class="MsoNormal" style="margin-bottom:11.0pt;mso-pagination:none;mso-layout-grid-align: none;text-autospace:none"><span style="font-size:9.0pt">The original <i>Dante Hotel</i></span><span style="font-size:9.0pt"> project began in 1972, as a collaboration with Eleanor Coppola.<span style="mso-spacerun: yes"> </span>Hershman and Coppola rented rooms in a rundown hotel located in the Italian neighborhood of San Francisco. The artists installed objects in the room, creating one of the first public art installations outside of a traditional gallery space in the United States. Hershman's room presented traces of a life - fragments or clues to an identity but also set specifically in the site. The work provided a strategic jumping off point in several respects: it opened themes that would continue as threads through Hershman's life as an artist; it began a life chronology reflected both in biography and the Stanford archives; it occupied a historical space in a specific<span style="color:black"> time, which can be explored through historical and archaeological methods; and it reconfigured a public space as artistic space in ways that were stealthy and ambiguous.<o:p></o:p></span></span></p><p class="MsoNormal" style="margin-bottom:11.0pt;mso-pagination:none;mso-layout-grid-align: none;text-autospace:none"><span style="font-size:9.0pt">The recent version of<span style="color:black"> <i>The Dante Hotel </i></span><span style="color:black">is an investigation of a simulated hotel room, in real life, in real time, that examines the context of its own location. </span>It is set inside the user’s social space of Second Life. <o:p></o:p></span></p><p class="MsoNormal" style="margin-bottom:11.0pt;mso-pagination:none;mso-layout-grid-align: none;text-autospace:none"><span style="font-size:9.0pt;font-family:Times-Roman">Hershman’s statement for the Second Life project incorporates the following description:<b> <br> </b></span><span style="font-size:9.0pt;font-family:Times-Roman"><br> </span><span style="font-size:9.0pt;color:black"><i><span style="mso-spacerun: yes"> </span>A new “bot” character will be created:<o:p></o:p></i></span></p><p class="MsoNormal" style="margin-bottom:11.0pt;mso-pagination:none;mso-layout-grid-align: none;text-autospace:none"><span style="font-size:9.0pt;color:black"><i>1) to use innovative technologies to investigate archives and develop new digital models for introducing new forms of active engagement with them<o:p></o:p></i></span></p><p class="MsoNormal" style="margin-bottom:11.0pt;mso-pagination:none;mso-layout-grid-align: none;text-autospace:none"><span style="font-size:9.0pt;color:black"><i>2) to create a new context for the investigation of contemporary art<o:p></o:p></i></span></p><p class="MsoNormal" style="margin-bottom:11.0pt;mso-pagination:none;mso-layout-grid-align: none;text-autospace:none"><span style="font-size:9.0pt;color:black"><i>3) to expand the audience for archives and contemporary art<o:p></o:p></i></span></p><p class="MsoNormal" style="margin-bottom:11.0pt;mso-pagination:none;mso-layout-grid-align: none;text-autospace:none"><span style="font-size:9.0pt;color:black"><i>4) to instigate a hybrid genre through which to rework cultural archives</i></span><span style="font-size:9.0pt;color:black"><br style="mso-special-character:line-break"> <br style="mso-special-character:line-break"> </span><span style="font-size:9.0pt;color:red"><o:p></o:p></span></p><p class="MsoNormal" style="margin-bottom:12.0pt;mso-pagination:none;mso-layout-grid-align: none;text-autospace:none"><span style="font-size:9.0pt">In the 1972 version of <i>The Dante Hotel, </i></span><span style="font-size:9.0pt">visitors would enter the Dante building, sign in at the desk, and receive keys to the rooms. Residents of this transient hotel became "curators" of the exhibition. The room, number forty-seven, re-created the ambience of presumed former inhabitants’ stay based on materials gathered from the neighborhood, including books, eyeglasses, cosmetics, and clothing, all clues to their possible identity. A radio broadcast of local news in counterpoint to the sound of audiotaped breathing was installed under the bed. Pink and yellow light bulbs draped shadows over two life-sized wax cast women in bed. Above them was wallpaper made of repeated photographs of the room itself.<i><span style="mso-spacerun: yes"> </span></i></span><span style="font-size:9.0pt">The presence of these repeated photographs lends itself to the idea of replicated digital imagery that is available to be cloned and reused by Second Life’ visitors.<br> <br> In <i>Life Squared</i></span><span style="font-size:9.0pt">, visitors enter the hotel when they click on a blue box that signs them into the project, and then click on a red box that gives them a key to open the hotel door.<span style="mso-spacerun: yes"> </span>The space is a remix now of original photographs, from the archive of <i>The</i></span><span style="font-size:9.0pt"> <i>Dante Hotel</i></span><span style="font-size:9.0pt">, with virtual avatars trespassing, changing things and leaving their trail.<span style="mso-spacerun: yes"> </span>Instead of a desk clerk, there is a “bot” guide named Dante, who guides visitors to the room. Further details can be found by visiting the link to the Stanford Humanities Lab Site: <span style="color:#0023E9"><u style="text-underline:#0023E9"><a href="http://slurl.com/secondlife/NEWare/219/154/26/">http://slurl.com/secondlife/NEWare/219/154/26/</a><o:p></o:p></u></span></span></p><p class="MsoNormal" style="margin-bottom:12.0pt;mso-pagination:none;mso-layout-grid-align: none;text-autospace:none"><span style="font-size:9.0pt">In the original <i>Dante Hotel</i></span><span style="font-size:9.0pt"> piece, Eleanor Coppola kept her room open for one week. Coppola hired a friend, Tony Dingman, to live in the private space of room forty-three and be available to be watched whenever visitors came to the exhibit. Polaroid shots of the objects in the room and the subtle changes made through time were taped to the wall.<span style="mso-spacerun: yes"> </span><o:p></o:p></span></p><p class="MsoNormal" style="margin-bottom:12.0pt;mso-pagination:none;mso-layout-grid-align: none;text-autospace:none"><span style="font-size:9.0pt">My room was intended to stay open permanently, twenty-four hours a day, gathering dust and being perpetually reconstructed by the flux and changes that occurred naturally through viewers’ interaction. The Second Life experience is basically the same, but reframed to the installation space of a screen.<span style="mso-spacerun: yes"> </span><i><o:p></o:p></i></span></p><p class="MsoNormal" style="margin-bottom:12.0pt;mso-pagination:none;mso-layout-grid-align: none;text-autospace:none"><span style="font-size:9.0pt">The floor of the Second Life building is designed on top of the actual floor plan retrieved from City Hall, an apt ground work for the piece. <span style="color:red"><o:p></o:p></span></span></p><p class="MsoNormal" style="margin-bottom:12.0pt;mso-pagination:none;mso-layout-grid-align: none;text-autospace:none"><span style="font-size:9.0pt">In 1973, nine months after our rooms opened to the public, a man named Owen Moore visited the rooms at 3:00 a.m. Viewing the room in the dead of night, he thought the wax bodies were corpses and phoned the police. The authorities took all the elements— including the wax cast heads—to central headquarters (an apt name, in this case) where they still remain to be claimed, an apt closure to the piece.<span style="mso-spacerun: yes"> </span>I have written to the police station to find the remains.<span style="mso-spacerun: yes"> </span>The remains of the Second Life piece will be determined by the stability of the program. <o:p></o:p></span></p><p class="MsoNormal" style="margin-bottom:12.0pt;mso-pagination:none;mso-layout-grid-align: none;text-autospace:none"><span style="font-size:9.0pt">Hundreds of people visited <i>The Dante Hotel</i></span><span style="font-size:9.0pt">, checked in at the desk and received a key to trespass the room at will. In fact, The San Francisco <i>Chronicle</i></span><span style="font-size:9.0pt"> ranked it one of the <i>Ten Most Important Art Exhibitions in 1972, just after Watercolors by John Marin at the Palace of Fine Arts.</i></span><span style="font-size:9.0pt"><span style="mso-spacerun: yes"> </span>Lets hope hundreds of thousands of people trespass <i>L2</i></span><span style="font-size:9.0pt">. But can you call it that, since trespassing is part of the instigating idea of the piece?<br> <span style="color:black"><br> </span></span><span style="font-size:9.0pt;font-family:Times-Roman"><i>Second Life is owned by Linden Labs, which is located less than a mile from the Dante hotel.<span style="mso-spacerun: yes"> </span>Henrik Bennetson, the Project Director for this project rode past the hotel daily and took photographs of what it has become. </i></span><span style="font-size:9.0pt; color:black"><o:p></o:p></span></p><p class="MsoNormal" style="margin-bottom:11.0pt;mso-pagination:none;mso-layout-grid-align: none;text-autospace:none"><span style="font-size:9.0pt">*Background:<span style="color:red"><br> </span><i>The Dante Hotel</i></span><span style="font-size:9.0pt"> was among the first site-specific art works in the United States. In fact, the term “site-specific” for this genre of art did not yet exist. Like Duchamp's ideas of readymades, <i>The Dante Hotel</i></span><span style="font-size:9.0pt"> functioned as a "found environment”. <i>The Dante Hotel</i></span><span style="font-size:9.0pt"> became one of the first “alternative spaces” or “public site-specific art” artwork produced in the United States.<o:p></o:p></span></p><p class="MsoNormal" style="mso-pagination:none;mso-layout-grid-align:none; text-autospace:none"><span style="font-size:9.0pt">NOTE: The project was conceived in 1971, during my exhibition in the University Art Museum in Berkeley where I simulated the space of a hotel room. I used found materials, (including blood and sheets) as well as wax figures and audio tapes. The museum would have preferred an exhibition of delicate pencil drawings. When I refused to exchange the drawings for the installation, the curators prematurely closed my exhibit, saying that "audio tapes" were media, (with a small ‘m’), not art, and should not be shown in an Art Museum.<span style="mso-spacerun: yes"> </span>I realized that instead of bringing the hotel room to the museum, it might be more appropriate to bring the museum exhibition to a real hotel room.<o:p></o:p></span></p><p class="MsoNormal" style="mso-pagination:none;mso-layout-grid-align:none; text-autospace:none"><span style="font-size:9.0pt"> <span class="Apple-style-span" style="font-style: italic; ">Note: Portions of this text were drawn from an outline written by Michael Shanks, Henry Lowood and myself as we were planning for this project.</span></span></p> <!--EndFragment--> <div><div>On Jan 6, 2010, at 8:23 AM, Alan Sondheim wrote:</div><br class="Apple-interchange-newline"><blockquote type="cite"><div style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; min-height: 14px; "><br></div><div style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; min-height: 14px; "><br></div><div style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">Just to chime in here - I've worked in SL for several years now; this has<span class="Apple-converted-space"> </span></div><div style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">included an installation in the artists space Odyssey. You can find out<span class="Apple-converted-space"> </span></div><div style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">more about Odyssey at <a href="http://odysseyart.ning.com">http://odysseyart.ning.com</a>/ which is a fairly active<span class="Apple-converted-space"> </span></div><div style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">site. I've written extensively on virtuality - this was gathered by a<span class="Apple-converted-space"> </span></div><div style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">small theory-oriented press - The Accidental Artist: Fort/Da -<span class="Apple-converted-space"> </span></div><div style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; "><a href="http://www.lulu.com/content/paperback-book/the-accidental-artist/4965130">http://www.lulu.com/content/paperback-book/the-accidental-artist/4965130</a><span class="Apple-converted-space"> </span></div><div style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; "><a href="http://stores.lulu.com/publicdomaininc">http://stores.lulu.com/publicdomaininc</a> . SL provides an incredibly supple<span class="Apple-converted-space"> </span></div><div style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">environment for art-making (including choreography, installation, perform-<span class="Apple-converted-space"> </span></div><div style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">ance, etc.). There are two main cultural uses that should be mentioned<span class="Apple-converted-space"> </span></div><div style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">here - sex, which is rampant (and the programming is highly-creative; I've<span class="Apple-converted-space"> </span></div><div style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">never understood why it's not considered an artform), and 'standard' two-<span class="Apple-converted-space"> </span></div><div style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">and three-dimensional artworks which are in a great number of galleries<span class="Apple-converted-space"> </span></div><div style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">all over SL. I'm surprised that Gazira Babeli's work hasn't been mentioned<span class="Apple-converted-space"> </span></div><div style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">- s/he's one of the most astute artists I've seen in any world, creating<span class="Apple-converted-space"> </span></div><div style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">performances/objects/installations that do things with great 'somatic' and<span class="Apple-converted-space"> </span></div><div style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">theoretical import.</div><div style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; min-height: 14px; "><br></div><div style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">- Alan</div><div style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; min-height: 14px; "><br></div><div style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">==</div><div style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">email archive: <a href="http://sondheim.rupamsunyata.org">http://sondheim.rupamsunyata.org</a>/<span class="Apple-converted-space"> </span></div><div style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">webpage <a href="http://www.alansondheim.org">http://www.alansondheim.org</a> sondheimat gmail.com, panix.com</div><div style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">==</div><div style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">_______________________________________________</div><div style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">iDC -- mailing list of the Institute for Distributed Creativity (distributedcreativity.org)</div><div style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; "><a href="mailto:iDC@mailman.thing.net">iDC@mailman.thing.net</a></div><div style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; "><a href="https://mailman.thing.net/mailman/listinfo/idc">https://mailman.thing.net/mailman/listinfo/idc</a></div><div style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; min-height: 14px; "><br></div><div style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">List Archive:</div><div style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; "><a href="http://mailman.thing.net/pipermail/idc/">http://mailman.thing.net/pipermail/idc/</a></div><div style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; min-height: 14px; "><br></div><div style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">iDC Photo Stream:</div><div style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; "><a href="http://www.flickr.com/photos/tags/idcnetwork/">http://www.flickr.com/photos/tags/idcnetwork/</a></div><div style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; min-height: 14px; "><br></div><div style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">RSS feed:</div><div style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; "><a href="http://rss.gmane.org/gmane.culture.media.idc">http://rss.gmane.org/gmane.culture.media.idc</a></div><div style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; min-height: 14px; "><br></div><div style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">iDC Chat on Facebook:</div><div style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; "><a href="http://www.facebook.com/group.php?gid=2457237647">http://www.facebook.com/group.php?gid=2457237647</a></div><div style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; min-height: 14px; "><br></div><div style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">Share relevant URLs on Del.icio.us by adding the tag iDCref</div><div style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; min-height: 14px; "><br></div> </blockquote></div><br></div></body></html>