tag:blogger.com,1999:blog-110473302024-03-23T12:14:13.612+02:00INTELect si ARTapentru cap si pentru inima, peromaneste sau in original, fara prescriptie <br>
<a href="http://peromaneste.blogspot.com/"><strong>peromaneste</strong></a>peromanestehttp://www.blogger.com/profile/18138498600151502565noreply@blogger.comBlogger1826125tag:blogger.com,1999:blog-11047330.post-69366548084124773382024-02-20T06:40:00.000+02:002024-02-20T06:41:33.739+02:00Întâlnirea dintre ȚUȚEA și BRÂNCUȘI. Text publicat sub pseudonim, București, 1985<div dir="ltr"><div class="gmail_default" style="font-family:georgia,serif"><div class="gmail-wp-block-group gmail-has-base-color gmail-has-contrast-background-color gmail-has-text-color gmail-has-background gmail-has-link-color gmail-wp-elements-089ca2b29d4da0b39486f5dc983306bd gmail-has-global-padding gmail-is-layout-constrained gmail-wp-container-core-group-is-layout-7 gmail-wp-block-group-is-layout-constrained" style="box-sizing:border-box;font-family:Newsreader;font-size:20px"><h2 class="gmail-has-text-align-center gmail-alignwide gmail-has-text-color gmail-has-base-color gmail-wp-block-post-title gmail-has-xxx-large-font-size" style="font-weight:400;line-height:1.2;box-sizing:border-box;word-break:break-word;text-align:center;margin-left:auto;margin-right:auto"> </h2><div class="gmail-has-text-align-center gmail-wp-block-post-excerpt" style="text-align:center;margin-left:auto;margin-right:auto"><p class="gmail-wp-block-post-excerpt__excerpt" style="line-height:inherit;margin-bottom:0px;margin-top:0px"> </p></div><div class="gmail-wp-block-group gmail-has-global-padding gmail-is-layout-constrained gmail-wp-container-core-group-is-layout-6 gmail-wp-block-group-is-layout-constrained" style="box-sizing:border-box;padding-right:0px;padding-left:0px;margin-left:auto;margin-right:auto"><div class="gmail-wp-block-group gmail-is-content-justification-center gmail-is-nowrap gmail-is-layout-flex gmail-wp-container-core-group-is-layout-4 gmail-wp-block-group-is-layout-flex" style="box-sizing:border-box;display:flex;margin-left:auto;margin-right:auto"><div class="gmail-has-text-align-center gmail-has-link-color gmail-has-text-color gmail-has-base-color gmail-wp-block-post-date gmail-has-small-font-size gmail-wp-elements-1e6eef0d515ba90b11708008f4591c40" style="box-sizing:border-box;text-align:center;margin:0px"> </div></div><div class="gmail-wp-block-group gmail-is-content-justification-center gmail-is-nowrap gmail-is-layout-flex gmail-wp-container-core-group-is-layout-5 gmail-wp-block-group-is-layout-flex" style="box-sizing:border-box;display:flex;margin-left:auto;margin-right:auto"></div></div></div><div class="gmail-wp-block-group gmail-has-global-padding gmail-is-layout-constrained gmail-wp-container-core-group-is-layout-35 gmail-wp-block-group-is-layout-constrained" style="box-sizing:border-box;color:rgb(0,0,0);font-family:Newsreader;font-size:20px"><div class="gmail-wp-block-columns gmail-alignwide gmail-is-layout-flex gmail-wp-container-core-columns-is-layout-2 gmail-wp-block-columns-is-layout-flex" style="margin-bottom:1.75em;box-sizing:border-box;display:flex;max-width:1078px;margin-left:auto;margin-right:auto"><div class="gmail-wp-block-column gmail-has-global-padding gmail-is-content-justification-center gmail-is-layout-constrained gmail-wp-block-column-is-layout-constrained" style="min-width:0px;word-break:break-word;padding-right:0px;padding-left:0px;margin:0px"><div class="entry-content gmail-wp-block-post-content gmail-has-global-padding gmail-is-layout-constrained gmail-wp-block-post-content-is-layout-constrained" style="padding-right:0px;padding-left:0px;margin-left:auto;margin-right:auto"><h1 style="font-weight:500;line-height:1.3;margin-left:auto;margin-right:auto"><br></h1><p style="margin-left:auto;margin-right:auto"><img class="gmail-alignnone gmail-wp-image-17877" src="https://bucovinaprofunda.files.wordpress.com/2020/02/tutea-si-brancusi-.jpg?w=678&h=410" alt="tutea si brancusi" width="678" height="410" style="height: auto; max-width: 100%;"></p><h3 style="font-weight:500;line-height:1.3;margin-left:auto;margin-right:auto"><span style="color:rgb(128,0,0)"><span style="color:rgb(0,0,0)"><strong>PETRE ŢUŢEA după întâlnirea cu BRÂNCUŞI:</strong></span><strong></strong></span></h3><h3 style="font-weight:500;line-height:1.3;margin-left:auto;margin-right:auto"><span style="color:rgb(128,0,0)"><strong>„Este neliniştit de realul intangibil, ca orice mare artist care nu poate fi mulţumit de jocul ipotezelor"</strong></span></h3><hr style="margin-left:auto;margin-right:auto"><h3 style="font-weight:500;line-height:1.3;margin-left:auto;margin-right:auto">Mă servesc de amintire, de această formă afectivă a memoriei – cum a definit-o Kierkegaard, după cît mi-amintesc – cu toate imperfecţiunile ei. De altfel, istoria, memoriile şi jurnalele, aceste alcătuiri din fapte şi reflecţii, nu sînt mai aproape de adevăr. Chiar ideea platonică, considerată ca arhetip, dacă nu este revelată, ci numai închipuită, este o plăsmuire mitică mai aproape de adevăr.</h3><h3 style="font-weight:500;line-height:1.3;margin-left:auto;margin-right:auto"></h3><h3 style="font-weight:500;line-height:1.3;margin-left:auto;margin-right:auto">Într-o zi, înaintea ultimului război, căutam, cu prietenul meu Haig Acterian, un tip de om pe care să clădim poziţia noastră în frămîntarea vremii. Căutam o certitudine spirituală. Am examinat toate tipurile, de la omul religios la omul tehnic şi n-am putut citi în om decît preaomenescul – folosind un termen al lui Nietzsche – în care omenescul, neomenescul şi supraomenescul se amestecau haotic. Am renunţat la căutarea certitudinii în om. Eram stăpîniţi de ideea ordinii şi de neliniştile devenirii.</h3><h3 style="font-weight:500;line-height:1.3;margin-left:auto;margin-right:auto"></h3><h3 style="font-weight:500;line-height:1.3;margin-left:auto;margin-right:auto"><strong>Căutam un artist, pentru a constata care sînt limitele artei</strong></h3><h3 style="font-weight:500;line-height:1.3;margin-left:auto;margin-right:auto">Aşa am ajuns la termenii gnoseologici: Divinitatea, omul, lumea, adevărul eroarea, frumosul, urîtul, sacrul, satanicul, absurdul şi sensul şi la oglindirea lor în artă, unde purul inspirat se împleteşte cu forma şi sensul, căutate în om şi-n natură, sau în om, ca-n expresionism. Aşadar, căutam un artist, pentru a constata care sînt limitele artei, în cunoaşterea vieţii şi lumii şi dacă limbajul artistic, alcătuit din imagini şi semne, este mai aproape de adevăr decît limbajul ştiinţei, alcătuit din semne neevocatoare. În treacăt fie zis, imaginea şi semnul alunecă, în artist şi-n omul de ştiinţă, peste obiect, artistul autonom nedepăşind frumosul închipuit, iar omul de ştiinţă autonom nedepăşind semnul util.</h3><h3 style="font-weight:500;line-height:1.3;margin-left:auto;margin-right:auto"></h3><h3 style="font-weight:500;line-height:1.3;margin-left:auto;margin-right:auto">Atunci, Haig mi-a spus că Brâncuşi se află în Bucureşti şi locuieşte la hotel „Bulevard". Haig mi-a propus să mergem la Brâncuşi <em>„ca să constatăm cum se oglindesc în spiritul lui viaţa şi lumea"</em>. Apoi a adăugat: <em>„desigur, trebuie să ţinem seama că nu ne întîlnim cu un teolog, cu un filozof, sau cu un savant, ci cu un mare artist". „Să mergem"</em>, i-am răspuns, <em>„fiindcă sînt curios să aflu conţinutul acestor termeni: vocaţie, inspiraţie, sens, căutare, expresie, imagine şi simbol. După cîte ştiu, Brâncuşi nu este un intuitiv, fiindcă tăcerea şi infinitul, chiar prin coborîrea lor în cuvînt sau materie, în sfera mijloacelor omului mărginit la jocul dintre imagine şi simbol, nu-şi pierd caracterul lor inefabil. Apoi, omul rămas aici, căutător de forme şi sensuri, se poate situa arbitrar dincolo de bine şi de rău, ca Nietzsche. Perspectivism estetic (Charles Andler)". "Un lucru este cert"</em>, a spus Haig, <em>„Brâncuşi este un artist adevărat, în stilul căruia se oglindeşte sufletul neamului său"</em>.<br><em>„Vom afla"</em>, am spus eu,<em> „dacă arta este mimesis, plăsmuire autonomă, sau manifestare a inspiraţiei. Omul, această creatură, este un dat primordial, care se desfăşoară în timp şi-n spaţiu, în etape, ca un damnat, sau el stă sub semnul înnoirii, adică viaţa lui este constantă, sau pernanent neliniştită de cum ar trebui să fie. Cu alte cuvinte: totul se află în el din primordii – fixism, sau evoluţie ca desfăşurare dintr-un început – , sau evoluţia este creatoare (Bergson)? Prin viaţă, aşa cum trebuie să fie, omul se mişcă în lumea valorilor, cum au fost definite aceste poziţii comportamentale ale omului, determinate, sau presupus autonome"</em>, am încheiat eu.</h3><h3 style="font-weight:500;line-height:1.3;margin-left:auto;margin-right:auto"><img src="https://i0.wp.com/www.certitudinea.ro/fisiere/image/socrate1.jpg" alt=""> <img src="https://i0.wp.com/www.certitudinea.ro/fisiere/image/socrate2.jpg" alt=""></h3><h3 style="font-weight:500;line-height:1.3;margin-left:auto;margin-right:auto"><em>Două perspective ale sculpturii „Socrate" de Constantin Brâncuşi</em></h3><h3 style="font-weight:500;line-height:1.3;margin-left:auto;margin-right:auto"></h3><h3 style="font-weight:500;line-height:1.3;margin-left:auto;margin-right:auto"><strong>BRÂNCUŞI: „Poate cineva să doarmă în cameră cu o statuie?"</strong></h3><h3 style="font-weight:500;line-height:1.3;margin-left:auto;margin-right:auto">Haig, acest eminent regizor, mi-a spus: <em>„Vom merge la Brâncuşi, fiindcă artiştii se mişcă liberi între cer şi pămînt, neconstrînşi de limbajul ştiinţific sau comun"</em>. Eu am adăugat:<em> „În poziţia inactuală a artiştilor adevăraţi se pot întîlni: concretul, scopul, idealul, tristeţea, bucuria, paradoxul, rătăcirea, absurdul, abisul, speranţa, disperarea, ordinea, dezordinea, hazardul, trivialul şi purul. Ca să aflăm esenţele acestor stări, trebuie să mergem la artist. In fond, totul se reduce la semn, lucru, autonomie, heteronomie, etic, estetic, figurativ, nefigurativ, sugestie, evocare, inspiraţie şi căutare. Aşa ne putem apropia de conţinutul şi forma operei de artă"</em>.</h3><h3 style="font-weight:500;line-height:1.3;margin-left:auto;margin-right:auto"></h3><h3 style="font-weight:500;line-height:1.3;margin-left:auto;margin-right:auto">Haig a aranjat întîlnirea. Cînd am ajuns la Brâncuşi, seara, ne-a primit cu întrebarea: <em>„De ce-aţi venit la mine?"</em></h3><h3 style="font-weight:500;line-height:1.3;margin-left:auto;margin-right:auto">I-am răspuns eu:<em> „Cînd vă aflaţi dumneavoastră în Bucureşti, numai două primiri sînt deosebite: la Palat şi la dumneavoastră. Şi-apoi, noi dorim să aflăm de la un mare artist dacă arta trebuie să aibă mesaj şi dacă mesajul ei este mai aproape de adevăr decît comunicările ştiinţei"</em>.</h3><h3 style="font-weight:500;line-height:1.3;margin-left:auto;margin-right:auto"><em>„Luaţi loc"</em>, ne-a poftit Brâncuşi.</h3><p style="margin-left:auto;margin-right:auto"><span id="gmail-more-17875"></span></p><h3 style="font-weight:500;line-height:1.3;margin-left:auto;margin-right:auto">Prima mea întrebare a fost: <em>„Cum suportaţi captivitatea naturii ?"</em></h3><h3 style="font-weight:500;line-height:1.3;margin-left:auto;margin-right:auto">Brâncuşi: <em>„Nu mă simt captiv. De altfel, simt în mine o forţă care îmi aparţine. Eu admir alcătuirea pietrei şi lemnului, pe care omul le desfigurează. Te-ai uitat vreodată cum sînt alcătuite aceste lucruri?"</em></h3><h3 style="font-weight:500;line-height:1.3;margin-left:auto;margin-right:auto">Eu: <em>„În liceu, am văzut la microscop o lamă cu un preparat vegetal. Am privit-o cu indiferenţă"</em>. Apoi, am făcut o uşoară ironie:<em> „Eu pot fi satisfăcut că, nefiind artist, nu mi-am permis niciodată să desfigurez piatra şi lemnul „</em>.</h3><h3 style="font-weight:500;line-height:1.3;margin-left:auto;margin-right:auto"></h3><h3 style="font-weight:500;line-height:1.3;margin-left:auto;margin-right:auto">Brâncuşi s-a uitat curios la mine. Am citit în chipul lui expresia limitelor artei faţă de obiectele contemplate. Apoi i-am vorbit despre artistul captiv al ochiului şi despre artistul inspirat. Haig a ţinut să adauge că eu situez inspiraţia deasupra iniţierii, în aceasta din urmă fiind mult meşteşug.</h3><h3 style="font-weight:500;line-height:1.3;margin-left:auto;margin-right:auto">Eu:<em> „Neinspiratul se îneacă în semne şi materie"</em>. Brâncuşi: <em>„Este foarte adevărat. Poate cineva să doarmă în cameră cu o statuie?".</em> Am răspuns: <em>„Şi eu încerc, spiritual, să mă mişc între lumea vizibilă şi cea invizibilă, dar neartistic"</em>.</h3><h3 style="font-weight:500;line-height:1.3;margin-left:auto;margin-right:auto">Arătînd spre mine, Brâncuşi l-a întrebat pe Haig:<em> „Cu ce se ocupă?"</em></h3><h3 style="font-weight:500;line-height:1.3;margin-left:auto;margin-right:auto">Haig:<em> „Este un spirit care urmăreşte înlăturarea erorilor mintale şi greşelilor morale, ale sale şi ale altora"</em>.</h3><h3 style="font-weight:500;line-height:1.3;margin-left:auto;margin-right:auto">Brâncuşi către mine:<em> „Şi ai reuşit ?"</em></h3><h3 style="font-weight:500;line-height:1.3;margin-left:auto;margin-right:auto"><em>„Nu. Fiindcă omul singur nu ajunge la adevăr, mişcîndu-se între rătăcire şi nimereală. De aceea, Socrate a vrut să caute un zeu, în dialogul Carmide, pentru a afla ce este înţelepciunea. Haig şi cu mine dorim să discutăm cu dumneavoastră arta hieratică şi arta voluptăţii"</em>.</h3><h3 style="font-weight:500;line-height:1.3;margin-left:auto;margin-right:auto">Brâncuşi: <em>„Vă ascult"</em>.</h3><h3 style="font-weight:500;line-height:1.3;margin-left:auto;margin-right:auto"></h3><h3 style="font-weight:500;line-height:1.3;margin-left:auto;margin-right:auto"><strong>BRÂNCUŞI: „Am şlefuit materia pentru a afla linia continuă. Şi cînd am constatat că n-o pot afla, m-am oprit, parcă cineva nevăzut mi-a dat peste mîini"</strong></h3><h3 style="font-weight:500;line-height:1.3;margin-left:auto;margin-right:auto">A început Haig, afirmînd că omul artist se mişcă liber între cer şi pămînt. Am continuat eu:</h3><h3 style="font-weight:500;line-height:1.3;margin-left:auto;margin-right:auto"><em>„Artistul poate exprima voluptatea, fiind captivul clipelor, iar cel care practică arta hieratică este stăpînit de pasiunea purului şi vrea să înlăture greşelile morale, să producă în contemplator şi-n consumatorul de artă katharsisul aristotelic, purificarea sufletului şi moravurilor, împletind esteticul cu eticul"</em>. Am mai afirmat că ştiinţa poate fi utilă, dar indiferentă moral. În ştiinţă se caută înlăturarea erorilor şi descoperirea mijloacelor utile, în lupta de conservare şi adaptare omul căutînd, prin cunoaştere, să se stăpînească şi să stăpînească natura. Apoi l-am întrebat pe Brâncuşi: <em>„Cum puteţi evita, în geometrismul simplificator al dumneavoastră, decorativul?"</em></h3><h3 style="font-weight:500;line-height:1.3;margin-left:auto;margin-right:auto">Brâncuşi: <em>„Opera singură exprimă răspunsul. Adică, dacă spune sau nu spune ceva"</em>. Eu am citat o definiţie a artei, aparţinînd lui Charles Maurras: <em>„Arta este jocul aparenţelor". „Numai atît?!"</em>, a zis Brâncuşi.</h3><h3 style="font-weight:500;line-height:1.3;margin-left:auto;margin-right:auto">Eu:<em> „Nu, nu numai atît. Artistul se mişcă la confiniul dintre vizibil şi invizibil, Oricîtă putere spirituală ar avea artistul, el nu poate realiza o artă pură. Arta nefigurativă sugerează, cea figurativă evocă. În ceea ce priveşte rostul acestor două stiluri, cred că decide mesajul. Să ne gîndim la strălucitul Giotto. În arta sa se împletesc: sugestia, evocarea şi pasiunea adevărului. Dar, petrecîndu-se aici, Giotto exprimă un joc în care dincolo este oglindit aici, ca ideea platonică, meşteşugul şi mijloacele pămînteşti menţinîndu-l în calea spre perfecţiune. Arta lui Giotto ne sugerează că pămîntul este sediul trecător al omului, iar mijloacele oferite de natură servesc aspiraţia, care le depăşeşte, deşi nu poate fi atinsă. Orice mare artist este neliniştit fiindcă rămîne debitor idealului său"</em>.</h3><h3 style="font-weight:500;line-height:1.3;margin-left:auto;margin-right:auto"></h3><h3 style="font-weight:500;line-height:1.3;margin-left:auto;margin-right:auto">Apoi Haig a formulat scopul principal al vizitei noastre. Fiindcă noi veniserăm la Brâncuşi să obţinem răspuns la o singură întrebare semnificativă şi anume: care a fost ideea care a prezidat la înfăptuirea operei „Pasărea măiastră". Cînd l-am întrebat, a răspuns: <em>„Am şlefuit materia pentru a afla linia continuă. Şi cînd am constatat că n-o pot afla, m-am oprit, parcă cineva nevăzut mi-a dat peste mîini".</em></h3><h3 style="font-weight:500;line-height:1.3;margin-left:auto;margin-right:auto"></h3><h3 style="font-weight:500;line-height:1.3;margin-left:auto;margin-right:auto">Vizita a luat sfîrşit. I-am mulţumit lui Brâncuşi pentru ospitalitate şi pentru conversaţie şi am plecat. Pe drum i-am spus lui Haig:</h3><h3 style="font-weight:500;line-height:1.3;margin-left:auto;margin-right:auto"><em>„Mă gîndesc la arta combinatorie a lui Leibniz întemeiată pe trei termeni: infinitul, continuul şi limita, cum s-a spus. Răspunsul lui Brâncuşi, gnoseologic şi moral, exprimă limitele artei, un artist, chiar excepţional, neputînd depăşi mărginirea impusă de condiţiile lumii de aici. Brâncuşi este neliniştit de realul intangibil, ca orice mare artist care nu poate fi mulţumit de jocul ipotezelor"</em>.</h3><h3 style="font-weight:500;line-height:1.3;margin-left:auto;margin-right:auto"></h3><h3 style="font-weight:500;line-height:1.3;margin-left:auto;margin-right:auto"><strong>Acest text a fost publicat în almanahul </strong><strong><em>Viaţa Românească</em></strong><strong>, 1985, sub pseudonimul Petre Boteanu.</strong></h3><h3 style="font-weight:500;line-height:1.3;margin-left:auto;margin-right:auto">Sursă: <a href="http://www.filozofianuantelor.org/pagini/content/view/44/88/" style="text-decoration-line:none">Filozofia Nuanţelor</a></h3><p style="margin-left:auto;margin-right:auto">Via <a href="http://www.bucurestiivechisinoi.ro/2012/02/petre-tutea-dupa-intalnirea-cu-brancusi-este-nelinistit-de-realul-intangibil-ca-orice-mare-artist-care-nu-poate-fi-multumit-de-jocul-ipotezelor/" target="_blank" rel="noopener" style="text-decoration-line:none">bucurestiivechisinoi.ro</a></p><p style="margin-left:auto;margin-right:auto"><img class="gmail-alignnone gmail-size-full gmail-wp-image-17877" src="https://bucovinaprofunda.files.wordpress.com/2020/02/tutea-si-brancusi-.jpg?w=832&h=503" alt="tutea si brancusi" width="832" height="503" style="height: auto; max-width: 100%;"></p><h3 style="line-height:1.3;margin-left:auto;margin-right:auto"><u> </u></h3></div></div></div></div></div></div> peromanestehttp://www.blogger.com/profile/18138498600151502565noreply@blogger.com0tag:blogger.com,1999:blog-11047330.post-26791980744451149952023-12-13T13:21:00.004+02:002023-12-13T13:33:16.037+02:00Patrick Watson la Boston<div style="text-align: center;"><iframe frameborder="0" height="360" src="https://youtube.com/embed/-Dg6R69Ldi0?list=PLgmUJZ6Y26eG53b8K-BSWWTzHTWtUqYRL&si=k9B7jtchdnZHXw6q" width="480"></iframe></div><div style="text-align: center;"><br /></div><div style="text-align: center;"><br /></div><div style="text-align: center;"><i>pentru tine</i></div>peromanestehttp://www.blogger.com/profile/18138498600151502565noreply@blogger.com0tag:blogger.com,1999:blog-11047330.post-88858148457698925072023-04-09T18:40:00.000+03:002023-04-09T18:41:26.907+03:00<p> Articol italian</p><p></p><p class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 0in;"><span style="color: black; font-size: 12.0pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-color-alt: windowtext;">Articol Italian<br />
</span><span style="color: #050505; font-size: 12.0pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">CJ Hopkins su Substack, 3 Aprile 2023<o:p></o:p></span></p>
<pre style="background: #F8F9FA;"><span class="y2iqfc"><span lang="RO" style="color: #202124; font-family: "Calibri",sans-serif; font-size: 12.0pt; mso-ansi-language: RO; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"><o:p> </o:p></span></span></pre><pre style="background: #F8F9FA;"><span class="y2iqfc"><b><span lang="RO" style="color: #202124; font-family: "Calibri",sans-serif; font-size: 12.0pt; mso-ansi-language: RO; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">Noua Stânga Normală<o:p></o:p></span></b></span></pre><pre style="background: #F8F9FA;"><span class="y2iqfc"><span lang="RO" style="color: #202124; font-family: "Calibri",sans-serif; font-size: 12.0pt; mso-ansi-language: RO; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">https://cjhopkins.substack.com/p/the-new-normal-left...<o:p></o:p></span></span></pre><pre style="background: #F8F9FA;"><span class="y2iqfc"><span lang="RO" style="color: #202124; font-family: "Calibri",sans-serif; font-size: 12.0pt; mso-ansi-language: RO; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">Am fost la Londra să vorbesc cu stânga... nu, nu „stânga” la care probabil te gândești. Nu stânga purtând mască și arborând steagul ucrainean. Nu stânga segregaționistă care folosește pronume neutre de gen. Nu WEF, OMS, FBI, CIA, DHS și MI6 iubitor de stânga. Nu Noua Stânga Normală a capitalismului global. Celălalt a dispărut. Vechea școală a dispărut. Stânga „care neagă Covid, teoretizează conspirația și îl iubește pe Putin: stânga de extremă dreapta”.<o:p></o:p></span></span></pre><pre style="background: #F8F9FA;"><span class="y2iqfc"><span lang="RO" style="color: #202124; font-family: "Calibri",sans-serif; font-size: 12.0pt; mso-ansi-language: RO; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">Aproximativ 150 dintre noi ne-am adunat într-o „biserică homofobă” din Islington. Da, Islington, care este mai mult sau mai puțin sediul britanic al Noii Stângi Normale. Nu ne-a deranjat. „Lasă-i să vină aici pentru noi”, am spus noi. Nu au făcut-o. Era o sâmbătă. Probabil erau la cumpărături sau la vânătoare de antisemiți imaginari. Deci, am mers înainte și ne-am făcut treaba.<o:p></o:p></span></span></pre><pre style="background: #F8F9FA;"><span class="y2iqfc"><span lang="RO" style="color: #202124; font-family: "Calibri",sans-serif; font-size: 12.0pt; mso-ansi-language: RO; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">„Chestia” noastră a fost o conferință de opoziție de stânga la Forumul Economic Mondial (WEF) și diversele sale viziuni distopice pentru viitorul nostru... știi, să mănânci insecte, să nu deții nimic și să fii fericiți, așa ceva. Am fost invitat de un grup numit Real Left să vorbesc la un panou cu Fabio Vighi, profesor de teorie critică la Universitatea Cardiff. Nu am vorbit prea mult despre WEF. Am vorbit în principal despre capitalismul global, totalitarism și „Noua Stânga Normală”.<o:p></o:p></span></span></pre><pre style="background: #F8F9FA;"><span class="y2iqfc"><span lang="RO" style="color: #202124; font-family: "Calibri",sans-serif; font-size: 12.0pt; mso-ansi-language: RO; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">Iată schema generală a ceea ce am spus la conferință.<br />
Pentru a înțelege ce s-a întâmplat cu stânga (adică cum a apărut Noua Stânga Normală), trebuie să înțelegeți istoria capitalismului global din ultimii 30 de ani și ceva. De fapt, trebuie să ne întoarcem puțin mai departe, la începutul secolului al XX-lea, când încă se desfășura Marele Joc Ideologic. Apoi, capitalismul, după ce a răsturnat aristocrațiile, era în marș, transformând lumea într-o singură piață mare. A fost contestată de două ideologii opuse, fascismul și comunismul. S-au luptat. Pe scurt, capitalismul a câștigat.<o:p></o:p></span></span></pre><pre style="background: #F8F9FA;"><span class="y2iqfc"><span lang="RO" style="color: #202124; font-family: "Calibri",sans-serif; font-size: 12.0pt; mso-ansi-language: RO; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">Sa născut capitalismul global (“GloboCap”), acum este o mare lume capitalistă globală. A fost de la începutul anilor 90. GloboCap nu are adversari externi, așa că nu are altceva de făcut decât Clean Up and Maintain, adică să măture buzunarele de rezistență internă și să implementeze uniformitatea ideologică. Ceea ce a făcut în ultimii 30 de ani, mai întâi în fostul bloc sovietic, apoi în „Războiul global împotriva terorii” și în cele din urmă în așa-numitele noastre „democrații occidentale”, așa cum tocmai am experimentat îndeaproape și personal. în timpul fazei de „șoc” și uimire” a lansării Nuovo Normale și continuă să experimenteze, deși într-un mod puțin mai puțin dramatic.<br />
Cu alte cuvinte, GloboCap devine totalitar. Aceasta este Noua Normalitate. Nu este totalitarismul bunicilor noștri. Este o nouă formă de totalitarism capitalist global. Prezintă o serie de caracteristici cu care suntem obișnuiți: suspendarea drepturilor constituționale, propaganda oficială, echipele de goon, cenzură, simboluri omniprezente ale conformității ideologice, restricții gratuite ale libertății de mișcare și ale altor aspecte ale vieții de zi cu zi, ura și persecuția „subomenilor”. ” oficialitatea, segregarea, incriminarea disidenței, violența mafiotă, incendiile de cărți, procesele spectacol etc. – dar nu va fi nici un pas de gâscă în cizme care să invoce „rasa aleasă”. Nu este genul ăsta de totalitarism.<o:p></o:p></span></span></pre><pre style="background: #F8F9FA;"><span class="y2iqfc"><span lang="RO" style="color: #202124; font-family: "Calibri",sans-serif; font-size: 12.0pt; mso-ansi-language: RO; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">Pentru a înțelege acest lucru (ceea ce ar trebui să facem), trebuie să înțelegem ideologia capitalismului global, care nu este atât de ușor pe cât pare: capitalismul global nu are ideologie... sau mai degrabă, ideologia lui este „realitatea”. Când nu ai adversari ideologici, nu ai nevoie de o ideologie. Practic ești Dumnezeu. „Realitatea” este orice spui tu că este, iar oricine nu este de acord este un „negativ al științei”, sau un „teoretician al conspirației”, sau un „malinformaționist” sau un alt fel de „extremist” dezvăluit.<br />
Nu trebuie să discutați despre ideologie cu nimeni, pentru că nu aveți adversari ideologici. Societatea este împărțită în două grupuri de bază: (a) „oameni normali”, care acceptă „realitatea” și (b) „devianți” și „extremiști”, care nu o acceptă. Adversarii tăi politici și ideologici sunt patologizați, anterior delegitimați. La urma urmei, cine ar contrazice „realitatea” decât mincinoșii și bolnavii mintal?<o:p></o:p></span></span></pre><pre style="background: #F8F9FA;"><span class="y2iqfc"><span lang="RO" style="color: #202124; font-family: "Calibri",sans-serif; font-size: 12.0pt; mso-ansi-language: RO; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">Da, desigur, există un conflict politic și ideologic intramural în limitele așa-numitei „normalități”, la fel cum există o competiție internă între corporațiile multinaționale, dar contestarea sistemului ideologic în sine este imposibilă, pentru că nu există teren. în afara lui din care să pornească un atac. Acesta este probabil cel mai greu lucru cu care ne confruntăm cei mai mulți dintre noi. Nu există un teritoriu ideologic în afara capitalismului global. Nu există „în afară”. Nu există adversari externi. Există doar insurgențe și operațiuni de contrainsurgență.<o:p></o:p></span></span></pre><pre style="background: #F8F9FA;"><span class="y2iqfc"><span lang="RO" style="color: #202124; font-family: "Calibri",sans-serif; font-size: 12.0pt; mso-ansi-language: RO; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">Restul este competiție intramurală.<br />
Și iată un alt lucru pe care trebuie să-l înțelegem despre ideologia capitalismului global și nu va face fericiți cititorii mei conservatori sau cititorii mei libertari sau cititorii mei de stânga fericiți. Dar este esențial pentru înțelegerea Noii Stângi Normale și a formei peisajului ideologic actual. Voi încerca să rămân cât mai simplu posibil și să nu mă pierd într-o grămadă de farfurii post-structuraliste.<o:p></o:p></span></span></pre><pre style="background: #F8F9FA;"><span class="y2iqfc"><span lang="RO" style="color: #202124; font-family: "Calibri",sans-serif; font-size: 12.0pt; mso-ansi-language: RO; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">Gata? Bine, aici mergem.<o:p></o:p></span></span></pre><pre style="background: #F8F9FA;"><span class="y2iqfc"><span lang="RO" style="color: #202124; font-family: "Calibri",sans-serif; font-size: 12.0pt; mso-ansi-language: RO; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">Capitalismul este o mașină pentru decodarea valorilor. Decodifică societatea valorilor despotice (adică valorile religioase, valorile rasiste, valorile socialiste, valorile tradiționale, toate valorile care interferează cu fluxurile nestingherite ale capitalului... capitalismul nu distinge). Așa ne-a eliberat capitalismul (sau democrația, dacă ești zguduitor) de o „realitate” despotică în care valorile emanau din aristocrații, regi, preoți, Biserică etc. Practic, a transferat emanația și impunerea de valori din structurile despotice pe piață, unde totul este în esență o marfă.</span></span><span style="color: #202124; font-family: "Calibri",sans-serif; font-size: 12.0pt; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"><o:p></o:p></span></pre><pre style="background: #F8F9FA;"><span class="y2iqfc"><span lang="RO" style="color: #202124; font-family: "Calibri",sans-serif; font-size: 12.0pt; mso-ansi-language: RO; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">Deci, ura... capitalismul ne-a eliberat de despotism! Sunt recunoscător. Nu sunt un mare fan al despotismului. Problema este că este doar o mașină. Și nu are întrerupător. Și acum conduce întreaga planetă necontestată și fără nicio opoziție notabilă. Deci face ceea ce este conceput pentru a face, dezbrăcând societățile de valorile lor despotice, făcând totul și pe toți o marfă, stabilind și impunând uniformitatea ideologică, neutralizând buzunarele de rezistență internă.<o:p></o:p></span></span></pre><pre style="background: #F8F9FA;"><span class="y2iqfc"><span lang="RO" style="color: #202124; font-family: "Calibri",sans-serif; font-size: 12.0pt; mso-ansi-language: RO; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">Marea majoritate a acestei rezistențe este reacționară. Nu mă refer la asta într-un sens peiorativ. Cea mai mare parte a opoziției față de Noua Normală a venit din partea dreptei politice de masă, de la oameni care încearcă să-și păstreze valorile, adică să le împiedice să fie decriptate de mașina de decodare a valorilor GloboCap. Mulți dintre acești oameni nu o văd așa, pentru că nu vor să înfrunte faptul că ceea ce rezistă este capitalismul global, așa că îl numesc cu alte denumiri precum „capitalism de prieteni”, „corporatism” sau „cultural”. Marxism". Chiar nu contează cum îl numesc ei, cu excepția cazului în care îi spun „comunism”, ceea ce îi face să pară cu adevărat proști.</span></span><span style="color: #202124; font-family: "Calibri",sans-serif; font-size: 12.0pt; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"><o:p></o:p></span></pre><pre style="background: #F8F9FA;"><span class="y2iqfc"><span lang="RO" style="color: #202124; font-family: "Calibri",sans-serif; font-size: 12.0pt; mso-ansi-language: RO; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">Ideea este că acești oameni, indiferent dacă știu sau nu la ce rezistă, exprimă o forță reacționară care rezistă avansării capitalismului global și ideologiei sale. Rusia este o altă forță reacționară, cel puțin în măsura în care încearcă să apere ceea ce a mai rămas din suveranitatea sa națională. Siria și Iranul sunt încă două exemple. Toate aceste forțe de reacție sunt integrate în sistemul GloboCap și în același timp rezistă absorbției lor de către acesta. Dinamica este complexă. Nu este un desen animat sau un film de la Hollywood cu „băieți buni” și „băieți răi”.<o:p></o:p></span></span></pre><pre style="background: #F8F9FA;"><span class="y2iqfc"><span lang="RO" style="color: #202124; font-family: "Calibri",sans-serif; font-size: 12.0pt; mso-ansi-language: RO; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">Oricum, câmpul de luptă arată așa... aveți GloboCap care își desfășoară operațiunea de curățare și întreținere și aveți rezistența reacționară („populistă”) împotriva ei. Și asta este tot. Acestea sunt singurele forțe semnificative de pe câmpul de luptă, în prezent.</span></span><span style="color: #202124; font-family: "Calibri",sans-serif; font-size: 12.0pt; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"><o:p></o:p></span></pre><pre style="background: #F8F9FA;"><span class="y2iqfc"><span lang="RO" style="color: #202124; font-family: "Calibri",sans-serif; font-size: 12.0pt; mso-ansi-language: RO; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">Ceea ce ne duce la starea mizerabilă a stângii.<o:p></o:p></span></span></pre><pre style="background: #F8F9FA;"><span class="y2iqfc"><span lang="RO" style="color: #202124; font-family: "Calibri",sans-serif; font-size: 12.0pt; mso-ansi-language: RO; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">Stânga – și mă refer la „stânga” în sens larg, deci liberalii și atât stânga serioasă, cât și stânga radical-chic – sunt într-o dublă legătură ideologică. Ei fie se aliniază cu un GloboCap din ce în ce mai totalitar, fie se aliniază rezistenței reacționare împotriva acestuia.<o:p></o:p></span></span></pre><pre style="background: #F8F9FA;"><span class="y2iqfc"><span lang="RO" style="color: #202124; font-family: "Calibri",sans-serif; font-size: 12.0pt; mso-ansi-language: RO; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">Ei nu se pot alinia cu reacționarii, pentru că mulți dintre ei sunt... ei bine, știți, puțin bigoți, sau cred în Dumnezeu sau se opun ca drag queens se freacă de bebeluși. Mulți dintre ei (adică reacționarii, nu drag queens) dețin mai multe arme de foc și arborează steaguri americane uriașe în afara caselor lor (sau orice steag pe care îl arborează în Marea Britanie). Mulți dintre ei au votat pentru Donald Trump, sau pentru Brexit, sau pentru AfD aici, în Germania, sau pentru Mitingul Național din Franța, sau pentru Fratelli d'Italia în Italia. Aceștia nu sunt oameni care ascultă BBC/NPR. Aceștia nu sunt oameni care folosesc pronume neutre din punct de vedere gen. Aceștia sunt reprezentanți înspăimântători ai clasei muncitoare.<o:p></o:p></span></span></pre><pre style="background: #F8F9FA;"><span class="y2iqfc"><span lang="RO" style="color: #202124; font-family: "Calibri",sans-serif; font-size: 12.0pt; mso-ansi-language: RO; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">Așadar, stânga s-a aliniat cu GloboCap, care, la urma urmei, încă decodifică toate acele valori despotice rele (adică rasismul și alte forme de bigotism) și se opune dictatorilor și fanaticilor religioși și răspândește „democrația” în toată lumea. planetă. Ai putea crede că sunt sarcastic. Dar nu este așa. Capitalismul global face în continuare toate acestea. Pe care îl susțin, la fel ca toți liberalii și stânga.</span></span><span style="color: #202124; font-family: "Calibri",sans-serif; font-size: 12.0pt; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"><o:p></o:p></span></pre><pre style="background: #F8F9FA;"><span class="y2iqfc"><span lang="RO" style="color: #202124; font-family: "Calibri",sans-serif; font-size: 12.0pt; mso-ansi-language: RO; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">Problema este că, în timp ce capitalismul global continuă să facă acest lucru și să facă un mare spectacol, devine și totalitar. El nu decodifică acele valori despotice din bunătatea inimii sale. Ceea ce face este să stabilească uniformitatea ideologică. Și problema este că nu are ideologie. Tot ce știe să facă este să decodeze valorile, transformând societățile în piețe și tot ce se află în ele în mărfuri fără valoare. Ceea ce face într-un mod totalitar. Naziștii au numit acest proces „Gleichschaltung”, sincronizarea tuturor elementelor societății în alinierea cu ideologia oficială. Acesta este ceea ce se întâmplă în prezent la nivel global.<o:p></o:p></span></span></pre><pre style="background: #F8F9FA;"><span class="y2iqfc"><span lang="RO" style="color: #202124; font-family: "Calibri",sans-serif; font-size: 12.0pt; mso-ansi-language: RO; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">GloboCap a început tranziția de la o „realitate” de ideologii, state-națiune suverane, culturi și valori concurente la o nouă „realitate” supranațională, post-ideologică, în cele din urmă transumană, globalizată, iar mesajul este: „Sunteți fie cu noi sau ești împotriva noastră”.</span></span><span style="color: #202124; font-family: "Calibri",sans-serif; font-size: 12.0pt; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"><o:p></o:p></span></pre><pre style="background: #F8F9FA;"><span style="background: white; color: #050505; font-family: "Calibri",sans-serif; font-size: 12.0pt; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">La Nuova Sinistra Normale è ovviamente con GloboCap. E mentre grida per una maggiore censura del dissenso e tifa per i veri nazisti Sieg-heil, lo negherà furiosamente. Così come la destra “populista” non può accettare il fatto che ciò a cui si oppone sia una forma di capitalismo, la Nuova Sinistra Normale non può accettare il fatto di essere allineata con una nuova forma di totalitarismo. È letteralmente inconcepibile per loro. Puoi mostrare loro schermate dei loro post e tweet in cui chiedevano che i “non vaccinati” fossero rinchiusi nei campi, e immagini di quando formavano folle fanatiche e minacciavano persone che non cantavano i loro slogan, e loro ti guarderanno come se fossi fuori di testa.</span><br />
<span class="y2iqfc"><span lang="RO" style="color: #202124; font-family: "Calibri",sans-serif; font-size: 12.0pt; mso-ansi-language: RO; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">Problema este că, în timp ce capitalismul global continuă să facă acest lucru și să facă un mare spectacol, devine și totalitar. El nu decodifică acele valori despotice din bunătatea inimii sale. Ceea ce face este să stabilească uniformitatea ideologică. Și problema este că nu are ideologie. Tot ce știe să facă este să decodeze valorile, transformând societățile în piețe și tot ce se află în ele în mărfuri fără valoare. Ceea ce face într-un mod totalitar. Naziștii au numit acest proces „Gleichschaltung”, sincronizarea tuturor elementelor societății în alinierea cu ideologia oficială. Acesta este ceea ce se întâmplă în prezent la nivel global.<o:p></o:p></span></span></pre><pre style="background: #F8F9FA;"><span class="y2iqfc"><span lang="RO" style="color: #202124; font-family: "Calibri",sans-serif; font-size: 12.0pt; mso-ansi-language: RO; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">GloboCap a început tranziția de la o „realitate” de ideologii, state-națiune suverane, culturi și valori concurente la o nouă „realitate” supranațională, post-ideologică, în cele din urmă transumană, globalizată, iar mesajul este: „Sunteți fie cu noi sau ești împotriva noastră”.</span></span><span style="color: #202124; font-family: "Calibri",sans-serif; font-size: 12.0pt; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"><o:p></o:p></span></pre>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 12.0pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><o:p> </o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 12.0pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><o:p> </o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 12.0pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><o:p> </o:p></span></p><br /><p></p>smaranda dobrescuhttp://www.blogger.com/profile/07884621658494272587noreply@blogger.com0tag:blogger.com,1999:blog-11047330.post-87725708406063651152023-03-01T15:20:00.000+02:002023-03-01T15:21:21.190+02:00Conversation with Björn Schmelzer from Graindelavoix<div dir="ltr"><div class="gmail_default" style=""><div class="gmail-container" style="box-sizing:border-box;margin-left:auto;margin-right:auto;padding:10px 70px;max-width:1800px"><div class="gmail-header gmail-clearfix" style="box-sizing:border-box"><br></div></div><div class="gmail-banner" style="box-sizing:border-box;background-color:rgb(134,205,218);background-size:cover;background-position:50% 50%;height:0px;padding:0px 0px 685.078px;margin-top:0.588rem;background-image:url("https://www.koorenstem.be/sites/default/files/styles/header_lg/public/blog/kopie_van_banner_landingspagina_website_13.png?itok=Ce0Pp9fg");color:rgb(24,92,113);font-size:24px"><div class="gmail-panel-pane gmail-pane-pane-banner-page-title gmail-container" style="box-sizing:border-box;margin-left:auto;margin-right:auto;padding:0px 70px;max-width:1800px"><div class="gmail-title-wrapper" style="box-sizing:border-box"><div class="extra-title" style="box-sizing:border-box;margin-bottom:10px;color:rgb(255,255,255)"><span style="font-family:georgia,serif;font-size:2.1rem;text-transform:uppercase">THE FLOW IN WHICH CREATIVITY ROAMS</span><br></div></div></div></div><div class="gmail-content" style="box-sizing:border-box;color:rgb(24,92,113);font-size:24px"><div class="gmail-panel-pane gmail-pane-page-content" style="box-sizing:border-box;padding:1.17rem 0px"><div class="gmail-rows gmail-clearfix" style="box-sizing:border-box;overflow:hidden"><div id="gmail-row1" class="gmail-panel-row" style="box-sizing:border-box;padding:2.8rem 0px 0px"><div class="gmail-container" style="box-sizing:border-box;margin-left:auto;margin-right:auto;padding:0px 70px;max-width:1800px"><div class="gmail-row" style="box-sizing:border-box;display:flex"><div class="gmail-panel-pane gmail-pane-entity-view gmail-pane-node gmail-col-md-12" style="box-sizing:border-box;min-height:1px;padding-left:0.7rem;padding-right:0.7rem;float:left;width:1693.59px;margin-bottom:2.8rem"><div class="gmail-ds-1col gmail-node gmail-node-blog gmail-view-mode-full gmail-clearfix" style="box-sizing:border-box"><div class="gmail-meta" style="box-sizing:border-box;font-style:italic;margin-bottom:25px"><font face="georgia, serif"><div class="gmail-field gmail-field-name-post-date" style="box-sizing:border-box;display:inline-block;margin-right:3px"><font style="box-sizing:border-box;vertical-align:inherit"><font style="box-sizing:border-box;vertical-align:inherit">February 17, 2023</font></font></div><div class="gmail-field gmail-field-name-field-blog-type" style="box-sizing:border-box;display:inline-block;margin-right:3px"><font style="box-sizing:border-box;vertical-align:inherit"><font style="box-sizing:border-box;vertical-align:inherit">Interview</font></font></div></font></div><div class="gmail-paragraphs-items gmail-paragraphs-items-field-paragraphs gmail-paragraphs-items-field-paragraphs-full gmail-paragraphs-items-full" style="box-sizing:border-box;max-width:900px"><div class="gmail-field gmail-field-name-field-paragraphs" style="box-sizing:border-box"><div class="gmail-ds-1col entity entity-paragraphs-item gmail-paragraphs-item-text gmail-view-mode-full gmail-clearfix" style="box-sizing:border-box"><div class="gmail-field gmail-field-name-field-basic-text-text" style="box-sizing:border-box"><p class="gmail-intro" style="box-sizing:border-box;margin:0px 0px 1rem;font-style:italic;font-size:1.05rem;line-height:2rem"><font style="box-sizing:border-box;vertical-align:inherit" face="georgia, serif"><font style="box-sizing:border-box;vertical-align:inherit">Björn Schmelzer stands for layering with his Graindelavoix and dares to drive his singers and himself so far in the search for 'the grain of matter' that they start showing their own limits to the audience. </font><font style="box-sizing:border-box;vertical-align:inherit">A form of artistic fragility or fragility perhaps? </font><font style="box-sizing:border-box;vertical-align:inherit">It certainly does not leave the audience unmoved. </font><font style="box-sizing:border-box;vertical-align:inherit">On the occasion of 'Epitaphs of Afterwardsness', a new concert series by Graindelavoix, we talked to Björn about how he views his concert programs. </font></font></p><p style="box-sizing:border-box;margin:0px 0px 1rem"><font style="box-sizing:border-box;vertical-align:inherit" face="georgia, serif"><font style="box-sizing:border-box;vertical-align:inherit">How do you put together a concert program that can captivate the listener and the performer? </font><font style="box-sizing:border-box;vertical-align:inherit">It is a question many artistic leaders and conductors have to deal with. </font><font style="box-sizing:border-box;vertical-align:inherit">Do you return to known repertoire and try to perform it in a historically informed way, or do you want to explore and open up unknown repertoire? </font><font style="box-sizing:border-box;vertical-align:inherit">Are you looking for interesting links between various music styles and disciplines, or are you looking for a niche and purifying it down to the last detail? </font><font style="box-sizing:border-box;vertical-align:inherit">Or is a surprising angle, giving another artistic dimension to existing repertoire that you want to share with your musicians and audience? </font><font style="box-sizing:border-box;vertical-align:inherit">You will find numerous examples of each of these options in the musical landscape in Flanders in general and in the vocal or choral world in particular. </font></font></p><p style="box-sizing:border-box;margin:0px 0px 1rem"><font style="box-sizing:border-box;vertical-align:inherit" face="georgia, serif"><font style="box-sizing:border-box;vertical-align:inherit">For Björn Schmelzer, a concert program is an anti-historical reality that should not lead to a kind of re-enactment. </font><font style="box-sizing:border-box;vertical-align:inherit">He even finds it morally reprehensible to approach early music as an illustration of a glorious past. </font><font style="box-sizing:border-box;vertical-align:inherit">That's a tantalizing idea. </font></font></p><h2 class="gmail-red-title" style="box-sizing:border-box;margin:1rem 0px 0.5rem;font-size:1.17rem;line-height:1.3rem;text-transform:uppercase;color:rgb(230,101,65)"><font face="georgia, serif"><br style="box-sizing:border-box"><font style="box-sizing:border-box;vertical-align:inherit"><font style="box-sizing:border-box;vertical-align:inherit">SOMETHING MUST BE WRINGING</font></font></font></h2><h3 style="box-sizing:border-box;margin:0px 0px 0.4rem;font-size:1.2rem;line-height:1.5rem"><font style="box-sizing:border-box;vertical-align:inherit" face="georgia, serif"><font style="box-sizing:border-box;vertical-align:inherit">Björn, how do you put together a concert program? </font><font style="box-sizing:border-box;vertical-align:inherit">Do you start from an idea, are you inspired by the music? </font></font></h3><p style="box-sizing:border-box;margin:0px 0px 1rem"><font face="georgia, serif"><span style="box-sizing:border-box"><font style="box-sizing:border-box;vertical-align:inherit"><font style="box-sizing:border-box;vertical-align:inherit">Björn Schmelzer</font></font></span><font style="box-sizing:border-box;vertical-align:inherit"><font style="box-sizing:border-box;vertical-align:inherit"> : 'I think it's great to read a book, watch a movie or listen to music and get ideas from it. </font><font style="box-sizing:border-box;vertical-align:inherit">A shock goes through you: good art and a good music performance is a kind of idea machine, I think. </font><font style="box-sizing:border-box;vertical-align:inherit">It produces ideas and shocks in the audience, but that does not mean that as a performer you should deliberately fill your performance with ideas beforehand! </font></font></font></p><p style="box-sizing:border-box;margin:0px 0px 1rem"><font style="box-sizing:border-box;vertical-align:inherit" face="georgia, serif"><font style="box-sizing:border-box;vertical-align:inherit">For a new program I often start from the intuition that a certain repertoire could be worthwhile. </font><font style="box-sizing:border-box;vertical-align:inherit">It is gradually during the exploration of the repertoire that the ideas and the resonances come to the surface almost automatically. </font><font style="box-sizing:border-box;vertical-align:inherit">Heinrich von Kleist once wrote a wonderful text about this process: ideas do not precede speech, they arise simultaneously with its articulation. </font></font></p><p class="gmail-quote2" style="box-sizing:border-box;margin:2rem auto;font-style:italic;color:rgb(230,101,65);font-size:1.85rem;line-height:2.3rem;padding-left:54px;padding-right:45px"><font style="box-sizing:border-box;vertical-align:inherit"><font style="box-sizing:border-box;vertical-align:inherit" face="georgia, serif">It is gradually during the exploration of the repertoire itself that the ideas and the resonances come to the surface almost automatically</font></font></p><p style="box-sizing:border-box;margin:0px 0px 1rem"><font style="box-sizing:border-box;vertical-align:inherit" face="georgia, serif"><font style="box-sizing:border-box;vertical-align:inherit">To be convinced of a repertoire, something has to wring for me, something has to be unwilling. </font><font style="box-sizing:border-box;vertical-align:inherit">An internal stubbornness or something like that. </font><font style="box-sizing:border-box;vertical-align:inherit">Often a limit is sought. </font><font style="box-sizing:border-box;vertical-align:inherit">The great thing is that you feel this with almost all polyphonic music up to the baroque. </font><font style="box-sizing:border-box;vertical-align:inherit">Composers do not simply apply rules of counterpoint, but actually do nothing more than flout those rules and invent new ones. </font><font style="box-sizing:border-box;vertical-align:inherit">You only get that idea again in Romanticism and in the 20th century. </font><font style="box-sizing:border-box;vertical-align:inherit">Art gives access to the sublime, but rather in the sense of the traumatic, the impossible. </font></font></p><p style="box-sizing:border-box;margin:0px 0px 1rem"><font style="box-sizing:border-box;vertical-align:inherit" face="georgia, serif"><font style="box-sizing:border-box;vertical-align:inherit">It is a pity that polyphony is so often seen as a canonized repertoire for church and state. </font><font style="box-sizing:border-box;vertical-align:inherit">Even when it was officially the case, you notice that composers time and again give their own subjective twist to canonical texts or musical rules. </font><font style="box-sizing:border-box;vertical-align:inherit">They suddenly make something unheard and inaudible audible, just like painters paint the impossible. </font><font style="box-sizing:border-box;vertical-align:inherit">With my singers I try to highlight that unheard-of part of the repertoire. </font><font style="box-sizing:border-box;vertical-align:inherit">It is precisely that unheard-of that gives the repertoire its universal dimension, and not the canonized one.' </font></font></p><p style="box-sizing:border-box;margin:0px 0px 1rem"><em style="box-sizing:border-box"><font style="box-sizing:border-box;vertical-align:inherit"><font style="box-sizing:border-box;vertical-align:inherit" face="georgia, serif">Read more under video</font></font></em></p><p style="box-sizing:border-box;margin:0px 0px 1rem"><em style="box-sizing:border-box"><font style="box-sizing:border-box;vertical-align:inherit"><font style="box-sizing:border-box;vertical-align:inherit" face="georgia, serif"><a class="gmail-ytp-share-panel-link gmail-ytp-no-contextmenu" target="_blank" aria-label="Share link" href="https://youtu.be/F944CGqoPi0" style="display:block;height:28px;margin-top:18px;text-overflow:ellipsis;font-size:23.98px;letter-spacing:1px;white-space:nowrap;overflow:hidden;outline:0px;color:rgb(255,255,255);text-decoration-line:none;font-family:"YouTube Noto",Roboto,Arial,Helvetica,sans-serif;font-style:normal;text-align:center;background-color:rgba(0,0,0,0.8)">https://youtu.be/F944CGqoPi0</a></font></font></em></p></div></div><div class="gmail-ds-1col entity entity-paragraphs-item gmail-paragraphs-item-embed gmail-view-mode-full gmail-clearfix" style="box-sizing:border-box;margin:25px 0px 30px"><div class="gmail-field gmail-field-name-decoded-code" style="box-sizing:border-box"></div></div><div class="gmail-ds-1col entity entity-paragraphs-item gmail-paragraphs-item-text gmail-view-mode-full gmail-clearfix" style="box-sizing:border-box"><div class="gmail-field gmail-field-name-field-basic-text-text" style="box-sizing:border-box"><h3 class="gmail-red-title" style="box-sizing:border-box;margin:1rem 0px 0.5rem;font-size:1.17rem;line-height:1.5rem;color:rgb(230,101,65);text-transform:uppercase"><font style="box-sizing:border-box;vertical-align:inherit"><font style="box-sizing:border-box;vertical-align:inherit" face="georgia, serif">WHAT SOUNDS OVER</font></font></h3><h3 style="box-sizing:border-box;margin:0px 0px 0.4rem;font-size:1.2rem;line-height:1.5rem"><font style="box-sizing:border-box;vertical-align:inherit" face="georgia, serif"><font style="box-sizing:border-box;vertical-align:inherit">In the program 'Epitaphs of Afterwardsness', which you will soon perform in Antwerp and Kortrijk, you will be working together with pianist Jan Michiels. </font><font style="box-sizing:border-box;vertical-align:inherit">On the basis of music by Machaut, Bach, Kurtág and Ligeti, you will search for the border, the in-between where music dies at the moment of performance. </font><font style="box-sizing:border-box;vertical-align:inherit">Is music then by definition already meaningless during its performance because it is dead? </font></font></h3><p style="box-sizing:border-box;margin:0px 0px 1rem"><font face="georgia, serif"><span style="box-sizing:border-box"><font style="box-sizing:border-box;vertical-align:inherit"><font style="box-sizing:border-box;vertical-align:inherit">Björn Schmelzer</font></font></span><font style="box-sizing:border-box;vertical-align:inherit"><font style="box-sizing:border-box;vertical-align:inherit"> : 'Music dies at birth, Leonardo da Vinci mused, trying to demonstrate its inferiority to the eternal existence of a visual work of art. </font><font style="box-sizing:border-box;vertical-align:inherit">Music does not stay but dies the moment it is brought to sound. </font><font style="box-sizing:border-box;vertical-align:inherit">While listening to music, we have to establish that our experience is already a memory. </font><font style="box-sizing:border-box;vertical-align:inherit">As a result, the musical experience becomes one of a memory. </font><font style="box-sizing:border-box;vertical-align:inherit">What sounds is over. </font><font style="box-sizing:border-box;vertical-align:inherit">As far as I'm concerned, music is something of the past, something we want to bring back to life or of which we want to evoke a memory that never existed.' </font></font></font></p><h3 style="box-sizing:border-box;margin:0px 0px 0.4rem;font-size:1.2rem;line-height:1.5rem"><font style="box-sizing:border-box;vertical-align:inherit" face="georgia, serif"><font style="box-sizing:border-box;vertical-align:inherit">In your project text you refer to a statement by Hegel that says that 'the mysteries of the ancient Egyptians are also mysteries for the Egyptians themselves'. </font><font style="box-sizing:border-box;vertical-align:inherit">Is that also what Nietzsche means when he says he fears 'petrified culture', art that imitates externals instead of internals?'</font></font></h3><p style="box-sizing:border-box;margin:0px 0px 1rem"><font face="georgia, serif"><span style="box-sizing:border-box"><font style="box-sizing:border-box;vertical-align:inherit"><font style="box-sizing:border-box;vertical-align:inherit">Björn Schmelzer</font></font></span><font style="box-sizing:border-box;vertical-align:inherit"><font style="box-sizing:border-box;vertical-align:inherit"> : 'Culture is always something petrified, I suppose. </font><font style="box-sizing:border-box;vertical-align:inherit">It is that petrified that confronts us with the mystery, the ambiguous in art. </font><font style="box-sizing:border-box;vertical-align:inherit">Proust writes somewhere that something (art in the making) must first die in order to be able to rise again as a work of art. </font><font style="box-sizing:border-box;vertical-align:inherit">What he means is that a work of art must first become alienated from its supposedly original context of creation in order only then to really exist as a work of art. </font></font></font></p><p style="box-sizing:border-box;margin:0px 0px 1rem"><font style="box-sizing:border-box;vertical-align:inherit" face="georgia, serif"><font style="box-sizing:border-box;vertical-align:inherit">I could perhaps go even further: by definition, every work of art is already alienated from such an imaginary, original context. </font><font style="box-sizing:border-box;vertical-align:inherit">That is also the fantasy that early music practice presupposes: we have lost something, a certain repertoire appears to us but it has lost its original meaning. </font><font style="box-sizing:border-box;vertical-align:inherit">We have to look for that meaning if we want to recover some of that original fullness. </font><font style="box-sizing:border-box;vertical-align:inherit">But what if that original fullness never existed? </font><font style="box-sizing:border-box;vertical-align:inherit">What if repertoires always undergo a necessary alienation, displacement and so on? </font><font style="box-sizing:border-box;vertical-align:inherit">What if loss of meaning is essential to the appreciation and perhaps even the survival of a work of art? </font></font></p><p style="box-sizing:border-box;margin:0px 0px 1rem"><font style="box-sizing:border-box;vertical-align:inherit" face="georgia, serif"><font style="box-sizing:border-box;vertical-align:inherit">That is what Hegel meant by saying that to the Egyptians the mysteries of the ancient Egyptians remain mysteries. </font><font style="box-sizing:border-box;vertical-align:inherit">Of course it is up to us to try to imagine with our imagination that people from the past had direct access or not to the culture to which they belonged. </font><font style="box-sizing:border-box;vertical-align:inherit">Reactionary forces of today would like nothing more than to return to the time when everything still had meaning. </font><font style="box-sizing:border-box;vertical-align:inherit">Our program wants to assume the opposite: art has always been hieroglyphic, that is, a mystery, indecipherable. </font><font style="box-sizing:border-box;vertical-align:inherit">It is an encircling and ornamenting of a core that is ultimately emptiness itself.'</font></font></p><h3 style="box-sizing:border-box;margin:0px 0px 0.4rem;font-size:1.2rem;line-height:1.5rem"><font style="box-sizing:border-box;vertical-align:inherit"><font style="box-sizing:border-box;vertical-align:inherit" face="georgia, serif">This idea, of course, fits perfectly with the metaphor of the epitaph in the title of the project</font></font></h3><p style="box-sizing:border-box;margin:0px 0px 1rem"><font face="georgia, serif"><span style="box-sizing:border-box"><font style="box-sizing:border-box;vertical-align:inherit"><font style="box-sizing:border-box;vertical-align:inherit">Björn Schmelzer</font></font></span><font style="box-sizing:border-box;vertical-align:inherit"><font style="box-sizing:border-box;vertical-align:inherit"> : 'That's right! </font><font style="box-sizing:border-box;vertical-align:inherit">With the suggestion of Hegel and the idea of petrified art, we wander around in the concert as in a museum with invisible works of art or a cathedral of the mind where musical works are unfolded one after the other. </font><font style="box-sizing:border-box;vertical-align:inherit">Every musical work is like an epitaph (memorial stone with epitaph on pillars or walls of churches) whose original meaning has been lost. </font><font style="box-sizing:border-box;vertical-align:inherit">Or rather, the loss of its original meaning is an intrinsic part of its original meaning. </font><font style="box-sizing:border-box;vertical-align:inherit">The works we perform during the concert, first of all, commemorate themselves. </font></font></font></p><p style="box-sizing:border-box;margin:0px 0px 1rem"><font style="box-sizing:border-box;vertical-align:inherit" face="georgia, serif"><font style="box-sizing:border-box;vertical-align:inherit">Every work of art on a wall, every piece of music played is an epitaph: it commemorates its own fragility, its own ruin, its own ultimate demise. </font><font style="box-sizing:border-box;vertical-align:inherit">The challenge is to imagine the illegible or obliterated characters in new configurations. </font><font style="box-sizing:border-box;vertical-align:inherit">We must assume that they never communicated anything other than that legible illegibility, that as works of art they always want to make everything illegible legible.</font></font></p><p style="box-sizing:border-box;margin:0px 0px 1rem"><font style="box-sizing:border-box;vertical-align:inherit" face="georgia, serif"><font style="box-sizing:border-box;vertical-align:inherit">The program "Epitaphs of Afterwardsness" is an attempt to establish a dialectical resonance between two composers who are miles apart, namely de Machaut and Kurtág. </font><font style="box-sizing:border-box;vertical-align:inherit">'</font></font></p><h3 class="gmail-red-title" style="box-sizing:border-box;margin:1rem 0px 0.5rem;font-size:1.17rem;line-height:1.5rem;color:rgb(230,101,65);text-transform:uppercase"><font face="georgia, serif"><br style="box-sizing:border-box"><font style="box-sizing:border-box;vertical-align:inherit"><font style="box-sizing:border-box;vertical-align:inherit">TAKE CARE OF INTERMEDIATE SPACE</font></font></font></h3><h3 style="box-sizing:border-box;margin:0px 0px 0.4rem;font-size:1.2rem;line-height:1.5rem"><font style="box-sizing:border-box;vertical-align:inherit"><font style="box-sizing:border-box;vertical-align:inherit" face="georgia, serif">What is a concert for you in 2023 and how do you see the future of performing in front of an audience?</font></font></h3><p style="box-sizing:border-box;margin:0px 0px 1rem"><font face="georgia, serif"><span style="box-sizing:border-box"><font style="box-sizing:border-box;vertical-align:inherit"><font style="box-sizing:border-box;vertical-align:inherit">Björn Schmelzer:</font></font></span><font style="box-sizing:border-box;vertical-align:inherit"><font style="box-sizing:border-box;vertical-align:inherit"> 'Making your audience part of the struggle with a repertoire and showing the </font></font><em style="box-sizing:border-box"><font style="box-sizing:border-box;vertical-align:inherit"><font style="box-sizing:border-box;vertical-align:inherit">struggle</font></font></em><font style="box-sizing:border-box;vertical-align:inherit"><font style="box-sizing:border-box;vertical-align:inherit"> that composers also experienced to arrive at this repertoire and how they managed to learn something of the impossibility of their condition and of their own time. capture.</font></font></font></p><p style="box-sizing:border-box;margin:0px 0px 1rem"><font face="georgia, serif"><font style="box-sizing:border-box;vertical-align:inherit"><font style="box-sizing:border-box;vertical-align:inherit">I want to offer the audience a kind of in-between space, confront the listeners with something other than what leads to a so-called </font></font><em style="box-sizing:border-box"><font style="box-sizing:border-box;vertical-align:inherit"><font style="box-sizing:border-box;vertical-align:inherit">immersive experience</font></font></em><font style="box-sizing:border-box;vertical-align:inherit"><font style="box-sizing:border-box;vertical-align:inherit">, offering the feeling of being physically present in a non-physical world. </font><font style="box-sizing:border-box;vertical-align:inherit">Everything is looking for such an experience these days: travel, concerts, sports, movies, entertainment and so on. </font><font style="box-sizing:border-box;vertical-align:inherit">How can you, as an artistic company, offer a counterbalance? </font><font style="box-sizing:border-box;vertical-align:inherit">I think that quest makes you look for simple solutions again... One of the most beautiful moments of our performance with Jan Michiels is the moment when Jan moves from one side of the room to the other at the beginning of the performance. walks through the audience and sits down at the upright piano. </font><font style="box-sizing:border-box;vertical-align:inherit">The way he does that and the tension that is created is for me already the essence of what will follow in the next hour.</font></font></font></p><p style="box-sizing:border-box;margin:0px 0px 1rem"><font style="box-sizing:border-box;vertical-align:inherit" face="georgia, serif"><font style="box-sizing:border-box;vertical-align:inherit">So you start to give much more importance to everything that seems unimportant: the light, the positions, the silences, the pauses, everything that doesn't happen... You realize that the difference can be made by taking care of these in-between spaces. </font><font style="box-sizing:border-box;vertical-align:inherit">That in-between space you create is perhaps the only thing that cannot be commodified and absorbed by the (commercial) immersive.'</font></font></p><p class="gmail-quote2" style="box-sizing:border-box;margin:2rem auto;font-style:italic;color:rgb(230,101,65);font-size:1.85rem;line-height:2.3rem;padding-left:54px;padding-right:45px"><font style="box-sizing:border-box;vertical-align:inherit"><font style="box-sizing:border-box;vertical-align:inherit" face="georgia, serif">So you start to give much more importance to everything that seems unimportant: the light, the positions, the silences, the pauses, everything that doesn't happen</font></font></p></div></div><div class="gmail-ds-1col entity entity-paragraphs-item gmail-paragraphs-item-text gmail-view-mode-full gmail-colored gmail-grey gmail-clearfix" style="box-sizing:border-box;padding:1.17rem 1.17rem 0.17rem;margin-bottom:1rem;background:rgb(243,244,240)"><div class="gmail-field gmail-field-name-field-basic-text-text" style="box-sizing:border-box"><p style="box-sizing:border-box;margin:0px 0px 1rem"><font style="box-sizing:border-box;vertical-align:inherit" face="georgia, serif"><font style="box-sizing:border-box;vertical-align:inherit">That interspace and that interval between life and death are related to each other. </font><font style="box-sizing:border-box;vertical-align:inherit">The French philosopher Gilles Deleuze used the Kairos as the personification of the opportune moment, of inner time that is at odds with the Chronos or chronology. </font><font style="box-sizing:border-box;vertical-align:inherit">This in-between time frees you from clock-dependent anxiety or stress and guides you into your inner time, into the moment, the flow where creativity circulates and clock time loses its meaning. </font><font style="box-sizing:border-box;vertical-align:inherit">And you experience that flow - that inner moment - every time you go to a Graindelavoix concert.</font></font></p></div></div></div></div></div></div></div></div></div></div></div></div></div></div> peromanestehttp://www.blogger.com/profile/18138498600151502565noreply@blogger.com0tag:blogger.com,1999:blog-11047330.post-7740280272198642322022-02-20T18:44:00.001+02:002022-02-20T18:44:54.155+02:00Heidegger la încheierea operei<div dir="ltr"><div class="gmail_default" style="font-family:georgia,serif"><div class="gmail-top-anchor"></div> <div id="gmail-toolbar" class="gmail-toolbar-container"> </div><div class="gmail-container" dir="ltr"> <div class="gmail-header gmail-reader-header gmail-reader-show-element"> <br><div class="gmail-domain-border"></div> <h1 class="gmail-reader-title"><br></h1> <div class="gmail-credits gmail-reader-credits"><font size="4">Andrei Marga </font></div> <div class="gmail-meta-data"> <div class="gmail-reader-estimated-time" dir="ltr">16-20 minutes</div> </div> </div> <hr> <div class="gmail-content"> <div class="gmail-moz-reader-content gmail-reader-show-element"><div id="gmail-readability-page-1" class="gmail-page"><div> <img src="https://www.cotidianul.ro/wp-content/uploads/2020/10/14/marga-heidegger-caietele-negre-1000x600.jpg" alt="" title="marga, heidegger, caietele negre"> <p><strong>Fiind vorba de o referință a culturii universale, este, cred, datoria noastră să aducem în fața cititorilor interesați de viața cotidiană, dar și de gândurile epocii, un fapt de rang aparte. </strong>Anume, s-a încheiat, odată cu volumul 102, editarea scrierilor lui Martin Heidegger (Gesamtausgabe,Vittorio Klostermann, Frankfurt am Main,1975-2021). Nu se poate vorbi despre nici un creator, la propriu, fără a-i parcurge scrierile!</p> <p>Ediția nu este însoțită de aparat critico-istoric. S-a procedat conform dorinței lui Heidegger de a nu se lipi nimic de scrierile sale. Gânditorul a și stabilit ca șirul volumelor să se încheie cu Caietele Negre (Schwarze Hefte). Desigur, după ce se vor fi tipărit și alte inedite. Bunăoară, în 1989, s-a publicat cartea Contribuții la filosofie (Beiträge zur Philosophie, 1939), socotită a doua scriere majoră a sa, după Ființă și timp (Sein und Zeit, 1927). S-au tipărit și alte scrieri interbelice.</p> <p>Volumul 9 al Caietelor Negre este identic cu volumul 102, care încheie ediția amintită. După acest volum din Gesamtausgabe, este limpede că ne aflăm în fața uneia dintre cele mai ample opere de autor individual din cultura umanității.</p> <h3><a href="https://www.cotidianul.ro/andrei-marga-un-cutremur-in-filosofie-caietele-negre-ale-lui-heidegger/">Un cutremur în filosofie – „Caietele negre" ale lui Heidegger. (Partea I)</a></h3> <p>D. D. Roșca încheia traducerea în română a Științei logicii a lui Hegel și ne spunea, studenților care eram, între altele, că este cea mai voluminoasă scriere a filosofiei mondiale. Când însă am inaugurat cursurile de filosofie contemporană la Universitatea „Babeș-Bolyai", a trebuit să le spun studenților că Învățătura științei (Wissenschaftslehre), scrierea tipărită în patru volume, pe două mii de pagini, a lui Bernard Bolzano, o întrece. Azi este clar că cele nouă volume din Caietele negre (tipărite între 2014-2021) fac din această scriere (elaborată între 1931-1971, însumând cam 3000 de pagini) scrierea cea mai voluminoasă a filosofiei dintotdeauna.</p><p> </p> <p>În 1975, când l-am văzut pe Heidegger în curtea casei sale din Freiburg im Breisgau, concentrat pe o carte, sub bătaia blândului soare de toamnă al Pădurii Negre, eram avid să simt locul și să văd omul care crease filosofia „ființării specific umane (Dasein)". Nu-mi închipuiam că tocmai predase la arhivele din Marbach manuscrisul Caietelor negre. O știa vag doar asistentul privat.</p> <p>Abia la izbucnirea „cutremurului" ocazionat de citirea manuscrisului am început să parcurg Caietele negre (devenite publice începând cu 2014). Rezultat sunt și analize din volumele mele (Un cutremur în filosofie, Revers,Craiova, 2019; Filosofi și teologi actuali, Meteor Press, București, 2019; și Heidegger, Creator, Brașov, 2021) în care am considerat scrieri de până la volumul 101 din Gesamtausgabe, care este, de fapt, volumul 8 al Caietelor negre.</p> <p>Acum, după ce am parcurs volumul final al ambelor șiruri de volume (102, respectiv 9), îmi este clar că se verifică ceea ce am scris. Heidegger a fost, la un moment dat, incontestabil, unul dintre avocații național-socialismului lui Hitler. Triunghiul personalităților socotite extraordinare, dar „demonice" ale Europei acelui timp, îl include, alături de Ernst Jünger și Carl Schmitt. Formatul lor aparte a ajuns să servească la un moment dat o politică a distrugerii. Filosofia lui Heidegger nu se reduce, însă, la această postură funestă. Ea atinsese anvergura mondială înainte de 1933 și nu s-a redus nici un moment la avocatură partizană.</p> <p>În opinia mea, ajungând la propria filosofie – chestionabilă, ca orice creație umană – Heidegger a dat una dintre operele de referință ale epocii. A lăsat însă și un dosar confuz. De pildă, a vrut o Germanie la vârful culturii mondiale, dar nu a agreat democratizarea. A spus mereu că nu are ceva cu evreii ca persoane, dar a creditat Mein Kampf-ul lui Hitler. A cedat folclorului antisemit , dar amantele sale cunoscute erau evreice. Și la șaptezeci de ani îi trimitea Hannei Arendt poezii, după ce o asigurase, deja la începutul anilor treizeci, că iubirea lor nu are a face cu originea etnică. Personalități evreiești care aveau să devină de prim plan în lume au studiat la Heidegger, dar, ca rector, chema studenții să-l voteze pe Führer. Nu a contestat Holocaustul (Shoah), dar nu și l-a asumat, deși istoriografia germană adusese probe definitive ale acestei tragedii fără seamăn.</p> <p>Dincolo de evidentele sale erori, în parte și recunoscute, nimeni din generația sa nu-l concurează însă ca rezonanță a ideilor. Ulterior, abia John Dewey și Habermas i-au atins anvergura.</p> <p>Profesionalismul lui Heidegger rămâne impresionant și în volumul final al ediției. Ceea ce Heidegger a pus pe frontispiciul Caietelor negre – formula lui Leibniz: „Cine mă cunoaște numai din publicațiile mele nu mă cunoaște" – se confirmă. Caietele negre sunt însemnări, elaborate extrem de îngrijit și sistematic, care secondează scrierile notorii cu numeroase precizări. Nu se mai poate vorbi de Heidegger fără a stăpâni Caietele negre!</p> <p>Cu volumul al nouălea, Caietele negre vin cel mai mult spre epoca în care trăim. Titlul volumului este Vorläufiges I-IV (Schwarze Hefte 1963-1970), unele fragmente par însă din 1973. Volumul conține privirea pe care un gânditor o aruncă asupra operei sale, care a răscolit mințile timpului, și, mai ales, asupra unei epoci. Heidegger a captat crizele timpului său – crize care, cel puțin în parte, nici astăzi nu au trecut în muzeu. În orice caz, filosofia lui participă la forma mentis a contemporaneității. Nu ajungi azi la vreun adevăr ignorând ce au gândit alții și nici citindu-i în fugă sau cunoscându-i din auzite.</p> <p>Heidegger era conștient de ponderea operei sale. El și speculează asupra semnificației „lăsământului (Nachlass)", prin care înțelege inclusiv „ceva care îi lasă în urmă pe contemporani" (GA 102, p.14).</p> <p>Și volumul al nouălea al Caietelor negre (care este și volumul 102 al Gesamtausgabe!) conține precizări ale lui Heidegger în raport cu „provocări" ce veneau din partea interpretărilor pe care opera sa le cunoștea și dinspre evoluția filosofiei postbelice. Nu este spațiu aici pentru a da seama de toate, dar de ele va trebui ținut cont.</p> <p>În fapt, tema istorialității vieții umane, profilată de apostolul Pavel, ce urcă în tradiția filosofiei prin Vico, Kant, Herder, Hegel, Schelling și Dilthey, apoi prin Cohen, Rickert, Husserl și contemporanii lor, este și a lui Heidegger. În plus, implicarea sa în politica anilor treizeci și faptul că a trebuit să o plătească cu scoaterea din universitate și atacuri nesfârșite, l-au făcut mai sensibil la ceea ce se petrecea în jur. Așadar, ce ne spune Heidegger despre lumea ce avea să vină?</p> <p>Prima și perpetua sa observație este aceea că s-a intrat într-o epocă a superficialității. „Se vrea mereu să se asculte noul, căci ceea ce este vechi nu a fost pătruns suficient" (GA 102, p.11). Ca efect general, nu „ființa"din lume contează, ci convențiile vieții din modernitatea târzie.</p> <p>Heidegger acuză faptul că în cugetare domină „logistica și savantlâcul filologico-istoric". „Apar cărți după cărți, dar nicăieri, fie și numai pe șaizeci de pagini, nu s-ar aduce autentica neliniște în gândire (Denken)"(GA 102, p.14). S-a și ajuns la „manipularea" unei pretinse superiorități față de tradiție. Se vrea „depășirea" întrebării privitoare la ființă (Seinsfrage) prin ocolirea ei. „Se vorbește abuziv acum de speranță, dar nu se observă că aceasta este doar reversul angoasei insuportabile" (GA 102,p.65). Realitățile nu sunt așa cum par. Prin toate se confirmă din plin că „răul maxim ce poate fi întâlnit de gândire este ca aceasta să fie chemată să se adapteze timpului" (GA 102, p.215). Operăm cu multe informații astăzi, numai că „informația este exactă, dar nu este adevărată" (GA102,p.46). Pentru a ajunge la adevăr mai este mult de făcut.</p> <p>Heidegger a întâmpinat cu nemulțumire comentariile cu privire la relațiile sale cu național-socialismul. El scrie în volumul final al Caietelor negre că s-a distanțat de regimul lui Hitler nu doar după 1945, prin scris și acțiune, ci deja înainte de prăbușirea regimului, prin acțiune – retragerea din funcția de rector în 1934 și neparticiparea la predarea funcției fiind probe.</p> <p>Mai este un aspect, adaugă Heidegger. În Discursul rectoral (1933) a vorbit de „prestația cunoașterii(Wissendienst)"ca datorie a universității, pentru ca apoi să fie acuzat vehement că degradează știința punând-o în serviciul politicii. Or, astăzi, argumentează Heidegger, se vorbește de „politica științei (Wissenschaftspolitik)", el rămânând însă atacat.</p> <p>Nici comentariile apărute la valorificarea vederilor sale nu l-au mulțumit pe Heidegger. El reacționează și la deviza „a gândi cu Heidegger contra lui Heidegger (mit Heidegger gegen Heidegger denken)" pe care, în 1953, pe atunci foarte tânărul Habermas a pus-o pe tapet, când Heidegger a tipărit fără modificări Introducerea sa în metafizică din 1934, în care a vorbit de „măreția istorică" a lui 1933. El propune formula „a gândi contra lui Heidegger … spre Heidegger" (GA 102, p.53).</p> <p>În volumul final al Caietelor negre, Heidegger cere lecturi atente ale scrierilor sale. Ceea ce el a numit un fel de „situare disponibilă" în cunoaștere și în viață, care transformă realitatea în obiect de prelucrat, Ge-stell-ul, nu determină orice considerare a naturii. În fond, este de pus întrebarea: „care este și de unde deschiderea domeniului obiectivării uniforme a naturii și capacitatea de a produce (Machbarkeit) a mașinii", care oferă „șansa de comandă (Bestellbarkeit)" peste realitatea din fața noastră? (GA 102, p.213). Răspunsul său este că orizontul „eficienței" leagă cele trei – fizica modernă, tehnica, Ge-stell-ul.</p> <p>Omul a ajuns între timp, scrie Heidegger, în mâna „biofizicii" (G.A 102, p.215) – ceea ce înseamnă că esența sa este concepută ca animal capabil de dezvoltare, înțeleasă ca nelimitată „autoinstituire". Se ignoră orizontul alternativ, încât „ultima întrebare adresată de gândire ei înseși" ar trebui să fie „de unde vine tăcerea gândirii" (GA 102,p.88), care s-ar petrece în lumea de azi.</p> <p>Mai mult decât în alte volume ale lui Heidegger în ultimul volum găsim reacții la filosofii rivale. El respinge explicit teza lui Wittgenstein – unde nu este răspuns, nu este întrebare – spunând că nu totul în cunoaștere se bazează pe întrebare (GA 102,p.71). Heidegger respinge de plano orice pozitivism, susținând că „pozitivismul de orice fel își întemeiază puterea și capacitatea de impresionare pe uitarea ființei" (GA 102,p.78). Or, el se opune tocmai acestei „uitări". Nu sunt pesimist, precizează Heidegger (GA 102, p.201), doar „privesc în ceea ce este". Heidegger privește cu interes „renașterea lui Hegel", dar atrage atenția că celebra dialectică nu se înțelege dacă este despărțită de „metafizica creștin-teologică" (GA 102,p.140, 144, 193, 230) a lui Hegel.</p> <p>Societatea modernă târzie a atras o caracterizare integral critică din partea lui Heidegger. „Societatea industrială modernă: , criteriul tuturor deciziilor, țelul tuturor planurilor, Dumnezeul – forma burgheză a comunismului științific, ultimul câmp de încercare al nihilismului extrem – libertatea planificată ca ultimă performanță a dezorientării nihiliste" (GA 102, p.107). Ar fi o societate ce terorizează, sprijinită de „sociologie, care a devenit știința servituții sub societatea industrială".</p> <h3><a href="https://www.cotidianul.ro/heidegger-dupa-caietele-negre/">Heidegger după Caietele negre</a></h3> <p>Pe de altă parte, intelectualii își epuizează energiile în teme ale luptei cu trecutul, luată de unii ca singura luptă a vieții (GA102,p.26). Ce înseamnă acum „intelectual" a arătat George Braque – nu cultivarea „gândirii", ci „cult al imaginii" și omisiune a esențialului.</p> <p>Teza lui Heidegger este aceea că umanitatea a intrat în epoca în care „se stăpânește tehnica pe drumul și cu mijloacele unei totale îngenunchieri sub Ge-stell"(GA102, p.33). În jur, proliferează entuziasmul și supunerea la imperative în ultimă analiză doar tehnice. Amenințarea cu arme atomice stă peste toate, iar toți, toate puterile nucleare, conlucrează la „o distrugere a lumii (Weltzerstörung)" (GA 102, 33-34). Deocamdată, are loc o „pustiire a lumii sub Ge-stell, care nu mai permite vreo creștere a " (GA, 102, p.36). Iar odată cu zborurile în cosmos, începe o „mizerificare astronautică a lumii" (GA 102. p.318), trăită euforic, desigur.</p> <p>Epoca este, însă, esențial, „epoca uitării ființei". Are loc „împlinirea metafizicii (die Vollendung der Metaphysik)" și realizarea felului de a gândi, inspirat de cunoașterea modernă (GA 102, p.209-210). Lumea este aparent a înstăpânirii omului asupra împrejurărilor vieții, dar, în fapt, oamenii au devenit servitorii unui fel de a gândi și al produselor sale pe care nu le mai controlează.</p> <p>Cultura epocii este ținta unor observații severe din partea lui Heidegger. Mentalitatea bazată pe imagine infuzează orice. Se trăiește sub „teroarea mediilor de informare în masă", care modifică toate criteriile, cu o „cultură a televiziunii", care „discreditează osteneala gândirii" (GA102,p.26). Se evoluează spre lipsa de răspundere a scrisului (GA102, p.33). Avansează continuu „nivelarea lumii și a oamenilor" (GA102,p.54). Orizontul vieții se închide în dreptul a ceea ce este.</p> <p>Instituțiile nu mai sunt conform sensului lor.„Universitățile au devenit deja obiect al organizării sociologice a unei <instituții sociale>." (GA102, p.82). Pluralismul servește acel monism sumar ce stă la baza realității care s-a creat (GA102, p.132). „Sfera publică (Offentlichkeit)" aduce dominația tiranică a „anonimității (das Man)", a lui „se zice", „se crede", „se face" etc., în viața fiecăruia (GA102,p.207, 293). O veritabilă „dictatură a publicității" s-a instalat.</p> <p>Soluția nu vine dinspre tehnologie. „Deoarece gândirea tehnică stăpânește toate științele și acestea viața cotidiană, nu este de așteptat ca această reprezentare tehnică să ajungă până acolo încât să privească propriul tehnicii însăși" (GA102,p.64). Nu putem nici reveni la natură, căci natura este „natură schimbată, nu physis" (GA102,p.229), cum ne-a obișnuit cultura clasică. Soluția nu poate începe altfel decât cu restabilirea „reflecției" (GA102,p.129) ce-și adaugă o dimensiune nouă – cea „a scoaterii din ascundere a ființei". Acesta este numit de Heidegger „evenimentul" istoriei (GA102,p.61-62) și socotit accesibil doar hermeneuticii (GA102,p.309).</p> <h3><a href="https://www.cotidianul.ro/un-cutremur-in-filosofie-caietele-negre-ale-lui-heidegger-partea-a-ii-a/">Un cutremur în filosofie – „Caietele negre" ale lui Heidegger (partea a II-a)</a></h3> <p>În volumul a nouălea al Caietelor negre Heidegger ia ca premisă ceea ce a scris Nietzsche – „Europa este o lume în declin. Democrația este forma de declin a statului"( Nietzsche, Werke, XIII, 1903, p.362). Opinia sa din anii șaizeci era că s-a ajuns în momentul în care trebuie reflectat responsabil la ceea ce se petrece (GA102,p.46). „Politețe în loc de politică (Politesse statt Politik)" (GA102, p.303) este deviza sa.</p> <p>„Pasul înapoi" (GA102,217; 351-352), dublat de un „nou început", constituie soluția lui Heidegger la încheierea Caietelor negre și, de fapt, a operei sale. El susține că „tehnica modernă este o însărcinare din partea Creației, cum ne învață Biblia: faceți-vă stăpânii Pământului" (GA102, p.87). Heidegger preconizează un „alt început (andere Anfang)". El se și vede înaintemergător când speculează asupra numelui său: „Heid-egger: unul care, păgân (Heide), întâlnește un câmp necultivat și o grapă. Dar, o lungă perioadă de timp, grapa trebuie să lase să meargă înainte un plug prin câmpuri de piatră" (GA 97, 62). Privirea aceasta de sine este întărită de articolul atașat Caietelor negre, sub o metaforă inspirată tot de lucrarea pământului – Brazde (Furchen) – și axat pe tema „deosebirii (Unterschied)" (GA102,p.375). Este vorba de „brazde în limbă" pentru a înainta apoi spre „deosebirile" vieții și ale lumii și pentru a pregăti „ființarea umană (Dasein)" și a recrea istoria. „Noul început" este chemat să restabilească „deosebirile".</p> <p>Putem avea o părere sau alta, dar ideea Dasein-ului și cea a Ge-stell-ului au schimbat cugetarea asupra lumii, care este în mare și lumea zilelor noastre.Heidegger susținea, contra superficialismului,că trebuie mers în adâncimea lucrurilor. Fără a putea intra aici în detalii, aș spune că nu avem, însă, altă adâncime decât oamenii pe care-i întâlnim, cu vederile, organizările și activitățile lor. Heidegger susține că acești oameni sunt într-o criză gravă, care îi dezorientează. Pe bună dreptate, el înfige sonda adânc – în dreptul recuperării „ființei (Sein) și a „ființării specific umane (Dasein)".</p> <h3><a href="https://www.cotidianul.ro/o-noua-polarizare-a-lumii/">O nouă polarizare a lumii?</a></h3> <p>Cu răspunsurile lui Heidegger ne întâlnim în realitatea vieții – cum ne întâlnim de fapt, ca oameni, cu sondele marilor filosofii! Numai că, după părerea mea, abia de aici, din ceea ce este, va trebui începută apropierea „ființei". În ceea ce mă privește, caut să fac față tulburătoarelor întrebări ce se ivesc cu o filosofie a reproducerii sociale și culturale a „ființării specific umane (Dasein)", pe temelia dată de conjuncția naturii și civilizației, filosofie axată pe diferențierea acțiunilor și cunoștințelor și folosirea lor reflexivă. În acest fel, cred eu, se poate gândi „cu Heidegger împotriva lui Heidegger", și, de ce nu, „contra lui Heidegger", cum propune chiar el, intrând însă mai precis și altfel în problemele pe care le-a pus. (Din volumul Andrei Marga, Filosofia lumii actuale, în pregătire)</p> <p><a href="http://www.andreimarga.eu/">Andrei Marga</a></p> </div></div></div> </div> <div> </div> <div></div> </div></div></div> peromanestehttp://www.blogger.com/profile/18138498600151502565noreply@blogger.com0tag:blogger.com,1999:blog-11047330.post-11775458601262723012022-01-25T04:28:00.001+02:002022-01-25T04:28:50.388+02:00Claudiu GAIU – Fără urmare. Pe marginea lecturii lui Günther Anders, Obsolescenţa omului<div dir="ltr"><div class="gmail_default" style=""><font face="georgia, serif"><br clear="all"></font></div><div><div dir="ltr" class="gmail_signature" data-smartmail="gmail_signature"><div dir="ltr"><div><span class="gmail_default" style=""><font face="georgia, serif"></font></span></div><h4 style="box-sizing:border-box;border:0px;font-size:14px;font-weight:400;margin:0px 0px 21.5938px;outline:0px;padding:0px;vertical-align:baseline;clear:both;line-height:23.8px;color:rgb(64,64,64);text-align:justify"><span style="box-sizing:border-box;border:0px;font-style:inherit;font-weight:700;margin:0px;outline:0px;padding:0px;vertical-align:baseline"><font face="georgia, serif">Abandonul solidarităţii</font></span></h4><h4 style="box-sizing:border-box;border:0px;font-size:14px;font-weight:400;margin:0px 0px 21.5938px;outline:0px;padding:0px;vertical-align:baseline;clear:both;line-height:23.8px;color:rgb(64,64,64);text-align:justify"><font face="georgia, serif">Simone Weil, lucrătoare pe o freză semiconcavă la Renault, avea obiceiul să le recite camarazilor de uzină versuri greceşti:</font></h4><h4 style="box-sizing:border-box;border:0px;font-size:14px;font-weight:400;margin:0px 0px 21.5938px;outline:0px;padding:0px;vertical-align:baseline;clear:both;line-height:23.8px;color:rgb(64,64,64);text-align:justify"><font face="georgia, serif"><a href="http://www.perseus.tufts.edu/hopper/morph?l=a%29rgo%5Cs&la=greek&can=a%29rgo%5Cs0&prior=gu/as" style="box-sizing:border-box;border:0px;font-style:inherit;font-weight:inherit;margin:0px;outline:0px;padding:0px;vertical-align:baseline;color:rgb(153,153,153);text-decoration-line:none">ἀργὸς</a> <a href="http://www.perseus.tufts.edu/hopper/morph?l=ga%5Cr&la=greek&can=ga%5Cr4&prior=a)rgo\s" style="box-sizing:border-box;border:0px;font-style:inherit;font-weight:inherit;margin:0px;outline:0px;padding:0px;vertical-align:baseline;color:rgb(153,153,153);text-decoration-line:none">γὰρ</a> <a href="http://www.perseus.tufts.edu/hopper/morph?l=ou%29dei%5Cs&la=greek&can=ou%29dei%5Cs0&prior=ga\r" style="box-sizing:border-box;border:0px;font-style:inherit;font-weight:inherit;margin:0px;outline:0px;padding:0px;vertical-align:baseline;color:rgb(153,153,153);text-decoration-line:none">οὐδεὶς</a> <a href="http://www.perseus.tufts.edu/hopper/morph?l=qeou%5Cs&la=greek&can=qeou%5Cs0&prior=ou)dei\s" style="box-sizing:border-box;border:0px;font-style:inherit;font-weight:inherit;margin:0px;outline:0px;padding:0px;vertical-align:baseline;color:rgb(153,153,153);text-decoration-line:none">θεοὺς</a> <a href="http://www.perseus.tufts.edu/hopper/morph?l=e%29%2Fxwn&la=greek&can=e%29%2Fxwn0&prior=qeou\s" style="box-sizing:border-box;border:0px;font-style:inherit;font-weight:inherit;margin:0px;outline:0px;padding:0px;vertical-align:baseline;color:rgb(153,153,153);text-decoration-line:none">ἔχων</a> <a href="http://www.perseus.tufts.edu/hopper/morph?l=a%29na%5C&la=greek&can=a%29na%5C0&prior=e)/xwn" style="box-sizing:border-box;border:0px;font-style:inherit;font-weight:inherit;margin:0px;outline:0px;padding:0px;vertical-align:baseline;color:rgb(153,153,153);text-decoration-line:none">ἀνὰ</a> <a href="http://www.perseus.tufts.edu/hopper/morph?l=sto%2Fma&la=greek&can=sto%2Fma0&prior=a)na" style="box-sizing:border-box;border:0px;font-style:inherit;font-weight:inherit;margin:0px;outline:0px;padding:0px;vertical-align:baseline;color:rgb(153,153,153);text-decoration-line:none">στόμα</a><br style="box-sizing:border-box"><a href="http://www.perseus.tufts.edu/hopper/morph?l=bi%2Fon&la=greek&can=bi%2Fon0&prior=sto/ma" style="box-sizing:border-box;border:0px;font-style:inherit;font-weight:inherit;margin:0px;outline:0px;padding:0px;vertical-align:baseline;color:rgb(153,153,153);text-decoration-line:none">βίον</a> <a href="http://www.perseus.tufts.edu/hopper/morph?l=du%2Fnait%27&la=greek&can=du%2Fnait%270&prior=bi/on" style="box-sizing:border-box;border:0px;font-style:inherit;font-weight:inherit;margin:0px;outline:0px;padding:0px;vertical-align:baseline;color:rgb(153,153,153);text-decoration-line:none">δύναιτ᾽</a> <a href="http://www.perseus.tufts.edu/hopper/morph?l=a%29%5Cn&la=greek&can=a%29%5Cn0&prior=du/nait%27" style="box-sizing:border-box;border:0px;font-style:inherit;font-weight:inherit;margin:0px;outline:0px;padding:0px;vertical-align:baseline;color:rgb(153,153,153);text-decoration-line:none">ἂν</a> <a href="http://www.perseus.tufts.edu/hopper/morph?l=culle%2Fgein&la=greek&can=culle%2Fgein0&prior=a)\n" style="box-sizing:border-box;border:0px;font-style:inherit;font-weight:inherit;margin:0px;outline:0px;padding:0px;vertical-align:baseline;color:rgb(153,153,153);text-decoration-line:none">ξυλλέγειν</a> <a href="http://www.perseus.tufts.edu/hopper/morph?l=a%29%2Fneu&la=greek&can=a%29%2Fneu0&prior=culle/gein" style="box-sizing:border-box;border:0px;font-style:inherit;font-weight:inherit;margin:0px;outline:0px;padding:0px;vertical-align:baseline;color:rgb(153,153,153);text-decoration-line:none">ἄνευ</a> <a href="http://www.perseus.tufts.edu/hopper/morph?l=po%2Fnou&la=greek&can=po%2Fnou0&prior=a)/neu" style="box-sizing:border-box;border:0px;font-style:inherit;font-weight:inherit;margin:0px;outline:0px;padding:0px;vertical-align:baseline;color:rgb(153,153,153);text-decoration-line:none">πόνου</a>.</font></h4><h4 style="box-sizing:border-box;border:0px;font-size:14px;font-weight:400;margin:0px 0px 21.5938px;outline:0px;padding:0px;vertical-align:baseline;clear:both;line-height:23.8px;color:rgb(64,64,64);text-align:justify"><font face="georgia, serif"><em style="box-sizing:border-box;border:0px;font-weight:inherit;margin:0px;outline:0px;padding:0px;vertical-align:baseline">„Niciodată leneşul, chiar dacă gura lui e plină de numele zeilor, nu poate să-şi câştige traiul fără muncă."</em><span style="box-sizing:border-box;border:0px;font-size:10.5px;font-style:inherit;font-weight:inherit;margin:0px;outline:0px;padding:0px;vertical-align:baseline;height:0px;line-height:0">1</span></font></h4><h4 style="box-sizing:border-box;border:0px;font-size:14px;font-weight:400;margin:0px 0px 21.5938px;outline:0px;padding:0px;vertical-align:baseline;clear:both;line-height:23.8px;color:rgb(64,64,64);text-align:justify"><font face="georgia, serif">Aşa zice plugarul din prima scenă a <em style="box-sizing:border-box;border:0px;font-weight:inherit;margin:0px;outline:0px;padding:0px;vertical-align:baseline">Electrei</em> lui Euripide, lăsându-şi princiara consoartă să deretice prin casă, în timp ce el pleacă spre îndeletniciri câmpeneşti rar pomenite de tragici. Subiectul piesei va fi aşadar răzbunarea sângeroasă clocită de odraslele Clitemnestrei şi nu truda mereu reînnoită a lucrătorului pământului. Putea interesa auditorii? Şi cum? La fel cum <em style="box-sizing:border-box;border:0px;font-weight:inherit;margin:0px;outline:0px;padding:0px;vertical-align:baseline">Dalas-</em>ul seducea prin intrigi de <em style="box-sizing:border-box;border:0px;font-weight:inherit;margin:0px;outline:0px;padding:0px;vertical-align:baseline">soap-opera</em> texană terna realitate socialistă a anilor 80? Prietena filosoafei, Albertine Thévenon spune că ceilalţi se bucurau de bucuria ei. Mai ştim din corespondenţa dintre Simone Weil şi inginerul Vincent Bernard, directorul turnătoriei de a Rosière, că ea redactase pentru buletinul fabricii articole de vulgarizare a tragediei eline, pe care o considera mai apropiată înţelegerii populare decât literatura clasică franceză.<span id="gmail-more-2627" tabindex="-1" style="box-sizing:border-box;border:0px;font-style:inherit;font-weight:inherit;margin:0px;outline:0px;padding:0px;vertical-align:baseline"></span></font></h4><h4 style="box-sizing:border-box;border:0px;font-size:14px;font-weight:400;margin:0px 0px 21.5938px;outline:0px;padding:0px;vertical-align:baseline;clear:both;line-height:23.8px;color:rgb(64,64,64);text-align:justify"><font face="georgia, serif"><em style="box-sizing:border-box;border:0px;font-weight:inherit;margin:0px;outline:0px;padding:0px;vertical-align:baseline">„În ziua când o să te văd muncind în atelier, alături de mine, o să mi se pară, Puişor, că-mi încep viaţa de la început (…) O să fiu tare amărât în ziua aia blestemată…" </em>– e o replică din <em style="box-sizing:border-box;border:0px;font-weight:inherit;margin:0px;outline:0px;padding:0px;vertical-align:baseline">Maidanul cu dragoste</em> al lui George Mihail Zamfirescu, carte apărută în 1933 – anul în care Weil ia decizia de a-şi întrerupe profesoratul şi de a experimenta condiţia proletară. Muncitorul din prima parte a secolului al XX-lea nu doreşte uzina, ea îi este impusă ca un destin, căruia speră ca măcar progenitura lui să i se sustragă. Cultura era o cale dacă nu spre ascensiune, cel puţin de scăpare. Pentru Simone Weil, munca fizică era un sacrificiu, iar frumuseţea vieţii era în altă parte, obturată de bancul de producţie şi ierarhia industrială. Nu altceva spune personajul romancierului bucureştean. Din fabrică se mai poate încă răzbate spre umanitate printr-un efort costisitor. Mai rar prin literatură greacă, mai des prin alcool.</font></h4><h4 style="box-sizing:border-box;border:0px;font-size:14px;font-weight:400;margin:0px 0px 21.5938px;outline:0px;padding:0px;vertical-align:baseline;clear:both;line-height:23.8px;color:rgb(64,64,64);text-align:justify"><font face="georgia, serif">În anii 1970-1980, mii de liceeni şi studenţi din Franţa, Italia, Maria Britanie sau SUA părăsesc şcolile pentru a „se stabili" în uzină ca „muncitori voluntari" în ideea de a suprima diferenţa dintre munca manuală şi cea intelectuală şi de a denunţa cultura, care nu mai e vehicul pentru a răzbate dincolo de fatalitatea claselor, ci mijloc de perpetuare a opresiunii sociale. Militantismul din a doua jumătate de secol enunţă, cel mai adesea inconştient, prăbuşirea unei civilizaţii. Multe din fabricile în care ei activau s-au închis, fără a avea nevoie de organizarea colectivă propovăduită de misionarii universităţii. E adevărat că reprimarea mişcărilor autogestionare a fost adesea brutală, dar şi drumul parcurs de propagatorii săi e exemplar. Astfel, Claude Neuschwander preia direcţiunea întreprinderii de ceasuri LIP, cu proiectul de a impune un management inspirat de ideile lui mai '68. După falimentul uzinei, se integrează cu succes în sfera consultanţilor şi a rezervei de directori generali pentru companiile în dificultate, iar politic adoptă socialismul neoliberal. Benny Lévy, unul din liderii stângismului studenţesc radical, face saltul de la „Mao la Moise" şi devine un subtil teoretician al iudaismul reacţionar de inspiraţie levinasiană. Cu câteva decenii mai devreme, Simone Weil se stingea în exil, măcinată de boală, dar şi de mâhnirea de a nu-şi putea duce mai departe angajamentul de solidaritate faţă de compatrioţii rămaşi sub ocupaţie germană.</font></h4><h4 style="box-sizing:border-box;border:0px;font-size:14px;font-weight:400;margin:0px 0px 21.5938px;outline:0px;padding:0px;vertical-align:baseline;clear:both;line-height:23.8px;color:rgb(64,64,64);text-align:justify"></h4><h4 style="box-sizing:border-box;border:0px;font-size:14px;font-weight:400;margin:0px 0px 21.5938px;outline:0px;padding:0px;vertical-align:baseline;clear:both;line-height:23.8px;color:rgb(64,64,64);text-align:justify"><span style="box-sizing:border-box;border:0px;font-style:inherit;font-weight:700;margin:0px;outline:0px;padding:0px;vertical-align:baseline"><font face="georgia, serif">Uniforma voluntariatului obligatoriu</font></span></h4><h4 style="box-sizing:border-box;border:0px;font-size:14px;font-weight:400;margin:0px 0px 21.5938px;outline:0px;padding:0px;vertical-align:baseline;clear:both;line-height:23.8px;color:rgb(64,64,64);text-align:justify"><font face="georgia, serif">Autotitulatura de „muncitor voluntar" din arsenalul ideologic progresist aminteşte de altceva în rândurile unui Günther Anders: de detaşamentele de muncă voluntară, create de Republica de la Weimar şi extinse de al Treilea Reich pentru a face faţă crizei economice din anii '30. Vă aduce aminte de o experienţă locală? Agnita-Botorca sau Bumbeşti-Livezeni sunt şantierele create pentru munca voluntară a studenţilor şi pentru reeducare. Atmosfera de acolo, amintită în memorialistica lui Dumitru Popescu-Dumnezeu, seamănă cu „munca fără cap" descrisă de Anders. „Voiam să vedem ţara", spune fostul nomenclaturist. Nu conta rezultatul muncii sau scopul acţiunii întreprinse de brigadieri. Doar o vacanţă în condiţii spartane. Azi, conform observaţiilor andersiene, am devenit cu toţii <em style="box-sizing:border-box;border:0px;font-weight:inherit;margin:0px;outline:0px;padding:0px;vertical-align:baseline">freiwilligen Arbeiten</em> sau brigadieri, însă suferind mai puţin severitatea vieţii ante şi post belice. Nu e acesta visul oricărui creator de fundaţie artistică sau de ONG-ist? Cenzorul comunist nu fusese pe şantierele mai sus-pomenite, ci undeva mai în Nord, unde „<em style="box-sizing:border-box;border:0px;font-weight:inherit;margin:0px;outline:0px;padding:0px;vertical-align:baseline">omul, muntele şi cerul/ se-ntâlnesc în defileu/ de la Salva la Vişeu</em>". Dacă cunoaşteţi versurile doar în repertoriul ironic al trupei Cargo e încă o dovadă a caracterului retrograd al rockului, fie el timişorean sau de aiurea. Nu e singurul gen muzical de condamnat, căci i se alătură şi alte creaţii… făcute în blugi, adăugăm din textul <em style="box-sizing:border-box;border:0px;font-weight:inherit;margin:0px;outline:0px;padding:0px;vertical-align:baseline">Obsolescenţei omului</em>, unde pantalonii – cei originali, de la Levi's, dar şi făcăturile sârbeşti ale trupelor bănăţene – sunt consideraţi ca obiect istorico-filosofic de primă importanţă. Pentru că sunt „proasta calitate produsă artificial", ei sugerează rebeliunea împotriva nădragilor călcaţi la dungă, dau seama de o aparentă abolire a claselor într-un efect „<em style="box-sizing:border-box;border:0px;font-weight:inherit;margin:0px;outline:0px;padding:0px;vertical-align:baseline">we are people</em>". De fapt, introduc dictatul unei uniforme colective pe care sunt obligaţi să o adopte până şi putred de bogaţii urmaşi ai croitorului leton Jakob Youphes, inventatorul cioarecilor de western.</font></h4><h4 style="box-sizing:border-box;border:0px;font-size:14px;font-weight:400;margin:0px 0px 21.5938px;outline:0px;padding:0px;vertical-align:baseline;clear:both;line-height:23.8px;color:rgb(64,64,64);text-align:justify"><font face="georgia, serif">Un alt metafizician al <em style="box-sizing:border-box;border:0px;font-weight:inherit;margin:0px;outline:0px;padding:0px;vertical-align:baseline">jeans-</em>ilor, Michel Clouscard merge mai departe. Nu e doar o falsă răzvrătire şi o supunere entuziastă, e vorba de reinventarea unui corp, din care e privilegiat dosul şi care încarnează ideologia liberală a neocapitalismului postbelic:</font></h4><h4 style="box-sizing:border-box;border:0px;font-size:14px;font-weight:400;margin:0px 0px 21.5938px;outline:0px;padding:0px;vertical-align:baseline;clear:both;line-height:23.8px;color:rgb(64,64,64);text-align:justify"><em style="box-sizing:border-box;border:0px;font-weight:inherit;margin:0px;outline:0px;padding:0px;vertical-align:baseline"><font face="georgia, serif">„Întreaga ideologie a liberalizării este purtată odată cu jeanşi. Ideologie fără de care aceşti jeanşi n-ar fi fost decât un instrument obişnuit al modei.</font></em></h4><h4 style="box-sizing:border-box;border:0px;font-size:14px;font-weight:400;margin:0px 0px 21.5938px;outline:0px;padding:0px;vertical-align:baseline;clear:both;line-height:23.8px;color:rgb(64,64,64);text-align:justify"><font face="georgia, serif"><em style="box-sizing:border-box;border:0px;font-weight:inherit;margin:0px;outline:0px;padding:0px;vertical-align:baseline">Ce înşelătorie mondenă! Corpul ca siluetă a dorinţei, pură fantasmă falocratică, invenţie hollywoodiană, produs de import american, corpul-imagine, corpul de serie – însă corpul sofisticat – vulgarizarea acestei sofisticări, vor fi proclamate corp eliberat! Uniforma epocii va fi simbolul emancipării</em>!"<span style="box-sizing:border-box;border:0px;font-size:10.5px;font-style:inherit;font-weight:inherit;margin:0px;outline:0px;padding:0px;vertical-align:baseline;height:0px;line-height:0">2</span></font></h4><h4 style="box-sizing:border-box;border:0px;font-size:14px;font-weight:400;margin:0px 0px 21.5938px;outline:0px;padding:0px;vertical-align:baseline;clear:both;line-height:23.8px;color:rgb(64,64,64);text-align:justify"></h4><h4 style="box-sizing:border-box;border:0px;font-size:14px;font-weight:400;margin:0px 0px 21.5938px;outline:0px;padding:0px;vertical-align:baseline;clear:both;line-height:23.8px;color:rgb(64,64,64);text-align:justify"><font face="georgia, serif">Iluzia revoluţiei sexuale nu-i scapă nici lui Anders. Desigur, anularea tabuurilor e o mare revoluţie, prăbuşirea pudibonderiei o transformare epocală – nici una nu are de a face cu Freud, ne aminteşte el, căci la părintele psihanalizei interdicţiile sunt baza civilizaţiei. E vorba de o preschimbare contrarevoluţionară irezistibilă care anulează orice morală şi politică:</font></h4><h4 style="box-sizing:border-box;border:0px;font-size:14px;font-weight:400;margin:0px 0px 21.5938px;outline:0px;padding:0px;vertical-align:baseline;clear:both;line-height:23.8px;color:rgb(64,64,64);text-align:justify"></h4><h4 style="box-sizing:border-box;border:0px;font-size:14px;font-weight:400;margin:0px 0px 21.5938px;outline:0px;padding:0px;vertical-align:baseline;clear:both;line-height:23.8px;color:rgb(64,64,64);text-align:justify"><font face="georgia, serif"><em style="box-sizing:border-box;border:0px;font-weight:inherit;margin:0px;outline:0px;padding:0px;vertical-align:baseline">„În orice caz, prin eliberarea sistematică şi prin producţia de excitare sexuală, capitalismul slăbeşte posibilitatea excitării politice şi a conştiinţei morale şi politice. Aşa cum, înainte, se recomandau eforturile fizice ca anti-sexualia, astăzi se recomandă sexualia ca anti-moralia şi anti-politica.</em>"<span style="box-sizing:border-box;border:0px;font-size:10.5px;font-style:inherit;font-weight:inherit;margin:0px;outline:0px;padding:0px;vertical-align:baseline;height:0px;line-height:0">3</span></font></h4><h4 style="box-sizing:border-box;border:0px;font-size:14px;font-weight:400;margin:0px 0px 21.5938px;outline:0px;padding:0px;vertical-align:baseline;clear:both;line-height:23.8px;color:rgb(64,64,64);text-align:justify"></h4><h4 style="box-sizing:border-box;border:0px;font-size:14px;font-weight:400;margin:0px 0px 21.5938px;outline:0px;padding:0px;vertical-align:baseline;clear:both;line-height:23.8px;color:rgb(64,64,64);text-align:justify"><font face="georgia, serif"><span style="box-sizing:border-box;border:0px;font-style:inherit;font-weight:700;margin:0px;outline:0px;padding:0px;vertical-align:baseline">Constrângerile timpului liber</span><span style="box-sizing:border-box;border:0px;font-style:inherit;font-weight:700;margin:0px;outline:0px;padding:0px;vertical-align:baseline"> </span></font></h4><h4 style="box-sizing:border-box;border:0px;font-size:14px;font-weight:400;margin:0px 0px 21.5938px;outline:0px;padding:0px;vertical-align:baseline;clear:both;line-height:23.8px;color:rgb(64,64,64);text-align:justify"><font face="georgia, serif">Cei doi filosofi se întâlnesc și pe un alt subiect: ontologia flipper-ului și <em style="box-sizing:border-box;border:0px;font-weight:inherit;margin:0px;outline:0px;padding:0px;vertical-align:baseline">jukebox</em>-ului. Se întâlnesc pentru a continua apoi pe căi separate. Clouscard ca etnolog consideră cele două obiecte ca mărci ale unui rit de trecere, de la copilărie la adolescență: câștigarea statutului de consumator, pe care omul nu-l va mai părăsi niciodată. Anders se înarmează și el cu instrumentele antropologului. Își ia carnetul de notițe și se postează la intrarea sălilor de japoneze de <em style="box-sizing:border-box;border:0px;font-weight:inherit;margin:0px;outline:0px;padding:0px;vertical-align:baseline">pachinko</em>. Mașinile de<em style="box-sizing:border-box;border:0px;font-weight:inherit;margin:0px;outline:0px;padding:0px;vertical-align:baseline"> pinball</em> sunt pentru el un obiect tehnic de egală importanță cu bomba atomică sau armele cu neutroni. Nu e un act inițiatic, ci o defulare pe partenerul cel mai fidel, mașina! Cea care ne-a furat munca. Clouscard rămâne la o hermeneutică a ascunderii ființei: a producătorului prin consumator. Anders dezvoltă o teologie a Apocalipsei: anunță neantul, dispariția producătorului odată cu omul, substituit de mașina care-l înrobește. Nu suntem păstori ai fiinţei cum vroia maestrul său, Martin Heidegger, ci „păstori ai obiectelor". Mişcările mecanice repetate ce sapă mintea şi distrug corpul, cele pe care le-a cunoscut Simone Weil şi le-a caricaturizat Charlie Chaplin, sunt sau vor fi înlocuite în epoca automatizării de un „al doilea şomaj", cel din timpul orelor de lucru în care omul doar priveşte maşina ore în şir, zi după zi, în aşteptarea şi fără speranţa unei avarii. E, în primul rând, o concentrare negativă psihic de nesusţinut şi o atrofiere musculară ucigaşă în actuala noastră conformaţie fiziologică şi în al doilea rând o izolare asemănătoare cu cea produsă de radio (sfera publică în casa ta) sau jukebox (sfera privată în spaţiu public). Toate acestea produc în contrareacţie, mai întâi, industria de fitness şi nutriţionism şi, apoi, asocierile de ultraşi a căror afiliere politică la ideologiile rasiste de substituţie nici nu se feresc să-şi ascundă asemănările cu sinteza naţional-socialistă dintre sport şi politică. Furia niponului în faţa jocurilor mecanice sau încrâncenarea autohtonă în faţa păcănelelor nu are nimic de a face cu substitutul unui partener de dialog sau cu dorinţa de câştig, ci e răzbunarea absurdă contra unei maşinării absurde în care ne recunoaştem existenţa. Nu e alt mecanism psihologic, spune gânditorul geman, nici în spatele masacrului de la My Lai. Cei 500 de săteni vietnamezi seceraţi de infanteriştii americani, unii violaţi şi mutilaţi ante- sau post-mortem, spun puţine despre cruzimea războiului. Aviaţia SUA a făcut asta vreme de un deceniu. Crima ne spune o altă poveste: frustrarea soldaţilor în faţa neînţelegerii inegalităţii. De ce le e permis elicopterelor şi avioanelor, iar nouă nu?</font></h4><h4 style="box-sizing:border-box;border:0px;font-size:14px;font-weight:400;margin:0px 0px 21.5938px;outline:0px;padding:0px;vertical-align:baseline;clear:both;line-height:23.8px;color:rgb(64,64,64);text-align:justify"><font face="georgia, serif">Dacă l-am pomenit pe Michel Clouscard e pentru a introduce o nuanţare rectificatoare la vizionarismul lui Günther Anders. Desigur, munca fizică nu a dispărut nici azi şi cu atât mai puţin în anii '60-'70 în care meditează gânditorul apatrid. Ea era realitatea dominată în ţările socialiste angajate în industrializare, este şi azi în lumea manufacturilor chineze, minelor africane, şantierelor bulelor noastre imobiliare. Dar e tot mai mult împinsă la periferie, marginalizată, slăbită. Ea nu mai are demnitatea opoziţiei. Şi nu mai propune politici autogestionare. Singurul vis pe care-l mai produce este migrarea. Invers, imperialismul nu mai impune jugul naţional, ci nomadismul. Noua sa geografie este un deşert marcat de ruine şi controlat de o poliţie de drone.</font></h4><h4 style="box-sizing:border-box;border:0px;font-size:14px;font-weight:400;margin:0px 0px 21.5938px;outline:0px;padding:0px;vertical-align:baseline;clear:both;line-height:23.8px;color:rgb(64,64,64);text-align:justify"><font face="georgia, serif">Dacă timpul de lucru e un şomaj apăsător, care mai e timpul producţiei? În general e timpul liber, loisirul controlat comercial al consumatorului, hobby-urile impuse de virtuţile neglijenţei şi distrugerii. Consumul ca sarcină şi plăcere. Suntem angajaţi fără contract şi îndeplinim cu înflăcărare stahanovistă planurile de serviciu. Vestea proastă e că şi munca începe să semene a loisir impus, graţie noilor tehnici manageriale.</font></h4><h4 style="box-sizing:border-box;border:0px;font-size:14px;font-weight:400;margin:0px 0px 21.5938px;outline:0px;padding:0px;vertical-align:baseline;clear:both;line-height:23.8px;color:rgb(64,64,64);text-align:center"><font face="georgia, serif">*</font></h4><h4 style="box-sizing:border-box;border:0px;font-size:14px;font-weight:400;margin:0px 0px 21.5938px;outline:0px;padding:0px;vertical-align:baseline;clear:both;line-height:23.8px;color:rgb(64,64,64);text-align:justify"><font face="georgia, serif">Să încheiem cu un citat celebru: „Atenţiune! Lăsaţi aparatele de radio deschise! Urmează un comunicat important pentru ţară". În urmă cu decenii, filmele de propagandă comunistă au făcut celebru acest anunţ şi tot nu am realizat încă partea sa cea mai importantă: nu era vorba nici de preluarea puterii de către rege, nici de întoarcerea armelor împotriva Germaniei naziste, nici de începutul dominaţiei sovietice. Se anunţa dominaţia maşinii reprezentate de placa înregistrată a unei reţele de aparate de difuzare în masă. De acum înainte munca şi viaţa nu mai sunt legate decât de moralismul desuet al unor propagandişti neinspiraţi.</font></h4><h5 style="box-sizing:border-box;border:0px;font-size:11.2px;font-weight:400;margin:0px 0px 21.5938px;outline:0px;padding:0px;vertical-align:baseline;clear:both;line-height:1.2;color:rgb(64,64,64);text-align:justify"><font face="georgia, serif">______</font></h5><h5 style="box-sizing:border-box;border:0px;font-size:11.2px;font-weight:400;margin:0px 0px 21.5938px;outline:0px;padding:0px;vertical-align:baseline;clear:both;line-height:1.2;color:rgb(64,64,64);text-align:justify"><font face="georgia, serif">1 Euripide, <em style="box-sizing:border-box;border:0px;font-weight:inherit;margin:0px;outline:0px;padding:0px;vertical-align:baseline">Hecuba, Electra, Ifigenia în Taurida, Hipolit</em>, Editura Minerva, Bucureşti, 1976, trad. Alexandru Miran, p 79.</font></h5><h5 style="box-sizing:border-box;border:0px;font-size:11.2px;font-weight:400;margin:0px 0px 21.5938px;outline:0px;padding:0px;vertical-align:baseline;clear:both;line-height:1.2;color:rgb(64,64,64);text-align:justify"><font face="georgia, serif">2 Michel Clouscard, <em style="box-sizing:border-box;border:0px;font-weight:inherit;margin:0px;outline:0px;padding:0px;vertical-align:baseline">Le Capitalisme de la séduction, Critique de la social-démocratie libertaire, </em>Éditions sociales 1981, Réédition Delga 2006, p. 54.</font></h5><h5 style="box-sizing:border-box;border:0px;font-size:11.2px;font-weight:400;margin:0px 0px 21.5938px;outline:0px;padding:0px;vertical-align:baseline;clear:both;line-height:1.2;color:rgb(64,64,64);text-align:justify"><font face="georgia, serif">3 Günther Anders, <em style="box-sizing:border-box;border:0px;font-weight:inherit;margin:0px;outline:0px;padding:0px;vertical-align:baseline">Obsolescenţa omului. Despre distrugerea vieţii în epoca celei de-a treia revoluţii industriale, </em>traducere, postfaţă şi note: Lorin Ghiman, Editura Tact, 2016, p. 331.</font></h5><p style="box-sizing:border-box;border:0px;font-size:20px;margin:0px 0px 1em;outline:0px;padding:0px;vertical-align:baseline;color:rgb(64,64,64)"><font face="georgia, serif"> </font></p><p style="box-sizing:border-box;border:0px;font-size:20px;margin:0px 0px 1em;outline:0px;padding:0px;vertical-align:baseline;color:rgb(64,64,64)"><font face="georgia, serif"> </font></p><p style="box-sizing:border-box;border:0px;font-size:20px;margin:0px 0px 1em;outline:0px;padding:0px;vertical-align:baseline;color:rgb(64,64,64)"><font face="georgia, serif"> </font></p><p style="box-sizing:border-box;border:0px;font-size:20px;margin:0px 0px 1em;outline:0px;padding:0px;vertical-align:baseline;color:rgb(64,64,64);text-align:right"><font face="georgia, serif">[Vatra, nr. 11-12/2016, pp. 43-45]</font></p></div></div></div></div> peromanestehttp://www.blogger.com/profile/18138498600151502565noreply@blogger.com0tag:blogger.com,1999:blog-11047330.post-71931362982252762092021-12-27T18:47:00.001+02:002021-12-27T18:47:44.226+02:00Pier Paolo Pasolini – “Is this a Military Coup D’Etat? I Know…”<div dir="ltr"><div class="gmail_default" style="font-family:georgia,serif"><br clear="all"></div><div><div dir="ltr" class="gmail_signature" data-smartmail="gmail_signature"><div dir="ltr"><div><font face="georgia, serif"> </font></div><div class="entry-content" style="background-image:initial;background-position:initial;background-size:initial;background-repeat:initial;background-origin:initial;background-clip:initial;border:0px;margin:0px;padding:12px 0px 0px;vertical-align:baseline;clear:both;color:rgb(51,51,51);font-family:Georgia,"Bitstream Charter",serif;font-size:16px"><p style="background:transparent;border:0px;margin:0px 0px 24px;padding:0px;vertical-align:baseline;text-align:justify"><em style="background:transparent;border:0px;margin:0px;padding:0px;vertical-align:baseline">[This prose journalism was written in Italy's "Corriere della Sera" (a major left-leaning newspaper) on 14th November 1974. Pasolini died just under a year later, on 2nd November 1975. The mystery as to the motives behind his murder, and those involved, have never been fully explained. The piece is translated from the Italian by Aindriú Ó Domhnaill.]</em></p><p style="background:transparent;border:0px;margin:0px 0px 24px;padding:0px;vertical-align:baseline;text-align:justify">I know.</p><p style="background:transparent;border:0px;margin:0px 0px 24px;padding:0px;vertical-align:baseline;text-align:justify">I know the names of those responsible for what will come to be known as a "military coup d'etat" (and this, in reality, is a series of "instituted military coups d'etats" systematized for the protection of power).</p><p style="background:transparent;border:0px;margin:0px 0px 24px;padding:0px;vertical-align:baseline;text-align:justify">I know the names of those responsible for the massacre of Milan on 12th December 1969.</p><p style="background:transparent;border:0px;margin:0px 0px 24px;padding:0px;vertical-align:baseline;text-align:justify">I know the names of those responsible for the massacres of Brescia and Bologna in the first months of 1974.</p><p style="background:transparent;border:0px;margin:0px 0px 24px;padding:0px;vertical-align:baseline;text-align:justify">I know the names of the "apex" that has maneuvered it thus, they are the old original fascists of this "military coup", they are the neo-fascist materialist authors of the first massacres, they are, lastly, the "unknown" materialist authors of the more recent massacres.</p><p style="background:transparent;border:0px;margin:0px 0px 24px;padding:0px;vertical-align:baseline;text-align:justify">I know the names of those who have managed the two different sides, indeed, the two opposites. It is made up of a tension: firstly, an anti-communist phase (Milan 1969) and a second anti-fascist phase (Brescia and Bologna 1974).</p><p style="background:transparent;border:0px;margin:0px 0px 24px;padding:0px;vertical-align:baseline;text-align:justify">I know the names of the powerful group who, with the aid of the CIA (and a second-rate group of Greek colonels in the mafia) they'd created previously (the rest failed badly), with one crusading anti-communist, the plug in the dam of '68, and later on, always with the aid and the inspiration of the CIA, reconstituted anti-fascist virginity, and plugged up the disaster of the "referendum".</p><p style="background:transparent;border:0px;margin:0px 0px 24px;padding:0px;vertical-align:baseline;text-align:justify"><span style="background-color:transparent">I know the names of the sequence of important people who are behind the tragic boys who have chosen atrocious fascist suicides, and the common criminals, Sicilian or not, those who thus have the propensity to arrange them, as if killers and hired assassins.</span>I know the names of those who, between themselves, have given dispositions and assured political protection to the elders that looked after them (in order to keep in place, and to reserve, the potential organization for this coup d'état), from the young neo-fascists, even neo-nazis (in order to create, in concrete, the anti-communist tension) and finally the ordinary criminals, down to this moment, and perhaps forever, those who are without name (in order to create the successive anti-fascist tension). I know the names of this sequence of important people, and that they are behind the comic personages like that general of the forest, the one who was engaged somewhat operatically, in the city of Ducale (while the Italian forests burned), or the dull personages organized purely by the likes of General Miceli.</p><p style="background:transparent;border:0px;margin:0px 0px 24px;padding:0px;vertical-align:baseline;text-align:justify">I know all these names and know all the facts (the attempts on the institutions, and the slaughters) of which they've become guilty of.</p><p style="background:transparent;border:0px;margin:0px 0px 24px;padding:0px;vertical-align:baseline;text-align:justify">I know. But I do not have the proof. I don't even have clues.</p><p style="background:transparent;border:0px;margin:0px 0px 24px;padding:0px;vertical-align:baseline;text-align:justify">I know because I am an intellectual, a writer, one who tries to follow all whom he succeeds, to know all that is written in some way, to imagine all that is unknown or concealed; all that which is also coordinated from afar, to put the disorganized and fragmentary pieces into an entirely coherent political picture, to re-establish logic where arbitrariness, madness and mystery seem to reign.</p><p style="background:transparent;border:0px;margin:0px 0px 24px;padding:0px;vertical-align:baseline;text-align:justify">All of this makes up part of my trade, and is the instinct of my trade. This faith is difficult, this faith that is my one "novel plan", whether in error or not, in that it is not schooled in a connection with reality, and that its real references to facts and persons are inexact. It's a faith, moreover, that many other intellectuals and novelists know well… since I know many of these intellectuals and novelists. Because the reconstruction of the truth proposes itself in what has happened in Italy after '68, and therefore isn't that difficult.</p><p style="background:transparent;border:0px;margin:0px 0px 24px;padding:0px;vertical-align:baseline;text-align:justify">Such truth – she savours herself with absolute precision – is also behind a great amount of journalistic and political participation: what's not of imagination or of fiction has for itself my own nature. Last example: it is clear that the truth was urged, in all its names, behind the editorial of the "The Evening Courier" on the 1st November 1974.</p><p style="background:transparent;border:0px;margin:0px 0px 24px;padding:0px;vertical-align:baseline;text-align:justify">The journalists and the politicians probably also have the proof or, at least, clues.</p><p style="background:transparent;border:0px;margin:0px 0px 24px;padding:0px;vertical-align:baseline;text-align:justify">Now the problem is this: the journalists and the politicians, perhaps also having the proof, and, sure of the clues, do not give out the names.</p><p style="background:transparent;border:0px;margin:0px 0px 24px;padding:0px;vertical-align:baseline;text-align:justify">Who, therefore, is competent to give out these names? Evidently one who not only has the necessary courage but, at the same time, one who will not be compromised by those accustomed to power, and, furthermore, one who doesn't have, by definition, anything to lose: that is; an intellectual.</p><p style="background:transparent;border:0px;margin:0px 0px 24px;padding:0px;vertical-align:baseline;text-align:justify">An intellectual therefore could very well make public those names: but they do not have either proof or clues.</p><p style="background:transparent;border:0px;margin:0px 0px 24px;padding:0px;vertical-align:baseline;text-align:justify">The power and the world that, not being of this power, also holds practical relationships with the power, has excluded these free intellectuals – for this is simply the way in which it is made – from the chance to have proof and clues.</p><p style="background:transparent;border:0px;margin:0px 0px 24px;padding:0px;vertical-align:baseline;text-align:justify">Me, it could be objected that I, as an example, am like an intellectual, and an inventor of history, could enter into that explicitly political world (of the power, or close to the power), compromise with it, and therefore I would participate in the right to having, with one sure high probability, proof and clues.</p><p style="background:transparent;border:0px;margin:0px 0px 24px;padding:0px;vertical-align:baseline;text-align:justify">But to such objections I would answer that this is not possible, because it is simply that I would loathe entering into a similar political world which identifies itself with my potential intellectual courage to tell the truth: that is, to name names.</p><p style="background:transparent;border:0px;margin:0px 0px 24px;padding:0px;vertical-align:baseline;text-align:justify">The intellectual courage for truth and practical politics are two irreconcilable things in Italy.</p><p style="background:transparent;border:0px;margin:0px 0px 24px;padding:0px;vertical-align:baseline;text-align:justify">To the intellectual – deeply and viscerally despised by all the Italian bourgeoisie – this deference to a high command is submitted falsely and is noble, yet in reality you serve them: they who debate moral and ideological problems.</p><p style="background:transparent;border:0px;margin:0px 0px 24px;padding:0px;vertical-align:baseline;text-align:justify">If he puts much more to this command he becomes considered a traitor in his role: the screams undergone by the "treachery of the clerics" (as if no one expected otherwise) is an alibi, and a gratification for the politicians and the servants of power.</p><p style="background:transparent;border:0px;margin:0px 0px 24px;padding:0px;vertical-align:baseline;text-align:justify">But power does not exist alone: an opposition to this power exists also. In Italy this opposition is therefore immense and as strong as the power that resembles it: naturally, I refer to the Italian Communist Party.</p><p style="background:transparent;border:0px;margin:0px 0px 24px;padding:0px;vertical-align:baseline;text-align:justify">At this moment, it's certain that the presence of a great party in opposition, as it is, to the Italian Communist Party is the salvation of Italy and its poor democratic institutions.</p><p style="background:transparent;border:0px;margin:0px 0px 24px;padding:0px;vertical-align:baseline;text-align:justify">The Italian Communist Party is a clean country within a dirty country, an honest country within a dishonest country, an intelligent country within an idiotic country, a cultured country within an ignorant country, a humanistic country within a consumerist country. In the past few years between the Italian Communist Party, meant in an authentically unitary sense – "jointly" in compact with its leaders, its base and its voters – and the rest of Italy, an applied exchange has been opened: for which the Italian Communist Party has become exactly a "country separated", an island. And, today, it is just because of this that it can, like never before, have an intimate relationship with the effective power, corrupt, inept, degraded: but the extent of this diplomatic relationship falls to us, almost from nation to nation.</p><p style="background:transparent;border:0px;margin:0px 0px 24px;padding:0px;vertical-align:baseline;text-align:justify">In truth the two moral realities are incommensurabilities, understandings in their own concreteness, their own totality. It is possible, just on these bases, to face that "compromise", realistically, perhaps this would suitably save Italy from decay: a "compromise" that would in reality be an "alliance" between two adjacent States, or two States embedded one in the other.</p><p style="background:transparent;border:0px;margin:0px 0px 24px;padding:0px;vertical-align:baseline;text-align:justify">But for all that I've just said in the positive, on the Italian Communist Party, the moment also constitutes what is relatively negative.</p><p style="background:transparent;border:0px;margin:0px 0px 24px;padding:0px;vertical-align:baseline;text-align:justify">With the division of the country into two countries, one sunk up to its neck in degradation and degeneration, the other intact and without compromise, there is no one reason for construction and for peace.</p><p style="background:transparent;border:0px;margin:0px 0px 24px;padding:0px;vertical-align:baseline;text-align:justify">Furthermore, the conception that I have delineated here; my faith's objective, is like a Country within the Country, it's the opposition to what I identify as an other power: a power that is, nevertheless, always power.</p><p style="background:transparent;border:0px;margin:0px 0px 24px;padding:0px;vertical-align:baseline;text-align:justify">Consequently the political men of such an opposition cannot even behave like men of power. In this specific case, at this moment therefore… we look over it again dramatically, to have also deferred to the intellectual mandate established by them.</p><p style="background:transparent;border:0px;margin:0px 0px 24px;padding:0px;vertical-align:baseline;text-align:justify">And, if the intellectual appeals less to this mandate – the purely moral and ideological – it's here that they are a traitor, to the sum satisfaction of all.</p><p style="background:transparent;border:0px;margin:0px 0px 24px;padding:0px;vertical-align:baseline;text-align:justify">Now, why is it that not even the political men of the opposition, if they have – as probably they have – proof or at least clues, do not produce the names of those really responsible, politically, for the actors' military coup and the frightful massacres of these years? It is simple: they do not produce them to the extent that they don't differentiate – with the exception of how much this would become an intellectual – political truth in practical politics. And hence, naturally, the non functionary intellectual is not at all exposed to the current of proofs and clues: not even in their dreams, like the ordinary others, can they date an objective situation of fact.</p><p style="background:transparent;border:0px;margin:0px 0px 24px;padding:0px;vertical-align:baseline;text-align:justify">An intellectual must continue to cling onto themselves, onto what duty must fall to each of them, to just repeat the codified mode of participation.</p><p style="background:transparent;border:0px;margin:0px 0px 24px;padding:0px;vertical-align:baseline;text-align:justify">I know well that it is not the case – at this particular moment of Italian history – that the public make one motion of distrust against the entire political class. This is not diplomatic, it is not opportune. But these categories of politics, not the political truth: are the ones which – when he can and as he can – the impotent intellectual is obliged to serve.</p><p style="background:transparent;border:0px;margin:0px 0px 24px;padding:0px;vertical-align:baseline;text-align:justify">Well, just because I cannot produce the names of those responsible for the attempts of the coup d'état and the slaughters (and in place of this) I cannot articulate my weak self and its ideal accusation against the entire Italian political class.</p><p style="background:transparent;border:0px;margin:0px 0px 24px;padding:0px;vertical-align:baseline;text-align:justify">And I face how much I believe in politics, my faith in the "formal" principles of democracy, my faith in Parliament and faith in parties. And naturally through my own particular optical view this is the Communist one.</p><p style="background:transparent;border:0px;margin:0px 0px 24px;padding:0px;vertical-align:baseline;text-align:justify">Others will only be ready to retract my motion of distrust (this standpoint or others) when a political man – not for an opportunity, not because the moment has come, but rather in order to create the possibility of such a moment – will decide to produce the names of those responsible for the coups d'état and the slaughters, one who evidently knows, like me, they cannot not have proof, or at least clues.</p><p style="background:transparent;border:0px;margin:0px 0px 24px;padding:0px;vertical-align:baseline;text-align:justify">Probably – if American power concurs with this – if it even "diplomatically" decides to grant another democracy, whom American democracy has purposely accepted in the form of Nixon – these names sooner or later will come out. But those that produce them will be men who have shared in this power: as those least responsible against those more responsible (and not when saying, as in the American case, that they are better). This would after all be the true Coup d'état.</p><p style="background:transparent;border:0px;margin:0px 0px 24px;padding:0px;vertical-align:baseline;text-align:justify"><span class="gmail_default" style="font-family:georgia,serif"></span></p><div style="text-align:center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiaF5jXMVgz6K4U8eZVKQTccI9tC6cVixQKw08bil5mpZlmc3MkctX39lI7lAEf21zCQU3TWSZl96-WVzK8KBomw_ktFCTWIXE38fI56YcHeKr1gNc3lLOyL-rXdDHGP4uZxQW_/s1600/image-764235.png"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiaF5jXMVgz6K4U8eZVKQTccI9tC6cVixQKw08bil5mpZlmc3MkctX39lI7lAEf21zCQU3TWSZl96-WVzK8KBomw_ktFCTWIXE38fI56YcHeKr1gNc3lLOyL-rXdDHGP4uZxQW_/s320/image-764235.png" border="0" alt="" id="BLOGGER_PHOTO_ID_7046424987517940898" /></a></div><p style="background:transparent;border:0px;margin:0px 0px 24px;padding:0px;vertical-align:baseline;text-align:justify"><span class="gmail_default" style="font-family:georgia,serif"></span><br></p><p style="background:transparent;border:0px;margin:0px 0px 24px;padding:0px;vertical-align:baseline;text-align:justify"><br></p><h3 style="background:transparent;border:0px;margin:0px 0px 20px;padding:0px;vertical-align:baseline;clear:both;font-weight:normal;color:rgb(0,0,0);line-height:1.5em;text-align:justify"><strong style="background:transparent;border:0px;margin:0px;padding:0px;vertical-align:baseline">"Cos'è questo golpe? Io so…"</strong></h3><p style="background:transparent;border:0px;margin:0px 0px 24px;padding:0px;vertical-align:baseline;text-align:justify">Io so.</p><p style="background:transparent;border:0px;margin:0px 0px 24px;padding:0px;vertical-align:baseline;text-align:justify">Io so i nomi dei responsabili di quello che viene chiamato "golpe" (e che in realtà è una serie di "golpe" istituitasi a sistema di protezione del potere).</p><p style="background:transparent;border:0px;margin:0px 0px 24px;padding:0px;vertical-align:baseline;text-align:justify">Io so i nomi dei responsabili della strage di Milano del 12 dicembre 1969.</p><p style="background:transparent;border:0px;margin:0px 0px 24px;padding:0px;vertical-align:baseline;text-align:justify">Io so i nomi dei responsabili delle stragi di Brescia e di Bologna dei primi mesi del 1974.</p><p style="background:transparent;border:0px;margin:0px 0px 24px;padding:0px;vertical-align:baseline;text-align:justify">Io so i nomi del "vertice" che ha manovrato, dunque, sia i vecchi fascisti ideatori di "golpe", sia i neo-fascisti autori materiali delle prime stragi, sia infine, gli "ignoti" autori materiali delle stragi più recenti.</p><p style="background:transparent;border:0px;margin:0px 0px 24px;padding:0px;vertical-align:baseline;text-align:justify">Io so i nomi che hanno gestito le due differenti, anzi, opposte, fasi della tensione: una prima fase anticomunista (Milano 1969) e una seconda fase antifascista (Brescia e Bologna 1974).</p><p style="background:transparent;border:0px;margin:0px 0px 24px;padding:0px;vertical-align:baseline;text-align:justify">Io so i nomi del gruppo di potenti, che, con l'aiuto della Cia (e in second'ordine dei colonnelli greci della mafia), hanno prima creato (del resto miseramente fallendo) una crociata anticomunista, a tamponare il '68, e in seguito, sempre con l'aiuto e per ispirazione della Cia, si sono ricostituiti una verginità antifascista, a tamponare il disastro del "referendum".</p><p style="background:transparent;border:0px;margin:0px 0px 24px;padding:0px;vertical-align:baseline;text-align:justify">Io so i nomi di coloro che, tra una Messa e l'altra, hanno dato le disposizioni e assicurato la protezione politica a vecchi generali (per tenere in piedi, di riserva, l'organizzazione di un potenziale colpo di Stato), a giovani neo-fascisti, anzi neo-nazisti (per creare in concreto la tensione anticomunista) e infine criminali comuni, fino a questo momento, e forse per sempre, senza nome (per creare la successiva tensione antifascista). Io so i nomi delle persone serie e importanti che stanno dietro a dei personaggi comici come quel generale della Forestale che operava, alquanto operettisticamente, a Città Ducale (mentre i boschi italiani bruciavano), o a dei personaggio grigi e puramente organizzativi come il generale Miceli.</p><p style="background:transparent;border:0px;margin:0px 0px 24px;padding:0px;vertical-align:baseline;text-align:justify">Io so i nomi delle persone serie e importanti che stanno dietro ai tragici ragazzi che hanno scelto le suicide atrocità fasciste e ai malfattori comuni, siciliani o no, che si sono messi a disposizione, come killer e sicari.</p><p style="background:transparent;border:0px;margin:0px 0px 24px;padding:0px;vertical-align:baseline;text-align:justify">Io so tutti questi nomi e so tutti i fatti (attentati alle istituzioni e stragi) di cui si sono resi colpevoli.</p><p style="background:transparent;border:0px;margin:0px 0px 24px;padding:0px;vertical-align:baseline;text-align:justify">Io so. Ma non ho le prove. Non ho nemmeno indizi.</p><p style="background:transparent;border:0px;margin:0px 0px 24px;padding:0px;vertical-align:baseline;text-align:justify">Io so perché sono un intellettuale, uno scrittore, che cerca di seguire tutto ciò che succede, di conoscere tutto ciò che se ne scrive, di immaginare tutto ciò che non si sa o che si tace; che coordina fatti anche lontani, che mette insieme i pezzi disorganizzati e frammentari di un intero coerente quadro politico, che ristabilisce la logica là dove sembrano regnare l'arbitrarietà, la follia e il mistero.</p><p style="background:transparent;border:0px;margin:0px 0px 24px;padding:0px;vertical-align:baseline;text-align:justify">Tutto ciò fa parte del mio mestiere e dell'istinto del mio mestiere. Credo che sia difficile che il mio "progetto di romanzo", sia sbagliato, che non abbia cioè attinenza con la realtà, e che i suoi riferimenti a fatti e persone reali siano inesatti. Credo inoltre che molti altri intellettuali e romanzieri sappiano ciò che so io in quanto intellettuale e romanziere. Perché la ricostruzione della verità a proposito di ciò che è successo in Italia dopo il '68 non è poi così difficile.</p><p style="background:transparent;border:0px;margin:0px 0px 24px;padding:0px;vertical-align:baseline;text-align:justify">Tale verità – lo si sente con assoluta precisione – sta dietro una grande quantità di interventi anche giornalistici e politici: cioè non di immaginazione o di finzione come è per sua natura il mio. Ultimo esempio: è chiaro che la verità urgeva, con tutti i suoi nomi, dietro all'editoriale del "Corriere della Sera", del 1° novembre 1974.</p><p style="background:transparent;border:0px;margin:0px 0px 24px;padding:0px;vertical-align:baseline;text-align:justify">Probabilmente i giornalisti e i politici hanno anche delle prove o, almeno, degli indizi.</p><p style="background:transparent;border:0px;margin:0px 0px 24px;padding:0px;vertical-align:baseline;text-align:justify">Ora il problema è questo: i giornalisti e i politici, pur avendo forse delle prove e certamente degli indizi, non fanno i nomi.</p><p style="background:transparent;border:0px;margin:0px 0px 24px;padding:0px;vertical-align:baseline;text-align:justify">A chi dunque compete fare questi nomi? Evidentemente a chi non solo ha il necessario coraggio, ma, insieme, non è compromesso nella pratica col potere, e, inoltre, non ha, per definizione, niente da perdere: cioè un intellettuale.</p><p style="background:transparent;border:0px;margin:0px 0px 24px;padding:0px;vertical-align:baseline;text-align:justify">Un intellettuale dunque potrebbe benissimo fare pubblicamente quei nomi: ma egli non ha né prove né indizi.</p><p style="background:transparent;border:0px;margin:0px 0px 24px;padding:0px;vertical-align:baseline;text-align:justify">Il potere e il mondo che, pur non essendo del potere, tiene rapporti pratici col potere, ha escluso gli intellettuali liberi – proprio per il modo in cui è fatto – dalla possibilità di avere prove ed indizi.</p><p style="background:transparent;border:0px;margin:0px 0px 24px;padding:0px;vertical-align:baseline;text-align:justify">Mi si potrebbe obiettare che io, per esempio, come intellettuale, e inventore di storie, potrei entrare in quel mondo esplicitamente politico (del potere o intorno al potere), compromettermi con esso, e quindi partecipare del diritto ad avere, con una certa alta probabilità, prove ed indizi.</p><p style="background:transparent;border:0px;margin:0px 0px 24px;padding:0px;vertical-align:baseline;text-align:justify">Ma a tale obiezione io risponderei che ciò non è possibile, perché è proprio la ripugnanza ad entrare in un simile mondo politico che si identifica col mio potenziale coraggio intellettuale a dire la verità: cioè a fare i nomi.</p><p style="background:transparent;border:0px;margin:0px 0px 24px;padding:0px;vertical-align:baseline;text-align:justify">Il coraggio intellettuale della verità e la pratica politica sono due cose inconciliabili in Italia.</p><p style="background:transparent;border:0px;margin:0px 0px 24px;padding:0px;vertical-align:baseline;text-align:justify">All'intellettuale – profondamente e visceralmente disprezzato da tutta la borghesia italiana – si deferisce un mandato falsamente alto e nobile, in realtà servile: quello di dibattere i problemi morali e ideologici.</p><p style="background:transparent;border:0px;margin:0px 0px 24px;padding:0px;vertical-align:baseline;text-align:justify">Se egli vien messo a questo mandato viene considerato traditore del suo ruolo: si grida subito (come se non si aspettasse altro che questo) al "tradimento dei chierici" è un alibi e una gratificazione per i politici e per i servi del potere.</p><p style="background:transparent;border:0px;margin:0px 0px 24px;padding:0px;vertical-align:baseline;text-align:justify">Ma non esiste solo il potere: esiste anche un'opposizione al potere. In Italia questa opposizione è così vasta e forte da essere un potere essa stessa: mi riferisco naturalmente al Partito comunista italiano.</p><p style="background:transparent;border:0px;margin:0px 0px 24px;padding:0px;vertical-align:baseline;text-align:justify">È certo che in questo momento la presenza di un grande partito all'opposizione come è il Partito comunista italiano è la salvezza dell'Italia e delle sue povere istituzioni democratiche.</p><p style="background:transparent;border:0px;margin:0px 0px 24px;padding:0px;vertical-align:baseline;text-align:justify">Il Partito comunista italiano è un Paese pulito in un Paese sporco, un Paese onesto in un Paese disonesto, un Paese intelligente in un Paese idiota, un Paese colto in un Paese ignorante, un Paese umanistico in un Paese consumistico. In questi ultimi anni tra il Partito comunista italiano, inteso in senso autenticamente unitario – in un compatto "insieme" di dirigenti, base e votanti – e il resto dell'Italia, si è aperto un baratto: per cui il Partito comunista italiano è divenuto appunto un "Paese separato", un'isola. Ed è proprio per questo che esso può oggi avere rapporti stretti come non mai col potere effettivo, corrotto, inetto, degradato: ma si tratta di rapporti diplomatici, quasi da nazione a nazione. In realtà le due morali sono incommensurabili, intese nella loro concretezza, nella loro totalità. È possibile, proprio su queste basi, prospettare quel "compromesso", realistico, che forse salverebbe l'Italia dal completo sfacelo: "compromesso" che sarebbe però in realtà una "alleanza" tra due Stati confinanti, o tra due Stati incastrati uno nell'altro.</p><p style="background:transparent;border:0px;margin:0px 0px 24px;padding:0px;vertical-align:baseline;text-align:justify">Ma proprio tutto ciò che di positivo ho detto sul Partito comunista italiano ne costituisce anche il momento relativamente negativo.</p><p style="background:transparent;border:0px;margin:0px 0px 24px;padding:0px;vertical-align:baseline;text-align:justify">La divisione del Paese in due Paesi, uno affondato fino al collo nella degradazione e nella degenerazione, l'altro intatto e non compromesso, non può essere una ragione di pace e di costruttività.</p><p style="background:transparent;border:0px;margin:0px 0px 24px;padding:0px;vertical-align:baseline;text-align:justify">Inoltre, concepita così come io l'ho qui delineata, credo oggettivamente, cioè come un Paese nel Paese, l'opposizione si identifica con un altro potere: che tuttavia è sempre potere.</p><p style="background:transparent;border:0px;margin:0px 0px 24px;padding:0px;vertical-align:baseline;text-align:justify">Di conseguenza gli uomini politici di tale opposizione non possono non comportarsi anch'essi come uomini di potere.</p><p style="background:transparent;border:0px;margin:0px 0px 24px;padding:0px;vertical-align:baseline;text-align:justify">Nel caso specifico, che in questo momento così drammaticamente ci riguarda, anch'essi hanno deferito all'intellettuale un mandato stabilito da loro. E, se l'intellettuale viene meno a questo mandato – puramente morale e ideologico – ecco che è, con somma soddisfazione di tutti, un traditore.</p><p style="background:transparent;border:0px;margin:0px 0px 24px;padding:0px;vertical-align:baseline;text-align:justify">Ora, perché neanche gli uomini politici dell'opposizione, se hanno – come probabilmente hanno – prove o almeno indizi, non fanno i nomi dei responsabili reali, cioè politici, dei comici golpe e delle spaventose stragi di questi anni? È semplice: essi non li fanno nella misura in cui distinguono – a differenza di quanto farebbe un intellettuale – verità politica da pratica politica. E quindi, naturalmente, neanch'essi mettono al corrente di prove e indizi l'intellettuale non funzionario: non se lo sognano nemmeno, com'è del resto normale, data l'oggettiva situazione di fatto.</p><p style="background:transparent;border:0px;margin:0px 0px 24px;padding:0px;vertical-align:baseline;text-align:justify">L'intellettuale deve continuare ad attenersi a quello che gli viene imposto come suo dovere, a iterare il proprio modo codificato di intervento.</p><p style="background:transparent;border:0px;margin:0px 0px 24px;padding:0px;vertical-align:baseline;text-align:justify">Lo so bene che non è il caso – in questo particolare momento della storia italiana – di fare pubblicamente una mozione di sfiducia contro l'intera classe politica. Non è diplomatico, non è opportuno. Ma queste categorie della politica, non della verità politica: quella che – quando può e come può – l'impotente intellettuale è tenuto a servire.</p><p style="background:transparent;border:0px;margin:0px 0px 24px;padding:0px;vertical-align:baseline;text-align:justify">Ebbene, proprio perché io non posso fare i nomi dei responsabili dei tentativi di colpo di Stato e delle stragi (e non al posto di questo) io non posso pronunciare la mia debole e ideale accusa contro l'intera classe politica italiana.</p><p style="background:transparent;border:0px;margin:0px 0px 24px;padding:0px;vertical-align:baseline;text-align:justify">E io faccio in quanto io credo alla politica, credo nei principi "formali" della democrazia, credo nel Parlamento e credo nei partiti. E naturalmente attraverso la mia particolare ottica che è quella di un comunista.</p><p style="background:transparent;border:0px;margin:0px 0px 24px;padding:0px;vertical-align:baseline;text-align:justify">Sono pronto a ritirare la mia mozione di sfiducia (anzi non aspetto altro che questo) solo quando un uomo politico – non per opportunità, cioè non perché sia venuto il momento, ma piuttosto per creare la possibilità di tale momento – deciderà di fare i nomi dei responsabili dei colpi di Stato e delle stragi, che evidentemente egli sa, come me, non può non avere prove, o almeno indizi.</p><p style="background:transparent;border:0px;margin:0px 0px 24px;padding:0px;vertical-align:baseline;text-align:justify">Probabilmente – se il potere americano lo consentirà – magari decidendo "diplomaticamente" di concedere a un'altra democrazia ciò che la democrazia americana si è concessa a proposito di Nixon – questi nomi prima o poi saranno detti. Ma a dirli saranno uomini che hanno condiviso con essi il potere: come minori responsabili contro maggiori responsabili (e non è detto, come nel caso americano, che siano migliori). Questo sarebbe in definitiva il vero Colpo di Stato.</p></div></div></div></div></div> peromanestehttp://www.blogger.com/profile/18138498600151502565noreply@blogger.com0tag:blogger.com,1999:blog-11047330.post-27691753544033900592021-08-11T14:25:00.000+03:002021-08-11T14:25:43.077+03:00Soluții inepte, care duc la „dezintegrarea societății - Cristi Puiu<p></p><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6HIdT918gk4BKXNkeFCQ98rWum3TmEqoseMfwlT1mQrFWjpf5A6KAbCctyfoPXJ8XfVCOBzmxZixL9z5SKlyFwiTiJbOYxxf7O6_HUSYE5ZOrDH95DB3sX7OE1X_6YfQRo4Il/" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="455" data-original-width="637" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6HIdT918gk4BKXNkeFCQ98rWum3TmEqoseMfwlT1mQrFWjpf5A6KAbCctyfoPXJ8XfVCOBzmxZixL9z5SKlyFwiTiJbOYxxf7O6_HUSYE5ZOrDH95DB3sX7OE1X_6YfQRo4Il/s16000/image.png" /></a></div><p><br /></p><h1 class="article-title" style="background-color: white; box-sizing: border-box; color: #222222; font-family: Arial, sans-serif; font-size: 32px; line-height: 34px; margin: 0px 0px 10px; padding: 0px; text-rendering: optimizelegibility;">„NU M-AM VACCINAT PENTRU CĂ SUNT LIBER!” Regizorul Cristi Puiu, atac fulminant la adresa progresiștilor: „Nu cred povestea asta pentru că am mai trăit-o o dată sub comunism”</h1><div><br /></div><p></p><article class="multimedia-container cf" style="box-sizing: border-box;"><div class="article-text" style="box-sizing: border-box; margin: 0px 0px 21px; padding: 0px;"><div class="article-read" style="box-sizing: border-box; margin: 0px; padding: 0px;"><div style="box-sizing: border-box; margin: 0px; padding: 0px;"><span style="background-color: white; color: #222222; font-family: Arial, sans-serif; font-size: 14px;">„</span><br /><span style="font-size: large;"><br />Avem de a face cu un război difuz. Mă refer la războiul ideologic. (…) Ce cred eu despre povestea cu familia și de ce se află familia în miezul țintei cred că are legătură cu dezintegrarea vechii lumi. Ceea ce progresiștii socotesc ca fiind o lume consumată, ajunsă la capătul puterilor și-atunci că, bineînțeles, trebuie să începem de jos, o reconfigurăm. Păi și cum? Păi în momentul în care dezarticulezi familia, faci recurs la discordie și semeni discordia peste tot, pentru că nu e legat numai de familie, este legat și de discursul ăsta de gen, rasă, tot ce avem în jurul nostru, cred că se urmărește, mărturisit sau nu, dezintegrarea societății, atomizarea ei și atunci indivizii vor fi așa ca niște frunze în vânt, foarte ușor de controlat de către puterea instalată. Pentru că altfel ajungi să te înfrunți așa, ca în ceata lui pițigoi, dai într-unul, țipă doi, dacă dai în mine, dai în tine, dai în fabrici și uzine, șamd. Familia o să se apere, dar unul, individul, cum se apără el? Păi solidarizându-se. Păi da, dar pe noi ne încurcă chestia asta. Și așa mai departe. Izolarea omului în fața computerului conduce iarăși la asta.<br /><br /><br />Probabil că este vorba și de o poveste legată de generații și cred că este un lucru care ne-a scăpat unora dintre noi – relația pe care a dezvoltat-o mintea omului cu internetul, computerul, Facebook. Pur și simplu se schimbă perspectiva asupra lumii. De altfel, majoritatea oamenilor care se ocupă cu lucrurile astea își petrec timpul în fața computerelor. Relația directă cu celălalt aproape că dispare. Computerele fac parte din viața noastră și-atunci, cumva, nu poți să faci omletă fără spargi ouăle. Dacă vrei să faci pasul în era asta nouă, promisă cu surle și trâmbițe, a transhumanismului, probabil că te obligă să faci recurs la niște modificări foarte drastice. Eși dispus să le faci, bine, nu, la revedere. Iar cei care s-au născut cu computerele în brațe și care își petrec timpul în fața computerelor cred că nu au această problemă. Omul a devenit așa o poveste din alt timp.<br /><br /><br />Nu cred că speranța stă în vaccin. Singura speranță, dacă există loc de speranță, este în trezirea oamenilor. Oamenii trebuie să se trezească și să facă, precum spunea recent un autor contemporan, să gândească cu capul lor.<br /><br /><br />Nu m-am vaccinat pentru că sunt liber. Restul familiei, la fel, deși familia lărgită nu am stat să o verific. Până la urmă socotesc că fiecare este liber să aleagă. În ceea ce privește povestea cu vacinul, cei în poziție de decizie ar trebui să facă efortul să informeze pe oameni, așa cum au făcut și cum se făcea până la pandemie, de la A la Z, în legătură cu absolut orice medicament, nu numai cu vaccinul. Apoi cred că este foarte important ca cifrele să fie cunoscute.<br /><br /><br />Dacă tot vorbim de solidaritate și îi îndemnăm pe oameni să fie solidari, hai să fim solidari până la capăt. Și din solidaritate și din grijă pentru semenii noștri să facem efortul de a clarifica necunoscutele acestei pandemii. Există o necunoscută, într-o lungă serie de necunoscute, care pe mine mă pune pe gânduri, și oricum nu am răspuns, e decizia, atunci, la început, de a nu recurge la autopsii. Or, dacă virusul ăla e rău, el poate fi foarte ușor suprapus peste imaginea unui criminal: au fost oameni care au murit. Autopsia are legătură cu ancheta pe care o face criminalistul. În ce fel de configurație interzicerea autopsiilor ar fi ajutat în lupta împotriva răului, împotriva acestui criminal care este virusul? Și asta este o întrebare, dar sunt foarte-foarte multe întrebări. Din păcate, lucrurile sunt (lăsate) în suspensie”, a declarat Cristi Puiu în cadrul emisiunii „Interviurile lui Cristoiu”, citat de <a href="http://www.demnitatea.info/2021/08/08/se-urmareste-dezintegrarea-societatii/">Demnitatea.info.</a><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /></span> <br /></div></div></div></article>smaranda dobrescuhttp://www.blogger.com/profile/07884621658494272587noreply@blogger.com0tag:blogger.com,1999:blog-11047330.post-58760001385580937132021-06-01T19:52:00.000+03:002021-06-01T19:52:53.609+03:00Ura de după taste şi experimentul Marinei Abramović, femeia care s-a transformat de bunăvoie într-un obiect<span style="font-size: large;"><br />Acum mai bine de patruzeci de ani, în 1974, artista Marina Abramović a făcut un experiment extrem de interesant într-o galerie de artă din Belgrad. Într-o sală goală a amplasat o masă pe care a aşezat mai multe obiecte, printre care un trandafir, o pană, o pereche de foarfece, cuie, miere, parfum şi un pistol încărcat, cu un singur glonţ. De asemenea, pe masă exista un set de instrucţiuni pentru public. Timp de şase ore, persoanele din public erau invitate să folosească obiectele de pe masă în interacţiunea cu artista care, la rândul ei, se definea ca un obiect în acea seară. Împreună cu instrucţiunile exista şi un disclaimer prin care artista semnase că îşi asumă întreaga responsabilitate pentru orice ar fi urmat să se petreacă şi că, din punct de vedere legal, niciunul dintre participanţii la experiment nu va fi responsabil pentru cum va alege să folosească obiectele de pe masă.<br /><br /><br />Când publicul a intrat în sală, Marina Abramović îi aştepta liniştită şi tăcută. Pe tot parcursul experimentului nu a scos niciun sunet. Iniţial, în primele două ore, oamenii au gâdilat-o cu pana, i-au dat să mănânce struguri, au pulverizat parfum pe corpul ei. Ulterior însă, pe măsură ce tensiunea creştea, publicul a început să experimenteze şi cu celelalte obiecte de pe masă. Au înţepat-o cu spinii trandafirului. I-au rupt hainele şi au tăiat-o. Unul dintre participanţi i-a gustat sângele. S-a ajuns până în punctul care, spre final, o persoană din public a luat pistolul încărcat de pe masă şi l-a îndreptat către faţa Marinei, ţinând degetul pe trăgaci. Din fericire, a fost deturnat de ceilalţi participanţi la experiment care nu erau pregătiţi să meargă atât de departe. La finalul celor şase ore, Abramović s-a ridicat şi s-a îndreptat către cei prezenţi. Fără excepţie, toate persoanele care au luat parte la experiment au fugit în acel moment. Confruntaţi cu umanizarea „obiectului” pe care îl folosiseră, toţi cei prezenţi au ales fuga de responsabilitatea etică.<br /><br /><br />Ce a vrut să demonstreze artista prin acest experiment la limită? Cruzimea umană inerentă? Faptul că sub stratul superficial de educaţie şi civilizaţie există primordialul orientat către violenţă? Că, deşi nu suntem pregătiţi să acceptăm, răul face parte din natura umană? Posibil toate acestea, dar dincolo de aceste teorii, este mai important să reţinem o declaraţie a artistei în legătură cu cele întâmplate la Belgrad în 1974. „Dacă îi dai unui om o drujbă, vei sfârşi prin a-l provoca”, spune artista într-un interviu pentru The Guardian. Iar această frază este cheia pentru descifrarea experimentului de la la Belgrad. Dincolo de teoriile despre răul inerent, despre cruzime şi violenţă, mai importantă este provocarea – suntem capabili de a face rău atunci când suntem provocaţi. Adică atunci când avem toate instrumentele la îndemână şi nimic care să ne constrângă, în afară de propria moralitate. Iar moralitatea funcţionează cât timp percepem umanul. În momentul în care obiectivăm omul din faţa noastră, moralitatea nu mai constrânge deoarece nu este nimic imoral în a folosi un obiect.<br /><br /><br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjb_JZk-94qeonqSYr5plZwj5TE5mQQKCopLfBzG-IW1ncyfbc8r5qfvSX1557_CMax_g9mbYZLy_GjR-NTDUS8puHIq4ah1YKxwnPNMuRaXh3-ugsr5ahi_yzO9WfTbSaD9qGf/"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjb_JZk-94qeonqSYr5plZwj5TE5mQQKCopLfBzG-IW1ncyfbc8r5qfvSX1557_CMax_g9mbYZLy_GjR-NTDUS8puHIq4ah1YKxwnPNMuRaXh3-ugsr5ahi_yzO9WfTbSaD9qGf/w435-h640/image.png" /></a><br /><br /><br /><br /><br />Patruzeci de ani mai târziu, experimentul Marinei Abramović a ajuns global. Trăim în el în fiecare zi. Avem contextul, provocarea şi pistolul. Doar că nu există un singur glonţ, la fel cum nu există nici cei care să ne oprească din a apăsa trăgaciul.<br /><br /><br />Fumători vs. nefumători, susţinători ai drepturilor pentru persoanele homosexuale vs. Coaliţia pro Familie, susţinători ai unui partid politic vs. susţinătorii altui partid, pro avort vs. pro-life etc. Exemplele pot continua, dar cred că v-aţi făcut o idee. Contextul, galeria de artă din Belgrad, este internetul. Acesta este locul în care devenim judecători, procurori şi călăi şi apăsam trăgaciul în fiecare zi. Acesta este locul în care umanul devine obiect, iar cuvintele arme. De fiecare dată când apare un eveniment care generează păreri diferite, ia naştere ura. O ură viscerală, homicidală, exprimată cu voluptate. Iar această ură este principalul factor care împiedică învăţarea. Această ură ne face să ne izolăm în bule în care au acces doar oamenii care ne împărtăşesc opiniile. Suntem şocaţi când cineva care nu aparţine microuniversului propriu are o părere diferită pentru că, nu-i aşa, toţi pe care îi cunoaştem cred acelaşi lucru. Mai departe, această ură propulsată în exterior ajunge la ţintă, dar nu convinge pe nimeni. Încrâncenează şi produce indivizi care nu îşi vor exprima opiniile în mod clar pentru a nu fi supuşi oprobriului, dar care, în intimitatea oferită de o cabină de vot sau de o semnătură, vor acţiona nu atât pentru a-şi susţine o idee, cât pentru satisfacţia de a face fix acel lucru pentru care şi-au primit porţia de ură, întocmai precum angajatul tăcut pe care şeful îl terorizează şi îl ironizează constant şi care se răzbună atunci când vine HR-ul cu formularul de evaluare.<br /><br /><br />Vă întrebaţi de unde radicalismul global din ce în ce mai prezent în vieţile noastre? Vă întrebaţi cum de indivizi imprevizibili în sensul negativ al cuvântului, radicali şi îngrijorători acced în poziţii de putere?<br /><br /><br />Ei bine, ura este răspunsul. Aceşti indivizi vin pe un val al urii care produce două efecte: generează o susţinere încrâncenată, pe de o parte, iar pe de altă elimină dezbaterea şi, ca atare, învăţarea. Astfel ia naştere un teren extrem de fertil pentru aceşti lideri a căror popularitate nu este decât efectul de bumerang al urii. Dezbaterea presupune disponibilitatea de a-l asculta cu adevărat pe celălalt, chiar dacă eşti înclinat să îl contrazici iniţial. Însă, prin natura ei, dezbaterea înseamnă să nu ştii dacă îl vei contrazice sau nu pe omul din faţa ta înainte ca el să deschidă gura. Şi tocmai de aceea o dezbatere reală este extrem de valoroasă deoarece ea are potenţialul de a te ajuta să vezi partea ascunsă a lunii – lumea prin ochii celui care îţi vorbeşte. Însă în momentul în care fetişul pentru propriile idei este mai puternic decât disponibilitatea de a învăţa, decât dorinţa de a experimenta cu sine şi de a explora mentalităţi opuse principiilor tale de viaţă, atunci ia naştere hate-speech-ul. Atunci suntem într-o galerie mică de artă din Belgrad şi ţinem pistolul în mână, repetându-ne obsesiv că de partea cealaltă a pistolului nu se afla un om, ci un obiect. Un fumător. Un gay. Un homofob. Un „postac”.</span><div><h1 style="text-align: left;"><span style="font-size: large;">Ruxandra Burcescu</span></h1><p></p><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><br /><p></p></div>smaranda dobrescuhttp://www.blogger.com/profile/07884621658494272587noreply@blogger.com0tag:blogger.com,1999:blog-11047330.post-5890239389725882242021-05-20T14:02:00.000+03:002021-05-20T14:03:16.520+03:00Peter Sloterdijk: The Operable Man<div dir="ltr"><div class="gmail_default" style=""><h1 style="font-family:arial,helvetica;color:rgb(80,80,80);background-color:rgb(255,251,240)"></h1><h2 style="color:rgb(80,80,80);background-color:rgb(255,251,240)"><font face="georgia, serif">On the Ethical State of Gene Technology</font></h2><font face="georgia, serif"><br style="color:rgb(80,80,80);background-color:rgb(255,251,240)"><span style="color:rgb(80,80,80);background-color:rgb(255,251,240)"><i>Translation by Joel Westerdale and Günter Sautter</i></span><br style="color:rgb(80,80,80);background-color:rgb(255,251,240)"><br style="color:rgb(80,80,80);background-color:rgb(255,251,240)"><span style="color:rgb(80,80,80);background-color:rgb(255,251,240)">It is neither our failure nor our accomplishment that we live in a time in which the apocalypse of man is an everyday occurrence. We don't need to be in amidst a storm of steel, under torment, in an extermination camp, or to live near such excesses, in order to experience how the spirit of the most extreme situations breaks through into the innermost process of civilization. Expulsion from the habits of humanistic appearance is at present the main event of logic from which there is no escape into good will. But this expulsion reaches even further: it touches all illusions of being-together-with-oneself. For it not only does away humanism, but also affects the overall relation that Heidegger addresses as dwelling in language. Who could overlook the fact that the House of Being is disappearing under scaffolding - and nobody knows what it will look like after the renovations. In the current state of the world, the single most striking feature of intellectual and technological history that is that technological culture is producing a new state of language and writing. This new state has hardly anything in common anymore with traditional interpretations of language and writing by religion, metaphysics and humanism. The old House of Being turns out to be something wherein a residence in the sense of dwelling and of the bringing close of the distant is hardly possible any longer. Speaking and writing in the age of digital codes and genetic transcriptions no longer make any kind of familiar sense; the typefaces of technology are developing apart from transmission, and no longer evoke homeliness or the effects of befriending the external. On the contrary, they increase the scope of the external and that which can never be assimilated. The province of language is shrinking, while the sector of straight-forward text is growing. Heidegger, in his letter "On Humanism," expressed these problems in an old-fashioned, yet factually correct manner, when he called homelessness the outstanding ontological feature of man's contemporary modus essendi.</span></font><blockquote style="color:rgb(80,80,80);background-color:rgb(255,251,240)"><font face="georgia, serif">"Homelessness is coming to be the destiny of the world. Hence it is necessary to think that destiny in terms of the history of Being ... Technology is in its essence a destiny within the history of Being ... As a form of truth technology is grounded in the history of metaphysics."</font></blockquote><span style="color:rgb(80,80,80);background-color:rgb(255,251,240)"><font face="georgia, serif">Since Hegel, one of the great intuitions of modern European thought is that there exists a connection between truth and fate implying something more than a metaphysical resort to the eternal. These intuitions are prefigured in the schemata of Christian eschatology. Hegel sums these up in his attempt to provide for the spirit a path that is modeled on the old-European scheme in which the sun's course is traced from Orient to Occident. It seemed as if the Hegelian spirit managed to enter into a second eternity that follows its arrival in the distant twilit west. The most extreme state of Hegelianism is the spirits complete grasp of itself: its geopolitical symbol is the farthest extreme of the West. In it, the being-together-with-itself would attain its final form, and thereafter the only remaining task would be to round off some uncomfortable provinces on the fringe of the inhabited world. In essence there would already be validity to the statement: everything dwells. And where? In the inevitable West End of history. When Michel Houellebeq, at the end of his novel, Elementary Particles, has his hero, the depressed inventor of biological immortality, seek death in the Irish Atlantic under a "shifting, gentle light," this is nothing more than an appropriate commentary on Hegel. When all is achieved, one should sink into the ocean. In this twilight of the world, astrayness seems to come to an end.</font></span><p style="color:rgb(80,80,80);background-color:rgb(255,251,240)"><font face="georgia, serif">Heidegger, however, had he had narrative intentions, would have had his hero build a hut in the hills and there wait to see how the story goes on. To him it was evident that astrayness continues. A total coming-to-oneself does not take place. Rather everything suggests that the revelation of man through history and technology is about to enter into an age of even greater tensions and blindings. In Heidegger's view Hegel was right when he provided truth with a history, but he was not right in having it run from Ionia to Jena, just as he was not right in depicting it as a solar process from rising to setting. But have we also, by correcting these things, overcome the furor teleologicus? Heidegger, confronted with the state of affairs in 1946 does not consider the history of truth to be the course of the sun, but rather the burning of a conceptual fuse running from Athens to Hiroshima - and, as we see, yet further into the laboratories of current gene technology and beyond to who knows where. In this advancing increase of technological knowledge and ability, man reveals himself to himself as the maker of suns and the maker of life, thus forcing himself into a position in which he must address the question, whether that which he does and can do is actually himself and whether in this activity he is together-with-himself.</font></p><p style="color:rgb(80,80,80);background-color:rgb(255,251,240)"><font face="georgia, serif">In the face of its results, there is no denying that this history, insofar as it is a success-story of able knowledge and knowing ability, must also be read as a history of truth and its mastery by man. However, this is only as a partial history of truth, a truth that is always only fragmentarily grasped my man and operations. When over the desert of New Mexico the atomic explosion flashes, there is no human coming-to-oneself involved. At any rate, Oppenheimer had enough chutzpah to call the first nuclear test Trinity; when Dolly bleats, the spirit is not together-with-itself familiarly, but when its producers think of their own, it's in the form of patents.</font></p><p style="color:rgb(80,80,80);background-color:rgb(255,251,240)"><font face="georgia, serif">Since history makes no preparations to close the circle, both they and the technological society remain caught up in a movement which Heidegger has labeled with the term "astrayness". Going astray characterizes the historical form in which an existence moves that is not together with itself and that is working its way through the not-owned, be it with the aim of coming home or in the mode of the never-ending journey without arrival. Both in directed and undirected astrayness, homelessness is the fundamental state; misapprehensions in the apprehension of the self are the rule. However since astrayness is presented here as an epochal constant, the question is unavoidable, whether it too, seeming to be linked by fate to metaphysics, would not have to undergo a profound change following the subsiding and "decomposition" of metaphysics. The enormous increases in knowledge and ability of modern mankind force the question, whether the diagnosis of astrayness can apply to them in the same manner as to the times before the development of the modern potential. After twenty-five-hundred years of European metaphysics and technology, a thinker of Heidegger's eminence still believes he sees reasons for interpreting the course of the world as lasting and fateful astrayness. In the face of that fact, the suspicion is unavoidable that this could be due to an optical illusion - a suspicion that becomes all the more plausible when one considers that after his failed effort with the "national revolution" to take a turn into the own and the authentic, Heidegger makes no more suggestions about how a return from the astrayness could be conceived philosophically - his resort to the poetics of being is, even from a sympathetic point of view, an interim solution at best.</font></p><p style="color:rgb(80,80,80);background-color:rgb(255,251,240)"><font face="georgia, serif">It is possible to consolidate the supposition that the theory of astrayness, be it with or without aim, evolves out of a description of the relation between man and being that is both wrong and in need of revision. Even Heidegger, undeniable though his significance as a destroyer of metaphysics may be, remains partly caught up in a philosophical grammar that starts from a simply untenable ontology and a deficient logic. We owe to Gotthard Günther the proof that classical metaphysics, that was based on a combination of monovalent ontology (being is, not being is not) and bivalent logic (what is true is not false, what is false is not true; tertium non datur) leads to the absolute inability to describe in an ontologically adequate manner cultural phenomena such as tools, signs, artworks, machines, laws, customs, books, and all other artifices. The reason for this is that the fundamental differentiation of soul and thing, spirit and matter, subject and object, freedom and mechanism cannot cope with entities of this sort: they are by their very constitution hybrids with a spiritual and material "component", and any effort to say what they are "authentically" in the framework of a bivalent logic and a monovalent ontology leads inevitably to hopeless reduction and shortening. If one follows Plato in taking the Forms as the authentic being, then matter can only be understood as some sort of not-being; if one substantializes matter, the Forms are lost as inauthentic and not-being. Self-evidently those faults are not the misconceptions of persons, but rather show the limits of a grammar. They are n this sense fallacies as fates and epochs. From this perspective, astrayness would be nothing but the world-historical trace of the Platonic-Aristotelian (in broader terms, of the highly civilized metaphysical) program of dominating the wholeness of being by means of bivalence.</font></p><p style="color:rgb(80,80,80);background-color:rgb(255,251,240)"><font face="georgia, serif">Now in Hegel's work for the first time a logic has been created that allows the ontological status of artifices to be defined under the title of "objective spirit." This impulse has remained a dead-end because of the mostly intellectual- and cultural-theoretical orientation of Hegelian analysis. This only changed when cybernetics, as the theory and practice of intelligent machines, and modern biology, as the study of system-environment-units forced these questions to be posed anew, this time, from the perspective of systems- and organism-theory. Here, the concept of objective spirit turns into the principle of information. This steps between thoughts and things as a third value, between the pole of reflection and the pole of the thing, between spirit and matter. Intelligent machines - like all artifices that are culturally created - eventually also compel thought to recognize on a broader front the fact of the matter that here, quite obviously, "spirit" or reflection or thought is infused into matter and remains there ready to be re-found and further cultivated. Machines and artifices are thus real-existing negations of the conditions before the imprinting of the in-formation into the medium. They are in this sense memories or reflections turned objective. In order to conceive of this, one needs an ontology that is at least bivalent as well as a trivalent logic, which is to say a cognitive toolkit capable of articulating that there are real-existing affirmed negations and negated affirmations, that there are nothings in a state of being, and beings in a state of nothingness. In the end, the statement, "there is information," says nothing else. It is to make this statement possible and to consolidate it that Hegel and Heidegger engage in an intellectual battle of giants the intellectual battle of giants, into which authors such as Günther, Deleuze, Derrida and Luhmann have entered with considerable effect. They all work to conquer the tertium datur.</font></p><p style="color:rgb(80,80,80);background-color:rgb(255,251,240)"><font face="georgia, serif">The statement "there is information" implies certain statements: there are systems; there are memories; there are cultures; there is artificial intelligence. Even the sentence "there are genes" can only be understood as the product of the new situation - it shows how the principle of information is successfully transferred into the sphere of nature. These gains in concepts that can powerfully tackle reality diminish the interest in traditional figures of theory, such as subject/object/relation. Even the constellation of I and world loses much of its luster, not to mention the worn out polarity of individual and society. But above all, along with the idea of real-existing memories or self-organizing systems, withers the metaphysical distinction between nature and culture. This is because both sides of the distinction are only regional states of information and its processing. One must anticipate that the comprehension of this insight will be particularly hard for those intellectuals who have made their living on the antithesis of culture and nature, and who now find themselves in a reactive position.</font></p><p style="color:rgb(80,80,80);background-color:rgb(255,251,240)"><font face="georgia, serif">One of the deeper motivations behind the so-called astrayness of humankind through history can be detected in the fact that the agents of the metaphysical age have obviously approached being with a false description. They divide being into the subjective and the objective, and they put the soul, the self and the human on one side, and the thing, the mechanism and the inhuman on the other. The practical application of this distinction is called domination. In the course of technological enlightenment - and this in fact takes place by means of mechanical engineering and prosthetics - it turns out that this classification is untenable, because it ascribes to the subject and the soul, as Günther stresses, a superabundance of characteristics and capabilities, that in fact belong on the other side. At the same time it denies to things and materials an abundance of characteristics, that upon closer look they in fact do possess. If these traditional errors are corrected respectively, a radically new view of cultural and natural objects comes about. One begins to understand that "informed material," or the higher mechanism, performs parasubjectively, and why it does so. These performances can include the appearance of planning intelligence, capability of dialog, spontaneity and freedom.</font></p><p style="color:rgb(80,80,80);background-color:rgb(255,251,240)"><font face="georgia, serif">One is not saying too much, when one calls the revising of the false metaphysical classification of being a clash of the titans that thoroughly affects deeply-rooted relationships of the human self. Many have the suspicion that this revision implies the expropriation of the self and they reject it as technological devilry. The uncanniness of the process cannot be denied, precisely because it impresses by means of results which cannot be rejected. Also the observer finds himself strikingly fascinated with this process, because everything happening on the technological front has consequences for human self-understanding. In the process, the citadel of subjectivity, the thinking and experiencing I is also encroached upon, and that is not only by means of deconstructions on the level of the symbol. Such deconstructions have by the way been prefigured multifariously in world cultures. Think only of the mystical in yogic systems, negative theology, and romantic irony. The citadel has also been touched by material modifications, such as the alteration of the mind with the help of psychotropic substances (a method that has been used in drug-cultures for millennia, and in psychiatry for decades). Also the foreseeable future promises the induction of ideas through nootropic substances. The most spectacular encroachment of the mechanical into the subjective reveals itself in genetic technologies, for they draw a broad expanse of physical preconditions of the self into the span of artificial manipulations. This evokes the popular, more or less fantastic image of a foreseeable future in which whole "humans" can be "made." In such fantasies, primitive biologisms compete with helpless humanisms and theologisms, and it is impossible to detect in the proponents of such opinions a trace of insight into the evolutionary conditions of anthropogenesis. This invasion into the imaginary field of the "subject" or the "person" is beset with fears. The basis for this is to be sought in the fact that even on the side of the so-called object, in the fundamental material structure of life, as represented by the genes, nothing material in the sense of the old ontology of matter is to be found any more. Rather one finds the purest form of informed and informing information - for genes are nothing but "commands" for the synthesis of protein molecules. It is clear that the traditionally conceived personal subject no longer recovers in these processes any of that to which it was ontologically accustomed - neither the side of the self, as it traditionally presented itself, nor the side of the thing, as it was known. Therefore it seems to the subject as if it were confronted with the anti-humanism's hour of truth: it appears to the subject, as if this stood in the most pointed opposition to the humanistic and olympic program; the program of making the world the subject's or spirit-person's own home and integrating its external into the self. On the contrary it now looks as if the self should be completely sunk into the material and the external, where it would be lost.</font></p><p style="color:rgb(80,80,80);background-color:rgb(255,251,240)"><font face="georgia, serif">But naturally this horrifying vision is also only an hysterical illusion, and as such, the negative of the false fundamental metaphysical classification of being. Man, as a reflecting and constructing power is not in a position where he would have to choose between completely-being-together with-itself and completely-being-outside-oneself. He can just as little decide between a total grasp of the self and a total loss of the self as between total distraction and collection. He is a regional possibility of clearing and a local possibility of collection. Man is a relatively intense port for the collection of power and truth, but he doesn't collect all: from that develops the post-metaphysical concept of Logos and poetry, which may one day well be understood as Heidegger's most seminal idea. From here Deleuze's teaching of multiplicities comes into view. This is what the thinker of "Seyn" has carved out in his extensive fight to resist Hegel's ideology of absolute spirit and its humanistic copies. The letter "On Humanism" says:</font></p><blockquote style="color:rgb(80,80,80);background-color:rgb(255,251,240)"><font face="georgia, serif">"Thinking does not overcome metaphysics by climbing still higher, surmounting it, transcending it somehow or other; thinking overcomes metaphysics by climbing back down into the nearness of the nearest ... The descent leads to the poverty of the ek-sistence of homo humanus."</font></blockquote><span style="color:rgb(80,80,80);background-color:rgb(255,251,240)"><font face="georgia, serif">The passage is remarkable, not only because it shows that those who would inform on Heidegger are wrong in their insatiable denunciation of his supposed "anti-humanism." It is the point of departure for an understanding of human existence as a noble weakness and a local poetic power. Being-there is a passion of the monstrous. The poverty of ek-sistence is not only the world-poverty of the animal, but the simple exposedness to the monstrous. Here we come across a Heidegger who is closer to Augustine and Pascal than to Hegel and Husserl. By the way, this fact can also be expressed in a rather Nietzschean language, in which one might say that man is a power-vector or a concentration or a chance for composition.</font></span><p style="color:rgb(80,80,80);background-color:rgb(255,251,240)"><font face="georgia, serif">The anti-technological hysteria that holds large parts of the western world in its grip is a product of the decomposition of metaphysics, for it clings to false classifications of being in order to revolt against processes in which these classifications are overcome. It is reactionary in the essential sense of the word, because it expresses the ressentiment of outdated bivalence as contrasted with a polyvalence that it cannot understand. This applies above all to the habits of the critique of power, which are still unconsciously motivated by metaphysics. In the metaphysical schema, the division of being into subject and object is mirrored in the difference between master and slave, as well as that between worker and material. Thus within this disposition, critique of power can only be articulated as resistance of the suppressed object-slave-material-side against the subject-master-worker-side. But since the statement "there is information", alias "there are systems," is in power, this opposition no longer makes sense, and is developing ever more into a phantom of conflict. This hysteria is indeed the search for a master to stand up against: it cannot be excluded that the master as an effect is in the process of dissolving, and more than anything else lives on as the postulate of the slave fixated on rebellion - as the historicized Left or a humanism that is ready for the museum. In contrast a living left-wing principle would need to constantly reinvent itself through creative dissidence. Likewise, the thought of homo humanus can only maintain itself in poetic resistance against metaphysical reflexes of humanolatry.</font></p><p style="color:rgb(80,80,80);background-color:rgb(255,251,240)"><font face="georgia, serif">As has been shown, to think homo humanus means to give a straightforward account of the level on which the equation of being human and clearing works. As we now know, however, the clearing cannot be thought of without its technological origin. Man does not stand in the clearing with his hands empty - not as an alert shepherd without means near the herd, as Heidegger's pastoral metaphors suggest. He holds stones and the successors of stones in his hands. The more powerful he becomes, the sooner he drops the tools that still have handles to replace them with tools that have keys. In the age of the second machines, "acting" withdraws and is replaced by operations of the fingertips. The incubator for man and mankind is produced by technologies of the hard means and its climate is determined by technologies of the soft means. Nous sommes sur un plan où il y a principalement la technique. If there is man, then that is because a technology has made him evolve out of the pre-human. It is that which authentically brings about humans, or the plan on which there can be humans. Therefore humans encounter nothing strange when they expose themselves to further creation and manipulation, and they do nothing perverse, when they change themselves autotechnologically, given that such interventions and assistance happen on such a high level of insight into the biological and social nature of man, that they become effective as authentic, intelligent and successful coproductions with evolutionary potential.</font></p><p style="color:rgb(80,80,80);background-color:rgb(255,251,240)"><font face="georgia, serif">Karl Rahner articulates this knowledge in a Christian language, when he stresses that "the man of today's autopraxis" makes use of a liberty of "categorial self-manipulation," which allegedly springs from the Christian liberation from the numinous compulsion of nature. According to the Jesuit Rahner's statement, it is part of the ethos of the responsible man that he wants to and ought to shape and manipulate himself:</font></p><blockquote style="color:rgb(80,80,80);background-color:rgb(255,251,240)"><font face="georgia, serif">"He must want to be the operable man, even if the dimension and just mode of such self-manipulation are still largely obscure ... but it is true: the future of man's self-manipulation has already begun."</font></blockquote><span style="color:rgb(80,80,80);background-color:rgb(255,251,240)"><font face="georgia, serif">One can express the same insight in the language of a radicalized historical anthropology, by interpreting the human condition through its emergence out of an autoplastic development towards luxury. In this, plasticity remains a fundamental reality and an inevitable task. But one now has to take care not to further gaze through the lens of false metaphysical classifications at these newly possible anthropoplastic operations, from the transplantation of organs to gene therapy - somewhat as if a subjective master still wanted to enslave an objectival matter - or, even worse, to develop himself into a super-master, commanding over a yet more deeply subjugated matter. The schema of the master-subject that exerts power over a serving matter was undeniably plausible in the age of classical metaphysics and its simple bivalent politics and technologies. For this age it tended to be true that the subjectival master, when using tools, would enslave the objects and hardly recognize their proper nature, especially when these themselves were humans who themselves could make a claim to subjectivity or the freedom of the master. Out of this arises an image of technology that is modeled on simple tools and classical machines: all of them are essentially allotechnological means insofar as they execute violent and counternatural restructurings of whatever they encounter, and insofar as they use matter to ends that are indifferent or alien to the matter itself. In the old concept of matter, it is always already prefigured that such matter will be used heteronomously by virtue of its minimal, ultimately reluctant aptitudes. This obsolete technology puts the world of things into a state of ontological slavery against which intelligence has ever since rebelled, whenever it was capable of taking sides with the otherness of those things that were only externally used and twisted. From this springs the emancipatory "materialistic" option in the age of forced idealism. At best there are clues in the spheres of old crafts that the wisdom of master craftsmen lies in not forcing the things. Of the masters of thought, it must have been Spinoza who pointed out most lucidly how the employment of the potential of things by power should take place without madness or force: "When for example I say that I can do with this table whatever I want, it is quite evident that I do not claim the right to turn the table into a thing that eats grass." In allotechnological space, the most extreme cases are always of the kind in which struggles for preferred access to means of rape and destruction take place. The consciousness of extremes here arises from insight into the struggles between rapists and their victims.</font></span><p style="color:rgb(80,80,80);background-color:rgb(255,251,240)"><font face="georgia, serif">On the level of the statement "there is information," the old image of technology as heteronomy and the enslavement of matter and persons loses its plausibility. We are witnessing that with intelligent technologies a non-dominant form of operativity is emerging, for which we suggest the name homeotechnology. By its very nature homeotechnology cannot desire anything utterly different from what the "things themselves" are or can become of their own accord. The "materials" are now conceived in accordance with their own stubbornness, and are integrated into operations with respect to their maximum aptitude. With this they stop being what is traditionally referred to as "raw material." Raw materials can only be found where raw subjects - call them humanists and other egoists - apply raw technologies to them. Homeotechnology, having to deal with real-existing information, only gets ahead on the path of the not-raping of being; it acquires intelligence intelligently, thus creating new states of intelligence; it is successful not-ignoring embodied qualities. It must rely on co-intelligent, co-informative strategies, even where it is applied egoistically and regionally as every conventional technology is. It is characterized rather by cooperation than by domination, even in asymmetrical relationships. Outstanding scientists of the present express similar ideas with the metaphor of a "dialog with nature." For humanities, Foucault has stated that one never escapes from the compulsion and the chance to be powerful - by this means Foucault unties the metaphysically bound knot of the critique of power. Here a way of thinking germinates which is prefigured in modern philosophies of art, particularly in that of Adorno - albeit under such misleading titles as "The Primacy of the Object," - and which now awaits to be emulated by the philosophy of technology, and above all by social theory and those who popularize it. To develop technologies will mean in the future: to read the scores of embodied intelligences and to pave the way for further performances of their own pieces. The most extreme states of homeotechnology are the hours of truth for co-intelligence. In them, it is revealed that the subject of the bivalent age, the former master, has become a phantom. Before this has been broadly understood, disinformed populations will partake in distorted debates led by lascivious journalists about threats that they do not understand.</font></p><p style="color:rgb(80,80,80);background-color:rgb(255,251,240)"><font face="georgia, serif">Technology, Heidegger has taught us, is a form of uncovering. It digs out results which by themselves would not have come to light in this way. Technology could therefore also be called a form of accelerating success. Where technologies shape the conflict between cultures and enterprises, there arise those competitions which make history. History sets the pace in which humans increasingly work with anticipation and bring themselves into situations in which they can no longer wait for things to happen by themselves. Therefore, there is a characteristic correspondence between the technology of production and economic enterprise on the one hand, and on the other, between ethno-technology and war. It is important both for entrepreneurs and military commanders to seek their own advantage in the struggle for success with competitors and enemies. They are condemned to want to become intelligent earlier than others. However, as a rule, they only make themselves more intelligent to a degree that is in accordance with the current state of enlightened egoism. They cannot escape from the relation between raw-subject and raw-material.</font></p><p style="color:rgb(80,80,80);background-color:rgb(255,251,240)"><font face="georgia, serif">As long as this applies, homeotechnology - the acceleration of intelligence par excellence - is also touched by the problem of evil. This however no longer presents itself so much as the will to enslave things and humans, but as the will to disadvantage the other in cognitive competition. It is not a coincidental observation that classical allotechnology was linked with mistrust as a form of thought and with cryptological rationality; consequently its psychological sediment is paranoia. Indeed, the emergence of a post-paranoid culture of reason is on the evolutionary agenda of civilizations that are highly advanced both technologically and communicatively, but it is delayed by the powerful inertia of the bivalent age and its custom of rape in dealing with beings as such. The assumption that the suspicious mood will remain the realistic one in the future is most strongly confirmed by the actions of US strategists, who in August of 1945 did not refrain from employing the most extreme allotechnological weapon, the atom bomb, directly against humans. In doing this, they provided an epochal argument for the suspicion against the alliance between the highest technology and the most lowly subjectivity. Due to Hiroshima, humans have reason to believe that the most advanced technologies are uninhibited and reason to distrust the Oppenheimers and Trumans of genetics. These proper names sum up the fact that for an age raw-subjects and allotechnologies have fit together. The fear of this constellation also dictates the discourse which prophesies that genes will play the same role in the bio-tech century that coal played in the industrial revolution. Such talk starts from the insinuation that the relation between humans, as well as the relation between humans and things, would have to follow at all times the historical pattern of bivalent domination or the primitive-subjective command of alienated matter.</font></p><p style="color:rgb(80,80,80);background-color:rgb(255,251,240)"><font face="georgia, serif">The soundness and appropriateness for the future of the rooted dread needs to be tested. From the complexity of the issues themselves rises the supposition that allotechnological habits will no longer do in the realm of homeotechnology. The genetic scores will not cooperate with rapists, just as little as the open markets succumb to the caprice of masters. One may even ask whether or not homeotechnological thought - which has so far been anticipated by titles such as ecology and the science of complexity - has the potential to unleash an ethics of relationships devoid of enmity and domination. Undoubtedly such thinking virtually carries in itself this tendency, as by its very nature it fosters not so much reification of the other as insight into the internal conditions of fellow-beings. While in the allotechnological world master-subjects could still control raw-materials, it is becoming increasingly impossible within the homeotechnological world for the raw-masters to exert power over the finest materials. Also the strongly condensed contexts of the net-world no longer favorably receive master input - here only that can successfully spread which makes countless others the co-beneficiaries of innovations. Were these civilizing potentials to establish themselves, then the homeotechnological age would distinguish itself by narrowing the scope of astrayness, while the scopes for satisfaction and positive linkage would grow. Biotechnologies and nootechnologies nurture by their very nature a subject that is refined, cooperative, and prone to playing with itself. This subject shapes itself through intercourse with complex texts and hypercomplex contexts. Domination must advance towards its very end, because in its rawness it makes itself impossible. In the inter-intelligently condensed net-world, masters and rapists have hardly any long term chances of success left, while cooperators, promoters, and enrichers fit into more numerous and more adequate slots. After the abolition of slavery in the nineteenth century, it becomes thinkable that the relics of domination will be abolished in the twenty-first or twenty-second century - but nobody would believe that this can happen without intense conflicts; it cannot be ruled out that the master as reactionary might once more join forces with mass ressentiments to form a new kind of fascism. But the failure of such revolutionary reactions is just as predictable as their rise.</font></p><p style="color:rgb(80,80,80);background-color:rgb(255,251,240)"><font face="georgia, serif">Plato says, "All that is is good; evil is merely the absence of the good." In a world in which the condensation of contexts is still proceeding, it cannot be ruled out that the bottom line of Platonic ontology, which has often been ridiculed by critical minds, comes to be true in a surprisingly altered way and with a displaced meaning. That is unless Adorno maintains the upper hand with doctrine that the whole or the context is the untrue. All that needs to be done is to transpose these Platonic principles into the following principles regarding the ecology of intelligence: that which is mainly evil eliminates itself; that which is mainly good spreads itself and continues itself; that which is mainly neutral creates enough redundancy to secure continuity.</font></p><p style="color:rgb(80,80,80);background-color:rgb(255,251,240)"><font face="georgia, serif">What stands against such a brightened view of things is the mentioned predicament that the inheritance of bivalence and of the strategic polemological paranoia casts its shadow far on to that which is to come. The habits of and compulsions to rape through the classification of complex relationships have grown in the course of an age and will not dissolve overnight; the cultures in which suspicion and resentment rule continue to flourish regionally, even in places where their successes are still yet chimerical. Constructs of identity, both the old- and the new-egoistic, play their part in blocking the generous potentials that could be born from the thought of polyvalence, multiplicities, and homeotechnology. As long as this applies, vulgarity remains capable of fitting into more slots than its entitled to. It still makes raw subjects struggle for command of raw materials - although both can yet still exist in reactionary positions. Therefore the reactionary remains a world power. Is there any need to stress that it is up to creative intelligence to prove the reactionary wrong?</font></p><p style="color:rgb(80,80,80);background-color:rgb(255,251,240)"><font face="georgia, serif">Under such premisses, it is no coincidence that the current race for the genome and its economic exploitation is described as a cognitive war. In the most extreme case, it would again be nothing but the exertion of power by raw humans over raw materials - that is to say the protracting of astrayness and clinging to the false classification of beings. It is to be expected that this habit will prove itself false through failures in the time to come. Like in all wars, the strategic, egoistical and raw use of intelligence strengthens the concealment of knowledge. It provides new nourishment to the suspicious attitude. But highly condensed contexts based on suspicion and concealment, such as advanced technological cultures, cannot be kept in continuous operation. For the metaphysical era, Pascal's statement that man infinitely overreaches man is true in principle - in that epoch, nothing is as intense as the feeling that man is not yet what he can become, and the scale of his sublimation is open to the sky. In the post-metaphysical period the image is rather that man constantly underreaches man - he does this with an air of legitimacy, as long as other underreachers force him to enter into competitions of underreaching with them. So far only a minority is aware that with post-classical technology - as with the authentic arts - the better competition has already begun.</font></p><p style="color:rgb(80,80,80);background-color:rgb(255,251,240)"><font face="georgia, serif">When capital and empire grab for information, the course of the world turns increasingly into a kind of divine judgment that antagonistic intelligences pass upon themselves. It is not the first time that men find themselves faced with the fact that to use intelligence is inevitably to make decisions. A key word of the bivalent age says:</font></p><blockquote style="color:rgb(80,80,80);background-color:rgb(255,251,240)"><font face="georgia, serif">"This day I call heaven and earth as witnesses against you that I have set before you life and death, blessings and curses. Now choose life, so that you and your children may live..."</font></blockquote><p style="color:rgb(80,80,80);background-color:rgb(255,251,240)"><font face="georgia, serif">How can one repeat the choice of life in an epoch in which the antithesis of life and death has been deconstructed? How could a blessing be conceived that could overcome the simplified confrontation of curse and blessing? How could a new covenant under conditions of complexity be formulated? Such questions as these are inspired by the insight that modern thought begets no ethics as long as its logic and ontology remain obscure.</font><br></p><p style="color:rgb(80,80,80);background-color:rgb(255,251,240)"></p><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgB3vKJ8h4XudWQhZeFM_sRofBFxTq2TGM0EFTaUTeZa9Q52rvgXnsdsdtwbNG0gtN8H8bJpWvbXbh7Bsm6jR-AoaLfAT4z8E7hBRhhFH7cK0sjMKAhC8vXviA9995eFncIFdHL/s1600/image-796535.png"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgB3vKJ8h4XudWQhZeFM_sRofBFxTq2TGM0EFTaUTeZa9Q52rvgXnsdsdtwbNG0gtN8H8bJpWvbXbh7Bsm6jR-AoaLfAT4z8E7hBRhhFH7cK0sjMKAhC8vXviA9995eFncIFdHL/s320/image-796535.png" border="0" alt="" id="BLOGGER_PHOTO_ID_6964326398489123490" /></a><p style="color:rgb(80,80,80);background-color:rgb(255,251,240)"><br></p><p style="color:rgb(80,80,80);background-color:rgb(255,251,240)"><font face="georgia, serif"><br></font></p></div></div> peromanestehttp://www.blogger.com/profile/18138498600151502565noreply@blogger.com0tag:blogger.com,1999:blog-11047330.post-13304345512677224872021-05-20T04:16:00.001+03:002021-05-20T04:16:54.218+03:00La philosophie devenue folle <div dir="ltr"><div class="gmail_default" style="font-family:georgia,serif"><div class="gmail-header gmail-reader-header gmail-reader-show-element"><h1 class="gmail-reader-title"><font size="2"></font></h1> <div class="gmail-credits gmail-reader-credits"><br></div> <div class="gmail-meta-data"> <div class="gmail-reader-estimated-time" dir="ltr">11-14 minutes</div> </div> </div> <hr> <div class="gmail-content"> <div class="gmail-moz-reader-content gmail-reader-show-element"><div id="gmail-readability-page-1" class="gmail-page"><div id="gmail-article1"> <div> <p><br></p> </div> <div><p><span color="#000000"><span face="Apple Chancery">Nous reprenons ici avec l'accord de son auteur un texte qui nous semble utile car il fait réfléchir sur les intentions, les buts, les raisons de tout ce qu'apporte le dérèglement post-moderne du capitalisme et que l'auteur considère comme une entreprise de « destruction de la raison » ou d'une « raison devenue folle ». Ici il reprend à partir d'un ouvrage de Braunstein les questions </span></span><span color="#000000"><span face="Apple Chancery">d</span></span><span color="#000000"><span face="Apple Chancery">u « genre », des « droits » des animaux, de l'euthanasie, comme il aurait d'ailleurs aussi pu traiter de la « </span></span><span color="#000000"><span face="Apple Chancery"><i>cancel culture</i></span></span><span color="#000000"><span face="Apple Chancery"> », des « droits des minorités » et de toutes les autres formes de conformisme imposé dans une société </span></span><span color="#000000"><span face="Apple Chancery">fragmentée, de</span></span><span color="#000000"><span face="Apple Chancery"> relativisme absolu et de « </span></span><span color="#000000"><span face="Apple Chancery"><i>no future</i></span></span><span color="#000000"><span face="Apple Chancery"> ». Questions qui, avec l'expérience accumulée des effets du mai 68 bobo objectivement anti-populaire, doivent être posées car elles impliquent de répondre </span></span><span color="#000000"><span face="Apple Chancery">aux</span></span><span color="#000000"><span face="Apple Chancery"> question</span></span><span color="#000000"><span face="Apple Chancery">s :</span></span><span color="#000000"><span face="Apple Chancery"> « Où allons nous ? », « </span></span><span color="#000000"><span face="Apple Chancery">N</span></span><span color="#000000"><span face="Apple Chancery">otre société a-t-elle encore des chances de survie ? », « </span></span><span color="#000000"><span face="Apple Chancery">S</span></span><span color="#000000"><span face="Apple Chancery">era-t-on capable d'inventer une nouvelle cohérence dans le bric-à-brac relativiste conformiste dominant aujourd'hui ? »</span></span></p> <p><span color="#000000"><span face="Apple Chancery">La </span></span><span color="#000000"><span face="Apple Chancery">Rédaction</span></span></p> <p><span face="Times New Roman, Times, serif"><b>La philosophie devenue folle</b></span></p> <p></p><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKuXL0LWHSeT6ZLIQIbboXB3Ee-DnD0fcr2U5W_6joVG7Ngzssosqvauhot7cMPDdu9VWdju1fIjOHD8Sd9myEcTirkUTQjAEZUW8ZsLCaLcnHRJhjzq0t9EviIfmpQmsuoxTs/s1600/image-714228.png"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKuXL0LWHSeT6ZLIQIbboXB3Ee-DnD0fcr2U5W_6joVG7Ngzssosqvauhot7cMPDdu9VWdju1fIjOHD8Sd9myEcTirkUTQjAEZUW8ZsLCaLcnHRJhjzq0t9EviIfmpQmsuoxTs/s320/image-714228.png" border="0" alt="" id="BLOGGER_PHOTO_ID_6964175291388863986" /></a><p><br></p> <p><span face="Times New Roman, Times, serif"><b>Mai 2021</b></span></p> <p><span face="Times New Roman, Times, serif"><b>Denis Collin</b></span></p> <p><span color="#000000"><span face="Times New Roman, Times, serif">Le livre de Jean-François Braunstein,<a href="https://www.amazon.fr/philosophie-devenue-folle-genre-lanimal/dp/2246811937"> </a><i><a href="https://www.amazon.fr/philosophie-devenue-folle-genre-lanimal/dp/2246811937">La philosophie devenue folle</a> </i>(Grasset) n'est certes pas un grand livre de philosophie, peut-être même n'est-il pas du tout un livre de philosophie bien qu'il soit le livre d'un philosophe. En réalité il s'agit d'une vaste enquête sur l'idéologie postmoderne telle qu'est existe principalement dans le monde anglo-saxon – bien que les autres nations ne soient pas épargnées comme nous ne sommes à l'abri ni du MacDo, ni des « <i>blockbusters</i> » hollywoodiens. Entreprise de salubrité publique, le livre de Jean-François Braunstein est nécessaire, comme il est nécessaire de faire le ménage, ramasser les ordures ou nettoyer les écuries d'Augias. Et effectivement il a dû faire preuve d'une force herculéenne pour lire John Money, Judith Butler, Martha Nussbaum, Dona Haraway et tant d'autres « penseurs » de la même farine.</span></span></p> <p><span color="#000000"><span face="Times New Roman, Times, serif">Le livre s'attaque à trois questions différentes dont la réunion en un seul volume pourrait sembler quelque peu arbitraire : la question du genre, la question des droits des animaux et enfin celle de l'euthanasie. On peut être partisan de l'euthanasie sans être un fanatique de la libération animale ou un lecteur passionné de Butler. Le lien entre ces trois branches de ce qui s'appelle encore « philosophie morale » réside dans l'abolition des frontières qui définissent l'humanité.</span></span></p> <p><span color="#000000"><span face="Times New Roman, Times, serif">Abolition des frontières de genre d'abord. Homme, femme, nous expliquent les partisans de la « théorie du genre », laquelle, comme l'expliquait une ministre qui l'avait défendue, « n'existe pas » mais occupe des départements entiers des universités américaines et commence à coloniser certaines universités françaises. Braunstein retrace les origines de cette théorie du genre à partir des expérimentations de John Money (spécialiste enthousiaste des hermaphrodites) jusqu'aux spéculations de Judith Butler et le déni de la réalité corporelle qui caractérise cette penseuse, pour finir par les multiples fragmentations plus désopilantes les unes que les autres des « identités sexuelles » : j'ai appris à cette occasion qu'il y a des associations de <i>bear</i>, c'est-à-dire des gays baraqués portant la barbe. Je suppose qu'il s'agit d'homosexuels qui ne veulent pas avoir l'air d'être des « fiottes ». Au-delà de ces cocasseries, Braustein montre comment la théorie du genre est fondée sur un retour à la séparation du corps et de l'esprit et une volonté plus ou moins dissimulées d'en finir avec le corps, dans la plus pure tradition des gnostiques.</span></span></p> <p><span color="#000000"><span face="Times New Roman, Times, serif">Il y aurait lieu de s'interroger sur ce qui reste de l'éthique médicale quand la médecine et la chirurgie sont enrôlées dans des opérations de changement de sexe avec phalloplastie pour les femmes devenant des hommes et une sorte de vaginoplastie pour les hommes qui veulent devenir des femmes. Il n'est pas certain du tout que le serment d'Hippocrate révisé s'accorde avec ce genre de pratiques qui peuvent, du reste, être prises en charge par la Sécurité sociale… Il y a aussi une mode du transgenre qui ne laisse pas d'interroger tous ceux qui ont gardé une certaine idée de la « décence commune ».</span></span></p> <p><span color="#000000"><span face="Times New Roman, Times, serif">En ce qui concerne « la libération animale », Braunstein inaugure son aventure dans les méandres de ces penseurs (Singer, Regan, Nussbaum, etc.) par une phrase de Stéphanie de Monaco qui résume tout : « <i>les animaux sont des humains comme les autres</i> ». Braunstein montre les impensés, les contradictions et les franches absurdités auxquels conduit cette pensée selon laquelle il n'y a pas de frontières entre l'homme et l'animal. On vient tout naturellement à l'idée que, pour éviter tout spécisme, il faut traiter les hommes comme des bêtes. Singer estime que la vie d'un mammifère tel que la chien ou le cochon vaut largement celle d'un humain affaibli, un enfant, un handicapé mental ou un vieillard sénile. Plutôt que conduire des expériences médicales sur des chimpanzés bien portants, on pourrait très bien les faire, soutient Singer, sur des humains en coma dépassé. Singer distingue les « humains-personnes » dont il admet qu'ils ont une grande valeur, des « humains-non personnes » dont la vie ne mérite guère d'être vécue. Tout lecteur de bon sens se dira qu'au fond le nazisme n'est pas incompatible avec la pensée de Singer, ce que des Allemands manifestant contre les conférences de Singer avaient assez bien compris.</span></span></p> <p><span color="#000000"><span face="Times New Roman, Times, serif">La troisième partie traite de la banalisation de la mort et de la question de l'euthanasie. Le lien avec la précédente est clair. Braunstein s'étonne que les « éthiciens », les spécialistes qui alimentent les « comité d'éthique » soient plus préoccupés de la possibilité de donner la mort que de la recherche de la vie bonne. On retrouve dans cette partie du livre Peter Singer qui est un des défenseurs majeurs de l'euthanasie, non seulement des personnes à demi-agonisantes sur un lit d'hôpital mais aussi des enfants handicapés. Il y a chez Singer et certains de ses disciples une défense assez atroce de l'infanticide et plus généralement de la suppression des vies qui ne méritent pas d'être vécues. On trouvera aussi des exemples de discussion pour savoir jusqu'à quel âge on a le droit de tuer les enfants : Francis Crick, le célèbre prix Nobel de médecine, estimait qu'on ne devait considérer l'enfant comme un être humain que trois jours après sa naissance, d'autres vont beaucoup plus loin – un enfant ne devrait être considéré comme un humain qu'à partir du moment où il manifeste une certaine conscience de lui-même et quelques capacités morales (dont ces philosophes prétendus sont manifestement incapables à leur âge déjà avancé !).</span></span></p> <p><span color="#000000"><span face="Times New Roman, Times, serif">Le ton de Braunstein est polémique et à bien des égards son livre présente des parentés avec <i>L'idéologie allemande </i>et<i> La Sainte Famille </i>de Marx et Engels, quoique les idéologues auxquels ils s'attaquaient fussent nettement moins cinglés et nettement moins immoraux que ceux que Braunstein épingle. À la lecture de Braunstein, la philosophie morale postmoderne apparaît comme une immense accumulation de sottises et de pures folies, parfois de thèses profondément immorales et plutôt dégoûtantes, et on se demande bien par quel tour de l'histoire des idées de telles billevesées ont pu occuper tant de cervelles universitaires dans des établissements parmi les plus prestigieux du monde anglo-saxon. Ces figures nouvelles de l'idéologie américaine sont des productions sociales d'un monde bien déterminé. Et leur fond commun est l'utilitarisme dans sa version la plus pure, celle de Bentham, qui considérait les droits de l'homme comme une mauvaise plaisanterie. Si la règle fondamentale est de maximiser le plaisir global et de minimiser la souffrance globale, on voit clairement que les souffrances infligées à un petit nombre peuvent se justifier dès lors qu'elles apportent du plaisir à un plus grand nombre et, en outre, que l'euthanasie des « humains affaiblis » est parfaitement morale puisqu'on met fin à une vie de souffrance. Ainsi, comme le sous-entend Singer, l'euthanasie des handicapés intellectuels et des vieillards séniles serait parfaitement juste du point de vue de l'utilitarisme benthamien. C'est encore l'utilitarisme qui autorise toutes extravagances du transgenrisme puisque la satisfaction des transgenres ne cause de tort à personne, encore que l'on puisse déjà mesurer combien il est tenu pour très ringard d'être mâle blanc hétérosexuel et cisgenré… pour ne rien dire des « dommages collatéraux » du transgenrisme chez les adolescents. L'utilitarisme pervertit en son fond le sens de l'éthique. Singer et ses collègues éthiciens précisent d'ailleurs qu'il s'agit d'une « éthique pratique ». On ne se demande bien ce que serait une éthique non pratique. En fait comme dans les procédés de la novlangue, l'ajout d'un qualificatif à première vue redondant sert à justement à inverser le sens du nom auquel il se rapporte. C'est ainsi que l'éthique pratique peut affirmer que l'animal est l'homme, le masculin féminin, etc., alors on peut aussi affirmer sans risque que la paix c'est la guerre et la liberté l'esclavage ! Et l'éthique pratique est tout sauf une éthique.</span></span></p> <p><span color="#000000"><span face="Times New Roman, Times, serif">Mais l'utilitarisme n'est pas seul en cause. Braunstein pointe clairement comme un des points communs de tous ces idéologues le refus des frontières qui doivent être abolies, frontières entre les sexes, entre l'homme et l'animal, entre la vie et la mort. Ce refus des frontières, qui est l'idéologie adéquate à la « mondialisation capitaliste » (ce que Braunstein ne dit pas et ne semble pas voir) n'est rien d'autre que la destruction de la raison. C'est parfaitement clair chez quelqu'un comme Donna Haraway mais aussi à un degré moindre et avec plus de filouterie chez Judith Butler. Singer ne proclame pas sa volonté de détruire la raison. Il est au contraire un maniaque de l'argumentation sophistique, un spécialiste d'une raison devenue folle – le fou est celui qui a tout perdu sauf la raison disait Chesterton.</span></span></p> <p><span color="#000000"><span face="Times New Roman, Times, serif">Braustein note bien un autre trait commun des transgenres, animalistes et autres euthanasieurs : le travail de ce que Freud désignait comme pulsion de mort. L'indifférenciation, c'est le retour à l'état inorganique. Mais pourquoi, encore une fois, ces idéologies ont-elles pignon sur rue ? Braunstein ne répond pas à cette question et ne la pose même pas. Il me semble que cette pulsion de mort a saisi la société toute entière : accumulation illimitée de la valeur, destruction de toutes les frontières, politiques, familiales, morales, déchaînement d'une technoscience qui se croit toute-puissante, c'est précisément le « capitalisme absolu », un capitalisme désormais sans contestation, sans contrepoids et qui mène inéluctablement à l'abîme. Les idées ne tombent pas du ciel, elles ne sont pas le fruit de l'imagination de quelques pervers, elles expriment les contradictions sociales. La volonté de mort des euthanasieurs fous est un concentré du stade présent des contradictions sociales.</span></span></p> <p><span color="#000000"><span face="Times New Roman, Times, serif">Denis COLLIN – 1<sup>er</sup> Octobre 2018</span></span></p> <p><span color="#000000"><span face="Times New Roman, Times, serif"><a href="https://www.amazon.fr/philosophie-devenue-folle-genre-lanimal/dp/2246811937">Jean-François Braunstein, <i>La philosophie devenue folle</i></a>, Grasset, 2018, ISBN 978-2-246-811-93-0, 400 pages, 20,90€</span></span></p> </div></div></div></div></div></div></div> peromanestehttp://www.blogger.com/profile/18138498600151502565noreply@blogger.com0tag:blogger.com,1999:blog-11047330.post-48488890004103086942021-05-05T15:53:00.001+03:002021-05-05T15:53:52.574+03:00Cancel Culture. Câteva remarci scurte asupra gândirii istoriei, politicii şi culturii<div dir="ltr"><div class="gmail_default" style="font-family:georgia,serif"><div class="gmail-header gmail-reader-header gmail-reader-show-element"><h1 class="gmail-reader-title"><font size="2"> </font></h1> <div class="gmail-credits gmail-reader-credits">Claude Karnoouh</div> <div class="gmail-meta-data"> <div class="gmail-reader-estimated-time" dir="ltr">39-50 minutes</div> </div> </div> <hr> <div class="gmail-content"> <div class="gmail-moz-reader-content gmail-reader-show-element"><div id="gmail-readability-page-1" class="gmail-page"><div id="gmail-omc-container"> <img src="https://www.argumentesifapte.ro/wp-content/uploads/2017/03/bosch-620x350.jpg" alt=""><br><div id="gmail-omc-inner-placeholder"><div> <p> <b>Published on</b> aprilie 29th, 2021 | <em>by Claude Karnoouh</em></p> </div> </div> <p>„Orice opoziţie care prinde formă într-o anti-gândire merge în acelaşi sens ca ceea ce contestă ."<br> Martin Heidegger, <em>Parmenides</em>, Geasamtausgabe, band 8, S. 43, Frankfurt am Main 1992 [i]</p> <p>***</p> <p><strong>Un fenomen cultural pare să cuprindă atât lumea intelectuală cât şi pe cea media sau pe cea a sferelor editoriale americane, britanice, franceze şi parţial germanice.</strong> În noul idiom „globish", el se cheamă „Cancel Culture". Pe scurt, este vorba de eliminarea atât din programele şcolare, universitare cât şi din lumea spectacolelor, a realizărilor cinematografice sau teatrale a unui ansamblu de opere literare, teatrale, picturale, muzicale sau de cinema judecate ca incompatibile cu pretinsele valori sociale ale prezentului, antirasism, hiperfeminism, pro-lgbtq, drepturile omului, etc., care ne sunt date în câmpul conştiinţei occidentale ca fiind binele, adevărul şi frumosul şi care fac obiectul unor dezbateri nesfârşite în campusuri şi seminarii universitare sau în presa <em>mainstream</em>. Ghicim de îndată care sunt resorturile şi temeiurile acestei mişcări, anacronismul, năruirea gândirii sociologice, filosofice şi istorice contemporane, şi se cuvine să revenim asupra lor.</p> <p>E evident că anacronismul este una dintre tarele analitice şi interpretative care de vreme îndelungată macină descrierile şi interpretările din umanioare. Îl întâlnim la fel de bine în sociologie ca şi-n antropologie sau în filosofie. Cred că acest mod de abordare a realului în feluritele sale încarnări teoretice şi practice, istoria gândirii, sociologie şi filosofia acţiunii politice şi sociale îşi află rădăcinile cele mai adânci deja în formarea statelor deţinătoare a monopolului cuvântului politic. De fapt, în construcţia unei argumentări a cuvântului politic ca unic adevăr transcendent, ca enunţ al frumosului, binelui şi adevărului. Or, statele ţin discursuri istorice anacronice pentru că trebuie în mod imperativ să constituie un sens istoric în inima unei serii de evenimente care glorifică statul prezent, cu alte cuvinte, într-un spirit mai hegelian, o selecţie de evenimente dialectico-logice confirmă desăvârșirea de azi a statului. Or, dacă dintr-un punct de vedere poetic şi mitic, acest anacronism poate naşte opere neasemuite (de pildă teatrul francez clasic sau cel romantic german) şi să constituie un adevărat patrimoniu cultural al uneia sau al mai multor culturi (ca de pildă Eneida sau pandantul său baroc <em>Didon and Æneas</em>) de îndată ce este vorba direct de politică, aşadar de istorie la timpul trecut, anacronismul valorilor etice, sociale sau culturale ale prezentului retroproiectate asupra trecutului, inclusiv a unui trecut foarte îndepărtat, nu dă naştere până la urmă decât la un singur lucru, simplismul şi lenea intelectuală, aproape perfect exemplificate zilnic de jurnalişti, şi, într-un sens mai general şi mai radical, de nihilismului modern. În celebra sa întroducere la <em>Tirania</em> lui Xenofon, Leo Strauss propunea următoarea metodă: pentru a-i înţelege pe greci, trebuie să încercăm să-i gândim aşa cum se gândeau ei înşişi. Deoarece oamenii ale căror gânduri le cercetăm nu sunt obiecte inerte, ci subiecte în egală măsură cu cel care-i cercetează şi cu care interacţionează. De aceea trebuie insistat că interpretarea nu e explicaţie, ci comentariu, desfăşurarea unei gândiri, sau, aş îndrăzni să spun: încercarea de a gândi cum se gândeşte celălalt pe el însuşi. Vast program! Într-adevăr, ce rost ar avea să gândeşti societatea medievală europeană în cadrul conceptual al zilelor noastre, când majoritatea oamenilor au pierdut orice raport autentic la credinţa creştină! Iar dacă ne aventurăm pe terenul practicilor politice, morale, sociale, religioase şi dacă, aşa cum fac mulţi, aplicăm ocaua secolului XXI occidental când gândim aceste domenii la greci, la romani, în epoca de aur a civilizaţiei arabo-musulmane, intrăm pe un teren cu totul grotesc, vicios, ticălos, cel al moralitei de doi bani. Am auzit astfel, în unele cursuri universitare, studente denunţând machismul lui Platon, sclavagismul lui Aristotel, obscurantismul cărturarilor medievali, misoginia lui Napoleon, absenţa democraţiei în ortodoxia rusă sau barbaria practicilor rituale ale unor popoare primitive. Dacă e să luăm de pildă tema drepturilor animale, foarte la modă în zilele noastre, ar trebui să-l condamnăm pentru totdeauna pe Descartes deoarece a propus o concepţie complet mecanică a animalelor. În aceste creiere de găină ale prezentului, binele, frumosul şi adevărul au loc în imediatul la care trebuie raportate toate celelalte culturi non-occidentale, dacă nu vrei să fii înfierat pe veci ca antiumanist, islamist, fascist, nazist etc. Această apofază a unor valori culturale, chiar şi umaniste, ale trecutului, ne oferă una din numeroasele manifestări moderne şi mai ales postmoderne ale nihilismului sau, dacă preferăm, în optica unui neokantianism decăzut, una din numeroasele ilustrări ale „progresului".</p> <p>În ciuda permanenţelor culturale reperabile, schimbarea la o scară istoric uriaşă pare să fie trăsătura structurală a Occidentului, cel puţin începând cu lumea greco-latină încreştinată când se instalează gândirea calculului matematic al sfârşitului vremurilor ca semn al advenirii Mântuirii şi al Parusiei odată cu Apocalipsa. Această stare de neorânduială, pe de o parte, e proprie neorânduielilor lumii divine dar şi schimbărilor care încolţeau societatea lor alcătuită din <em>polis</em>-uri independente, la care grecii clasici se refereau în tragedie prin conceptul de <em>krisis</em>, (din verbul <em>krinein</em>), ce înseamnă o alegere, o judecată şi deci o hotărâre care nu cere dovezi. Acest moment este aşadar strâns legat de <em>kairos</em>, clipa prielnică şi hotărâtoare în privinţa alegerii. Starea de <em>krisis</em> implică aşadar trecutul, prezentul şi presupusul viitor care îngăduie alegerea acţiunii pozitive posibile… Am putea avansa în cadrul dihotomiei lévistraussiene, popor fără istorie/ popor cu istorie, că aici stă pecetea istoriei, nu ca discurs fără corelaţie asupra diverselor evenimente reale sau nu, dar ca şi conştientizare a devenirii în provenirea dinspre trecut, a trecutului în provenirea dinspre viitor ca o posibilitate, deci a istoriei ca narativitate a unei schimbări obiective şi subiective, opusă mitului care este chiar nararea imobilităţii comunităţii în „eterna reîntoarcere a aceluiaşi", o gândire înscrisă în viitorul anterior.</p> <p>Strădania dezrădăcinării cerute de orice cercetare asupra trecutului sau asupra diferenţei culturale solicită un adevărat efort de erudiţie şi, în acelaşi timp, un efort de modestie, de prudenţă, de reţinere, pe scurt, de umilitate. Într-adevăr, fie experienţa existenţială în idiomurile dispărute nu mai e direct perceptibilă altfel decât prin filtrul scrierii, fie în raportul său cu alteritatea antropologul nu petrece destul timp pe teren pentru a percepe în enunţarea spontană a indigenilor toate ascunzişurile şi cotiturile unei semantici multiforme a unor limbi cu totul străine sistemelor noastre de sens şi lipsite e o tradiţie a glosei şi exegezei ce ne-ar putea lumina. Iată o scurtă punere la punct a obişnuinţelor noastre de actualizare.</p> <h2><font size="2">Frenezia « Cancel culture »</font></h2> <p>Orice minte cât de cât lucidă şi detaşată de freneziile modei, nu poate face altceva decât să constate în ce măsură lumea intelectuală şi universitară occidentală e scufundată azi într-o criză profundă, cea a realităţii trecutului civilizaţiei sale, a valorilor sale şi totodată a crimelor sale pe care, de fapt, refuză să le recunoască, cu excepţia unui şir nesfârşit de pocăiri care sunt tot atâtea simulacre de compasiune politică, uitând că esenţa proprie politicii rămâne violenţa. Nu există într-adevăr istorie a vreunui popor, a vreunei naţiuni care să nu fie presărată de crime mai mari sau mai mici.<a name="_ftnref1"><sup>[1]</sup></a> E chiar expresia cea mai curentă a naturii omului-Homo cea de a fi în vederea violenţei, o fiinţă pentru război (<em>Sein zum Krieg</em>)<a name="_ftnref2"><sup>[2]</sup></a>, a cărui istorie ar putea fi rezumată ca „exterminarea omului de către om" aşa cum sublinia Heidegger în comentariul său asupra lui Marx şi a luptei de clasă.<a name="_ftnref3"><sup>[3]</sup></a> Chipurile pentru a lupta împotriva nedreptăţilor istoriei (sau ale politicii) – şi ele sunt nenumărate -, diverse comunităţi trăitoare în Occident, şi cel mai masiv reprezentaţi negrii americani, dar şi de albi, (căci mişcarea vine din Statele Unite) şi-au atribuit rolul de cenzori culturali, afirmând că doar operele foştilor colonizaţi sau ale foştilor sclavi pot fi recunoscute ca valori publice.<a name="_ftnref4"><sup>[4]</sup></a> Privind mai îndeaproape, chiar dacă face obiectul unei denegări complete, această mişcare aparţine cu totul culturii occidentale. De fapt, ideile antirasismului s-au născut în inima Occidentului dominator într-o dialectică de acţiune/reacţiune. La un an după Dien-Bien-Phu, generalul Giap, intervievat asupra forţei determinării luptei anticolonialiste a răspuns jurnalistului francez: „Tot ce am învăţat ştiu din şcolile franceze, Libertate, Egalitate, Fraternitate!" Fenomenul discutat mai e şi o aroganţă egocentrică care ascunde grija de a face dreptate popoarelor colonizate prin intermediul diverselor puteri ale Europei occidentale. Această aroganţă perversă se autodesemnează prin formula „<em>Cancel culture</em>" sau „cultura revocării".</p> <p>Ca o dâră de praf de puşcă aprinzându-se din toate părţile, din campusurile americane, engleze şi franceze, studenţi susţinuţi de profesori cer cenzura operelor literare, cinematografice, muzicale, excluderea autorilor, chiar demolarea statuilor sau a picturilor considerate fie politic incorecte, fie nepotrivite deoarece ar purta atingere demnităţii persoanelor, ar propaga rasismul, machismul, homofobia, pedofilia, etc. S-a asumat că ele nu mai corespund codurilor de valori din vremurile noastre postmoderne, mai degrabă postumaniste şi postistorice. E un fapt demn de remarcat că aceste chemări iconoclaste sunt reluate cât e ziua de lungă de media <em>mainstream</em>, de regulă foarte critice când astfel de apeluri provin din lumea musulmană în război, cum a fost cazul cu demolările statuilor lui Buddha din Afganistan de către talibani sau cele ale ruinelor romane din Nimrud şi Hatra de către luptătorii Daesh. Suntem oare în faţa unui nou episod de iconoclasm?</p> <p>Se ştie că mişcarea de eliminarea a culturii europene începuse cu trei decenii mai devreme cu mişcarea filosofică „<em>Black Athena</em>" care susţinea că întreaga filosofie greacă şi-ar avea izvorul în rândurile negrilor din sudul Egiptului.<a name="_ftnref5"><sup>[5]</sup></a> Afirmaţia a fost denunţată ca o impostură de una dintre cei mai buni elenişti americani, Mary Lefkowitz, care vedea aici constituirea unei mitologii care să ia locul istoriei.<a name="_ftnref6"><sup>[6]</sup></a> La vremea respectivă mişcarea nu pornise din Statele Unite, ci din Franţa, în cadrul unei polemici asupra lucrărilor lui Cheikh Anta Diop.<a name="_ftnref7"><sup>[7]</sup></a> Nu-i aici locul să dezvoltăm vastul câmp istoric deschis de aceste aserţiuni controversate care sunt sugerate de trimiterile la Egipt prezente în opera lui Platon care ar fi călătorit într-acolo (<em>Gorgias, 511d, Phedru, 175b, Legile VII, 799 a-b</em>).<a name="_ftnref8"><sup>[8]</sup></a> Pentru vechimea aserţiunilor de acest fel, nu trebuie uitate imprecaţiile lui William Blake împotriva acestor „hoţi ca Homer, Platon şi Cicero"! Dacă disputa pomenită încerca, uneori cu stângăcie, să redea negritudinii o demnitate refuzată de dura lege colonială şi iacobină franceză în teritoriile africane, totuşi, la vremea aceea, niciunul din autorii numiţi, Diop sau Bernal, nu se gândeau să excludă, sau măcar cenzureze, operele lui Platon şi ale lui Cicero. Dintr-odată totul s-a schimbat în cursul ultimului deceniu. De acum încolo, dezvoltarea gândirii indigeniste şi rasialiste, strâns legate de neofeminismul radical, de mişcarea politică LGBTQ, de şcolile decoloniale, implică respingerea pură şi dură în numele luptei împotriva rasismului, machismului, colonialismului. Deci la gunoi cu Shakespeare din pricina ticălosului de Iago, puţin cam tuciuriu, la gunoi cu Beethoven deoarece „cea de a cincea simfonie manifesta suficienţa rasistă şi arogantă a albului patriarhal" (sic!). Desigur că tot acolo merg <em>Gone with the wind</em>, dar şi Faulkner, genialul scriitor al Sudului, din cauză de rasism. Apoi, neofeministele radicale au vrut să fie smuls de pe simezele MMA <a href="https://www.metmuseum.org/art/collection/search/489977" target="_blank" rel="noopener">un tablou al lui Balthus, <em>Thérèse</em> v<em>isând</em></a>, considerat ca în fondul său dă seama prea mult de fantasmele sexuale masculine!!!<a name="_ftnref9"><sup>[9]</sup></a> Mai mult, sub presiunea studenţilor, administraţia Universităţii UCLS a rebotezat clădirea destinată ştiinţelor umane smulgând de pe frontonul ei numele foarte marelui antropolog care a fost Kroeber, cel care l-a scos din captivitate şi l-a găzduit pe Ishi, ultimul indian din tribul californian Yahi, l-a îngrijit şi i-a vorbit îndelung pentru a încerca să-i înţeleagă cultura, limba, credinţele. Aceşti noi barbari (nu am alte cuvinte ca să-i descriu) au invocat ca pretext că în absenţa lui Kroeber, Ishi fusese transportat la spital pentru a-i se trata o tuberculoză, fără consimţământul său, or Ishi vorbea foarte prost şi foarte puţin limba engleză. Cenzură cu atât mai scandaloasă cu cât Kroeber prin lucrările sale de demografie istorică asupra populaţiilor amerindiene demonstrase amploarea genocidelor a căror victime au fost toate triburile din America de Nord şi toate confederaţiile popoarelor amerindiene în decursul celor patru sute de ani de cucerire albă.<a name="_ftnref10"><sup>[10]</sup></a> În septembrie 2020, sub impulsul mişcării anglo-saxone, activiştii mişcării decolonialiste franceze au cerut din toţi rărunchii scoaterea de pe soclu a statuilor lui Colbert şi Voltaire, pentru că susţineau sclavia negrilor, şi a lui Napoleon, pentru că a reinstaurat sclavia în Antilele franceze în 1803 şi pentru că l-a arestat în fortul din Besançon pe eliberatorul insulei Saint Domingue, generalul negru Toussaint-Louverture. Preşedintele Macron într-o neaşteptată tresărire de iacobinism a declarat că o reevaluare a istoriei este o activitate normală şi legitimă a cercetătorilor, dar că reevaluarea nu se poate totuşi face prin ştergerea urmelor materiale, căci în esenţă nu trebuie confundat punctul de vedere moral cu interpretarea din punct de vedere politic! Aş mai adăuga, mai realist, că nu principiile morale trebuie reevaluate căci din nefericire nu-i reînvie pe morţi, dar dacă tot se face o reevaluare, ea trebuie să se aplece asupra interpretării principiilor la lucru în chiar mişcarea istoriei politice a trecutului. Nu înlocuind o statuie, un tablou, o operă muzicală, o carte de filosofie cu alte produse artistice şi intelectuale înţelegem noi mai bine cursul tragic al istoriei, ci dimpotrivă punându-le laolaltă şi sesizând devenirea în contradicţiile şi impasurile ce ni se arată astfel. Dacă e adevărat că oamenii fac istoria, ei o fac pe loc şi fără să cunoască implicaţiile profunde. Nu putem aşadar desfăşura o gândire analitică şi critică fără linişte lăuntrică; ca să reevaluăm cursul unei istorii mereu tragice, trebuie în mod imperativ să o întreprindem „<em>sine ira et studio</em>".</p> <p><strong>În acest prim sfert din secolul al XXI-lea, observăm o voinţă, provenind dinspre centru imperialismului economic, politic, militar şi cultural, din Statele Unite, nu doar de a reciti şi a rescrie istoria la scala modernităţii tardive, dar, mai mult decât atât, tentaţia de a o aboli.</strong> Bineînţeles că fenomenul în esenţa sa nu-i deloc ceva nou, l-am mai văzut explicit la lucru, cel puţin începând cu Revoluţia franceză din 1789-1803, iar Statele Unite n-au făcut niciodată altceva decât să amplifice cât de mult s-a putut istoria europeană. Cu toate acestea, s-au dezvoltat anumite specificităţi ţinând de ideologia care a sublimat şi legitimat colonizarea: o lectură particulară a discursului biblic, adică, în faţa unei Europe sfâşiate de nesfârșite războaie civile, cucerirea nord-americană a unei ţări aproape nelocuite putea să se identifice cu găsirea pământului promis, un nou Ierusalim, şi ceresc şi pământesc, un pământ nelocuit de oameni adevăraţi, amerindienii nefiind decât nişte sălbatici „blestemaţi" de Dumnezeu pentru că refuzau să lucreze ca sclavi, aşa încât au trebuit aduşi negrii din Africa: sclavia era justificată până la războiul civil chiar şi de liberali, după cum notase cu fineţe Tocqueville. Aceasta e istoria ce se petrece în Statele Unite în vreme ce încă de la începutul secolului al XIX-lea englezii interziceau comerţul cu sclavi, air sclavia nu a fost niciodată practicată pe teritoriul lor după Evul Mediu Timpuriu, situaţie fiind similară în Franţa. O anecdotă ilustrează bine ideea mea. În 1917, soldaţii negrii din armata americană veniţi în Franţa să se lupte cu teutonii au obţinut dreptul de a fi comandaţi de ofiţeri francezi şi să lupte alături de trupele indigene, puşcaşii senegalezi. Republica avea multe defecte, dar nu şi pe acela al apartheidului pe propriul teritoriu: nu despărţea oamenii după culoarea pielii în transportul în comun, nici în cinematografe şi nici în toalete sau la frizerii. Pe teritoriul francez, dar şi pe cel italian sau german, povestea aceasta nu ne priveşte.</p> <p>Însă în ciuda acestui aspect al istoriei coloniale din care suntem absenţi, ni se cuvine totuşi să ţinem seama de alte mişcări de distrugere a operelor de artă, a realizărilor literaturilor şi ale filosofiilor trecutului al căror izvor se găseşte chiar în Europa? Se pare că ele există şi nu de puţină vreme! Lumea mediteraneană, apoi cea europeană sunt martorii privilegiaţi ai propriilor acţiuni, în ceea ce priveşte popoarele ale căror opere majore au fost distruse de către puterile coloniale sub pretext că nu se potriveau cu credinţele învingătorilor zilei sau cum spun azi activiştii lui <em>Cancel culture</em>: opere care nu se mai armonizau cu morala timpului!</p> <p>Primul caz vestit, incendierea de către creştinii radicali a uriaşei biblioteci din Alexandria; al doilea caz la fel de cunoscut, ni-l dă amintirea crizei iconoclaste datorită căreia cu excepţia mănăstirii Sfânta Ecaterina din Sinai, nu mai există icoane anterioare anului 843! Pierderi imense pentru istoria primului creştinism… Distrugerea templelor păgâne sau eretice, a picturilor, mozaicurilor şi statuilor, cu excepţia Ravennei; mai târziu avem distrugerea statuarului creştin medieval de către bogumili şi protestanţi; distrugerile masive a numeroase reprezentări religioase cuprinzând şi mormintele regilor în basilica Saint Denis în vremea Revoluţiei franceze; distrugerile datorate feluritelor războaie de până în 1945; distrugerile statuarului şi a codexurilor aztec şi mayaş şi a olăriei incaşe sacre de către conchistadorii creştini şi <em>last but not least</em>, distrugerea şi furtul de statui şi obiecte rituale din Africa neagră şi din Oceania. Iată o masă gigantică de capodopere. Europa nu s-a zgârcit în aplicarea <em>Cancel culture</em> şi chiar şi fără războaiele de clasă sau rasialism, distrugerea părea firească. Ca să mai dăm un ultim exemplu celebrissim, îmi îngădui să vă readuc aminte cum Papa Iuliu al II-lea dorind să refacă încăperile din jurul Capelei Sixtine încredinţate lui Michelangelo, i-a cerut lui Rafael să le decoreze din nou distrugând astfel precedentele fresce, opera lui Fra Angelico!</p> <p><strong>A distruge pentru a reface sau a reedita, aceasta era istoria Occidentului înainte de frenezia conservării oricărui lucruşor</strong>, de la cea mai măruntă lingură de lemn dintr-un sat pierdut între munţi la jucăriile şi motocicletele din generaţia precedentă a familiilor burgheze. Dărâmarea pentru reconstruire nu era un lucru neobişnuit în Apus, iar aceste fapte stau la originea freneziei schimbării pe care ne-o înfăţişează Europa occidentală cel puţin de la căderea Imperiului roman. Astfel, istoria ne arată cum opere muzicale şi literare de mare valoare au căzut multă vreme în uitare, neatinse de nimeni vreme de secole ca să iasă uneori din nou la iveală după ce dispăruseră din repertoriu. Se poate spune că în vremea în care creştinismul devenise religia Imperiului Roman, Europa se preschimbase în câmpul de ruine al culturii clasice păgâne, o proto-versiune a <em>Cancel culture</em>! La fel s-a întâmplat când filosofia a fost interzisă în Grecia, iar Academia a fost închisă prin decret imperial. Fenomenul, prin urmare, nu-i deloc nou, în ciuda a ceea ce gândesc activiştii <em>Cancel culture</em>, doar că fenomenul nu se aplică la păgâni, la protestanţii opuşi catolicilor, nici la ceea ce nazişti numeau cultură evreiască mergând până la interzicerea unuia dintre cei mai importanţi poeţi ai romantismului german, Heine! Interzicerea vizează azi tot ceea ce a produs omul alb, în genere, heterosexual. La scara unei istorii umane a scrisului care începe pentru Occident cu tăbliţele din Ur de la sfârşitul celui de-al treilea mileniu înaintea erei noastre<a name="_ftnref11"><sup>[11]</sup></a>, cantitatea de lucrări e uriaşă. Cenzorii (şi „cenzoarele"! ca să facem o concesie feminizării gramaticii) vor avea mult de lucru căci e vorba de întreaga noastră moştenire culturală, ce merge până în India. Până şi bolşevicii, acuzaţi de toate crimele culturale pentru că voiau să facă din trecut <em>tabula rasa</em> şi pentru că au distrus uneori opere patrimoniale, biserici şi icoane, au apărat mereu valoarea întregii moşteniri antice, clasice, romantice şi premoderne, chiar dacă au arătat după anii treizeci o înverşunare împotriva modernismului postimpresionist şi împotriva artelor abstracte.<a name="_ftnref12"><sup>[12]</sup></a></p> <p>Faptul că mişcarea iniţială porneşte din Statele Unite, dintr-un feminism exacerbat şi dintr-o societate de multă vreme rasializată la extrem, în care conceptul de patriarhalism e manevrat într-un contrasens deplin, când noi ştim, după cum ne-a învăţat Marx că capitalismul şi salarizarea generalizate au ucis tocmai sistemul patriarhal provenit din lumea rural-medievală, asta nu are nicio importanţă pentru aceşti Savanarola ai cursurilor universitare, şi pentru aceste revoluţionare de salon şi de campusuri universitare, esenţialul, ce se dă în vileag cu uşurinţă, fiind de a lua puterea şi se a-i înlocui pe oamenii albi, heterosexuali, şi de a reface aceeaşi societate cu un alt sex şi/sau cu o altă culoare, deoarece nu infrastructurile economice sunt denunţate ca ţintă a acţiunii lor, ci suprastructurile culturale: iată un câmp de manevră pe care Capitalul e mai mult decât dispus să-l cedeze, în ciuda lui Gramsci, pentru că astfel nu riscă nimic. Toate acestea seamănă ca două picături de apă cu revolta resentimentului atât de ponegrită de Nietzsche şi de Max Scheller.<a name="_ftnref13"><sup>[13]</sup></a> Seamănă cu o lovitură de stat în care totul ar trebui schimbat pentru ca ceea ce e important să rămână. În ochii capitalismului postmodern că-s bărbaţi sau femei, albi sau negrii n-are într-adevăr nicio importanţă, dimpotrivă aceasta permite sporirea numărului de consumatori, şi, în ultimă instanţă, ceea ce contează este păstrarea neschimbată a temeiului sistemic al maşinii de fabricat plus-valoare cât mai repede posibil sau, cum spunea Marx: sistemul trebui să continue „să facă banul să danseze" (în <em>Fetişismul mărfii</em>).</p> <h2><font size="2">Societatea rasializată : progresişti şi conservatori de aceeaşi parte a baricadei</font></h2> <p>În ciuda unui Război de Secesiune foarte crud, sălbatic şi sângeros şi a victoriei Uniunii care ar fi trebui să însemne sfârşitul teoretic al apartheidului în Statele Unite, rasismul a prosperat, nu doar în Sud, cum cred neştiutorii, dar şi în Nord, unde bineînţeles că nu mai erau numiţi sclavi, dar exista un enorm proletariat negru exploatat cu atât mai abitir, trăind în condiţii la fel de jalnice ca şi sclavii din Sud în barăcile lor şi supuşi exacţiunilor „privilegiate" ale poliţiei.</p> <p>Încă de la sfârşitul Primului Război Mondial, una din luptele esenţiale ale stângii progresiste, dar mai ales a comuniştilor de pe toate continentele, a fost afirmarea egalităţii dintre oameni şi, din 1945, respingerea tuturor diferenţelor rasiale în favoarea unei umanităţi universale egale, indiferent de culoarea pielii. Însă apoi, printre antropologii europeni, când intelectualii din alte zări au ajuns în Franţa, din Canada, din Marea Britanie sau din Statele Unite, unii au acuzat acest universalism de prea mult formalism pentru că nu ţinea cont de diferenţele culturale care nu puteau fi lesne nici trecute cu vederea, fără a nega diversităţile pertinente, şi nu pe cele flocloric-turistice, de care trebuia să se ţină seama în interpretarea culturilor. Cu toate acestea, cine vorbeşte despre diferenţe la scara lumii nu spune, să ne ierte indigeniştii, că acestea, în ciuda unei emigraţii tot mai mari spre Occident, ar trebui să fie fundamentul intern al unei societăţi, al unei naţiuni, al unui stat. În general, emigrantul trebuia să se acultureze moravurilor ţării care-l primea, chiar şi în cazurile în care o nouă elită o înlocuia pe cea veche, cum a fost cazul manciurienilor şi a Imperiului chinez han. În zilele noastre, o atare dispoziţie politico-culturală nu mai pare de actualitate. Elitele politice, economice şi în mare parte cele culturale cer locuitorilor ţărilor europene, a celor din Statele unite şi din Canada, ca o chezăşie a democraţiei, respectarea obiceiurilor emigranţilor, cuprinzând între acestea şi pe cele contrare tradiţiilor locale. Desigur că în concurenţa umanistă a diferenţelor, unele care par de neîngăduit opiniei „luminate" din ţările apusene sunt reprimate (exciziile femeilor şi subinciziile peniene ale bărbaţilor, felurite scarificări, torturi şi rituri incluzând tortura animalelor, etc.), încă o dovadă, dacă mai era nevoie că Occidentul, inventatorul marilor genocide moderne, nu suportă diferenţa radicală, cea mai spectaculoasă rămânând totuşi canibalismul de odinioară.</p> <p>Odată expuse aceste rezerve, să ne întoarcem iarăşi la discursurile din zilele noastre asupra diferenţelor rasiale. Se întâmplă ca în Occident, după aproape un secol de lupte împotriva rasializării diferenţelor şi împotriva rasismului în general, după ce s-a repetat până la saţietate în toate cercetările academice multidisciplinare că rasele umane nu există, că există doar culturi (cf., Claude Lévi-Strauss, <em>Rasă şi istorie</em>), iată că la începutul secolului al XXI-lea se iveşte iarăşi un discurs rasialist întors pe dos, dar identic în fondul său metafizic, în care dispreţuiţi, înjuraţi şi calomniaţi nu mai sunt negrul şi neagra, ci albul şi alba. Aşa cum sublinia vestita militantă feministă neagră şi comunista americană Angela Davis, este reutilizat acelaşi sindrom al sclavului negru de pe câmpurile de bumbac, însă în sens invers. De fapt, această perspectivă rasialistă ce ne este servită drept ca tocană a luptei antirasiste, anti-machiste, pro-feministe, pro-LGBTQ, are un rol precis în calendarul mondializării economice, estetice, culturale, societale, ea preia rolul de mască din teatrul antic, mască ascunzând realitatea imediată a actorului şi prezentând subterfugiul acesteia. Masca este prin excelenţă jocul discursului apofatic al denegării: „ştiu foarte bine, dar totuşi", cum ar spune psihanalistul.</p> <p>Toţi economiștii serioşi, chiar şi unii liberali, subliniază foarte gravele probleme economice şi sociale ce macină Statele Unite de la sfârşitul anilor faşti ai keynesianismului, de la sfârşitul echivalării dolar/aur la începutul anilor 1970. Într-o jumătate de secol, s-a adâncit tot mai mult prăpastia dintre bogaţi şi săraci, dintre, de-o parte, clasa superbogaţilor şi a servitorilor lor (jurnalişti, destui universitari, înalţi funcţionari, brokeri, conducători de întreprinderi cotate în bursă, etc.) şi, de cealaltă parte clasele mijlocii, micii comercianţi, meşteşugarii, angajaţii din prestări servicii, muncitorii, angajaţii temporari, profesorii din învăţământul primar şi secundar, chiar şi micile întreprinderi etc. – pe aceştia îi desparte un hău fără fund. Promovând rasialismul într-o societate rasializată încă de la naşterea ei<a name="_ftnref14"><sup>[14]</sup></a> cum au fost şi încă sunt Statele Unite sau Marea Britanie, sau cum au devenit Franţa şi Italia, clasele conducătoare mereu majoritar albe au încercat o dublă operaţiune, pe de-o parte dau satisfacţie fără să cheltuiască prea mult (pentru că a te agita în faţa camerelor mediatice sau în campusuri, nu cere mari strădanii şi nici nu costă prea scump!) hipsterilor negrii şi aliaţilor lor albii din <em>upper-middle class</em> ce joacă rolul culpabilizării, pe de altă parte, permite deturnarea revoltei populaţiei negre şi latino exploatate în condiţii de sclavie, după cum observase Angela Davis. Căci uităm prea uşor că ONG-urile militând pentru drepturile omului sunt create pentru a trâmbiţa măsuri fără efect practic. Căci în mod vădit există o adevărată elită neagră în business, în showbiz şi în universităţi, care nu doreşte să se poarte vreo atingere privilegiilor sale, identice cu cele ale burgheziei albe.</p> <p>Există în această voinţă de distrugere a întregii culturi occidentale de când s-a ivit ea, în linii mari începând de la greci (pentru că e albă, „patriarhală", „machistă", violentă cu negrii în timpul colonizării şi sclaviei şi după ele), o capcană întinsă de raţiunea umanistă oamenilor înstrăinaţi de societatea de producţie şi de consum infinite. Căci mişcări ca BLM, ONG-uri pro-emigraţie şi no-border se feresc să pună în discuţie vreodată fundamentele acestei societăţi de producţie-consum aşa cum este ea în fiinţarea sa (<em>Seindes</em>); cu alte cuvinte, cum marşandizarea generalizată, inclusiv cea a omului concret şi a celui imaterial al unei neokantianism universitar, face lume determinând complet atât sistemul schimburilor cât şi cel al relaţiilor umane, al artei şi al culturii în general. Societatea dă naştere unei imense risipe ce poate fi văzută de cum facem o plimbare printr-un centru comercial şi face lume nu doar ca sumă a mărfurilor produse (Marx), dar şi ca sumă a tuturor gunoaielor demodate ce năpădesc mările şi oceanele.<a name="_ftnref15"><sup>[15]</sup></a> Cea de a doua capcană, mai tragică, se pare, e uitarea originii posibilităţii acestor mişcări BLM, Mee#too. Or, la originea oricărei gândiri critice în câmpul culturii occidentale se află Occidentul însuşi, în desfăşurarea feluritelor sale interpretări ale lumii şi a practicilor pe care le-a construit şi pe care le-a pus la lucru fără a şti prea bine ce ieşea la iveală, nebăgând de seamă decât ulterior când bufniţa îşi lua zborul în umbra asfinţitului. Acest spirit critic îşi trage seva din tot ceea ce Occidentul a construit ca singular, din instituţiile sale politice şi din ceea ce ele implică în morală şi în teoria dreptului.<a name="_ftnref16"><sup>[16]</sup></a> Aş zice chiar mai mult de atât, că această gândire critică scoate <em>energeia</em> proprie modernităţii unde Tehnica ocupă locul central al noii metafizici, ea dă naştere dinamicii nihilismului care-i este intrinsec. Rezultatele schimbărilor permanente proprii gândirii şi practicii tehno-ştiinţei şi s-ar cădea să zicem mai bine ale gândirii şi practicii tehno-ştiinţei, aceste rezultate aşadar modelează de multă vreme viaţa noastră cotidiană în toate ipostazele ei. Nihilismul acest ar putea să fie numit şi cultul noutăţii oricare ar fi ea şi oricare ar fi preţul ce se cere plătit, costuri materiale şi umane, şi care nu e perceput decât în superficialitatea sa de o sociologie de bulevard, chipurile progresistă. Or, cultul noutăţii (şi simultan al tinereţii) se însoţeşte de o negare a împlinirilor trecutului. Ceea ce face ştiinţa de când s-a instalat ca ştiinţă experimentală şi ceea ce-i permite „să avanseze" după cum se spune îndeobşte. Ea a transmis acest marş înainte de neoprit fără nicio întoarcere ca devenire ştiinţelor umane (cf. Auguste Comte şi Durkheim), apoi, în general, umanioarelor până într-acolo încât astăzi ultima lucrare pe orice subiect e socotită mereu superioară unei lucrări mai clasice, iar starea prezentă e mereu mai bună decât cel mai bun moment al trecutului.<a name="_ftnref17"><sup>[17]</sup></a> Cei care acceptă cu bună inimă sau cu făţărnicie diktatele schimbării permanente sunt consideraţi progresişti, iar cei care le refuză, dimpotrivă, sunt denunţaţi ca reacţionari, conservatori sau tradiţionalişti. Vechiul clivaj politic stânga/dreapta se înscrie e acum înainte în unica dihotomie progresişti/conservatori. Or, raportat la clasele producătoare de plusvaloare prin muncă, aceste două grupuri ale claselor dominante nu se opun cu adevărat. Fiecare participă după cum doreşte la exploatarea muncii productive. În raport cu modernitatea, e vorba mai mult de o diferenţă cantitativă decât de una calitativă sau de esenţă. Amândouă sunt de fapt moderne şi doar utilizarea rezultatelor modernităţii şi a ritmului său de dezvoltare le deosebesc niţel. Până la urmă în modernitate şi încă şi mai mult în modernitatea tardivă, niciun curent politic, niciun curent de gândire culturală nu se situează în afara modernităţii, care s-a produs în Occident, să reamintim acest lucru pentru cei care, prinşi în ceţurile ideologice ale unor zadarnice zbateri contemporane, l-au uitat. Modernitatea s-a născut în Occident din sinergia dintre filosofia greacă (problema metafizică a adevărului), creştinism (problema unei temporalităţi a Apocalipsei şi deci a istoriei) şi, ca să încheiem, obiectivarea matematică a lumii (prezentată, interpretată şi inaugurată filosofic de către Descartes). Mai întâi a fost mersul înainte al ştiinţei, apoi aplicaţiile lor tehnice tot mai numeroase, cuprinzând şi domeniul militar, dezvoltarea masivă a infrastructurilor, a medicinei, în sfârşit, cea a producţiei de bunuri de consum până la gadgetizarea totală a societăţii postmoderne. Nicicând până azi vorbele lui Marx nu şi-au mai întâlnit adevărul lor încarnat: „Lumea este suma mărfurilor produse în lume". Şi tocmai acesta este nihilismul modern întrevăzut de Nietzsche şi de Scheller, cercetat mai apoi de Adorno şi de Heidegger. Nu este acel <em>nihil</em> al vidului sau eliminarea duşmanului din tradiţia rusă în stilul lui Ceaadaev, nihilismul care ne preocupă este cel al preaplinului hiperproducţiei, hiperconsumului, hipergadgetizării, hiperpubelizării. În termenii filosofici proprii modernităţii tardive, este capătul şi împlinirea obiectivării infinite făcând lume.<a name="_ftnref18"><sup>[18]</sup></a></p> <p>Nietzsche a văzut într-adevăr exact această abundenţă aproape nesfârşită a lucrurilor în declinul interpretării lume a lumii, a unei lumi părăsite de o mare poveste, a unei lumi fără sancţiune morală pronunţată cu referire la o valoare superioară de acum înainte negată sau uitată. Zeii şi Dumnezeu ne-au abandonat, puteam citi sub pana lui Nietzsche, însă şi noi i-am abandonat, chiar şi Divina Providenţă a lui Kant a dispărut în ceţuri hiperboreene, căci niciunii, nici cealaltă nu ne mai erau de folos pentru a asuma imanenţa infinităţii obiectivale. După ce ne-am dat ca nişte bătrâne prostituate voinţei de putere pe care am creat-o „am fugit în lumea de dincolo, sfârşind în nihilism".<a name="_ftnref19"><sup>[19]</sup></a> Victorie totală a imanenţei asupra tuturor sistemelor creştine, cuprinzând între ele şi socialismul adaugă Nietzsche, ca să ne conducă azi la respingerea actuală a tuturor formelor de cultură care nu răspund la <em>doxa</em> prezentului nostru pervertit într-un total anacronism care e uitarea originilor. Trăim într-un preaplin al lucrurilor culturale devenite simple mărfuri aruncate literalmente la gunoi zi de zi. Ca să ne convingem, e destul să observăm numărul lucrărilor de mare valoare intelectuală ce le putem găsi de pildă în pubelele din Paris, din Rouen, din Torino şi din Milano. Noii moștenitori ai bibliotecilor defuncţilor lor părinţi, veritabili barbari ai timpurilor postmoderne nu mai ştiu de altceva decât computere şi informaţiile flash de pe Facebook sau Intagram, aruncând pachetele stânjenitoare şi fără valoare bibliografică pe care niciun anticariat nu le mai doreşte. Se pare că originea acestei posibilităţi trebuie căutată în meandrele artei moderne şi contemporane. Acolo, printre anumite opere majore, putem surprinde originea dinamicii nihilismului cultural ce emerge azi cu întreaga sa violenţă. Plecând de la Duchamp, de la dadaişti, de la suprarealişti, de la minimalişti, de la abstracționism, de la trash-art, de la scrierea automată, de la letrism, de la vidul narativ al noului roman, cu generalizarea instalațiilor interpretate şi legitimate de discursurile deconstrucţiei, unul mai abscons decât celălalt, şi de asemenea cu muzicile ce se confundă cu experimentările acustice, noi ne aflăm în faţa unui limbaj codat pe care-l vorbeşte o elită a business-ului artei, a birocraţiei ministerelor culturii, a catedrelor de istoria artei şi a galeriilor… Această stare a cunoaşterii a fost grozav de bine ilustrată de cuplul Christo cu împachetările lor efemere care în esenţă ne spuneau: să ascundem toate aceste opere, valoarea lor e epuizată, la fel ca şi privirile noastre; nu mai e nimic de văzut decât un imens pachet ambalat, bun de aruncat la coşul de gunoi.<a name="_ftnref20"><sup>[20]</sup></a> Astfel, nihilismul presimţit de Nietzsche şi de Max Scheller, s-a dezvoltat până a ajuns în zilele noastre, trecând prin mişcarea rasialistă şi prin <em>Cancel culture</em>, dorind să „arunce la coşul de gunoi al istoriei" toate formele de artă produse de omul alb în decursul secolelor trecute. Aşa o spune facultatea de muzică de la Cambridge unde Mozart şi Beethoven sunt de acum înainte consideraţi ca reprezentanţi emblematici ai puterii alienante a omului alb colonialist. Că e vorba de <em>Die Zauberflöte</em>, de <em>Fidelio</em>, de Simfonia a Noua pe care le-am văzut şi ascultat de zeci de ori, niciodată nu mi-a trecut prin cap că fac dovada perversiunii rasiale a lui Mozat sau a lui Beethoven.</p> <p>Dacă privim mai îndeaproape, la lumina faptelor, nihilismul modern nu participă la gândirea şi acţiunea dialectice în care negativul pozitivului ar da pozitivul prin sinteza tezei şi antitezei. Nihilismul modern lucrează pe modul negativului negativului care dă negativul. Lumea nihilismului funcţionează ca un preaplin purtat de o creştere geometrică a obsolenţei, terminând în <em>nihil</em>. După ce a voit să dezmembreze şi să dărâme totul, arta şi arhitectura, dar şi muzica şi scriitura (nu vorbea Lacan de cuvântul care nu foloseşte comunicării?!), ea se deschide acum spre pustiire. După ce a zdrobit toate tabuurile culturale, producţia infinită mereu în devenire reinventează cenzura ca negaţie a trecutului în favoarea grupurilor culturale care sunt ele însele produse ale acestei negaţii construind şi reconstruind astfel acest nihilism generalizat care ar putea purta şi un alt nume: decadenţă. Da, să nu ne mirăm, anii treizeci sunt tot în faţa noastră.</p> <p>(trad. de Claudiu Gaiu)</p> <p>—<br> Note</p> <p>[i] Prezentul eseu face trimiteri la numeroase lecturi istorice şi filosofice pe care unii, mai erudiţi, le vor remarca cu siguranţă, într-atât sunt de voluntar explicite, fără a fi vorba de un plagiat. Totuși, nu am dorit să-mi încarc textul cu prea multe note de subsol fiind vorba mai mult de o luare de poziţie decât un discurs academic în care ar fi trebuit să-mi arăt toată cultura. Am trecut de vârsta unor astfel de demonstraţii. Textul răspunde unei stânjeneli resimţite în faţa unei stări deranjante a civilizaţiei noastre, aşa cum sucul de lămâie curat poate deranja dinţii când îl bem.</p> <p><a name="_ftn1"><sup>[1]</sup></a> Cu excepţia câtorva rarisime societăţi primitive ca, de pildă, cea din Insula Paştelui sau a unor triburi australiene.<br> <a name="_ftn2"><sup>[2]</sup></a> Claude Karnoouh, « Une pensée philosophique de la guerre », ou l'homme en tant qu'être pour la guerre (Sein zum Krieg) in <em>Lapenseelibre.org</em>. Tradus în revista <em>Timpul</em>, XVIII, n°240-241-242, 2019, Iaşi.<br> <a name="_ftn3"><sup>[3]</sup></a> Martin Heidegger, <em>Parmenide</em>, G.A band 8, Seit 43.<br> <a name="_ftn4"><sup>[4]</sup></a> Să remarcăm faptul că pe teritoriul nord-american cei mai exploataţi, mai bine spus, cei mai masacraţi, au fost amerindienii, din care au mai rămas azi trei milioane de indivizi trăind marea lor majoritate în rezervaţii administrate de Biroul pentru Afaceri Indiene al Departamentului de Interne al SUA.<br> <a name="_ftn5"><sup>[5]</sup></a> Martin Bernal, <em>Black Athena: The Afroasiatic Roots of Classical Civilization</em>, 1987.<br> <a name="_ftn6"><sup>[6]</sup></a> Mary Lefkowitz, <em>Not Out of Africa: How Afrocentrism Became an Excuse to Teach Myth as History</em>. New York, 1996.<br> <a name="_ftn7"><sup>[7]</sup></a> Cheikh Anta Diop, <em>Nations nègres et culture</em>, Tome I, 1954.<br> <a name="_ftn8"><sup>[8]</sup></a> Luciano Canfora, <em>Storia della letteratura greca</em>, 1986.<br> <a name="_ftn9"><sup>[9]</sup></a> Sub impulsul mişcării <em>#</em><em>Metoo</em> o petiţie care a strâns mai mult de 10 000 de semnături, cerea scoaterea de pe simezele MMA a tabloului <em>Thérèse visând</em>, sub pretextul sugestiilor sexuale periculoase, însă muzeul a refuzat cu hotărâre.<br> <a name="_ftn10"><sup>[10]</sup></a> Theodora Kroeber, <em>Ishi in Two Worlds, 50th Anniversary Edition : A Biography of the Last Wild Indian in North America</em>, 2011.<br> <a name="_ftn11"><sup>[11]</sup></a> Las deoparte această temă, căci subiectul prezentului eseu nu e în niciun caz problema extrem de complexă a proto-scrierilor pe care unii arheologi le situează acum 15.000 sau chiar 20.000 de ani, cum e cazul anumitor pictograme găsite în grotele din Dordogne sau acum 8000 de ani în cazul însemnărilor pe os din China.<br> <a name="_ftn12"><sup>[12]</sup></a> Vezi capitolul „Realismul socialist sau victoria burgheziei" în Claude Karnoouh, <em>Pentru o </em><em>genealogie a globalizarii</em>, Alexandria Publishing House, Suceava, 2016.<br> <a name="_ftn13"><sup>[13]</sup></a> Max Scheller, <em>Der Formalismus in der Ethik und die materiale Wertethik</em>, 1913.<br> <a name="_ftn14"><sup>[14]</sup></a> Vezi primul capitol al cărţii lui Howard Zinn, <em>A People History of America</em>, 1980.<br> <a name="_ftn15"><sup>[15]</sup></a> Majoritatea partidelor comuniste au abandonat această critică socio-economică în favoarea societalului, ceea ce a condus prin reacţia maselor populare la succesele partidelor populiste de dreapta. Stânga hipster strigă împotriva acestei drepte populiste, suveraniste, din teritoriu, din marile cartierele sărace, punând ca de obicei înainte sexul desfrânat, artele contemporane cele mai absconse, ba şi stupide, vorbele frumoase fără urmări şi concertele de pop-rock filantropice. Vor să fie de partea binelui, să aibă mâinile albe, însă orbiţi de moralita de doi bani, nu văd defel că ele nu mai au cu ce apuca şi privesc nătângi capitalul în multiplele sale ipostaze pseudo-umaniste ducând totul cu sine în revărsarea sa.<br> <a name="_ftn16"><sup>[16]</sup></a> Vezi splendidul exemplu de regicid din teoria politică a lui Toma d'Aquino, <em>De Regno</em>.<br> <a name="_ftn17"><sup>[17]</sup></a> Mao nu s-a înşelat când a vorbit de „<em>Marele Salt înainte"</em> când ţara sa era una dintre cele mai sărace din lume.<br> <a name="_ftn18"><sup>[18]</sup></a> Gérard Granel, « Les années trente sont devant nous », in , <em>Études</em>, Éditions Galilée, 1995, p. 71-74<br> <a name="_ftn19"><sup>[19]</sup></a> Friedrich Nietzsche, <em>Œuvres posthumes</em>, 1883-1888, p. 168, Gesamtausgäbe, Band 3.<br> <a name="_ftn20"><sup>[20]</sup></a> Christo, numele de artist al cuplului alcătuit din Christo Javacheff de origine bulgară şi Jeanne-Claude Donat de Guillebon, care în anii 1970-1995 au ambalat monumente sau spaţii naturale în imense foi de plastic colorate.</p> <br> <div> <h4>Despre autor</h4> <p>Născut în martie 1940 la Paris, specialist în antropologie culturală și politică, filozof marxist de inspirație heideggeriană. Începând cu 1973 a întreprins mai multe anchete de etnografie și antropologie în zona Maramureșului. În România a predat la Universitatea Babeș-Bolyai, Universitatea Națională de Artă din București și la Facultatea de Sociologie din cadrul Universității București. Cel mai recent volum publicat este <i>Pentru o genealogie a globalizării</i> (Alexandria Publishing House, 2016).<br></p> </div></div></div></div></div></div></div> peromanestehttp://www.blogger.com/profile/18138498600151502565noreply@blogger.com0tag:blogger.com,1999:blog-11047330.post-25197001035864135912021-04-07T19:41:00.000+03:002021-04-07T19:41:49.304+03:00O femeie intr-o cantina; DAU Natasha<span id="docs-internal-guid-315ad977-7fff-22d3-01fe-ebf3d64d035f"><h1 class="title" style="background-color: white; box-sizing: border-box; font-family: "open sans"; font-size: 24px; line-height: 1.1; margin: 25px 0px 0px; padding-bottom: 5px;"><br /></h1><h1 class="title" style="background-color: white; box-sizing: border-box; line-height: 1.1; margin: 25px 0px 0px; padding-bottom: 5px;"><span style="font-family: open sans; font-size: x-large;">O femeie intr-o cantina; DAU Natasha</span></h1><h1 class="title" style="background-color: white; box-sizing: border-box; font-family: "open sans"; font-size: 24px; line-height: 1.1; margin: 25px 0px 0px; padding-bottom: 5px;">Să reproduci stalinismul ca să ucizi stalinismul</h1><h1 dir="ltr" style="line-height: 1.48572; margin-bottom: 0pt; margin-top: 0pt; text-align: justify;"><br /></h1><p dir="ltr" style="line-height: 1.95; margin-bottom: 0pt; margin-left: 15pt; margin-top: 0pt; text-align: justify;"><span style="color: #404040; font-family: Verdana; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><span style="border: none; display: inline-block; height: 652px; overflow: hidden; width: 432px;"><img height="652" src="https://lh6.googleusercontent.com/52UbLQjBQhFxmnu3dvTHHiswqWdYOPa4xKiaBMtwXoAh161h4EQv1evWycaQMJvWIz6qdKZHwtN9vLts0E3IUctH8CLWDuUnn6gxlEVslqHRPzxwu9JW3Mjo-4KkLuscF3nVjtKS" style="margin-left: 0px; margin-top: 0px;" width="432" /></span></span></p><br /><br /><br /><span style="font-family: arial;"><br /><span style="font-size: x-large;">Clădirea enormă a unui bazin de înot abandonat din Harkov (Ucraina) a devenit centrul acestui proiect, fiind transformată în cel mai mare platou de filmare construit vreodată în Europa. Aici a fost reprodus în cele mai mici detalii un institut de cercetare sovietic [n.m. mai exact, Institutul pentru Probleme Fizice Piotr Kapitsa din Moscova, a cărui secţie de fizică teoretică a fost condusă, între 1937 şi 1962, de Landau], care apoi a fost populat cu cercetători, artişti, chelneri, securişti şi oameni obişnuiţi, izolaţi de lumea exterioară, într-un univers paralel în spaţiu şi timp.<br /><br /><br />Câteva sute de oameni şi-au abandonat vieţile timp de doi ani şi s-au mutat în această reconstituire meticuloasă a URSS-ului din perioada 1938-1968. Au rezultat astfel 700 de ore de filmare, transformate până acum în 15 filme. Primele două dintre acestea, DAU.Natasha şi DAU.Degeneration, au fost proiectate la Festivalul de la Berlin 2020, stârnind controverse în rândul publicului. DAU.Natasha a fost recompensat cu un Urs de Argint pentru contribuţie artistică, acordat directorului de imagine Jürgen Jürges."<br /><br /><br />O excelentă analiză a implicaţiilor etice şi morale ale proiectului / experimentului DAU a făcut criticul Iulia Popovici, în Observator cultural (<a href="https://www.observatorcultural.ro/articol/sa-reproduci-stalinismul-ca-sa-ucizi-stalinismul/">observatorcultural.ro/sa-reproduci-stalinismul-ca-sa-ucizi-stalinismul</a>).<br /><br /><br /><b>Filmul</b><br /><br /><br />DAU.Natasha este, aşadar, unul dintre cele 15 filme (14 de lungmetraj şi o miniserie de televiziune) produse ca urmare a proiectului DAU şi unul dintre cele doar 2 lansate până în prezent. Distribuţia DAU.Natasha e formată aproape în exclusivitate din actori neprofesionişti, rezidenţi pentru luni (poate chiar ani) bune (?) ai giganticului platou de filmare şi viaţă construit la Harkov. Deşi bazat pe un scenariu scris de regizorul Ilya Khrzhanovskiy pornind de la cartea autobiografică scrisă de soţia lui Lev Landau, Kora Landau-Drobantseva, filmul nu îl are drept personaj pe fizician sau pe familia acestuia.<br /><br /><br />Natasha este gestionara cantinei institutului de cercetare, unde lucrează alături de Olya. Omul de ştiinţă rus, Blinov (având aceeaşi meserie şi în viaţa reală), conduce un experiment ciudat alături de omologul său francez Luc. Cei doi supun unor teste cu radiaţii un număr de voluntari (posibil înrolaţi în armată sau KGB), care sunt aşa de onoraţi să slujească pe altarul ştiinţei, încât seara se îmbată cu mândrie alături de cei doi oameni de ştiinţă în cantina condusă de Natasha.<br /><br /><br /><img src="https://lh5.googleusercontent.com/lGYh94tgAI_pvXAjdistJblRo1BFVQsnhxF5yGmwVZ91FlLjvPdVTZ7vF5T5BhgbA5udzYJhBZak3LtHwsRgpmKOcVDXAjfHxsGMrbK1crxdbd1Xo60D-BniYFZtwrP2NINdVaXp" /><br /><br /><br />Deşi neindicată cu precizie, plasarea acţiunii în epoca stalinistă e destul de evidentă (undeva la începutul anilor '50). Pe întreaga durată a URSS (1922-1991) şi mai ales în perioada stalinistă (1922-1953), a sta de poveşti, de mâncat, de băut, de iubit cu un cetăţean străin cu cetăţenie dintr-o ţară capitalistă, era un act de mare curaj / inconştienţă. Natasha află asta pe propria piele, în ultima parte a filmului, în care îl cunoaşte pe Azhippo, ofiţer KGB (jucat de Vladimir Azhippo, cel mai probabil fost ofiţer KGB).<br /><br /><br />Până la momentul KGB, DAU.Natasha curge, vreme de 90 de minute, ca un fermecător (uneori, abraziv) film de artă şi de epocă (oarecum amintind de estetica Dogma 95, lansată de cineastul danez Lars von Trier), presărat cu confesiuni, lacrimi şi beţii, piperat de o secvenţă de real amateur sex la limita pornografiei, dar şi a poeziei. Natasha e singură, tristă, iubitoare de viaţă, căutând afecţiune, capabilă să trăiască şi să greşească pe propriile picioare, visând să trăiască şi să greşească alături de bărbatul iubit.<br /><br /><br />Învăţăturile ei bahice şi erotice către semnificativ mai tânăra Olya mixează seducător candoarea, deruta şi brutalitatea, vorbind despre destinul (de atunci şi de acum) al femeii, despre statutul său social, despre orizontul de aşteptare şi de visare. În egală măsură, Natasha (impresionantă prestaţia neprofesionistei Natalia Berezhnaya) e un simbol al omului ce încearcă să trăiască pe propriile picioare, strecurându-se prin capcanele istoriei spre o fericire personală iluzorie.<br /><br /><br />Programul de educare oferit de Natasha e întrerupt brutal de programul de reeducare oferit Natashei. Din câteva ameninţări verbale, o palmă zdravănă şi un act de siluire indirectă greu de privit, omul KGB re-aşază trecutul recent al gestionarei de cantină. Devenită colaborator al poliţiei politice, Natasha scrie după dictare cum (nu) s-au întâmplat lucrurile între ea şi francezul Luc. Fake news, capitolul istorie personală.<br /><br /><br />Uimită, umilită şi totuşi nu pe deplin speriată, Natasha absolvă rapid programul de reeducare şi răstoarnă, cel puţin superficial, raportul de putere dintre ea şi Azhippo. Nu e clar dacă vorbim de manifestarea unui sindrom Stockholm sau de o strategie isteaţă a eroinei care înţelege care e preţul ce trebuie plătit pentru a supravieţui. După cum nu e clar dacă privim una sau două vizite ale acesteia la KGB, eventual despărţite de un interval temporar suficient de lung cât să rafineze relaţia călău-victimă.<br /><br /><br />Paşii de final al Nataşei, atent vegheaţi de uniforme şi câini, desenează conturul viitorului. Scena de final, reluarea uneia din debutul peliculei, contribuie la ambiguitatea ordinii temporale. Ce a fost mai întâi? Ce a fost mai apoi? Când a făcut asta Natasha? Cine e Natasha? Care e adevărul?</span></span></span><div><span style="font-family: arial; font-size: x-large;"><br /></span><div><span><span style="font-family: arial;"><span style="font-size: x-large;"> Cronica: Mihai Brezeanu</span></span></span></div><div><span><span style="font-family: arial;"><span style="font-size: x-large;"><br /></span></span></span><span style="font-size: medium;"><strong style="box-sizing: border-box; color: #404040; font-family: Verdana, Arial, sans-serif;">Regia:</strong><span style="background-color: #f0f0f0; color: #404040; font-family: Verdana, Arial, sans-serif;"> Ilya Khrzhanovskiy, Jekaterina Oertel </span><span class="icon-user" style="-webkit-font-smoothing: antialiased; box-sizing: border-box; color: #404040; font-family: icomoon; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: 1; speak: none;"></span><span style="background-color: #f0f0f0; color: #404040; font-family: Verdana, Arial, sans-serif;"> </span><strong style="box-sizing: border-box; color: #404040; font-family: Verdana, Arial, sans-serif;">Cu:</strong><span style="background-color: #f0f0f0; color: #404040; font-family: Verdana, Arial, sans-serif;"> Natalia Berezhnaya, Olga Shkabarnya, Vladimir Azhippo<br /></span></span><span><span style="font-family: arial;"><span style="font-size: x-large;">SD<br /><br /><br /><br /></span><br /></span><br /> </span></div></div>smaranda dobrescuhttp://www.blogger.com/profile/07884621658494272587noreply@blogger.com0tag:blogger.com,1999:blog-11047330.post-78770116527963602152021-03-31T02:45:00.001+03:002021-03-31T02:45:48.789+03:00Brancusi the photographer<div dir="ltr"><div class="gmail_default" style="font-family:georgia,serif"><p style="margin-left:0px;margin-right:0px;color:rgb(0,0,0);font-family:"Sabon MT W02",Georgia,serif;font-size:18px"></p><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoYPwJ4IZ4v_BpYF_yrRGWDySCbhDfpcd_bCvwILeEMEFiuzmin0NPQA8tYTwJNWBUewuSWp1JIJO04E1dVez_ovJKmw-iHE8o59FSyUO-oUZCElNArkxsyzXQAIca07Q5C3t8/s1600/image-748861.png"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoYPwJ4IZ4v_BpYF_yrRGWDySCbhDfpcd_bCvwILeEMEFiuzmin0NPQA8tYTwJNWBUewuSWp1JIJO04E1dVez_ovJKmw-iHE8o59FSyUO-oUZCElNArkxsyzXQAIca07Q5C3t8/s320/image-748861.png" border="0" alt="" id="BLOGGER_PHOTO_ID_6945597555038215042" /></a><p style="margin-left:0px;margin-right:0px;color:rgb(0,0,0);font-family:"Sabon MT W02",Georgia,serif;font-size:18px"><br></p><p style="margin-left:0px;margin-right:0px;color:rgb(0,0,0);font-family:"Sabon MT W02",Georgia,serif;font-size:18px"><span style="font-family:franklin-gothic-urw,Helvetica,sans-serif"><br></span></p><p style="margin-left:0px;margin-right:0px;color:rgb(0,0,0);font-family:"Sabon MT W02",Georgia,serif;font-size:18px"><span style="font-family:franklin-gothic-urw,Helvetica,sans-serif">READILY ACKNOWLEDGED AS ONE</span> of the great sculptors of this century, Constantin Brancusi the photographer is less widely known. Paradoxically enough, Brancusi's output in sculpture is relatively small, comprising only some 215 known works. At least 40 of these—mainly from his early period—have since disappeared or been destroyed, and are known only from photographs.<span style="font-size:13.5px;line-height:0;vertical-align:baseline">1</span> It can almost be said that, given the long span of his life, he endeavored to follow Rodin's advice, ". . . Above all don't work too quickly,"<span style="font-size:13.5px;line-height:0;vertical-align:baseline">2</span> throughout his career. He did leave, however, a very impressive number of photographs: 560 original negatives, the vast majority of which are on glass plates, and about 1250 original prints, some rendered priceless through the disappearance of the negatives. They were found in his atelier at the time of his death in 1957, together with a complete photographic outfit, consisting of camera, lenses, darkroom, tripod, chemical solutions, etc.<span style="font-size:13.5px;line-height:0;vertical-align:baseline">3</span> The sheer bulk of the photographs single Brancusi out as having more than a contingent interest in photography.</p><p style="margin-left:0px;margin-right:0px;color:rgb(0,0,0);font-family:"Sabon MT W02",Georgia,serif;font-size:18px">Precedents of such interest in photography had been established ever since photography was discovered. Its influence on artists was immediate and persistent, in spite of criticism and sarcasm, starting with the great Ingres; he was probably the first to make use of the newly invented daguerreotype in portraiture, which together with landscape painting, became particularly susceptible to the new medium. The artists of the School of Barbizon found a new source of inspiration in the photographed landscape. Corot—at whose death some 300 photographs were found in his studio—devised his famous effect of "hallation" from the unintentionally blurred effects of photography. Delacroix and Courbet can also be added to the increasingly impressive list of artists who found inspiration in photography. Later in the 19th century the Impressionists held their very first exhibition in 1874 at the photographer Nadar's gallery. Most of them were influenced by photography in one way or another. There are countless classic examples of the selective use of photographic techniques, leading to the not unreasonable speculation that photography was one of the 19th century's studio secrets.</p><p style="margin-left:0px;margin-right:0px;color:rgb(0,0,0);font-family:"Sabon MT W02",Georgia,serif;font-size:18px">Contemporary with Brancusi, Marcel Duchamp and the Futurists, continuing Degas' passionate interest in movement, employed chromophotography to represent simultaneous movement. Even Picasso's Cubism, involving the simultaneous and analytical presentation of volume on a flat surface, but teleologically different from the dynamism of the Futurists in its endeavor to represent what we know rather than what the eye sees, was not altogether free from the influence of photography.<span style="font-size:13.5px;line-height:0;vertical-align:baseline">4</span></p><p style="margin-left:0px;margin-right:0px;color:rgb(0,0,0);font-family:"Sabon MT W02",Georgia,serif;font-size:18px">Brancusi's photographs transcend the recording level and spill over into the realm of art, although it is difficult to assess whether his interest was mainly in capturing the esthetic qualities of his sculpture or if he was concerned also with achieving "artistic" photographs. Only recently have Brancusi's many photographs begun to be acknowledged as transcending the level of recording evidence, and as an important element themselves within Brancusi's oeuvre. During the last few years, a series of generous exhibitions in Europe and the U.S. have made Brancusi's photographs better known, and have made them precious collectors' items.</p><p style="margin-left:0px;margin-right:0px;color:rgb(0,0,0);font-family:"Sabon MT W02",Georgia,serif;font-size:18px">The history of this "hobby" of Brancusi's is somewhat clouded in mystery. It is almost certain that he started to use the camera quite early in his career, initially for strictly documentary purposes. A series of faded photographs of sculptures executed while Brancusi was a student at the Academy of Fine Arts in Bucharest between 1898 and 1902—sculptures that have long since disappeared without a trace—constitute the sole record of them, and are therefore significant although neither the quality nor the state of preservation of the photographs are exceptional.<span style="font-size:13.5px;line-height:0;vertical-align:baseline">5</span> The earliest known photograph of his studio in Bucharest, dated 1901, shows one of the few sculptures still extant from that period, entitled <i>Écorché</i>, which Brancusi executed, for pedagogical purposes, in collaboration with the eminent physician Dr. Dimitrie Gerota. It appears photographed side by side with its model—a plaster cast of <i>Antinoüs</i>—which constituted one of the compulsory subjects of study "after the antique."<span style="font-size:13.5px;line-height:0;vertical-align:baseline">6</span> The female bust in the foreground—probably an example of a "study after nature,"<span style="font-size:13.5px;line-height:0;vertical-align:baseline">7</span> has also disappeared. The existing print is a copy,<span style="font-size:13.5px;line-height:0;vertical-align:baseline">8</span> which was obviously ordered by Brancusi in an attempt to keep an orderly record of his artistic development right from the beginning. He began to gather photographs both of individual works and of his atelier in Paris as early as a 1905, the year in which he enrolled (for the third time) as a student with Antonin Mercie at the Ecole des Beaux Arts. Yet the authorship of these photographs is uncertain, and although it has been suggested that Brancusi was already taking his own photographs by 1905,<span style="font-size:13.5px;line-height:0;vertical-align:baseline">9</span> no evidence has been found to substantiate this.</p><p style="margin-left:0px;margin-right:0px;color:rgb(0,0,0);font-family:"Sabon MT W02",Georgia,serif;font-size:18px">More interesting still are a number of post cards with photographs of Brancusi's sculptures all signed and dated in his own handwriting. Apparently intended as a kind of promotional device, to increase the sales potential of his work, these were made between 1906 and 1907, at the time of Brancusi's artistic debut in Paris and exhibited at both the Official Salon and the Salon d'Automne.<span style="font-size:13.5px;line-height:0;vertical-align:baseline">10</span> Only recently brought to our attention,<span style="font-size:13.5px;line-height:0;vertical-align:baseline">11</span> these post cards (with only one known exception)<span style="font-size:13.5px;line-height:0;vertical-align:baseline">12</span> were sent to his Rumanian friend and patron, the rich student Victor N. Popp,<span style="font-size:13.5px;line-height:0;vertical-align:baseline">13</span> who over time bought the majority of the sculptures. Brancusi was in fact to continue this practice of making post cards of his work throughout his career. A fascinating example can be found in his correspondence with the American lawyer and art collector John Quinn,<span style="font-size:13.5px;line-height:0;vertical-align:baseline">14</span> carried on from 1916 until the latter's death in 1925.<span style="font-size:13.5px;line-height:0;vertical-align:baseline">15</span> On two occasions the artist included several photographs of his works in his letters, with the obvious intention of selling the sculptures to Quinn, whose collection at the time of his death included 32 works by Brancusi.<span style="font-size:13.5px;line-height:0;vertical-align:baseline">16</span> In a letter dated Dec. 27, 1917, Brancusi wrote:</p><p style="margin-left:0px;margin-right:0px;color:rgb(0,0,0);font-family:"Sabon MT W02",Georgia,serif;font-size:18px"><i>. . . The photographs of the other works I am sending you in the same envelope are not terribly good but I did not want to be delayed again. I am sending prints of each [sculpture]. I numbered the prints on the back and gave above the dimensions. . . . There are two replicas nos. 5 and 6</i> The Bird <i>and</i> Sleeping Muse <i>which must not be considered as reproductions of the first versions because they were conceived differently. They are not finished but one can already see the idea . . . Nr.4 is an early marble [sculpture] which I wanted to keep for myself, but as most of the ones I made after it are in your collection, I thought that perhaps it may interest you . . .</i></p><p style="margin-left:0px;margin-right:0px;color:rgb(0,0,0);font-family:"Sabon MT W02",Georgia,serif;font-size:18px">And in the reply written by Quinn to Brancusi, dated June 28, 1922:</p><p style="margin-left:0px;margin-right:0px;color:rgb(0,0,0);font-family:"Sabon MT W02",Georgia,serif;font-size:18px"><i>There was received at my office last Friday June 23rd, 1922 your letter of May 25, enclosing photographs of your 10 sculptures, 16 prints in all. Of the first 4 photographs, Nr.1 gave the column and the stone base. The dimensions of that stone base given in the photo were 37 x 52 in height. I should like to have you send me such a base. . . . The next three photos each one marked nr.2 gave the front, the back and the profile view of</i> Adam and Eve. . . .</p><p style="margin-left:0px;margin-right:0px;color:rgb(0,0,0);font-family:"Sabon MT W02",Georgia,serif;font-size:18px">While no esthetic value can be attached to Brancusi's photographs from 1906 and 1907, (which through sheer historical accident have become unique and therefore valuable records of the sculptures that the artist made during that period), by the time of his correspondence with John Quinn the situation was already different. It is reasonable to assume that by this time Brancusi was already an experienced photographer, although not professionally trained. Probably conscious of this as a shortcoming, he apparently decided to rectify it. The first documented information about his wish to improve his photographic skills came from Man Ray, who would later become his friend. He visited Brancusi in 1921 in order to make his portrait for his file of celebrities. He recalled the visit vividly:</p><p style="margin-left:0px;margin-right:0px;color:rgb(0,0,0);font-family:"Sabon MT W02",Georgia,serif;font-size:18px"><i>. . . I came to Brancusi with the idea of making a portrait of him to add to my files. When I broached the subject he frowned; he said he did not like to be photographed. What would interest him was to see some good photographs of his work: so far, the few reproductions he had seen were a disappointment. Then he showed me a print Stieglitz had sent him, when his show was being held in New York. It was of one of his marble sculptures, perfect in lighting and texture: it was a beautiful photograph he said, but it did not represent his work. Would I help him acquire the necessary material and give him some points? I'd be glad to, I said; the next day we went shopping, acquired a camera and a tripod. I suggested a photo finisher who would do his darkroom work, but this too he wished to do himself, so he built a darkroom in a corner of the studio, all by himself as he did everything else in the studio, even to the moving of heavy pieces by means of crowbars and pulleys. I directed him in the taking of the pictures and showed him how to finish it in the darkroom. From then on he worked by himself.</i><span style="font-size:13.5px;line-height:0;vertical-align:baseline">17</span></p><p style="margin-left:0px;margin-right:0px;color:rgb(0,0,0);font-family:"Sabon MT W02",Georgia,serif;font-size:18px">Well before he met Man Ray, Brancusi had almost certainly been acquainted with the two foremost artists in photography at that time, Alfred Stieglitz and Edward Steichen.<span style="font-size:13.5px;line-height:0;vertical-align:baseline">18</span></p><p style="margin-left:0px;margin-right:0px;color:rgb(0,0,0);font-family:"Sabon MT W02",Georgia,serif;font-size:18px">In fact, Steichen bought his first sculpture—a <i>Maiastra</i>—from Brancusi sometime between 1910 and 1912.<span style="font-size:13.5px;line-height:0;vertical-align:baseline">19</span> And Brancusi's first one-man show in New York—a small exhibition, consisting of only eight works—was held at 291, Stieglitz's influential gallery.</p><p style="margin-left:0px;margin-right:0px;color:rgb(0,0,0);font-family:"Sabon MT W02",Georgia,serif;font-size:18px">Although both Steichen and Stieglitz repeatedly photographed his sculpture, Brancusi was dissatisfied by the results, and his desire to learn to photograph properly eventually led him to request Man Ray's assistance. Whether he ever became as great a photographer as he was a sculptor remains a matter of debate, given that he never achieved a comparable level of "professionalism" in photography as he had in sculpture. He felt very strongly, however, that only his own photography could do justice to his sculptural work. Man Ray recalled the first samples of photographs which Brancusi showed him after their few sessions together:</p><p style="margin-left:0px;margin-right:0px;color:rgb(0,0,0);font-family:"Sabon MT W02",Georgia,serif;font-size:18px"><i>. . . Some time later he [Brancusi] showed me his prints. They were out of focus, over or underexposed, scratched and spotty. This, he said, was how his work should be reproduced. Perhaps he was right—one of his golden birds had been caught with the sunrays striking it so that a sort of aurora radiated from it, giving the work an explosive character. Looking at the sculptures themselves, I could not help thinking how much more imposing they appeared now, alongside his amateurish attempts in another medium . . . Thinking also, that he did not wish to attain greater efficiency so that his sculpture would always dominate.</i><span style="font-size:13.5px;line-height:0;vertical-align:baseline">21</span></p><p style="margin-left:0px;margin-right:0px;color:rgb(0,0,0);font-family:"Sabon MT W02",Georgia,serif;font-size:18px">Much later, Brassaï was equally reserved about Brancusi's endeavors: ". . . With Brancusi I could never become friendly, he did not let me photograph his work. And he photographed himself always. And not terribly well in my opinion."<span style="font-size:13.5px;line-height:0;vertical-align:baseline">22</span> It is true that Brancusi was in the habit of photographing himself; the cable release visible in his hand in at least one of his portraits shows that it is in fact a self portrait. Brancusi never swayed from his decision to remain sole photographer of his works. He was proud of this, too. In 1938, when the American sculptor Malvina Hoffman visited his atelier and asked for a photograph for a book that she was preparing. Brancusi immediately offered his assistance. Asked by Hoffman if he took his own photographs, he answered: " . . . Yes, always . . . and moving pictures also, here is my laboratory, and here are my pictures of the <i>Temple of the Kiss</i>. You may have them for your book. They are recent ones."<span style="font-size:13.5px;line-height:0;vertical-align:baseline">23</span> It is interesting that he accepted Hoffman's intentions readily. With the sole exception of a monograph published in Bucharest in 1947 by his friend V.G. Paleolog, of which 250 copies were printed,<span style="font-size:13.5px;line-height:0;vertical-align:baseline">24</span> Brancusi purposely forbade anyone to write his biography during his life time.<span style="font-size:13.5px;line-height:0;vertical-align:baseline">25</span> Another Rumanian sculptor, Milita Pătrașcu recalled that ". . . it was impossible to use his bathtub because prints were always washing in it." She also remembered being given a camera by Brancusi, but she took it back because she did not know how to use it.<span style="font-size:13.5px;line-height:0;vertical-align:baseline">26</span></p><p style="margin-left:0px;margin-right:0px;color:rgb(0,0,0);font-family:"Sabon MT W02",Georgia,serif;font-size:18px">The photographs can be divided into two main categories, according to subject matter: general views of the atelier and photographs of single works. The majority of the latter are kept in the Brancusi Archives at the Museum of Modern Art in Paris. To these can be added an unknown number of snapshots of Brancusi in more intimate surroundings—either with friends, on holiday, playing golf or just relaxing—pictures of the sort that would be kept in a family album. They give a touching insight into the private life of this otherwise solitary man, by recording seemingly disparate moments in his life. Yet, when put together, they form a loose biographical outline, from the time when he was a young student in Bucharest, to his old age. Silent witnesses of the passage of time, they record also Brancusi's change from a dark-haired young man with piercing eyes into a white-bearded sage of sorts, always dressed in white and wearing a peculiar hat, resembling a Phrygian bonnet, to the day of his death—garb Brancusi wore in the last photograph of him ever taken.<span style="font-size:13.5px;line-height:0;vertical-align:baseline">27</span></p><p style="margin-left:0px;margin-right:0px;color:rgb(0,0,0);font-family:"Sabon MT W02",Georgia,serif;font-size:18px">Most of the photographs showing general views of the atelier are from 1917 on, and were taken in the ateliers Brancusi had, first at number 8, and later at number 11, Impasse Ronsin.<span style="font-size:13.5px;line-height:0;vertical-align:baseline">28</span> Several photographs, though, from around 1907, when he was still living at number 54, rue de Montparnasse, give us a glimpse of his timid beginnings. There is a startling contrast between the later photographs and the few early ones, in which the appearance of the atelier is classically standard: busts mounted on high plinths, all neatly arranged at eye level. In one example, though, the humorous touch that would later be so characteristic is already discernible in the irreverent placement of a potted plant on top of an unfinished carved head. But neither the sculptures—most of which have long since disappeared—nor the photographs—whose authorship is uncertain—are outstanding in any sense. By 1917, however, the situation had changed radically. And one cannot fail to notice that there is a curious parallel between the standard of Brancusi's sculpture and that of his photographs, a standard that he maintained throughout. The year 1917 was a peak period in Brancusi's creative output: he had already produced his most celebrated works, such as <i>Mlle. Pogany</i>, <i>Maiastra</i> and <i>Sleeping Muse</i>, and was involved in a series of subtler and more complex sculptures, mainly in wood—the first documented <i>Column</i>, <i>The Sorcerer</i>, <i>Adam and Eve</i>. . . . He was also experimenting boldly with bases, which he was using interchangeably with various sculptures, thus creating veritable but transient ensembles. This fascinating process of restructuring could only be recorded by photography. A particularly fascinating example related to the atelier, rather than to such ensembles, is provided by two identical shots taken from a bird's-eye view,<span style="font-size:13.5px;line-height:0;vertical-align:baseline">30</span> in which a relatively insignificant detail imposes itself forcefully as the undisputed center of interest—the <i>Bird in Space</i> in the background, in one example the bronze version, replaced in the second example by a marble version. Brancusi took the photographs at night, thus creating an atmosphere of mystery and expectation, very appropriate to the main protagonist in the photograph—the bird from the fairy tale. The theme of the bird was a favorite in Brancusi's oeuvre. Evolved from the earliest version of <i>Maiastra</i>, through the intermediary phase of the <i>Golden Bird</i>, it culminated with the final <i>Bird in Space</i>. It's fusiform shape and powerful upward thrust were supposed to be a visual representation of an abstraction—of flight. This totally unprecedented conceit was so thoroughly misunderstood that it landed Brancusi in trouble. In 1926, when he was shipping a <i>Bird in Space</i> to New York for a one-man show at the Brummer Gallery, he was charged duty by the U.S. Customs on what was considered a mere piece of material. Brancusi sued the U.S. Government and won the lawsuit, but it took two years and the testimony of two such outstanding artists as William Zorach and Jacob Epstein to convince the court that in fact they were dealing with "art."<span style="font-size:13.5px;line-height:0;vertical-align:baseline">31</span></p><p style="margin-left:0px;margin-right:0px;color:rgb(0,0,0);font-family:"Sabon MT W02",Georgia,serif;font-size:18px">In the case of his photographs of single sculptures, Brancusi was trying to capture something of the transcendent qualities of the objects by treating in different ways the various materials employed. He subtly underlined the intrinsic characteristics of the various materials—wood, stone, marble of different colors, bronze—in a multitude of ways, with the same awareness of differentiation of texture that he brought to his sculpture. Brancusi was the first sculptor to treat the material with respect by emphasizing rather than disguising, its secondary qualities—grain, color, texture, density—and to make them work for him: the stoniness of the stone, the deadness of white marble or the translucence of bronze. In a similar way they became main protagonists in his photography. Light became the essential element in these new experiments. By using it directionally to highlight or dissolve contours, to smooth or roughen textures, to highlight a pattern, in what seems almost to have been an attempt to replace the missing natural color, he succeeded in obtaining some unique effects in a medium far from being sufficiently perfected to allow such specific needs to be fulfilled. In the rather special case of the <i>Golden Bird</i>—possibly the very photograph that was criticized by Man Ray—Brancusi succeeded in embodying the essence of flight, by blurring the distinction between object and space almost to the point of obliteration, thus deliberately negating the very materiality of matter—a primary, rather than secondary, quality. On the other hand, skeptics may argue that Brancusi, who achieved this result almost by mistake, must have been more surprised than pleased. Who can tell? The notorious intentional fallacy rears its head again. Another example, perhaps even more revealing, are the photographs of two versions of <i>Mlle. Pogany II</i>—one in veined marble and another in bronze—which can be dated 1919 and 1920, and 1925, respectively.<span style="font-size:13.5px;line-height:0;vertical-align:baseline">32</span> It becomes immediately apparent that in the former Brancusi was at pains to emphasize the milky density of the marble surface, by illuminating it uniformly with a slight emphasis on the rounded surface of the forehead, and allowing the pattern to create sufficient visual variety to give the eye prolonged enjoyment. In the example of the two bronzes, on the other hand, not only does he employ an uneven background, in which light and shade are intertwined, thus creating patterns on the walls and complicating the background, but he also makes it difficult to tell whether a single directional light source was used. Furthermore, he deliberately made use of the fascinating, mirror-like quality of the highly polished bronze surface, treating it like a mirror and allowing accidents to occur. He created thus an almost "Alice Through the Looking Glass" effect, of a fleeting world, capriciously captured in the sheen of the surface—an impression which he playfully and deliberately changed from example to example. Thus in the otherwise identical photographs of the bronze versions of <i>Mlle. Pogany II</i> one can discern a photographic tripod reflected in one example, and a somewhat unclear image of part of a seated figure in the other: fragments of a reality outside and in front of the sculpture. Brancusi incorporated the element of time by showing two consecutive events reflected in the polished surfaces of the bronze sculptures in two or more otherwise identical photographs. Another interesting but more specific way in which Brancusi treated single works are the sets of photographs he would make of the same sculpture from its three main vantage angles-front, back and profile. Such photographs were taken repeatedly by the sculptor for a very specific reason: they constituted his presentation kit for prospective buyers. An example comes from the letter already mentioned from John Quinn to Brancusi in June 1922, in which he referred to three such photographs of <i>Adam and Eve</i>, extolling the generally high quality of the sculpture. Equivalents of these can be found in the three-part portraits painted in the 17th century, usually of famous people, that were intended to enable a sculptor to make a portrait bust of the absent sitter. A famous example is the triple portrait of King Charles I of England by Sir Anthony Van Dyck that was sent to the sculptor Bernini, who had been commissioned to carve the royal bust.<span style="font-size:13.5px;line-height:0;vertical-align:baseline">33</span></p><p style="margin-left:0px;margin-right:0px;color:rgb(0,0,0);font-family:"Sabon MT W02",Georgia,serif;font-size:18px">Finally, Brancusi had the unique and curious habit of setting up often charming tableau-vivant-like groups of sculptures, whose existence as collections of objects was just as fleeting as the images reflected in the polished surfaces of his bronzes, and captured by the camera. The claims of both to an ontological status were based on the existence of a photograph of them. These seemingly capricious and perhaps haphazard arrangements created a probable meaning or literary reference. In 1917 Brancusi sent John Quinn such a photograph, entitled <i>The Child in the World. Mobile Group</i>, which consisted of a sculpture otherwise known as <i>Little French Girl</i><span style="font-size:13.5px;line-height:0;vertical-align:baseline">34</span> placed near a column-like base topped by a wooden cup. He provided no additional information or explanation about the group, whose putative poetic reference remains opaque.</p><p style="margin-left:0px;margin-right:0px;color:rgb(0,0,0);font-family:"Sabon MT W02",Georgia,serif;font-size:18px">Brancusi kept a record of his sculpture by photographing it continuously throughout his career and retaining the rights to his pictures. He was a passionate photographer and his photographs constitute a vital testimony not only for the researcher but also for those who love photography.</p><p style="margin-left:0px;margin-right:0px;color:rgb(0,0,0);font-family:"Sabon MT W02",Georgia,serif;font-size:18px"><i><a href="https://www.artforum.com/contributor/sanda-miller" title="Contributions by Sanda Miller" style="background-color:transparent;color:rgb(0,0,0);text-decoration-line:none;border-bottom:1px solid rgb(0,0,0)">Sanda Miller</a> is the author of a book on Brancusi which will be published by Phaeton Press in 1982. She is currently writing a Ph.D. thesis on Brancusi at the Courtauld Institute.</i></p><p style="margin-left:0px;margin-right:0px;color:rgb(0,0,0);font-family:"Sabon MT W02",Georgia,serif;font-size:18px">—————————</p><p style="margin-left:0px;margin-right:0px;color:rgb(0,0,0);font-family:"Sabon MT W02",Georgia,serif;font-size:18px">NOTES</p><p style="margin-left:0px;margin-right:0px;color:rgb(0,0,0);font-family:"Sabon MT W02",Georgia,serif;font-size:18px">1. Sidney Geist, <i>Brancusi: The Sculpture and Drawings</i>, New York: Harry N. Abrams, Inc., 1975, p. 171.</p><p style="margin-left:0px;margin-right:0px;color:rgb(0,0,0);font-family:"Sabon MT W02",Georgia,serif;font-size:18px">2. Ionel Jianou, <i>Brancusi</i>, London: Adam Books, 1963, p. 34; information received from Nathalie Dumitresco and Alexander Istrati.</p><p style="margin-left:0px;margin-right:0px;color:rgb(0,0,0);font-family:"Sabon MT W02",Georgia,serif;font-size:18px">3. Isabelle Monod-Fontaine and Marielle Tabart, <i>Brancusi photographe</i>, Paris: Musée National d'Art Moderne, Centre Georges Pompidou, 1978, p. 10 and p. 12, note 2.</p><p style="margin-left:0px;margin-right:0px;color:rgb(0,0,0);font-family:"Sabon MT W02",Georgia,serif;font-size:18px">4. Aaron Scharf, <i>Art and Photography</i>, London: Penguin Books, 1974.</p><p style="margin-left:0px;margin-right:0px;color:rgb(0,0,0);font-family:"Sabon MT W02",Georgia,serif;font-size:18px">5. Barbu Brezianu, <i>Brancusi in Romania</i>, Bucharest: Editura Academiei, 1976.</p><p style="margin-left:0px;margin-right:0px;color:rgb(0,0,0);font-family:"Sabon MT W02",Georgia,serif;font-size:18px">6. Petre Comarnescu, <i>Brancusi: Mit si metamorfoza in sculpture contemporana</i>, Bucharest: Editura Meridiane, 1972, pp. 97–98. Brezianu, <i>Brancusi in Romania</i>, p. 63, note 10, maintains that it was not the statue of Antinoüs that Brancusi copied, but that of Hermes Capitolinus, from the museum with the same name in Rome, whose plaster cast had existed at the Academy since 1865 when it was commissioned by Theodor Aman—the first director of the Academy.</p><p style="margin-left:0px;margin-right:0px;color:rgb(0,0,0);font-family:"Sabon MT W02",Georgia,serif;font-size:18px">7. Barbu Brezianu, <i>Brancusi in Romania</i>, p. 213. This was possibly the "character study," for which Brancusi received an honorable mention in June 1901, made after a particular model known to come and sit at the Academy once a month.</p><p style="margin-left:0px;margin-right:0px;color:rgb(0,0,0);font-family:"Sabon MT W02",Georgia,serif;font-size:18px">8. Monod-Fontaine and Tabart, <i>Brancusi Photographe</i>, p. 117, no. 1.</p><p style="margin-left:0px;margin-right:0px;color:rgb(0,0,0);font-family:"Sabon MT W02",Georgia,serif;font-size:18px">9. Sidney Geist, <i>Brancusi: A Study of the Sculpture</i>, London: Studio Vista, 1968, p. 164.</p><p style="margin-left:0px;margin-right:0px;color:rgb(0,0,0);font-family:"Sabon MT W02",Georgia,serif;font-size:18px">10. Catalogue of the XVlth Salon de la Société Nationale des Beaux-Arts, Paris, 1906. Entry no. 1715: Constantin Brancusi, 16, Place Dauphine: <i>Portrait of M.G.</i>, bust, plaster.<br>Catalogue of the Salon d'Automne, 1906, nos. 218–220: <i>Portrait of Mr. Stefan Lupescu; Child; Pride</i>.</p><p style="margin-left:0px;margin-right:0px;color:rgb(0,0,0);font-family:"Sabon MT W02",Georgia,serif;font-size:18px">11. Barbu Brezianu, "Pages inédites de la correspondance de Brancusi," in <i>Revue Roumaine d'Histoire de l'art</i>, vol. 2, 1964, pp. 385–400.</p><p style="margin-left:0px;margin-right:0px;color:rgb(0,0,0);font-family:"Sabon MT W02",Georgia,serif;font-size:18px">12. Brancusi sent such a postcard in 1907 to Otilia Cosmutza, the Rumanian journalist and friend who introduced him to Rodin, with the following inscriptions: "C. Brancusi, Eboche, Salon de Paris en 1907." In "Insemanri al lui Mircea Nicoara," <i>Familia</i>, February 1966.</p><p style="margin-left:0px;margin-right:0px;color:rgb(0,0,0);font-family:"Sabon MT W02",Georgia,serif;font-size:18px">13. Victor N. Popp—a rich student from Craiova, where Brancusi did his apprenticeship at the School of Arts and Crafts between 1894–1898—was a student in Paris at about the time Brancusi was starting his career, and became the sculptor's first patron. On Victor N: Popp, see Ion Schintee, "Exegeza Brancusiana," in <i>Ramuri</i>, Craiova, Feb. 15,1967.</p><p style="margin-left:0px;margin-right:0px;color:rgb(0,0,0);font-family:"Sabon MT W02",Georgia,serif;font-size:18px">14. B.L. Reid, <i>The Man from New York: John Quinn and his Friends</i>, New York: Oxford University Press, 1968.</p><p style="margin-left:0px;margin-right:0px;color:rgb(0,0,0);font-family:"Sabon MT W02",Georgia,serif;font-size:18px">15. The correspondence between Brancusi and John Quinn is now in the New York Public Library.</p><p style="margin-left:0px;margin-right:0px;color:rgb(0,0,0);font-family:"Sabon MT W02",Georgia,serif;font-size:18px">16. John Quinn, <i>Collection of Paintings, Water Colours, Drawings and Sculpture</i>, New York: Pidgeon Hill Press, 1926. With a foreword by Forbes Watson.</p><p style="margin-left:0px;margin-right:0px;color:rgb(0,0,0);font-family:"Sabon MT W02",Georgia,serif;font-size:18px">17. Man Ray, <i>Self Portrait</i>, New York: McGraw-Hill Book Company, 1963, pp. 208–209.</p><p style="margin-left:0px;margin-right:0px;color:rgb(0,0,0);font-family:"Sabon MT W02",Georgia,serif;font-size:18px">18. William Innes Homer, <i>Alfred Stieglitz and the American Avant-Garde</i>, Boston: New York Graphic Society, 1979.</p><p style="margin-left:0px;margin-right:0px;color:rgb(0,0,0);font-family:"Sabon MT W02",Georgia,serif;font-size:18px">19. Carola Giedion-Welcker, <i>Constantin Brancusi</i>, Neuchatel, Switzerland: Editions du Griffon, 1958, p. 232. She reproduces a photograph of the <i>Maiastra</i> bought by Edward Steichen located in the garden of his villa in Voulangis, dating it 1910–1912. Sidney Geist, <i>Brancusi: The Sculpture and Drawings</i>, p. 178, no. 76, dates it 1911. This version of the <i>Maiastra</i> is now in the Tate Gallery.</p><p style="margin-left:0px;margin-right:0px;color:rgb(0,0,0);font-family:"Sabon MT W02",Georgia,serif;font-size:18px">20. Exhibition of sculpture by Constantin Brancusi held in March and April, 1914, at the '291' Gallery in New York. The list of works exhibited was as follows: "'Sleeping Muse'—marble; 'Miss Pogany'—marble; 'Danaide'—marble; 'Sleeping Muse'—bronze; 'Pasarea Macastra'—brass [incorrect spelling-it is <i>Pasarea Maiastra</i>, and it is bronze, rather than brass]; 'The Prodigal Son'—wood [mistaken identity—'The Prodigal Son,' also dated 1914–1918, was not in the exhibition; the wooden sculpture exhibited was <i>The First Steps</i>—wood); 'Naiade'—marble."</p><p style="margin-left:0px;margin-right:0px;color:rgb(0,0,0);font-family:"Sabon MT W02",Georgia,serif;font-size:18px">21. Man Ray, <i>Self Portrait</i>, p. 209.</p><p style="margin-left:0px;margin-right:0px;color:rgb(0,0,0);font-family:"Sabon MT W02",Georgia,serif;font-size:18px">22. Radu Varia, "Brassaï, Brancusi, Giacometti," <i>Contemporanul</i>, Feb. 18, 1966.</p><p style="margin-left:0px;margin-right:0px;color:rgb(0,0,0);font-family:"Sabon MT W02",Georgia,serif;font-size:18px">23. Malvina Hoffman, <i>Sculpture Inside and Out</i>, New York: W.W. Norton and Co., 1939; Chapter 3: "The Timelessness of Art," pp. 41–76.</p><p style="margin-left:0px;margin-right:0px;color:rgb(0,0,0);font-family:"Sabon MT W02",Georgia,serif;font-size:18px">24. V.G. Paleolog, <i>Constantin Brancusi</i>, Bucharest: privately printed, 1947 (in French).</p><p style="margin-left:0px;margin-right:0px;color:rgb(0,0,0);font-family:"Sabon MT W02",Georgia,serif;font-size:18px">25. David Lewis, <i>Constantin Brancusi</i>, London: Alec Tiranti, 1957, p. 4: The writer recalls that Brancusi told the few writers he permitted to see him, "Promise not to write about me until I am dead. . . ." He even got angry with some: "I'm not a music-hall clown, I don't need propaganda." He himself gave the photographs both to David Lewis and Carols Giedion-Welcker—the latter an old and trusted friend—whose respective monographs on Brancusi were published immediately after the sculptor's death in 1957. A third book—a special edition dedicated to Brancusi with contributions by important artistic personalities—was edited by Christian Zervos and published during the same year: "Constantin Brancusi, sculptures, peintures, fresques, dessins," <i>Cahiers d'Art</i>, Paris, 1957.</p><p style="margin-left:0px;margin-right:0px;color:rgb(0,0,0);font-family:"Sabon MT W02",Georgia,serif;font-size:18px">26. Sidney Geist, <i>Brancusi: A Study of the Sculpture</i>, p. 164.</p><p style="margin-left:0px;margin-right:0px;color:rgb(0,0,0);font-family:"Sabon MT W02",Georgia,serif;font-size:18px">27. Reproduced in Brezianu, <i>Brancusi in Romania</i>, p. 50, fig. 79.</p><p style="margin-left:0px;margin-right:0px;color:rgb(0,0,0);font-family:"Sabon MT W02",Georgia,serif;font-size:18px">28. Petre Comarnescu, "Atelierele pariziene," in <i>Tribuna</i> (Bucharest), Dec. 29, 1966.</p><p style="margin-left:0px;margin-right:0px;color:rgb(0,0,0);font-family:"Sabon MT W02",Georgia,serif;font-size:18px">29. Edith Balas, "Object-Sculpture, Base and Assemblage in the Art of Constantin Brancusi," <i>Art Journal</i>, XXXVIII; 1, Autumn 1978, pp. 36–46.</p><p style="margin-left:0px;margin-right:0px;color:rgb(0,0,0);font-family:"Sabon MT W02",Georgia,serif;font-size:18px">30. Monod-Fontaine and Tabart, <i>Brancusi Photographe</i>, p. 120. The entries are no. 44—<i>Vue d'atelier, Colonnes sans fin</i>, 1925, and no. 45—<i>Vue d'atelier, Colones sans fin</i>, 1925.</p><p style="margin-left:0px;margin-right:0px;color:rgb(0,0,0);font-family:"Sabon MT W02",Georgia,serif;font-size:18px">31. Jacob Epstein, <i>An Autobiography</i>, London: Studio Vista, 1955, pp. 131–135.</p><p style="margin-left:0px;margin-right:0px;color:rgb(0,0,0);font-family:"Sabon MT W02",Georgia,serif;font-size:18px">32. Sidney Geist, <i>Brancusi: The Sculpture and Drawings</i>, pp. 183–184, no. 127, <i>Mlle. Pogany II</i>, 1919, veined marble. No. 128, Mlle. Pogany polished bronze. Geist lists four versions, dating two of them 1920 and the other two 1925.</p><p style="margin-left:0px;margin-right:0px;color:rgb(0,0,0);font-family:"Sabon MT W02",Georgia,serif;font-size:18px">33. Howard Hibbard, <i>Bernini</i>, London: Penguin Books, 1965, pp. 96–97.</p><p style="margin-left:0px;margin-right:0px;color:rgb(0,0,0);font-family:"Sabon MT W02",Georgia,serif;font-size:18px">34. Sidney Geist, <i>Brancusi: The Sculpture and Drawings</i>, p. 183, nos. 122 and 123. In both cases this second version of <i>Little French Girl</i> dated by Geist between 1919 and 1920—following immediately the first version with the same title, dated 1914–1918 and now in the Solomon R. Guggenheim Museum, New York (catalogue entry no. 92, p. 180) is referred to as <i>Plato</i>. Under this title the sculpture was reproduced in <i>Little Review</i>, 1921, fig. 7, and later in <i>This Quarter</i>, 1925, no. 22, under the title <i>Socrates and Plato</i>—probably another conceit similar to <i>The Child in the World</i>, <i>Mobile Group</i>. Geist states further that <i>Little French Girl II</i>, alias <i>Plato</i>, was dispersed soon after 1923, without justifying this view in any way. The head that survived was sold around 1950 by the sculptor to Yolanda Penteado, Rio de Janeiro, whose property it was until 1980, when it was bought by the Tate Gallery, London, at Sotheby's. See Sotheby Parke Bernet, <i>Important Impressionist and Modern Paintings and Sculpture</i>. Catalogue entry: Constantin Brancusi: <i>Head</i>. Wood. The sale took place on March 26,1980. The remaining part of the body, presumed lost or destroyed, was alleged to have been kept by Brancusi and to have been in his atelier in Paris at the time of his death in 1957, after which it disappeared. See Gregory Salzmann, <i>Brancusi's Woods</i>, M.A. Report, Courtauld Institute, London, 1972, note 15, pp. 77–78. According to him, the fragment is reproduced in three photographs in the Brancusi Archives at the MNAM, Centre Georges Pompidou, Paris: nos. 1879,1880 and 1879.</p></div></div> peromanestehttp://www.blogger.com/profile/18138498600151502565noreply@blogger.com0tag:blogger.com,1999:blog-11047330.post-11032577196708371992021-03-25T14:34:00.000+02:002021-03-25T14:35:34.750+02:00John Moore Constantin Brâncuşi<div dir="ltr"><div class="gmail_default" style="font-family:georgia,serif"><div class="gmail-top-anchor"></div> <div id="gmail-toolbar" class="gmail-toolbar-container gmail-scrolled"> </div><div class="gmail-container" dir="ltr"> <div class="gmail-header gmail-reader-header gmail-reader-show-element"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkJ1H7H0piZ_iT2Urc1bHSXjz2Gfktbkq-9la2AUzEHEaSdDKDUQbR2h7VAM0G1_4QxS-psUtRs4wjzGp_LpR0WvN-AhyHgwziHSlKaWpuJuEJoy9ylgcKQlAMzRAEL_a7MYhW/s1600/image-734771.png"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkJ1H7H0piZ_iT2Urc1bHSXjz2Gfktbkq-9la2AUzEHEaSdDKDUQbR2h7VAM0G1_4QxS-psUtRs4wjzGp_LpR0WvN-AhyHgwziHSlKaWpuJuEJoy9ylgcKQlAMzRAEL_a7MYhW/s320/image-734771.png" border="0" alt="" id="BLOGGER_PHOTO_ID_6943569413750763234" /></a><br><div class="gmail-domain-border"></div> <h1 class="gmail-reader-title">Constantin </h1> <div class="gmail-credits gmail-reader-credits"></div> <div class="gmail-meta-data"> <div class="gmail-reader-estimated-time" dir="ltr">21-26 minutes</div> </div> </div> <hr> <div class="gmail-content"> <div class="gmail-moz-reader-content gmail-reader-show-element"><div id="gmail-readability-page-1" class="gmail-page"><div id="gmail-article-body"> <div> <p> <em>În dreptul mamei e trecută Vera Moore, iar în dreptul tatălui – nimic. John Constantin Brâncuşi Moore n-a fost niciodată recunoscut de celebrul său tată, dar mama sa, pianista engleză Vera Moore, a fost una dintre cele mai mari iubiri ale lui Constantin Brâncuşi. Ionuţ Teianu, cineast român stabilit la Paris din 1991, lucrează de trei ani la documentarul „În căutarea tatălui pierdut", produs de Tudor Giurgiu: „Cea mai emoţionantă scenă se petrece la Hobiţa, când John Moore şi cei doi fii ai săi ajung să-şi cunoască verii, strănepoţi după fraţii lui Brâncuşi. Să fii însă recunoscut de lumea artistică, dar nu şi de propriul tată, rămâne pentru John Moore o mare durere şi un mister", comentează Ionuţ Teianu. Filmul acestei dureri va fi prezentat în premieră la Festivalul TIFF de la Cluj, în 2016. În memoria colectivă, Brâncuşi e acel ţăran din Hobiţa care, plecat la 28 de ani pe jos spre Paris, a îngenuncheat New York-ul cu „Pasărea" sa măiastră şi a subjugat zeci de femei, într-o viaţă de „călugăr". Adevărul îl ştiu cei care l-au cunoscut.</em></p> <blockquote> <p> Brâncuşi ca tată era un subiect interzis. Ea (n.r. – Vera) a acceptat voinţa lui Brâncuşi. În actul de naştere al băiatului, făcut la Londra, scrie, la nume «Moore», iar la prenume «John Constantin Brâncuşi». (Doina Lemny, muzeograf, cercetător, Centrul Pompidou Paris)</p> </blockquote> <h2> <strong>INTERVIU Ionuţ Teianu: </strong><strong>Moment emoţionant cu rudele de la Hobiţa</strong></h2> <p> <em>Nicio moştenire, nici măcar morală, nu a primit John Moore de la tatăl său, celebrul Constantin Brâncuşi. Dar nici nu a vrut, spune cineastul Ionuţ Teianu, care i-a povestit Cristinei Hermeziu despre viaţa fiului nerecunoscut. John nu apare în presă, se ţine departe de lumina reflectoarelor, la fel cum o fac şi cei doi fii ai lui. Tocmai de aceea, vă redăm un scurt interviu cu Ionuţ Teianu, cel care a fost alături de familie în ultimii trei ani, pentru realizarea documentarului, „În cautarea tatălui pierdut". </em></p> <p> <strong><img alt="" src="https://adevarul.ro/assets/adevarul.ro/MRImage/2015/09/05/55eae319f5eaafab2c494ce4/627x0.jpg">„Weekend Adevărul": În ce mod l-a marcat pe John Constantin Brâncuşi Moore această filiaţie nerecunoscută?</strong><br> <strong>Ionuţ Teianu (<i>foto dreapta</i>):</strong> John e născut în 1934. În adolescenţă, mama, Vera Moore, i-a spus că tatăl său este Brâncuşi, dar că totul trebuie să rămână între ei, un secret de familie. El a crescut aşa, cu această interdicţie. Într-o zi, mama sa voia să iasă în oraş. „Te duc eu cu maşina", i-a spus John. A oprit maşina în faţa atelierului din rue Ronsin. Mama s-a dat jos, a bătut la uşă. Brâncuşi a deschis, era deja un om în vârstă. A fost prima oară când John şi-a văzut tatăl. S-au uitat unul la celălalt şi atât. Brâncuşi a dat să închidă uşa. În momentul acela, John a luat aparatul de lângă el şi i-a făcut o poză, în uşă. Ar fi un clişeu un pic neclar, în mişcare. John nu mai găseşte negativul acestei fotografii, dar îl caută încă. Nu am nicio îndoială că spune adevărul. Poate că până la urmă va şi regăsi această imagine neclară a lui Brâncuşi tatăl.</p> <p> <strong>Cum l-aţi cunoscut pe fiul lui Brâncuşi?</strong><br><b>I.T.: </b>L-am cunoscut pe John acum câţiva ani, în momentul în care el începea căutările în jurul tatălui şi al rădăcinilor sale. M-a fascinat să văd cum un om de aproape 80 de ani, fost fotograf timp de 30 de ani la „Crazy Horse" în Paris, vrea să-şi descopere tatăl – omul – din spatele artistului celebru.</p> <blockquote> <p> A fost prima oară când John şi-a văzut tatăl. S-au uitat unul la celălalt şi atât.</p> </blockquote> <div> <h4> Pe urmele lui Brâncuşi, după „Oameni şi melci"</h4> <p> <b>Ionuţ Teianu</b>, cineast român stabilit la Paris din 1991, este autor al documentarului „Afacerea Tănase: Leapşa pe murite" şi scenarist al filmului de ficţiune „Despre oameni şi melci". În 2016 va prezenta, în premieră, la TIFF, documentarul „În căutarea tatălui pierdut", despre John Constantin Brâncuşi Moore, fiul nerecunoscut al lui Brâncuşi.</p> </div> <div> <h4> O cunoscătoare îndeaproape a vieţii lui Brâncuşi</h4> <p> <b>Doina Lemny</b>, doctor în istoria artei, este muzeograf-cercetător la Muzeul naţional de artă modernă, Centrul Pompidou Paris. Co-curatoare a şapte expoziţii tematice la Atelierul Brâncuşi din 1998 în 2002, este autoare a mai multor volume : Brâncuşi, Paris, Oxus, 2005; Brâncuşi & Gaudier-Brzeska: points de convergence, Paris, L'Échoppe, 2009; Lizica Codréano, une danseuse roumaine dans l'avant-garde parisienne, Lyon, Fage, 2011; Brâncuşi, au-delà de toutes les frontières, Lyon, Fage, 2012; Brâncuşi, coll. „Monographies", Paris, éditions du Centre Pompidou, 2012; Henri Gaudier-Brzeska, „un sculpteur mort pour la France", Lyon, Fage, 2015.</p> </div> <p> <strong>Ne-am aştepta ca un fiu (nerecunoscut) al unei celebrităţi să vrea să fie în lumina reflectoarelor, să ceară o anumită recunoaştere legală, pentru a legitima o eventuală moştenire – măcar morală – a înrudirii directe, cu Brâncuşi în acest caz. Ce fel de personalitate are John Constantin Brâncuşi Moore, din această perspectivă?</strong><br><b>I.T.: </b>John a acceptat situaţia aceasta: de fiu nelegitim. Niciodată n-a fost interesat de bani, n-a făcut demersuri ca să-l moştenească, nici la moartea lui Brâncuşi, în 1957, nici la moartea Verei, mama sa, în 1997. Era totuşi un lucru dureros pentru el şi cred că durerea era atât de adâncă, încât nu voia nici s-o analizeze, nici s-o reactiveze. Numai că în „seara vieţii", cum se spune, a început să-l preocupe. A început să caute printre hârtiile mamei. A găsit foarte multe scrisori dintre Vera şi Brâncuşi. A găsit fotografii păstrate de Vera. Avea şi un „Prometeu", pe care Brâncuşi i-l dăduse mamei, înainte de a-l fabrica în bronz.</p> <p> Practic, John Constantin Brâncuşi Moore a început, după o viaţă de tăcere şi de acceptare a tainei, să umble, la bătrâneţe, pe urmele tatălui său: a fost la cimitirul din Montparnasse, la atelierul din faţa Centrului Pompidou, s-a dus în România. Am surprins în filmul pe care îl pregătesc un moment foarte emoţionant, la întâlnirea cu rudele de la Hobiţa: clipa în care John, împreună cu fiul său cel mic, care are acum 37 de ani, fără să vorbească limba, îşi dau seama că sunt din aceeaşi familie.</p> <p> <strong>În ce termeni o evocă el pe mama sa, Vera Moore, şi modul ei de a accepta, din iubire pentru Brâncuşi nerecunoaşterea filiaţiei?</strong><br><b>I.T.: </b>John nu-şi judecă nici mama, nici tatăl, dar nu-i înţelege. El vrea să-şi clarifice lui toată povestea, când nu se mai poate schimba nimic. John şi-a descoperit tatăl, ca om, cu toate contradicţiile sale. Cei doi băieţi ai săi, nepoţii lui Brâncuşi, se ţin un pic deoparte de toate acestea. Sunt interesaţi, îl ajută pe tatăl lor să meargă pe urmele bunicului ilustru, dar o fac de dragul lui John. Documentarul la care lucrez de trei ani va fi un film de lungmetraj, va avea 80 sau 90 de minute. Premiera va fi la TIFF, în 2016. Este totuşi emoţionant să vezi un om în vârstă, care nu vrea să apară în presă, preocupat să-şi afle rădăcinile şi mai ales să-şi înţeleagă tatăl, pentru că nu l-a recunoscut.</p> <h2> <strong>Un roman de iubire</strong></h2> <p> <img alt="" src="https://adevarul.ro/assets/adevarul.ro/MRImage/2015/09/05/55eae22cf5eaafab2c494761/627x0.jpg"><i>Femeile i-au pozat, au dansat pentru el, au acceptat să-i fie muze, secretare, amante, prietene, fantasme. Dar pentru Brâncuşi, „monahul" cu ochi de copil şi barbă gri (se identifica el însuşi cu Milarepa), fidelitatea faţă de o femeie nu intra în angajamentul lui de creaţie, în care libertatea rămâne o „coloană infinită". <b>„Bărbatul care şlefuieşte femeile", după cum l-a numit foarte devreme criticul Roger Devigne, în 1920</b>, va fi colecţionat trupuri ca să sublimeze forme. Ceva din imaginea unei prietene tinere, Florence Meyer, fiică a proprietarilor publicaţiei „Washington Post", pe care o vede ieşind din valuri, s-a prelins în unduirea strălucitoare şi senzuală a „Focii"; sau, invers, peste ovalul lui „Narcis", deja gata în atelier, s-au suprapus mai apoi sprâncenele unei vizitatoare, sofisticata Margit Pogany.</i></p> <p><i> Brâncuşi vedea în corespondenţa sa cu Marthe Lebhertz, din 1926, un roman de iubire. Îi număra şi clasa paginile şi se alinta iubitei, parafând povestea de dragoste dintre „Tonton şi Tantan" cu vigneta sărutului, semnătura lui de îndrăgostit. Scrisorile dintre Brâncuşi şi Marthe, fiica unui eleveţian, venită la Paris să ia cursuri de dans, au fost găsite în atelierul artistului şi se păstrează astăzi la Biblioteca Kandinsky de la Centrul Pompidou. Sculptorul îi scrie de la New York celei pe care o numea „blonda Isolda", pe 22 septembrie 1926: „Îţi scriu câteva cuvinte, dragă Tonton, din ţara poveştilor cu zâne. E atât de frumos şi de inedit încât nu poţi să-ţi închipui dacă nu vezi (…) şi cu toate astea sunt ca o stâncă în exil".</i></p> <p><i> Pitoresc, „arţăgos, ţâfnos, chiar răutăcios", cum îl descrie Eugen Ionescu, Brâncuşi nu va fi fost un amant comod, uşor de manipulat, uşor de păstrat. Brâncuşi o cunoaşte pe Vera Moore (<strong>foto sus</strong>) prin intermediul unui curator englez, Jim Ede. Pianista îi cere prietenului Jim o listă cu cunoştinţe din Paris pe care să le invite la concertele ei. Într-o zi, printre spectatori, s-a aşezat Brâncuşi. Iubirea lor matură şi secretă s-a întins pe decenii, din 1930, trecând prin război, până la moartea lui Brâncuşi, în 1957. Ca să-i nască fiul pe care Brâncuşi nu-l voia, Vera a fugit la Londra. <b>Fiul nedorit, John Constantin Brâncuşi Moore, păstrează şi astăzi în arhiva personală rânduri de jar</b>: „Mă simt ca în faţa primei Iubiri. Şi eu care mă credeam vindecat, pentru totdeauna", îi scrie Brâncuşi Verei şi semnează cu acelaşi magic şi epurat desen de îndrăgostit, efigia Sărutului. Dacă Marthe l-a iubit foarte mult, Vera l-a divinizat. Fiecare în parte şi împreună, toate celelalte femei l-au fantasmat. Puţine iubiri, multe himere. (Cristina Hermeziu). </i></p> </div> <h2><strong> Doina Lemny, </strong><strong>muzeograf-cercetător: </strong><strong>„Cea mai mare iubire a lui Brâncuşi a fost Vera Moore. Dar sculptorul nu şi-a dorit copii"</strong></h2> <p> <em>Doina Lemny, muzeograf-cercetător la Muzeul naţional de artă modernă Centrul Pompidou din Paris, autoare a mai multor cărţi, în franceză şi în română, despre viaţa sculptorului, vede cel mai bine ironia faptului că artistul care a ţinut să-şi controleze atât de mult, în timpul vieţii, propria imagine a reuşit să lase posterităţii, pe lângă opera sa, mai mult decât o legendă: o viaţă în plus. „Viaţa amoroasă a lui Brâncuşi e un fir înnodat peste tot şi care reflectă o anumită tristeţe: un artist atât de mare, care a iubit copiii, nu şi-a recunoscut propriul copil", comentează Doina Lemny.</em></p> <p> <em><img alt="" src="https://adevarul.ro/assets/adevarul.ro/MRImage/2015/09/05/55eae3d5f5eaafab2c49505d/646x404.jpg"><br> Doina Lemny, în Centrul Pompidou </em></p> <p> <strong>„Weekend Adevărul": Cât e mit şi cât e realitate din Brâncuşi – seducătorul, „l'homme à </strong>f<strong>emmes"?</strong><br> <strong>Doina Lemny:</strong> Era foarte seducător. Îl vedem în fotografii. O privire pătrunzătoare, o figură foarte simpatică şi atrăgătoare, cu trăsături ferme ce impuneau, dând staturii sale o alură de super erou. Femeile îşi închipuie în fantasmele lor că un sculptor e un bărbat înalt, cu barbă neagră… Brâncuşi era mic – un metru şaizeci– şi vânjos. Dar avea un farmec deosebit. Printr-un soi de mister pe care îl crea el însuşi în jurul său, el nu se dezvăluia, nu povestea prea multe din viaţa sa. Femeile îi făceau curte. Îi făceau curte şi pentru că îl plăceau şi bineînţeles pentru ceea ce reprezenta pe plan artistic. Oricine venea la atelier se gândea că putea avea un cadou. Dar Brâncuşi nu era chiar darnic, nu dădea decât câte o fotografie sau un desen pe ici, pe colo.</p> <p> <strong>Aţi cunoscut mai multe dintre „iubirile" lui Brâncuşi. Ce a rezistat în timp, pentru aceste femei frumoase şi celebre, aflate în ultima parte a vieţii, din acest mit al seducătorului?</strong><br><b>D.L.: </b>Am intervievat mai multe persoane pentru teza mea. Galeriste, personalităţi care au locuit în Impasse Ronsin, unde Brâncuşi îşi avea atelierul. Hanna Ben Dov, care a murit acum şase ani, m-a impresionat foarte mult. Era căsătorită cu Reginald Pollack, care a scris în 1988 articolul „Brâncuşi şaman sau showman", publicat în revista americană „Art and Antiques". O fidelă a atelierului Brâncuşi. Ea era foarte tânără. Brâncuşi o iubea, dar era o iubire paternă. În joacă, îi lăsa bileţele la uşă – „Te-a căutat un amant" – şi o striga cu un diminutiv românizat, „Annica". „Era frumos, îl iubeam… Înţelegeţi, asta n-avea nimic sexual, era o adoraţie", îmi mărturisea Hanna Ben Dov. Când şi-a dat seama lângă ce artist locuia, era atât de vrăjită de sculpturile lui, încât orice vedea pe malul unui râu erau capete de Brâncuşi, care i se păruseră întotdeauna şlefuite de natură, nu de mână de om.</p> <p> <strong>O privire de îndrăgostită, deci. Era totuşi Brâncuşi un Don Juan?</strong><br><b>D.L.: </b>Lui îi plăcea compania femeilor. Le făcea complimente şi le observa. Şi Hanna Ben Dov mi-a povestit acest aspect. Dar şi soţia lui Aristide Maillol, frumoasa rusoaică Dina Vierny, a devenit muza lui Brâncuşi. Dina Vierny mi-a mărturisit că îl iubea pe Brâncuşi. Eu voiam să ştiu cine mai venea, dacă mai erau şi alte femei. Dina mi-a povestit că Brâncuşi o primea singur: „Mă duceam la el pentru că simţeam nevoia să-mi împrospătez puţin privirea, să mă resursez. Mă aşeza pe canapea, îmi făcea o cafea, discutam de una, de alta, nu discutam despre Maillol. Dar în timp ce îmi beam cafeaua, îi simţeam privirea plimbându-se pe ceafa mea". Trebuie să spun că Dina Vierny purta o coadă împletită frumos, unduită pe ceafă, armonizându-se cu coloana vertebrală ca o linie mediană, bine accentuată în nudurile sculptate de Maillol. Alunecarea privirii pe ceafa elegantă a Dinei poate fi interpretată ca o aluzie sexuală, mai subtilă decât o atingere. Eu o întreb, spunând că totuşi Brâncuşi se mai lăuda cu diverse cuceriri. „Minţea", îmi spune Dina, „minţea adevărat…".</p> <p> <strong>Era o complicitate care nu e uşor de decodat…</strong><br><b>D.L.: </b>Hanna Ben Dov mi-a povestit despre cercul de apropiaţi care veneau în atelierul din Impasse Ronsin: „Pentru mine era disponibil întotdeauna. Când mă vedea pe mine se lumina, când îi vedea pe băieţi, pe bărbatu-meu – Pollack, îi lua la rost: că nu ştiau să transporte o piatră sau să despice un lemn". Era dur cu artiştii. Un exemplu îl aminteşte Hanna Ben Dov. Când soţul ei încerca să despice o buturugă, lovind cu putere, Brâncuşi îl opreşte şi-i spune dojenindu-l cu severitate: „Pollack, du-te şi caţără-te în copaci ca o maimuţă. Arta nu înseamnă să dai lovituri. Arta este contemplare".</p> <p> <img alt="" src="https://adevarul.ro/assets/adevarul.ro/MRImage/2015/09/05/55eae42ff5eaafab2c4951f8/646x404.jpg"><br> <em>Marthe Lebherz, Irina Codreanu, Brâncuşi şi Lizica Codreanu, Paris, 1926-1927</em> FOTOGRAFII „Brâncuşi, artistul care transgresează toate hotarele" - Doina Lemny</p> <p> Darthea Speyer a venit la Paris la sfârşitul anilor 1940. Făcea parte din acea generaţie de americance bogate care veneau să-şi facă galerii în capitala Franţei. Când am cunoscut-o avea peste 90 de ani, o apariţie ca-n filme: blondă, înaltă, cu ochi mari albaştri, puşi în evidenţă de un machiaj accentuat. Eu o întrebam pe cine aţi mai văzut în atelier la Brâncuşi, iar ea dădea ochii peste cap: „Brâncuşi mă primea în intimitate". Ea primise două desene de la Brâncuşi, le avea la galeria ei. <strong>Acestea n-au fost iubiri mari.</strong> În arhive avem nişte scrisorele ale unei româncuţe, nu ştiu dacă era studentă, n-am găsit niciun document în acest sens: Titina Bărbulescu. Avem desene de-ale ei. A locuit la atelier o perioadă: <strong>Brâncuşi va fi iubit-o cât a iubit-o şi apoi a dat-o afară, cum îi era obiceiul</strong>. Ea îi scrie după aceea: „Nu mi-ai răspuns". Brâncuşi nu prea răspundea la scrisori şi când zicea stop, pentru el era stop. El le prezenta pe fiecare drept verişoare, nepoate…</p> <h2> „Mitul Brâncuşi, în România: poet, filozof şi Don Juan"</h2> <p> <strong>I se atribuie o mare iubire cu Maria Tănase.</strong><br><b>D.L.: </b>Sunt… „broderii". În România, Brâncuşi nu e doar un „Don Juan", e şi „filozof ", e şi „poet": dacă te atingi de acest mit, e vai şi amar. Brâncuşi are o colecţie de discuri impresionantă, din toate ţările, cu muzica popoarelor, inclusiv muzică populară românească, constituită de etnomuzicologul Constantin Brăiloiu, care a colaborat la constituirea Arhivelor internaţionale de muzică populară din cadrul Muzeului de etnografie din Geneva. Maria Tănase a fost într-adevăr la atelier. Dar asta nu înseamnă că a fost o mare iubire. Prin Maria Tănase era mai curând vorba de nostalgia artistului pentru ţară. Din arhive şi mărturii, legături pasagere au mai fost: cea cu Romany Mary – americancă, originară din Oltenia. Legătura cu Peggy Guggenheim: sunt iarăşi „dantelării". Ea era căsătorită cu Max Ernst, iar de la Brâncuşi voia să obţină lucrări la un preţ mai mic. Ar fi zis într-o împrejurare: „Aş fi fost în stare să mă mărit cu el ca să obţin lucrări". Dar n-a fost nicio relaţie amoroasă.</p> <blockquote> <p> Maria Tănase a fost într-adevăr la atelier. Dar asta nu înseamnă că a fost o mare iubire. Prin Maria Tănase era mai curând vorba de nostalgia artistului pentru ţară.</p> </blockquote> <p> <strong>Iubirile trecătoare fac parte din personajul legendei Brâncuşi. Sculpturi celebre poartă nume de femei. Asta înseamnă neapărat că le-a iubit? </strong><br><b>D.L.: </b>Cu Pogany nu se ştie ce a fost în… capul lui. Sunt documente scoase la iveală de Sidney Geist, care mi-a relatat parcursul acestei prietenii. Pictoriţa Margit Pogany s-a instalat la Paris în 1910 şi a venit să viziteze atelierul, însoţită de o prietenă. Au văzut în atelier „Narcisul" lui Brâncuşi, în alabastru: capul mare şi ochii bulbucaţi. Iar prietena îi spune lui Margit Pogany: „Ai zice că eşti tu". Brâncuşi preia acest cap, cu ochii bulbucaţi, continuă să-l şlefuiască, dându-i o eleganţă feminină şi îi dă numele de „Domnişoara Pogany". Ochii tinerei artiste l-au impresionat fără doar şi poate. Se ştie că pe drumul de întoarcere din România, în 1914, el s-a oprit la Budapesta şi a căutat-o. Dar ea nu era acasă.</p> <p> <strong><img alt="" src="https://adevarul.ro/assets/adevarul.ro/MRImage/2015/09/05/55eae2a5f5eaafab2c494aa2/627x0.jpg">Pe cine a iubit cu adevărat Brâncuşi?</strong><br><b>D.L.: </b>Când avea 50 de ani, se îndrăgosteşte de o fată de 20. Amor mare, dar care s-a petrecut de la distanţă pentru că el pleacă în America să-şi pregătească expoziţia de la Brummer Gallery. În 1926 o cunoaşte, deci, pe Marthe (<em><strong>foto dreapta</strong></em>) şi o angajează ca secretară, să rămână stăpâna atelierului, să-i ţină evidenţa corespondenţei şi să se ocupe de treburile curente. Marthe era frumoasă, blondă, cu nişte cozi împletite, ca mocăniţele noastre. Pe această „Marthe" o regăsesc în corespondenţa lui Brâncuşi cu Marcel Duchamp, pe care o pregătesc pentru publicare. Duchamp îi scrie tot timpul „salutări Marthei". Marthe a sperat că ea şi Brâncuşi se vor căsători. În 1926, Brâncuşi cumpără un teren pentru o casă. Planurile lor s-au dus de râpă: Brâncuşi ar fi vrut să locuiască cu ea, nu neapărat să se însoare, deşi îi promitea la acea vreme. El era mai modern decât noi acum, voia o uniune liberă. Marthe s-a întors la Geneva, unde a şi murit, la 103 ani.</p> <p> În anii 1930, o altă iubire, matură, de lungă durată, l-a legat de Vera Moore pe care o cunoaşte după procesul cu vama americană, când Brâncuşi devenise celebru. Curatorul englez Jim Ede, care în 1925 a devenit muzeograf la Tate Gallery, îi face cunoştinţă cu pianista englezoaică Vera Moore. A fost până la sfârşitul vieţii o relaţie de suflet. Ea era ca o „soţie", foarte fidelă, secretară, făcea de toate, dar nu locuia la atelier. În ianuarie 1934 ea îl anunţă că e însărcinată. Brâncuşi a dat-o afară. Ea s-a întors la Londra, unde a născut, iar naşul acestui copil este însuşi Jim Ede. La naşterea băiatului, Brâncuşi îi trimite Verei două fotografii: într-una e, simbolic, o buturugă, un ciot de lemn care a înverzit; în cealaltă sunt fântânile arteziene de la Versailles.</p> <h2> „Brâncuşi, ca tată, era un subiect interzis"</h2> <div> <p><strong><img alt="" src="https://adevarul.ro/assets/adevarul.ro/MRImage/2015/09/05/55eae819f5eaafab2c496d54/627x0.jpg">În ce fel s-a purtat Brâncuşi cu unicul său copil?</strong><br><b>D.L.: </b>E ceva foarte dur şi trist. După ce a născut, Vera se întoarce în Franţa, în provincie. În timpul războiului, Brâncuşi îi trimite bani, ea îi croşetează şosete, face dulceţuri, se ajutau. După război, Vera continuă să vină la atelier, băiatul avea deja 18 ani. Tânărul John o conducea pe mama lui la atelier în maşină. Brâncuşi, la o vârstă avansată, nu mai lucra. Îşi petrecea timpul meditând într-un fel de aşteptare continuă. Găsindu-se în faţa porţii atelierului, o chema pe Vera, dar pe băiat îl ignora, nici măcar nu-l saluta. Atât l-a văzut. Eu i-am cunoscut pe Vera şi pe fiul lor. El mi-a spus: „Mama nu voia sub nicio formă să vorbim despre acest subiect". Brâncuşi, ca tată, era un subiect interzis. Ea a acceptat voinţa lui Brâncuşi. În actul de naştere al băiatului, făcut la Londra, scrie, la nume – „Moore", iar la prenume – „John Constantin Brâncuşi"; în dreptul mamei e trecută Vera Moore, iar în dreptul tatălui, nimic. Cea mai mare iubire a lui Brâncuşi a fost Vera Moore. Dar sculptorul nu şi-a dorit copii.</p><p> Mai mulţi artişti au avut această atitudine. Bunul său prieten Marcel Duchamp n-a recunoscut niciodată fetiţa pe care a avut-o cu primul său amor din tinereţe. A recunoscut-o, într-un fel: juca şah cu soţul fetei lui, ştia perfect cine este, dar nu se discuta niciodată despre legătura de înrudire. Drept dovadă, moştenitorii lui Duchamp sunt Matisse Monnier, moştenitori proveniţi din înrudiri ulterioare. Artistul este în general foarte egocentric. Brâncuşi adora copiii, dar probabil că în sinea sa considera că existenţa unui copil l-ar fi angajat. Brâncuşi a iubit femeile, dar n-a acceptat niciodată să se angajeze legal faţă de o femeie.</p></div> <blockquote> <p> A ţinut să-şi sfârşească zilele singur printre copiii lui – operele care au pus baza sculpturii moderne, singurele demne de a-l însoţi în eternitate. </p> </blockquote> <div> <p><strong>Între atâtea iubiri, cine a rămas lângă el la bătrâneţe?</strong><br><b>D.L.: </b>A rămas Vera şi au rămas Alexandru Istrati şi Natalia Dumitrescu, care prin testament au devenit legatarii săi. El îi considera ca pe oamenii care trebuiau să-l ajute la bătrâneţe. Alexandru îi căra pietre, Natalia îi făcea când şi când menajul. Dora Vallier, istoric de artă de origine bulgară, l-a intervievat spre sfârşitul vieţii pentru constituirea unui număr special al revistei „Cahiers d'art", conduse de Christian Zervos. Impresionată de ambianţa de la atelier, Dora Vallier face un portret realist al batrânului artist care-şi aştepta sfârşitul într-o atmosferă stătută, neprimitoare.</p><p> În ultima parte a vieţii a existat o femeie care a vrut să devină consoarta lui: Valentine Hugo. Ea a fost soţia lui Jean Hugo, nepot al poetului Victor Hugo, ambii au făcut parte din grupul avangardiştilor. Valentine a pictat şi ea, a fost amanta lui Erik Satie. După toată viaţa ei aventuroasă, pe la sfârşitul vieţii a ajuns muritoare de foame. A aterizat la atelierul sculptorului, dar Brâncuşi era mai inteligent decât toţi şi decât toate. A ţinut să-şi sfârşească zilele singur printre copiii lui – operele care au pus baza sculpturii moderne, singurele demne de a-l însoţi în eternitate. </p></div> </div></div></div> </div> <div> </div> <div></div> </div></div></div> peromanestehttp://www.blogger.com/profile/18138498600151502565noreply@blogger.com0tag:blogger.com,1999:blog-11047330.post-54015585870800374022021-03-12T18:44:00.001+02:002021-03-12T18:44:58.850+02:00Andrei Serban:<div><br /></div><h1 itemprop="name headline" style="box-sizing: border-box; color: #404040; font-family: Georgia, "Times New Roman", Times, serif; font-size: 30px; line-height: 1.2381em; margin: 0px; padding-bottom: 0px; padding-top: 0px;">Suntem nişte pitici pe umerii uriaşilor</h1><blockquote style="border: none; margin: 0px 0px 0px 40px; padding: 0px; text-align: left;"></blockquote><br /><br /><span style="font-size: large;">Nu ştim ce se întâmplă cu noi dar exact asta se întâmplă: omul de azi începe să fie dezorientat în relaţie cu sine însuşi, se află în afara ţării sale, aruncat în circumstanţe noi care sunt ca o terra incognita. (Ortega y Gasset<a href="https://agenda.liternet.ro/articol/25230/Andrei-Serban/Suntem-niste-pitici-pe-umerii-uriasilor.html#_edn1">[i]</a>, 1926)<br /><br /><br />Doream de mult timp să scriu despre "misterul Shakespeare" şi despre înţelepciunea spirituală care străbate fiecare dintre piesele sale, sperând să înţeleg impactul subtil, de natură ezoterică, pe care îl transmit. De exemplu, de când am montat Lear-ul feminin, mă tot întreb dacă moartea Regelui la final se datorează bucuriei care l-a cuprins crezând-o pe Cordelia încă vie, şi astfel moare delirând, dar împăcat, sau Cordelia pe care el o vede chiar e vie, dar nu cu viaţa de aici, ci cu cea de dincolo, de după moarte.<br /><br />Nici nu am început să scriu, că breaking news mi-a "explodat" gândul -- voci agresive cer vehement ca Bardul să fie interzis din motive pe care mă abţin să le înşir aici. Ştirea a provocat la început râsete, ca un banc absurd de prost, dar lipsa de umor a agresorilor a stârnit totuşi uimire şi şoc. Unii mi-au sugerat să iau atitudine. Evident am refuzat. Ce penibil ar fi. Cel mai mare scriitor care a existat vreodată pe planeta noastră să aibă azi nevoie să fie apărat contra celor care îl contestă?! E nevoie de reflecţie despre cum s-a ajuns aici. O interpretare ar fi: teama de adevărata valoare, frica de cuvinte precum geniu, autoritate (interzise deja de cancel culture) sunt la baza acestui nou război cultural.<br /><br />Bernard de Chartres, un umanist şi filosof medieval, şeful celebrei Şcoli de la Chartres, care a încercat să împace gândirea lui Platon cu cea a lui Aristotel, spunea în secolul al XXII-lea, referitor la filosofia, arta şi literatura antică: "Suntem nişte pitici pe umerii unor uriaşi". Afirmaţie care şochează mai ales azi.<br /><br />Într-un fel văd de ce acum ideea de "mari genii" încurajează ura şi respingerea. Îi face pe aceşti creatori inaccesibili, reci, lipsiţi de suflet, îi transformă în statui care intimidează, cu care noi, muritorii de rând nu găsim nimic în comun. O atitudine mai justă faţă de arta şi gândirea trecutului ar fi să nu-i punem pe aceşti uriaşi pe soclu (unde, trist adevăr, i-am avut recent pe Lenin şi Stalin), ci să le recunoaştem umanitatea. Au fost oameni ca şi noi, dar care şi-au folosit inteligenţa, talentul şi măiestria ca să ne ajute să înţelegem de unde venim şi de ce suntem aici. În loc de uriaşi, ar merita să-i privim ca pe nişte prieteni mai înţelepţi şi astfel să ne apropiem de ei fără teamă. Dar asta în contextul actual nu pare posibil.<br /><br />Shakespeare nu a fost singur - în jurul lui erau şi alţi tineri scriitori, artişti foarte talentaţi. Învăţau unul de la altul, erau animaţi de un spirit de competiţie sănătoasă şi în această atmosferă a ajuns el să strălucească.<br /><br />E bine să ne amintim că Shakespeare a mai fost ameninţat să fie "anulat", că au mai existat "cancel cultures" înainte. De exemplu în secolele XVII-XVIII piesele lui se jucau foarte rar şi erau modificate ca să fie acceptate. Printre altele, finalul se cerea să fie optimist, roz (de exemplu, Cordelia se mărita în loc să moară, etc...)<br /><br />Recent până şi Eschil a fost interzis într-un colegiu din Anglia. Cine mai vine la rând?! Shakespeare, prin Prospero, afirmă că prin alchimia artei plumbul se transformă în aur. Ce afirmă brigăzile demolatoare ale zilei e că nu mai avem nevoie nici de alchimie, nici de uriaşi, nici de Shakespeare, Eschil, Platon sau Aristotel?! Cu alte cuvinte, dacă avem reţelele de socializare nu mai avem nevoie de nimic altceva?!<br /><br /><br />***<br /><br />Deşi multe generaţii s-au străduit să-i arunce la coşul de gunoi pe "uriaşi", ei au fost puternici şi au rezistat. Astfel de furtuni vin şi trec, e normal, epocile sunt diferite, există valori stabile si implicit tentaţia de a le distruge.<br /><br />Ştim că primii creştini spărgeau penisul zeilor şi sânii zeiţelor de pe statuile greceşti pe care le admirăm azi în marile muzee. Dar avem mărturii că deşi asemenea mişcări brutale în trecut au fost multe, putem să avem încredere că valorile nu dispar.<br /><br />Sfântul Augustin se ruga: "Ajută-mă să mă cunosc pe mine însumi şi o să te cunosc pe Tine". Să căutăm să ne cunoaştem cere un efort prea mare, de care singuri nu suntem capabili, deci avem nevoie de ajutor. Sfântul Augustin îl cerea de la Dumnezeu. Dar pentru cei care nu suntem sfinţi, una dintre sursele la care putem apela este tezaurul pe care înţelepciunea spirituală a artei şi a culturii ne-o oferă. Avem ocazii numeroase să ne uităm la modele, să privim în sus spre uriaşi, în loc să-i demolăm şi să-i anulăm pentru simplul motiv că nu suportăm ca alţii să fie mai mari ca noi.<br /><br /><br />***<br /><br />Nu ştim ce se întâmplă cu noi dar exact asta se întâmplă...<br /><br />Da, nici până azi, sau mai ales azi, tot nu ştim ce se întâmplă cu noi, în ciuda tehnologiei avansate, în ciuda bombardamentului informaţional continuu în mijlocul căruia trăim. În această gălăgie neîntreruptă (altă cale n-avem decât să facem gălăgie) de fiecare dată când mă aşez să scriu mă întreb de ce să contribui la ceea ce mă plâng că ne agresează? Când internetul explodează de opinii pe care oricine, calificat sau nu, se simte liber să le exprime, are rost să mai scriu? Ce bine mi-ar prinde puţină linişte, cum înţelept sugera Blaise Pascal!<br /><br />Lucrurile trebuie văzute de sus, cu calm, (îmi spun) nu e bine sa mă cobor pe câmpul de luptă! De ce nu scriu doar pentru mine, un jurnal intim, în care aş putea să consemnez tot ce vreau, fără să-mi pese de reacţii nocive şi care să nu fie publicat decât postum?! Sau poate ar fi de preferat să scriu doar pentru ceruri?!<br /><br />Ei bine, nu! Nevoia de a fi împreună cu alţii prin scris, dacă nu voi mai putea lucra în teatru, mă împinge mereu în căutare de repere, dornic să le comunic oricui e interesat.<br /><br />Privind din perspectivă istorică, nimic nu e nou sub soare: alte generaţii, în alt decor, reciclează aceleaşi experienţe, iar şi iar. Tindem să credem că mai rău nu a fost niciodată, dar descoperim că totul e relativ.<br /><br />Când citesc, de exemplu, uluitoarele Povestiri din Kolâma ale lui Şalamov, sunt adânc tulburat şi zguduit de molima numită bestialitatea umană, de puterea de a îndura, cât şi de limitele suferinţei; şi atunci realizez ce nemaipomenită şansă am eu să trăiesc acum, chiar dacă în pandemie!<br /><br /><br />***<br /><br />Atitudini care denotă barbarie nu sunt noi. Ortega y Gasset scria că "... sub fascism a apărut pentru prima oară o tipologie de oameni care nu vor să demonstreze că au dreptate, ci pur şi simplu îşi impun opiniile." E o descriere exactă a momentului prezent.<br /><br />Odată cu creşterea recentă a populismului şi tribalismului în America, mulţimile (sau mai bine zis gloatele) apar din ce în ce mai iraţionale. Fiecare tabără vrea un fel de dictatură a propriei ideologii, fie sub un lider puternic pe care să-l aduleze, fie sub unul pe care să-l poate controla.<br /><br />Acum 125 de ani, Gustave Le Bon<a href="https://agenda.liternet.ro/articol/25230/Andrei-Serban/Suntem-niste-pitici-pe-umerii-uriasilor.html#_edn2">[ii]</a> scria: "În ciuda progreselor, filosofia nu a putut să ofere gloatelor nici un ideal care să-i farmece, dar, cum masele au nevoie de iluzii cu orice preţ, ele se întorc instinctiv, ca insectele în căutarea luminii, către oratori care le oferă ce îşi doresc. Nu adevărul, ci eroarea a fost întotdeauna factorul principal în evoluţia naţiunilor.... Viitorul aparţine iluziei sociale, înscăunată pe grămezi de ruine ale trecutului. Gloatele nu au fost niciodată însetate de adevăr. Ele întorc spatele evidenţei, care nu e pe gustul lor, şi preferă să adore eroarea, dacă eroarea le seduce. Oricine le poate procura iluzii devine uşor liderul lor. Oricine încearcă să le distrugă iluziile e întotdeauna victima lor".<br /><br />Reperele sunt numeroase, dar pentru moment mă opresc aici, întrebându-mă: nu e totuşi preferabil să acceptăm să fim pe umerii adevăraţilor uriaşi decât să fim târâţi în noroi, la picioarele unor idoli falşi?<br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7jkNNX01cMoxjfefnlAbragT2O8nhTvkzSZKFSSHH6wuPzk7KKfnuVCmXI3vj0HO2d4N5w2RJq4xfQa9KLJu6xUrSHZVdS6Myx2_a2I9rfp09fugeaYm6qTEslwvcOKwrxW8U/"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7jkNNX01cMoxjfefnlAbragT2O8nhTvkzSZKFSSHH6wuPzk7KKfnuVCmXI3vj0HO2d4N5w2RJq4xfQa9KLJu6xUrSHZVdS6Myx2_a2I9rfp09fugeaYm6qTEslwvcOKwrxW8U/s16000/image.png" /></a><br /><br /><br />William Shakespeare Memorial at Southwark Cathedral. The stained glass shows characters from Shakespeare's work, while below he is reclining with a quill. Southwark Cathedral is the oldest cathedral church building in London.<br /><br />Liternet, Ianuarie 2021<br /><br /></span><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /> smaranda dobrescuhttp://www.blogger.com/profile/07884621658494272587noreply@blogger.com0tag:blogger.com,1999:blog-11047330.post-67471405786220145612021-02-22T18:47:00.000+02:002021-02-22T18:47:27.382+02:00Pastila de inima: Fotografii vechi<h3 style="text-align: left;"><b><span style="font-family: arial;"> </span></b></h3><h3 style="text-align: left;"><b><span style="font-family: arial;"><br /></span></b></h3><h3 style="text-align: left;"><span><span style="font-family: arial;">Franturi</span><br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJ7ZNQyMJxyD_QH5glRGTwJRLW2PesmrKSqiEHoV-pXNAV2pbjHXLQBsUcT8mevC3iw-D69Y8cOLaVCwRg5e0s31ddjmVeEGWNQ3KV6Fvk0AyRYCS_K23hU0dWzoXNRGqyWgCX/" style="font-family: arial; font-weight: bold; margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="960" data-original-width="768" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJ7ZNQyMJxyD_QH5glRGTwJRLW2PesmrKSqiEHoV-pXNAV2pbjHXLQBsUcT8mevC3iw-D69Y8cOLaVCwRg5e0s31ddjmVeEGWNQ3KV6Fvk0AyRYCS_K23hU0dWzoXNRGqyWgCX/w512-h640/image.png" width="512" /></a><br /><br /><br /><br /><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both; text-align: center;"><div style="font-family: arial; font-weight: bold; text-align: left;"><span class="nobr" style="background-color: white; box-sizing: border-box; color: #404040; font-family: Verdana, Arial, sans-serif; font-size: 16px; font-weight: 300; text-align: justify; white-space: nowrap;">M-am</span><span style="background-color: white; color: #404040; font-family: Verdana, Arial, sans-serif; font-size: 16px; font-weight: 300; text-align: justify;"> speriat că încep să te uit</span></div><span style="background-color: white; color: #404040; font-family: Verdana, Arial, sans-serif; font-size: 16px; font-weight: 300; text-align: justify;"><div style="text-align: left;">Sunt zile şi ore în care gândul îmi rămâne pironit</div></span><span style="background-color: white; color: #404040; font-family: Verdana, Arial, sans-serif; font-size: 16px; font-weight: 300; text-align: justify;"><div style="text-align: left;">În câte un loc străin</div></span><span style="background-color: white; color: #404040; font-family: Verdana, Arial, sans-serif; font-size: 16px; font-weight: 300; text-align: justify;"><div style="text-align: left;">sau captiv în preocupări neînsemnate</div></span><div style="text-align: left;"><span style="color: #404040; font-family: Verdana, Arial, sans-serif; font-size: 16px; font-weight: 300;"><br /></span></div><span class="nobr" style="background-color: white; box-sizing: border-box; color: #404040; font-family: Verdana, Arial, sans-serif; font-size: 16px; font-weight: 300; text-align: justify; white-space: nowrap;"><div style="text-align: left;"><span class="nobr" style="box-sizing: border-box;">M-am</span> uitat zile în şir la fotografii vechi cu necunoscuţi</div></span><span style="background-color: white; color: #404040; font-family: Verdana, Arial, sans-serif; font-size: 16px; font-weight: 300; text-align: justify;"><div style="text-align: left;">Am încercat să îmi imaginez vieţile lor</div></span><span style="background-color: white; color: #404040; font-family: Verdana, Arial, sans-serif; font-size: 16px; font-weight: 300; text-align: justify;"><div style="text-align: left;">Să le desluşesc numele</div></span><span style="background-color: white; color: #404040; font-family: Verdana, Arial, sans-serif; font-size: 16px; font-weight: 300; text-align: justify;"><div style="text-align: left;">Unele impresii fulgurante îmi inspirau scene sumbre,</div></span><span style="background-color: white; color: #404040; font-family: Verdana, Arial, sans-serif; font-size: 16px; font-weight: 300; text-align: justify;"><div style="text-align: left;">deznădejde, durere</div></span><div style="text-align: left;"><span style="color: #404040; font-family: Verdana, Arial, sans-serif; font-size: 16px; font-weight: 300;"><br /></span></div><span class="nobr" style="background-color: white; box-sizing: border-box; color: #404040; font-family: Verdana, Arial, sans-serif; font-size: 16px; font-weight: 300; text-align: justify; white-space: nowrap;"><div style="text-align: left;"><span class="nobr" style="box-sizing: border-box;">M-am</span> speriat că <span class="nobr" style="box-sizing: border-box;">ţi-aş</span> putea uita mirosul</div></span><span style="background-color: white; color: #404040; font-family: Verdana, Arial, sans-serif; font-size: 16px; font-weight: 300; text-align: justify;"><div style="text-align: left;">Sau că o ceaţă deasă ar începe să te înfulece</div></span><span style="background-color: white; color: #404040; font-family: Verdana, Arial, sans-serif; font-size: 16px; font-weight: 300; text-align: justify;"><div style="text-align: left;">că aş putea să te pierd şi din amintire</div></span><div style="text-align: left;"><span style="color: #404040; font-family: Verdana, Arial, sans-serif; font-size: 16px; font-weight: 300;"><br /></span></div><span style="background-color: white; color: #404040; font-family: Verdana, Arial, sans-serif; font-size: 16px; font-weight: 300; text-align: justify;"><div style="text-align: left;">Vor rămâne fotografiile</div></span><span style="background-color: white; color: #404040; font-family: Verdana, Arial, sans-serif; font-size: 16px; font-weight: 300; text-align: justify;"><div style="text-align: left;">Dar poate voi ajunge amnezică</div></span><span style="background-color: white; color: #404040; font-family: Verdana, Arial, sans-serif; font-size: 16px; font-weight: 300; text-align: justify;"><div style="text-align: left;">Şi le voi privi ca pe oricare altele îngălbenite de vreme</div></span><div style="text-align: left;"><span style="color: #404040; font-family: Verdana, Arial, sans-serif; font-size: 16px; font-weight: 300;"><br /></span></div><span style="background-color: white; color: #404040; font-family: Verdana, Arial, sans-serif; font-size: 16px; font-weight: 300; text-align: justify;"><div style="text-align: left;">Poate întâmplarea va face să le revăd <span class="nobr" style="box-sizing: border-box; white-space: nowrap;">într-o</span> altă viaţă</div></span><span style="background-color: white; color: #404040; font-family: Verdana, Arial, sans-serif; font-size: 16px; font-weight: 300; text-align: justify;"><div style="text-align: left;">Oare voi ghici în ele gustul plimbărilor noastre nocturne?</div></span><span style="background-color: white; color: #404040; font-family: Verdana, Arial, sans-serif; font-size: 16px; font-weight: 300; text-align: justify;"><div style="text-align: left;">Anii grei de aşteptare?</div></span><span style="background-color: white; color: #404040; font-family: Verdana, Arial, sans-serif; font-size: 16px; font-weight: 300; text-align: justify;"><div style="text-align: left;">Îmi va veni pe buze</div></span><span style="background-color: white; color: #404040; font-family: Verdana, Arial, sans-serif; font-size: 16px; font-weight: 300; text-align: justify;"><div style="text-align: left;">Numele tău străin, pe care <span class="nobr" style="box-sizing: border-box; white-space: nowrap;">nu-ţi</span> venea să îl divulgi?</div></span><span style="background-color: white; color: #404040; font-family: Verdana, Arial, sans-serif; font-size: 16px; font-weight: 300; text-align: justify;"><div style="text-align: left;">Iubirea ta pentru străina care am fost?</div></span><span style="background-color: white; color: #404040; font-family: Verdana, Arial, sans-serif; font-size: 16px; font-weight: 300; text-align: justify;"><div style="text-align: left;">Drumul lung al sufletelor noastre</div></span><span style="background-color: white; color: #404040; font-family: Verdana, Arial, sans-serif; font-size: 16px; font-weight: 300; text-align: justify;"><div style="text-align: left;">Prin nămolul vieţii netrăite</div></span><span style="background-color: white; color: #404040; font-family: Verdana, Arial, sans-serif; font-size: 16px; font-weight: 300; text-align: justify;"><div style="text-align: left;">Către nu se ştie ce?</div></span></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div></div><div style="text-align: left;"><br /></div><br /></div><br /><br /></div><br /><br /></span></h3>smaranda dobrescuhttp://www.blogger.com/profile/07884621658494272587noreply@blogger.com0tag:blogger.com,1999:blog-11047330.post-18989930782384907822021-01-24T02:53:00.000+02:002021-01-24T02:54:35.897+02:00The Breakaway: Goodbye Europe<div dir="ltr"><div class="gmail_default" style="font-family:georgia,serif"><p class="gmail-has-dropcap" style="box-sizing:border-box;outline:none;margin:0px 0px 24px;padding:0px;border:0px;font-variant-east-asian:inherit;font-stretch:inherit;font-size:20px;line-height:inherit;font-family:Quadraat,TimesNewRoman,"Times New Roman",Times,Baskerville,Georgia,serif;vertical-align:baseline;color:rgb(73,71,70);background-color:rgb(250,250,247);font-variant-numeric:oldstyle-nums"><span class="gmail-dropcaps gmail-dropcap--i" style="box-sizing:border-box;outline:none;margin:0px 12px 0px 0px;padding:28px 8px 20px 0px;border:0px;font-style:inherit;font-variant-ligatures:inherit;font-variant-caps:inherit;font-variant-east-asian:inherit;font-weight:inherit;font-stretch:inherit;font-size:101px;line-height:42px;font-family:inherit;vertical-align:baseline;display:inline-block;float:left;letter-spacing:-2px;height:60px;font-variant-numeric:oldstyle-nums"></span></p><div class="gmail-top-anchor"></div> <div id="gmail-toolbar" class="gmail-toolbar-container"> </div><div class="gmail-container" dir="ltr"> <div class="gmail-header gmail-reader-header gmail-reader-show-element"><br> <div class="gmail-credits gmail-reader-credits">Perry Anderson</div> <div class="gmail-meta-data"> <div class="gmail-reader-estimated-time" dir="ltr">63-80 minutes</div> </div> </div> <hr> <div class="gmail-content"> <div class="gmail-moz-reader-content gmail-reader-show-element"><div id="gmail-readability-page-1" class="gmail-page"><div><p>It is now a year since Britain left the EU, and less than a month since the terms of its separation were sealed, on Christmas Eve. What explains its departure from the Union half a century after joining it, and what light does this cast on the future of Europe itself? An answer to either of these questions requires a longer view than the vote on Brexit and the brief period since. In 1950, convinced of the superiority of its own economy and the strength of its ties with the US, the UK showed scant interest in the Schuman Plan, and little more in the preparations for the Treaty of Rome at Messina five years later. The future of the world, so it believed, lay in Anglo-American hegemony. It was not until after the shock of American desertion at Suez and the re-election in 1959 of a Conservative government under Harold Macmillan that this stance changed. By 1960, the poor performance of the British economy compared with those of the six countries that had created the European Economic Community (EEC) was plain and, strongly encouraged by the Kennedy administration in Washington, which saw Britain as a useful bridgehead into the Community, Macmillan applied for membership in 1962. Explaining that Britain would be little better than a Trojan horse for American domination of Europe, de Gaulle vetoed the application in January 1963.</p><p>The following year, Labour came to power in London. Before his death, Hugh Gaitskell had rallied the party to vigorous opposition to British entry into the EEC, arguing that it would mean the end of a thousand years as an independent nation. Harold Wilson could not make a speedy break with this position, but by 1967 British economic decline was so pronounced that he was able to renew an application for events with all-party support, in a motion carried in the Commons by 487 to 26 votes – a high-water mark of enthusiasm for Europe. No dice: six months later de Gaulle reissued his <em>fin de non recevoir</em>. It would take two events to alter the situation. In the summer of 1969, de Gaulle was succeeded by his prime minister, Georges Pompidou, who had played no role in the Resistance and made a postwar career in Rothschilds before rising through the ranks of the Gaullist administration. A year later, Edward Heath succeeded Wilson, heading a Conservative government in a time of decolonisation. Unlike any other British prime minister of the postwar epoch, Heath was overwhelmingly oriented to Europe, where he had fought during the Second World War, rather than to America. It did not, on the other hand, take him long to hit it off with Pompidou, who did not share Gaullist reservations about the US, to which he paid an official visit in 1970.</p><p>Pressing Britain's application for entry to the Common Market as soon as he was in Downing Street, Heath took eighteen months to negotiate terms that were satisfactory to him and to Pompidou, a period probably extended by the need for Ireland and Denmark to do the same (Norway having opted out). The arithmetic in the Commons was not unfavourable. The Tories had 330 MPs to 288 Labour, six Liberals and six others. But although at least forty Conservative MPs were against joining the EEC, 69 Labour MPs led by Roy Jenkins were in favour. There was thus never any real risk of the government being defeated on the issue. When the decisive third reading of the European Communities Bill came in July 1972, it passed by 301 to 284 votes. Britain had finally made it into Europe. But there was a substantial catch. While still in opposition, Heath had promised that he would not take the country into the EEC without 'the full-hearted consent' of the Parliament and people of Britain. That was never tested. He flatly rejected any question of a referendum to ascertain the popular will, though there was little risk of him losing one. More important, the government systematically avoided the fact that its terms of entry instituted the supremacy of European law over British law – that they meant, in short, a derogation of national sovereignty. Not a single minister candidly admitted what the documents they were urging into law meant constitutionally. For Heath, Europe would be a substitute for empire, and that was sufficient; likewise his colleagues. As the journalist Hugo Young put it, 'the deep, existential <em>meaning</em>, for Britain, of getting into "Europe" was not considered.' No serious thought was given to the implications of accession. In his judgment, 'ministers did not lie, but they avoided telling the full truth,' leaving subsequent Conservatives to feel that 'British entry was originally approved on false, even fraudulent pretences.' To get the country into the Common Market, the government opted for obfuscation rather than openness.</p><p>From the opposition benches, Wilson had been obliged to denounce the treaty, while ensuring that Jenkins and others suffered no penalty for ensuring its passage. Restored to government in 1974, Labour went through the motions of renegotiating the terms Heath had secured from Pompidou, then staging a referendum on the revision. Wilson allowed his ministers to take whatever side they preferred in the ensuing campaign, in which Tony Benn from Labour and Enoch Powell from the opposition – he had by then left the Tories and joined the Ulster Unionists – campaigned for a No vote. In June 1975, on a turnout of 64 per cent, two-thirds of those who voted – 67 per cent – approved the deal Wilson had obtained. British membership of the Common Market looked rock solid. When Thatcher took over four years later, and promptly abolished exchange controls, releasing the City for further European deals, it strengthened again. By the mid-1980s, the British economy was outperforming its counterparts on the Continent, even as the long general downturn of the period cut growth rates across the world capitalist economy. In confident mood, Thatcher recovered two-thirds of the UK's (disproportionately high) net contribution to the EEC budget, before helping to propel the next major stage of market integration – the Single European Act of 1987 under the president of the European Commission, Jacques Delors – from which she expected British financial services in particular to benefit.</p><p>It was not long before any such linear prospect was in trouble. At the Treasury, Nigel Lawson had pressed for British entry into the Community's Exchange Rate Mechanism (ERM) in 1985, and when Thatcher vetoed this, shadowed it nonetheless. By 1989 the economy – pumped up by Lawson to secure Thatcher's third electoral victory in 1987 – was visibly overheating, with a record balance of payments deficit, rising inflation and higher interest rates. For her part, Thatcher, sensing the direction in which Delors was heading with his committee on monetary union, dug in her heels over demands from her colleagues that she follow Brussels and Frankfurt, which were visibly gearing up for a single currency. By the end of 1989 Lawson was gone, and within a year Thatcher had followed him, toppled by her deputy, Geoffrey Howe, on account of her growing hostility to the Community. She was still strong enough to ensure that her favoured successor, John Major, took over, but it soon became clear that he had no more intention than Lawson or Howe of hewing to her vision of Europe. With scarcely over a year in office behind him, Major signed the Treaty of Maastricht, after negotiating an opt-out from the single currency. On his return to London, the government press release crowed that the upshot of the conference in the Netherlands was 'game, set and match' to Britain.</p><p>In the wake of this ostensible triumph, Major called an election in April 1992 and won it easily. Less than two months later, the Danes voted on the package their government had brought back from Maastricht, and rejected it. The Danish revolt sparked a British one, with dissident Tories and Liberal Democrats demanding a referendum on the treaty, the <em>Telegraph</em>, <em>Sun</em> and <em>Spectator</em> backing them, and polls showing public support for one. From the wings, Thatcher had become an increasingly vocal critic of Brussels. Just at this point, British membership of the ERM – which the country had entered in 1990 at too high an exchange rate – collapsed, destroying the credibility of the government. Limping through successive divisions over Maastricht without ever recovering politically, Major finally got ratification through in May 1993, a couple of days after the Danes were forced into holding a second referendum. At the Treasury, Kenneth Clarke presided over a return to growth, but it was of no electoral avail. The Conservatives were comprehensively thrashed in the elections of May 1997, leaving Tony Blair with the largest Commons majority of any government since 1945.</p><p>Dramatic though the overthrow of Major proved to be, it did not substantially alter the position of Britain in Europe. Once he was gone, however, the Euroscepticism he had just managed to keep in check broke loose, electing three Conservative leaders in succession – Hague, Duncan Smith and Howard – who were sworn opponents of Maastricht, none with any hope of winning an election. In government, Blair's initial doubts about the single currency, prompted by the hostility to the euro of the Murdoch press that had helped elect him, soon faded. But Gordon Brown's firm refusal to abandon sterling, made from his position of strength at the Exchequer, maintained the status quo bequeathed by Major. London would sign up to the Social Chapter that Major had sidestepped, but despite increasingly frantic pressure from Blair, the UK would respect the rest of the package negotiated at Maastricht, retaining its opt-out from the single currency. Brown was emboldened in this course by the continuing success, as it appeared, of Britain's splendid isolation from the Eurozone. Here is Blair, addressing the Labour Party Conference at Brighton as prime minister in 1997:</p><blockquote><p>We are one of the great innovative peoples. From the Magna Carta to the first Parliament to the industrial revolution to an empire that covered the world, most of the great inventions of modern times have Britain stamped on them: the telephone; the television; the computer; penicillin; the hovercraft; radar. Change is in the blood and bones of the British – we are by our nature and tradition innovators, adventurers, pioneers. As our great poet of renewal and recovery, John Milton, put it, we are 'a nation not slow or dull, but of quick, ingenious and piercing spirit, acute to invent, subtle and sinewy to discourse, not beneath the reach of any point that human capacity can soar to'. Even today, we lead the world in design, pharmaceuticals, financial services, telecommunications. We have the world's first language. Britain today is an exciting, inspiring place to be.</p></blockquote><p>Captivated by the 'rare brilliance' of Blair's speech to the National Assembly in Paris the following year, and the 'effortless aplomb' of his handling of questions about Europe, Young saluted his skill in leading the country out of the 'darkness' of the past, even if he was 'not yet ready to name the day or the hour when the old world would end'. In the view of the real architect at Maastricht, the Dutch prime minister Ruud Lubbers, the pro-European British elite had been unable to represent the realities of integration to their compatriots. 'It was if as the makers did not dare to tell the truth.' Blair was braver, Young believed: it was plainly his intention to call a referendum on British entry into the Economic and Monetary Union (EMU) before it came into effect in January 2002. He was 'unlikely to miss his opportunity to reposition the national mind' on Europe: 'now there was a prime minister prepared to align the island with the natural hinterland beyond.'</p><p>No such luck. Young, starstruck by Blair in 1997, was cruelly disappointed by the time of his death in autumn 2003, when the consequences not only of the war on Iraq, against which he had warned, but of the rift between Blair and Brown on Europe, were already plain.<a>1</a> Blair lacked the courage to tackle the issue until he had won re-election in 2001, when he began pressing for entry to the EMU. Brown, however, master of the briefs the Treasury had produced for him, dug his heels in, and when the two clashed head-on in spring 2003 had no difficulty prevailing. Britain was star performer in the G8, with no reason to truckle to the wishes of others. In the autumn, Brown told the party that</p><blockquote><p>While America and Japan have been in recession – while half of Europe is still in recession, Britain with a Labour government pursuing Labour policies has achieved economic growth in every year, indeed in every quarter of every year, for the whole six and a half years of this Labour government ... Britain can be more than a bridge between Europe and America: our British values – what we say and do marrying enterprise and fairness, and about public services and the need to relieve poverty – can and should in time make Britain a model, a beacon for Europe, America and the rest of the world.</p></blockquote><p>Brown's relationship with Blair, as he would later report, never recovered from the rebuff he dealt his premier. So long as he stayed chancellor, his own political reputation remained intact. No sooner did he become prime minister in 2007, however, than the wheels fell off the triumphal chariot he thought he was riding. By the summer subprime mortgages in the US were in trouble, and were soon taking down with them the British banks that had plunged recklessly into the American housing market. By the autumn of 2008, the Royal Bank of Scotland – at the beginning of the year the flushest in the world, with nominal assets of £2.3 trillion, larger than Britain's GDP – was effectively bankrupt, saved only by a last-minute government takeover. Amid the ruins of its braggadocio, New Labour was left with the worst fiscal deficit of the G7. Few were surprised when it was trounced at the polls in 2010.</p><p>Three years before the financial crisis, David Cameron had been elected to lead the Conservatives, promising to make them a more appealing alternative to Labour after the serial fiascos of his predecessors. Unlike them, he was not a Eurosceptic and made sure he got into office without damaging commitments of the kind that had helped sink them. But the party he led had shifted steadily further away from the positions of Heath and Howe. To the small group of bone-dry sceptics of 1972-75 were now added those who had broken with the party leadership over Maastricht, and yet more recently those who saw nothing positive in the arrangements of the Treaty of Lisbon, which succeeded it. All were on their guard against further concessions to Brussels, and in early 2011 forced the European Union Act through Parliament, making a referendum obligatory in the event that any further treaty revision was proposed. They were fortified in their position by the strength that Ukip had revealed in the European elections of 2009, when it came second with 16 per cent of the vote, behind the Tories with 27.4 per cent, but ahead of Labour with 15.2 per cent.</p><p>Helping Cameron, on the other hand, were the Liberal Democrats, who had taken nearly a quarter of the vote in 2010, and provided the coalition with enough seats for a comfortable majority of 76 in the Commons. Under Nick Clegg, who promptly scuttled his party's pledge to scrap tuition fees for higher education, the Lib Dems were at one with the Tories in forcing harsh austerity on the country, but as a party remained unconditionally pro-European. The first test of the coalition's mettle came when Angela Merkel decided, shortly before the 2010 British election, that it was essential the EU revise its treaties, adding a Fiscal Compact that would bind every government to rigid budgetary discipline, to check the danger of the Union unravelling amid tensions over the fallout of the Wall Street crisis. By November 2011, the regimes in Dublin, Lisbon, Athens, Rome and Madrid had all been toppled, helped along not infrequently by the demands of Berlin and Frankfurt. In December the European Council met in Brussels to vote on the German package to save the euro. Cameron vetoed its adoption, whereupon Merkel pushed it through as an inter-governmental treaty outside the framework of the Union. The compact was sealed early in 2012, making clear how ineffectual British opposition proved in practice to be.</p><p>Undaunted, Cameron called an election in May 2015. By now, Clegg's role as a parliamentary footstool for the Tories had discredited the Lib Dems, and the party's vote collapsed by nearly two-thirds, giving Cameron a small but workable Tory majority in the Commons. Buoyed by victory in the Scottish independence referendum a few months earlier, when warning of the economic dangers of a break with England had yielded comfortable support for the status quo, Cameron announced a referendum on membership of the EU the following spring, expecting that with leeway from the Union on migration, which had become a running source of complaint in domestic politics, he could carry the day without much difficulty. His insouciance was wrong. The footling concessions he secured in Europe won him no friends at home, and the timing and terms of the referendum were set, not by him nor his cabinet, but by the astute and clear-sighted strategists of the European Research Group (ERG) in the Commons, implacable adversaries of what the EU had become. Once the campaign began, two of his leading cabinet ministers – Michael Gove the slyest and Boris Johnson the most popular of his colleagues, neither of them close to the ERG, both actuated by career rather than conviction – declared themselves for Leave.</p><p>In parliamentary terms, Remain still had a winning hand, since Labour, the Lib Dems, the SNP, Plaid Cymru and the Greens were all theoretically with Cameron, who also retained the support of 53 per cent of the Tory delegation in the Commons, giving him the backing of 73 per cent of the House. Such proportions, however, were detached from the politics of the time. When Ed Miliband resigned as Labour leader after defeat in the 2015 general election, the first leadership poll in the party's history to be decided on a simple one-person-one-vote basis, rather than by the block union and parliamentary quotas of the past, produced a landslide victory for Jeremy Corbyn, an outsider from the left. Corbyn soon made it clear he did not intend to repeat Miliband's performance in the Scottish referendum – he had lined up with Cameron – but would argue for British retention of EU membership on his own terms, giving no support to the Tory government. Nor did the parliamentary statistics reflect the balance of opinion in the country, as would shortly become clear.</p><p>After a referendum campaign of ten weeks, 58 per cent of Tory, 37 per cent of Labour and 96 per cent of Ukip voters opted for Leave, yielding an overall majority of 52 per cent for Brexit, rising to 64 per cent in the poorest three categories of the population, C2DE. The only socioeconomic group where a majority voted to Remain was the most affluent stratum of the population, composed of members of categories A and B. All others preferred Leave. But if voters were divided not by income but by age and education, the result looked very different. Of those between 18 and 24 who voted, 73 per cent chose Remain; between 25 and 34, 62 per cent; between 35 and 44, 52 per cent; the majority of those over 44 voted for Leave. Similarly, 57 per cent of those with university degrees opted to Remain, 64 per cent with higher degrees, and 81 per cent in full-time education. Geographically, in England it was in university towns alone that Remain won handsomely.</p><p>Politically, the two camps were divided by contrasting perceptions of what was at stake in the referendum. The Remainers consisted essentially of two groups, those who were moved principally by cultural issues and those principally by economic issues. For the first group, composed of the young and most of the well-educated, the driving force was overwhelmingly a hostility to chauvinism – a rejection of the blind xenophobia and racism that threatened, they believed, to make Britain a suffocating prison of reaction. For the second group, leaving the EU threatened living standards, which were bound to drop cruelly on exit. Leavers were also divided into two groups. For the first, overwhelmingly located in the plebeian categories C2DE, the key issue was control over their own, and the country's, destiny, something that could only be secured by departure from the EU. For the second, it was recovery of the independence that had been the basis of Britain's prowess in the past. To these more general considerations, control of immigration and borders came second. Close to three-quarters of Remainers thought Britain a better country than thirty years earlier; nearly three-fifths of Leavers thought it worse.</p><p>Behind the clash of arguments and identities in June 2016 lay two critical legacies of New Labour. The first derived from Blair's decision in 2004 to reward his Eastern European allies for their staunch role in the Iraq War. Poland, which had taken part in the US-UK led invasion and hosted a CIA torture chamber, received pride of place in the reception of immigrants to UK. Some 700,000 Poles eventually came, many more than Blair had bargained for. No other European country knew an influx of comparable size and speed so early on. By 2017, 400,000 Romanians and Bulgarians had joined them. The Cameron government, though acutely aware of the potential danger this cumulative influx represented to Tory stability, could do nothing to halt or mitigate it. When the referendum came, Ukip under Farage and Banks pulled no punches in the nativist operation it ran independently of Dominic Cummings's Vote Leave, along a parallel track but at some distance from it.</p><p>The second legacy of New Labour, unlike the first, attracted virtually no public attention, but was probably more decisive. Had Blair pushed through accession to the EMU after 2001, or even after 2005, the outcome of the referendum would have been very different. It was his failure to override Brown, and lock Britain into the single currency when the economic going was still good for the country, that handed victory to Leave. For one lesson of the Monetary Union is crystal clear. <em>Ceteris paribus</em>, once a country is inside it, fear of the consequences of departure trumps all else if the issue is tested at the polls. The nearest a people came to leaving the single currency despite this was the Greek rejection of the Troika's terms for a bailout in the referendum of 2015. That vote, however, was a simple negative: 'Ochi'. The referendum lacked any positive proposal, and as soon as the Syriza government led by Alexis Tsipras capitulated, resistance to the worse terms he accepted dissolved virtually overnight. The reason was the one that had made Matteo Salvini of the Lega Nord in Italy and Marine Le Pen of the renamed Rassemblement National in France ultimately back away from any talk of exit from the EMU. Once the single currency was in force, people's savings were held in euros. To leave the Monetary Union when this was an accomplished fact was to destroy their value. No party with a popular base dared risk such a prospect.</p><p>It was the complete absence of this danger which secured the victory of Leave in Britain. The masses who voted for Brexit believed they were striking a blow at Brussels and the neoliberalism under which they had suffered for a quarter of a century. In reality, that neoliberalism – harsher than anything on the Continent – was British in origin, and could be overthrown without any of the instant penalties that would have been incurred if the UK had been a loyal member of the EMU. As for those who voted against Brexit, their warnings of disaster were for all immediate purposes irrelevant. In the longer run, Claus Offe's verdict – though imposition of the single currency was a huge mistake for Europe, unwinding it risks even greater harm to ordinary citizens – might hold good. But in 2016, such a risk was an abstraction. In their different ways, the two sides in the referendum battle shared the same illusion: in the world at large, defeat for their position would mean a loss of standing for Britain that was bound to be fatal to its prosperity. Neither of them paid the slightest attention to the obvious fact that (if we exclude toy-states like Liechtenstein, Monaco or Luxembourg) the two richest countries in Europe, with the most advanced welfare systems, do not belong to the EU: Switzerland and Norway. Both societies rejected integration with the Union in popular referendums and have flourished since doing so. In Britain, the cry from both camps says enough about their common motivation: what, be reduced to the rank of the Swiss or the Norwegians! Suppressed or blurted, nostalgia for Great Power status united the combatants in the referendum, compulsively grappling with each other in the dark.</p><p>On the morning after the vote, Cameron announced his resignation as prime minister, and was succeeded by Theresa May, his home secretary, who had also been a Remainer, if a more cautious one. Anger at the result of the referendum in the Parliamentary Labour Party was such that – even before May was installed as premier – it voted by 172 to 40 to evict Corbyn, who was held responsible for Remain's defeat. In September a second leadership election returned him with an even larger majority. Buoyed by her success in local elections the following spring, and enjoying a large lead in the opinion polls, May called a snap election in June 2017, counting on a much enlarged majority. It did not materialise. Though she increased the Tory vote by just over two million, raising its share from 37 to 42 per cent – its highest level since Thatcher – and did significantly better than her predecessor in Scotland, the total number of seats she won fell, whereas Labour increased its vote by double the Tory margin, hitting 40 per cent of the total for the first time since 2001. With just 317 seats, May put together a minority government dependent on the ten Democratic Unionist MPs from Ulster.</p><p>May soldiered on in the hope of a Chequers deal with the EU, trading concessions over Northern Ireland, where opinion was overwhelmingly against a hard border with the South, for an otherwise smooth path to withdrawal from the Union. Small chance. In the summer of 2018, Johnson, her foreign secretary, resigned from the cabinet over the proposed arrangement, followed in the autumn by the Brexit secretary, Dominic Raab. Successive attempts to get Chequers-lite arrangements through the Commons floundered in the face of opposition from the ERG, which could muster up to eighty votes. The Tory ranks looked in complete disarray. Worse, however, had overtaken Labour. As May struggled to persuade her own party to support her, the Labour right, which had always commanded a huge majority in the PLP, regrouped behind the broad front for a 'People's Vote' that took shape in the spring of 2018, campaigning for a second referendum to reverse the result of the first along standard EU lines, as pulled off in Denmark and Ireland. Recovering its spirits, the <em>Guardian</em> was soon baying in support. The campaign was internally divided, with formal ownership of the assets of Open Britain, the original impetus behind People's Vote, resting with the millionaire public relations tycoon Roland Rudd, while most of the organisational work came from Blair's former aide Alastair Campbell and other veterans of New Labour, who unlike Rudd were chary of committing the campaign to cancelling the result of the referendum, preferring the pretence of simply asking voters what they now thought. Tensions between the two wings boiled over in the autumn of 2019, when Rudd staged a coup, dismissing the Blairite operatives from their common offices in Millbank.</p><p>Distinct from these shenanigans, but within their general <em>mouvance</em>, the youthful cadres of Momentum that had formed the shock troops of Corbynism shifted to an increasingly militant pro-Europeanism. This development, however, made clear a substantial gap between aspirations and abilities. That a passionate internationalism moved the new recruits to the idea of a second referendum was clear. But what kind of internationalism was it? Under New Labour, foreign languages ceased to be compulsory in schools after the age of 14, with command of any foreign language among 14 and 15-year-olds soon falling to less than a quarter of the EU average. A decade later, the number of pupils taking German at GCSE had plummeted by half, those taking French by two-fifths. At A level, where drop-out rates are very high, the number taking French had by 2019 fallen to a third of that in 1996, and Spanish – chosen by just 1.1 per cent of candidates, about two-thirds of them female – had overtaken French as the most popular language. At university level, fewer than 5 per cent of undergraduates now study a foreign language, a decline of a fifth since 2015. Among the young, an internationalism that is so largely sentimental yields solidarity with other Anglophones, of Commonwealth or other backgrounds. But in any wider or more lasting sense, sympathies without skills lack depth and staying power.</p><p>In the background, the <em>LRB</em> entered the fray, from February 2016 onwards, publishing 210 pieces invoking Brexit in 114 issues of the paper, with a further 55 letters and 167 items on its blog. In these conditions, under pressure from the PLP, the <em>Guardian</em>, the BBC and its own youth, the Labour leadership drifted towards a generic obstructionism in the Commons, as May's base in the Conservative Party disintegrated. When she finally threw in her hand, and Johnson romped home in the contest to succeed her, then quickly reached agreement with Dublin and Brussels on withdrawal terms, Labour was caught off guard, and bounced by the Lib Dems and the SNP into accepting the Tory demand for an early election, for which it had long clamoured but now had every reason to fear. Taking full advantage of popular exasperation at three years of political deadlock, and campaigning on a relentless refrain of 'Get Brexit Done', Johnson swept to an easy victory, coming close to Thatcher's electoral score in 1979 and comfortably exceeding her majority in the Commons. Labour collapsed by nearly eight points, to a level only just ahead of its debacle of 1987. When Corbyn stood down, Keir Starmer secured a majority among the party membership virtually as large as Corbyn's had been, and wasted no time in purging the shadow cabinet and NEC of holdovers from the previous regime, restoring the traditional status quo of a right-wing Labourism indistinguishable from the good sense of a mainstream establishment.</p><p>Leaving Blair's initial fumbling over Europe well behind (campaigning in 1983 against membership of the EEC, rallying to it in 1987) in a somersault of scarcely a year between passionate calls for a second referendum and resolute enforcement of submission to the pact clinching Brexit, Starmer would show a clean pair of heels to New Labour itself. The EU-UK Trade and Co-operation Agreement was bundled through the Commons on 30 December in four hours, amid a bien pensant consensus that while far from desirable – it multiplies red tape on goods and excludes the financial services at which Britain excels – it's at least better than no deal. If the cost will be a 4 per cent, rather than a 6 per cent loss of GDP, what else could be expected, given the disparity – the EU more than six times the size of the UK in output and population – in the bargaining power of the two sides?</p><p>Macroeconomic predictions extending over a period of years are rarely foolproof; deviations cannot be discounted in either direction. In this case, perhaps more significant is what such predictions generally overlook. The Lisbon Treaty, copied from the draft constitution of the EU that was thwarted by French and Dutch voters, proclaims the commitment of the Union to a 'highly competitive market economy', if naturally a 'social' one, not to speak of 'peace, security, the sustainable development of the Earth, solidarity and respect among peoples, eradication of poverty and the protection of human rights'. Among these worthy objectives comes 'free and fair trade'. Why the first adjective requires the second, or how exactly it consorts with it, is not explained. But that the first is coaxed by the second, in much the same way that the addition of 'social' soothes 'market', is clear. The drafters' delicate sense of words does not end there. Whereas the Union 'shall establish' a highly competitive economy, it will merely 'contribute' to free trade. The reality so nicely captured in this distinction is that, not unlike the US or China, the EU is a mercantilist bloc, replete with subsidies (think only of the Common Agricultural Policy) and protections (think only of services) of many kinds, aimed at barricading outsiders from the privileges afforded insiders. That its neoliberal admirers in Britain should burn so much incense in honour of its internationalist calling is not the least irony of the hour, only underlined by the contrast between its practices and the purer free trade dispositions, proceeding to unilateral abolition of tariffs, of mid-Victorian Britain.</p><p>The honeymoon enjoyed by the Johnson government after its triumph at the polls was brief. Elected on 12 December 2019, it celebrated the British exit from the EU on 31 January 2020. By then Covid-19 was already circulating in the country. But it was not until 23 March that the government ordered a lockdown. Criticism of its performance, bungling by any measure, came from all sides, not least from papers like the <em>Guardian</em> and the <em>Mirror</em>. But as organs of the Labour establishment, these could be discounted. More telling attacks came from writers once close to the Tories. Three stood out as authors of far the most effective critiques of recent British developments; all had a past at the <em>Spectator</em>: Ferdinand Mount, former aide to Thatcher, whose <em>The New Few</em> had appeared in 2012; Peter Oborne, whose <em>Triumph of the Political Class</em> was published five years earlier; and Geoffrey Wheatcroft, whose <em>Yo, Blair!</em> came out in 2007. The first looked at the structure of wealth that had emerged in the new century, the second at the character of its ruling elite, the third at the role played by the architect of New Labour in the decline of the traditional political order.</p><p>In this trio, Mount was in some ways a figure apart, having transferred his allegiance from Thatcher to Blair by the time of the wars on Yugoslavia and Iraq, adventures that he supported. In <em>Mind the G</em><em>ap</em> (2004), he could write with unalloyed admiration of 'progressive reformers' like the New Labour politicians Mandelson, Milburn and Byers, and of late has made a robust defence of the 'constitutional and administrative reforms of the Blair years'. In a similar mood, he would greet the 'thrilling' early episodes of the Cameron-Clegg coalition with enthusiasm. But when he came to write <em>The New Few</em>, an assault on Britain's fall into the grip of self-seeking oligarchies of one kind or another, he made it clear that the EU was a still more extreme case of the same disease, in a chapter entitled 'Stuck on the Eurostar'. These European symptoms didn't leave Britain unaffected. 'Belonging to the EU brings us under a system of law that is new to us, both in kind and in degree. It is far more abundant, much less responsive to public opinion, more or less irreversible, and within its spheres of competence, unlimited,' Mount wrote. The Union, advancing with a vast and virtually untouchable <em>acquis</em>, and a decreasing connection to public feeling, was expanding its powers at the expense of national parliaments. The truth was that 'the EU began as an oligarchy, it continues oligarchic, and the oligarchs see no reason to alter their practices or their ambitions. No previous empire I can think of, certainly not that of the Romans or the British, not even the French, carried centralisation quite so far'; and no project revealed its nature so starkly as the single currency. The euro was 'the oligarch project to end all oligarch projects', a design careless in its hubris and heedless of its casualties, from which countries like Portugal, Greece and Italy would do well to exit. Though Mount had always supported British membership of the EU, in the hope that 'over the years the EU would gradually cast off its elitist oligarchic origins and engage with the people, I have to confess that no such casting-off or engaging has been observable to date.'</p><p>That was in 2012. Since 2016, he has adopted a very different note in a series of impassioned philippics against Brexit. Britain is now said to be in the grip of an unpleasant and unscrupulous regime, populated by venomous paranoids determined to obstruct decent relations with Europe, whose vainglorious <em>Duce</em> has not only scrapped Thatcher's commitment to the free market and deregulation, but tolerates no equals. To denounce the misgovernment of Johnson is not, Mount writes, 'to defend the ramshackle and blatantly imperfect institutions of the EU'. But what has Europe ever had to do with our domestic problems? Virtually all the changes which have occurred in the UK since it entered Europe were locally derived, with the partial exception of immigration. Had Britain joined the Eurozone, its sovereignty would have been impaired, but since it did not, we had never lost control of our destiny. Under Johnson, Edward Luttwak's prediction that in conditions of massive middle-class job loss capitalism could generate a soft variant of fascism, now seemed far-sighted.<a>2</a> There was indeed a new puzzlement at the workings of capitalism, Mount confessed. But timely measures to help farmers, small businesses, human rights and ordinary families, and a revival of our links with European institutions were perfectly capable of resolving it. In this threnody, forgotten or repressed are the charges once laid against not only the character of the Union, but its impact on this country – here too Remainer passion obliterating the Europe of its attachment.</p><p>Oborne, unlike Mount, welcomed the referendum on Europe and voted for Brexit. But looking back in the spring of 2019, after May had signalled that she was stepping down but before her successor was chosen, he was seized with regret. 'Part of me, therefore, still feels proud of Brexit. Well done Britain for challenging remote oligarchs based in Brussels,' he wrote. But nearly three years of angry and bitter debate had cut him in two. It was clear that Nissan, Sony and Panasonic were shifting their investments to the Continent, and Japanese financial firms might well follow, while even the Brexiteer James Dyson was moving his vacuum-cleaner manufacture to Singapore. Nor was there any widespread support for Brexit in Northern Ireland or Scotland, risking the unity of Great Britain. He had changed his mind, and urged others to do the same. But where, he asked, is 'the ringing declaration of love for the European Union? We have seen the passionate beliefs of the Brexiteers. Where's your own positivity? Where your matching passion for Remain?' To which he could only reply: 'I have none. Only a deep, gnawing worry that we are making a significant mistake: a worry that is growing by the hour. Call that negative, if you like, but precaution is negative – yet it is part of our kit for survival.' In December 2019, Oborne announced that to stop Johnson he would vote Labour.</p><p>Describing himself as 'a somewhat tepid or critical Remainer', who had long viewed the notion of a United States of Europe as misguided and foredoomed, Wheatcroft attacked the 2016 referendum just before it took place as a demagogic distraction. Maastricht had combined two mistakes, premature enlargement of the EU to the East before it had achieved sufficient economic convergence with Western Europe and imposition of a disastrously misjudged single currency on Southern Europe. The Union needed drastic reform if it was to survive. But Brexiteers offered none. Later, when Cameron produced an apologia after losing the referendum, Wheatcroft compared it to 'Blair's gruesome memoir, <em>A Journey</em>', as 'one more apology that doesn't apologise'. Cameron was refusing to admit that the referendum could never have had a good outcome, although 'by trying to appease the unappeasable, he was on a hiding to nothing: if the Europhobes had lost, they would simply have come back another time.' It was as if Cameron had told the Spaniards in the summer of 1936: 'We are a sadly divided nation. Let us clear the air and bring the country together, by fighting a Civil War.' As for the foreign policy of those who won the referendum, the Tories, defiant of the EU and subservient to the White House, had become '<em>résistants</em> towards Brussels, but <em>pétainistes</em> towards Washington'. Johnson, aptly depicted by Mount as 'a seedy, treacherous character', was both ruthlessly ambitious and totally unprincipled. For Wheatcroft, as a writer for the <em>Spectator</em> when Johnson was its editor, 'our dealings were perfectly cordial, but then I've dealt with plenty of affable rascals in my time.'</p><p>Vengeful, remorseful, critical: such was the gamut of these one-time Tories' reflections on Brexit. Striking in every case is the weakness of the eventual stance adopted. Although all three writers are well versed in European matters, none pays any sustained attention to the institutions of the EU, or the direction they have been taking in the decades since Maastricht. Europe is scarcely even a sideshow. What matters is what has happened in Blighty. Mount's lone proviso – if Britain had entered the Eurozone, the issue wouldn't be the same – scarcely affects the upshot. Central to these positions and their wistful retellings of the downfall of the UK is the same contradiction. Europe matters to the prosperity and liberty of Britain, without which it would have withered in isolation: Europe is marginal to the life of the country, which has never submitted to the Caudine Forks of Frankfurt. The reality, of course, is that the country and these patriots cannot have it both ways. If Britain has never joined the single currency or the Fiscal Compact, and in the most intense heat of the battle over the referendum, no one any longer dared – as they might have done a decade earlier – suggest that it should do so, it is pointless to imagine that the UK could ever play a significant role in the construction of a more integrated Union. Insularity is always in the eye of the other. Without any referendum, Britain long ago locked itself out of the arena where such questions are decided.</p><p>The antidote to anguished Remainer ruminations lay close at hand, all but universally ignored. The world's two leading authorities on Thomas Hobbes, the foremost modern theorist of sovereignty, are at different ends of the political spectrum: Noel Malcolm of All Souls, editor of <em>Leviathan</em> for Oxford, on the right; Richard Tuck of Harvard, author of the finest contextualisation of Hobbes's thought, on the left. Differing in outlook in so many ways, their convergence on Brexit is all the more arresting. For Malcolm, who intervened in 1991 before the Treaty of Maastricht was signed, sovereignty was being systematically confused with power by those, from Heath onward, who hoped to consign it to an irrelevant past. In fact, sovereignty was a question of authority, not of power, and could be described as a set of rules – in Britain, statutes passed by Parliament – for the legitimate exercise of government. Such authority could not be delegated, though its exercise might for limited purposes be devolved (for example, collective defence by Nato). But it could be abolished, as British sovereignty would be if its attributes were transferred upwards to a federal Europe, reducing Westminster to a mere regional assembly.</p><p>Returning to the charge four years later – Maastricht was now in force, and there was a question whether Britain should enter the EMU – Malcolm identified the project of Europe as the creation of just such a federal union. Could it yield any economic advantages to a state participating in it? The fate of the CAP and its costs was clear: it could not. Nor would the EMU be any better, acceptance of its exchange rate rigidity spelling economic regression – either collapse of industries under competitive pressure, or mass migration of the labour force to lands with less depressed wages. It was an illusion to think that the nation-state was obsolete: the most successful economic models of the time were all classic nation-states – the US, Japan, West Germany. What the European Union stood for was the decaffeinated ideal of a Eurocratic class, bent on extricating politics from the management of economic affairs in a fashion incompatible with both inevitable national divergences of situation and interest, and popular politics of any kind. What the EU offered instead was a prospect of log-rolling by the Council of Ministers behind closed doors, elite corruption – witness the then recent prosecution, flight or suicide of premiers in Italy, Greece and France – and popular impotence. Such a combination was bound to boil over in outbursts of aggressive nationalism.</p><p>Two decades later, Tuck broke his silence on Europe as Britain prepared to vote on Brexit. Facing the referendum of 2016, the left risked throwing away democracy, the one instrument for popular sovereignty available to it rather than to global capitalism and managerial power. In considering the options before the country, he argued, it should never forget the lesson of the National Health Service, when Labour had been able to override all medical and sectional opposition to the nationalisation without compensation of private 'charity' hospitals because it had the authority of Parliament, an action inconceivable in today's EU, whose rules forbid any such expropriation. In stark contrast, the EU was an essentially technocratic construct, designed much like central banks or constitutional courts to give immense power to select bodies whose prejudices were inevitably those of the class from which they were recruited. Varoufakis was proposing sweeping institutional changes to the EU, which were nowhere on the agenda, while Labour risked quietus because of its decline in Scotland, whose independence could only be halted if Brexit prevailed. Rapidly rising immigration was a symptom of a more general loss of power by the masses, and could only be controlled by its recovery. The left was in disarray, if not despair, believing that Britain was a country of such ingrained conservatism that Europe could act as a safeguard against it, despite the EU's lack of democracy and bias towards capitalism. Belief that it was too late to change any of this was an advance rationalisation of defeat.</p><p>A year later, in the wake of Leave's unexpected victory, Tuck adopted a more theoretical position. In the 18th century, theorists – most conspicuously, Rousseau – established a critical distinction between government and sovereignty. The former could be exercised by a small group of persons, whereas the latter was inherently a prerogative of the people. Identification of the two, still to be found in Bodin and Hobbes, was indefensible. The European Union, he argued, is not a superstate, but a set of states that enacted a constitutional order between themselves which cannot be amended in the same way it was introduced, by conventional – that is to say, governmental – legislation. Only a process subject to veto, issuing virtually <em>per impossibile</em> in inter-governmental unanimity, could alter this constitutional structure. As such, the idea of an unamendable constitution was new in Europe, even if the German <em>Grundgesetz</em> comes closest to it. The British left would do well to reflect that even Bernie Sanders's three basic demands – reject or modify Nafta and the TPP; raise taxes on Wall Street; free university tuition – would be out of reach if the country were in the EU. From its own point of view correctly, the Labour right had always supported membership of the Community as a prophylactic against proposals of this kind. Were the Labour left to be tempted to join it in blocking May's attempts to implement the referendum, Tuck went on, the result would only be the restoration of a Blairite or Macronesque neoliberal regime in Britain. Brexit was the greatest prize for Labour in two generations; among other things, he repeated, it made Scottish independence less, not more, likely. The left should not let go of it.</p><p>Finally, joining forces with Christopher Bickerton, Tuck warned against any reversal or suspension of Brexit as hardening the pathological divisions in British society and convincing millions that democracy in the UK was a sham. Having been told there was nothing they could do about immigration because of the EU, the masses had demonstrated that they no longer wanted to play a secondary role, but to become sovereign once again and put government back where it belonged – this was, he held, not a quixotic or esoteric position to take. The old left was in irreversible decline in Europe, and neither Syriza nor Podemos could revive it, since the EU did not represent an attack on the old nation-states of Europe in the name of a new one, but an assault by capitalism on politics as such. The European treaties radically diminished the power of national legislatures while expanding the power of national executives. The British, as the only people whose legislature was the sole source of authority in their country, were not used to this kind of arrangement. The left viewed the constitution and Supreme Court in America as formidable barriers to political democracy, without realising that the EU was far worse in this respect – a judgment of the European Court of Justice being for all practical purposes unalterable. The 52 per cent who voted for Brexit still lacked any common identity or coherent will, as the British political class intended they should. But they ought not to be intimidated by threats of violence in Northern Ireland or job losses in England if Brexit was ratified. The first had raged after Britain joined the Common Market, the second had jumped after 9/11. What was holding back the implementation of Brexit was something else – the lack of a political vision capable of giving effect to the popular longing to regain control of society.</p><p>To proceed from Mount, Oborne and Wheatcroft to Malcolm and Tuck is to move from surface to substance – from emotional reaction to critical reflection on the gulf that had opened up between Britain and the EU by 2016. But, addressing essentially the same audience, the two sets of responses share a negative premise that is unspoken. Which is? Essentially, avoidance of any direct comparison between the political structures of Westminster and the complex of institutions centred in Brussels, with its flanks in Luxembourg and Frankfurt, as two patently different systems of representation. Neither, it should go without saying, is remotely matter for idealisation: the vices of each are without number. But that a stark contrast exists between them is plain. It can be put most simply like this. In design, Westminster is a pre-modern construction that has survived long past its due date; Brussels is a post-modern fabrication that is determined to outlive every alternative to it.</p><p>Much of the anger aroused by Brexit in once Tory circles comes from an acute sense of the anachronism of leading advocates of departure, the ostentatious fogeyism of Rees-Mogg, Bone, Baker and others, defenders of the indefensible in the age of climate change, crowd-sourcing and correct speech. What is the order they uphold? A first-past-the-post electoral system dating back to the 16th century, before most constituencies were even contested, which regularly produces results that bear no resemblance to the divisions of opinion in the country; an unelected upper chamber crammed with flunkies and friends of the two dominant parties; an honours system devised to reward bagmen and sycophants; a Parliament that can be bundled into a poll at a day's notice; a judiciary capable of covering any administrative enormity. Little wonder its admirers quote Latin statutes from the time of Richard II or Henry VIII in praise of its workings.</p><p>Yet through all this, the fact remains that British governments can only survive if they enjoy a majority in the Commons – something that can be eroded by dissension within a party, as in 1940, or defection of an ally, as in 1979, or sheer attrition at by-elections, as in 1996 – and if they fall, elections to replace them must ensue. In the EU, by contrast, executives are appointed by governments, not put in office by the votes of citizens; legislative elections yield neither a government nor an opposition; proceedings at every institutional level, including the judicial and financial arms, are shrouded in secrecy; decisions of the supreme court are immutable. In postmodern style, all this is presented as the last word in an up-to-date polity: in practice, it is the simulacrum of a sentient democracy. It may grate that, for all its woeful shortcomings – think only, beyond England, of the place of Scotland or Northern Ireland in the composite realm – Westminster is vastly superior to this lacquered synarchy. The difference can be regarded as a historical fluke. But it is the indisputable bedrock of the quarrel between London and Brussels.</p><p>The European Union, as it has come to take shape, speaks continuously of democracy and the rule of law, even as it negates them. No ill intention need be ascribed to it. What it has become was inscribed in the minds of those who took possession of the project: a unification of the Continent from above, by stealth where possible, by diktat where necessary. Europe was ultimately too large and too various for the results to be otherwise. With a population of 446 million, the third largest polity on the planet, the EU is divided by some 24 official languages (another five lie waiting with the 17.5 million people queuing to join in the Balkans), more than India (22) or China (one), each vastly bigger in population. Of the 27 countries currently comprising the Union, none has a continuous parliamentary history comparable to the record in England, which with the exception of the eleven years of Charles I's personal rule avoided the absolutism that snuffed out representative assemblies across most of the Continent from the 16th century onwards. For quite a few of them, indeed, their modern experience of constitutional politics dates no further back than a quarter of a century. In these conditions, the extension of internally representative political systems into a quasi-confederation of continental dimensions was virtually bound to produce a structure of power fundamentally oligarchic in nature, whose only lingua franca is that of the country that has abandoned it. 'The most hopeful sustained trend in Europe today,' writes Philippe Von Parijs, a commentator on the left of the political spectrum, 'is the rapid spread of English as the lingua franca of its younger generation,' which promises a wider 'linguistic justice' to come. That there is nothing specific to Europe about such second-order Anglicisation, in a continent where half the population knows only its own native language, is no objection in the view of the champions of a global transnational democracy in which nostalgic attachments to national linguistic diversity wither away.</p><p>For the foreseeable future, however, the layer of the population that is fluent in two or three of the official languages of the EU, or even in its unofficial lingua franca, is necessarily restricted. Those from the EU actually living and working outside their country of birth in the Union form a number smaller still, less than 4 per cent of its total population in 2015, of whom the large majority were manual labourers of one kind or another. As late as 2008, they made up less than 2 per cent of the population of Western Europe. Such expatriates, however, include what can be described as the European political class <em>stricto sensu</em>, executives and professionals from the centre-right-to-centre-left continuum of parties comfortable in the institutions of the EU and accustomed to running its affairs. It would be a mistake either to demonise or to idealise this stratum.</p><p>That its top ranks have long been corrupted by immunity in their occupance of power is plain. It is enough to make a roll-call of its leading ornaments. Christine Lagarde, current president of the European Central Bank: suspected of complicity in fraud and malversation of public funds in covering for the crook Bernard Tapie, improperly paid €404 million by Crédit Lyonnais in 2008, when she was minister of the economy in France; in 2016 discharged by the state for 'negligence' with no penalty, in view of her 'personality' and (no doubt especially) her 'international reputation'. By that time she was head of the IMF – where her predecessor, Dominique Strauss-Kahn, had had to resign on charges of sexual assault and attempted rape and his predecessor, Rodrigo Rato, had been imprisoned on charges of embezzlement. Ursula von der Leyen, current president of the European Commission: charged in 2015 with plagiarism on 43 per cent of the pages of her 1990 doctorate at Hannover Medical School; the university commission that absolved her, headed by an old acquaintance from the alumni association at the institution, was heavily criticised in the media, but after the fall of two previous ministers in Merkel's government, both on charges of plagiarism, exhaustion had set in and she was allowed to keep her doctorate.</p><p>Von der Leyen's predecessor, Jean-Claude Juncker of Luxembourg: survived repeated exposure of his involvement in the tax avoidance and policies facilitating money-laundering for which his country is famous. Her vice-president and high representative for foreign affairs and security, the Spaniard Josep Borrell: forced to resign as president of the European University Institute in Florence for concealing the annual salary of €300,000 he had been receiving from a Spanish energy company. Michel Barnier, EU commissioner in charge of Brexit negotiations with Britain: showered with 'donations' amounting to more than 300,000 francs – more than seven times the total received by his seven rivals – when running as a Gaullist candidate for Haute-Savoie in the legislative elections of 1993. Olaf Scholz, finance minister and vice-chancellor of Germany, hoping to succeed Merkel next year: caught in the media headlights after appointing – a first in the country – the co-chief executive of Goldman Sachs in Germany and Austria, Jörg Kukies, as his deputy for financial market and European policy, only to have to admit that he knew Kukies had been on intimate terms with Markus Braun, fraudster boss of the now bankrupt Wirecard company (assets once valued at $28 billion), the largest financial scandal in the history of Germany. Scholz's chances of surviving parliamentary investigation intact: slim.</p><p>Tawdry episodes of this kind, routine at the top levels of the EU establishment, should not be generalised to the whole European political class, let alone to expatriates without official positions.<a>3</a> What unites this layer is not so much the prebends its representatives extract from office as the interests and passions invested by it in the European project. In the UK, the mass demonstrations and media outcry over Brexit – in scale more impressive than any counterpart on the Continent, not out of a greater depth of conviction, but of greater proximity to danger – are a good gauge of this class's degree of commitment to the development of a united Europe. Identification with the cause of the Union need involve no immediate material stake, even if in the case, say, of university lecturers, employers may be dependent on Brussels for research funding. Where Europe is concerned, there is rarely a contradiction between self-interest and genuine idealism.</p><p>Of necessity, the premise of both is the passivity of the population below the political class and its adherents. Has the course of events since the global financial crisis of 2008 seriously shaken this? With the exception of Britain, it would be difficult to hold that it has had any sustained or consequential effect. Of the populist revolts in Southern Europe, Syriza – a fully establishment party once Tsipras signed up to the conditions of the Troika – gained less than a quarter of the vote in the European elections of 2019, before being routed at the national election in Greece shortly afterwards. In Italy, M5S scored just 17 per cent in the European elections, before joining its hitherto execrated adversary the Democratic Party in a coalition in Rome. In Spain, Podemos took 10 per cent in the European polls, before joining the Socialist Party in an unsteady minority government in Madrid. Of the populist revolts on the right, Marine Le Pen's Rassemblement National achieved less than a quarter of the vote in those European elections, Salvini's Lega Nord just over a third. To the east, the parties led by Kaczyński and Orbán are still in a class by themselves, capturing respectively 45 and 53 per cent of votes in the Euro-elections, though each lost the mayoralty of his capital city to a mainstream liberal opponent, Law and Justice also falling short of a majority in the upper chamber of the Sejm, but narrowly retaining the Polish presidency.</p><p>Viewed soberly: nowhere do prospects look particularly favourable to populist forces in Europe, of whatever complexion. Where they remain outsiders in the political system, the risk they represent to it tends to strengthen the status quo. Where they enter the political system, as supports or partners of the establishment, they tend to become assimilated to the dominant consensus. The fears on which they play, while often radical in form, easily become conservative in effect where issues of identity or immigration arise. Overarching them is the reality that the centrist bloc of opinion encompassing moderate conservatives, temperate liberals, pragmatic social democrats and self-satisfied Greens – acronymically in Brussels, the EPP, RE, S&D and Greens/EFA – is much larger than its opponents on right or left, and remains overwhelmingly dominant in the Union. In the spreadeagled, distended space of today's Europe, control of the media landscape and lavish funding from the Commission make this force fully as capable, to use Michael Mann's phrasing, of outflanking symptoms of disgruntlement from below as its homologues in India, China or America. It would take another and altogether more seismic 2008 to shake these political co-ordinates.</p><p>Amid the pandemic, are we now living through something like this? Not according to today's Friedrich Gentz. Luuk Van Middelaar has consistently taken a dual view of the postwar history of Europe. On the one hand, each step forward has been the product of forces external to the Community and its successor. From the Schuman Plan to the victories in the ECJ of Robert Lecourt, integration was preceded and accompanied by the attentions, and often the initiatives, of the US. So too when Giscard founded the European Council, the impulse came from the breakdown of Bretton Woods and the diminution of American interest in the Old World during the 1970s. Maastricht and Monetary Union arrived as a reaction to the collapse of Soviet control of Eastern Europe and the reunification of Germany. The global financial crisis of 2008 triggered the Fiscal Compact and the European Stability Mechanism. Now, the Covid blows of 2020 have forced through a 'Next Generation EU' package of €750 billion, to be raised by the Commission borrowing on the strength of mutualised bonds, something hitherto forbidden by Northern members of the Union, and hailed as a breakthrough by van Middelaar.<a>4</a> At maturities extending to 2028, more than half of this – €390 billion – is to be distributed as grants rather than loans to member states in need. Given the scale of the likely economic contraction in the Eurozone – 7 per cent of its GDP in 2020 or in the region of €1.3 trillion – the support the package offers is modest enough. Under pressure, it can no doubt be increased. Plain, however, is that once again the momentum behind 'ever closer union' is not self-generated, but exogenous.</p><p>Does that matter? For both admirers and adversaries of the direction of Union politics since Maastricht, the answer appears essentially negative. In surveying the scene, it is striking that such disparate figures as the complaisant van Middelaar and critical Bickerton, the sceptical Giandomenico Majone and starry-eyed Sergio Fabbrini, converge in description and overlap in prescription. For this spectrum of writers, power has tended to pass from the supranational manifestations of the Union that nourished dreams of federalism to more inter-governmental examples, concentrated at the top in the European Council – where member states have proved perfectly capable of defending their national interests – and relayed below in variants of informal co-ordination and pursuit of consensus across areas like diplomacy, security or migration.</p><p>Common to this range of opinion is the rejection of the idea that the future of the Union lies in a federalist superstate, accompanied by the belief in a powerful forward motion that is still at work in the EU. The Covid package is not a prodrome of the United States of Europe to which Helmut Kohl looked forward on the morrow of Maastricht. Nor has it resolved the tensions and incongruities of the Union. For Majone, these require its conversion into a true confederation along Swiss lines, though one limited to foreign and security policy. For his compatriot Fabbrini, unlike him a paladin of the 'European values' proclaimed by Brussels, more is needed: division of the Union into a single economic community covering the whole of continental Europe, and a separate political union (not a state) of federal character, grouping only those countries prepared to accept a common currency, fiscal authority and budgetary policy, a common security and military system, border control and immigration policy, even if retaining domestic versions of some of these attributes. Majone admits his proposal is not currently feasible, while Fabbrini puts his hopes – shades of van Middelaar – in a 'coup', along the lines of that carried out by the American founders. Bickerton, by contrast, simply registers the paradox of further integration without significant supranational advance, while van Middelaar concedes that Macron's announcement of France's return to planning, which was followed by Germany, sets the course for a new European dirigisme to which even the Netherlands will have to adapt.</p><p>What these differing prospects – coming from writers convinced that the ideas of Monnet and Hallstein, Delors or Kohl are dead – overlook is the cumulative direction and impact of successive advances towards closer union, which are not in any simple way under the control of the powers steering the European Council. From the beginning there have always been significant forces with another agenda, committed to federal union, who have been entrenched in the Commission and the Court of Justice, and latterly too in the Central Bank and the Parliament. They have never achieved their goal. But nor, since the defeat of the European Defence Community in 1954, has incremental progress towards that end ever been stopped or reversed. Is it credible that it has now reached its limit?</p><p>It does not take a great deal of imagination to wonder how faithful Middelaar and others who have generally agreed with him – his teacher Frank Ankersmit might be a case in point – would remain to their traditional preferences if geopolitical conditions change. In 2018, observing the way the US and China were wrenching themselves away from the world order that took shape after the Cold War ended, van Middelaar asked himself what place Europe might occupy in the ensuing disorder. His answer was quite modest. 'The EU is an experiment in multilateralism on a continental scale,' he wrote, 'born to break power politics, but not to make power politics.' In that faint note of exogenous resignation, might there lie the germ of some endogenous adaptation to come, as steps towards yet closer union inch forward to meet mounting challenges from the superpowers of America and Asia? Or is the current formula of the EU – dilute sovereignty without meaningful democracy, compulsory unanimity without participant equality, cult of free markets without care of free trade – likely all the same to last indefinitely?</p></div></div></div> </div> <div> </div> <div></div> </div></div></div> peromanestehttp://www.blogger.com/profile/18138498600151502565noreply@blogger.com0tag:blogger.com,1999:blog-11047330.post-8659766117677218542021-01-24T02:50:00.000+02:002021-01-24T02:51:24.181+02:00Ever Closer Union?<div dir="ltr"><div class="gmail_default" style="font-family:georgia,serif"><span style="font-family:Arial,Helvetica,sans-serif"></span><br></div><div><div dir="ltr" class="gmail_signature" data-smartmail="gmail_signature"><div dir="ltr"><div class="gmail-container" dir="ltr"><div class="gmail-header gmail-reader-header gmail-reader-show-element"> <div class="gmail-credits gmail-reader-credits">Perry Anderson</div> <div class="gmail-meta-data"> <div class="gmail-reader-estimated-time" dir="ltr">87-111 minutes</div> </div> </div> <hr> <div class="gmail-content"> <div class="gmail-moz-reader-content gmail-reader-show-element"><div id="gmail-readability-page-1" class="gmail-page"><div><p>Quantitatively speaking, the shift in the centre of gravity of work on the EU from America to Europe itself has been a product of a now vast academic industry: some five hundred Jean Monnet chairs are currently planted across the Union. In the midst of a sea of conformity, a cluster of thinkers has emerged whose writing represents a qualitative advance in critical understanding of the Union. In independence of spirit closer in type to Gramsci's 'traditional' intellectuals, as distinct from the 'organic' variant represented by Luuk van Middelaar, these are not to be found nestling in official positions; form no collective school of thought; and are of diverse national and generational backgrounds. A short list would include Giandomenico Majone (Italy), theorist of regulation; the jurists Dieter Grimm (Germany) and Thomas Horsley (Britain); the sociologists Claus Offe and Wolfgang Streeck (Germany); the political scientists Christopher Bickerton (Britain), Morten Rasmussen (Denmark) and Antoine Vauchez (France); the historians Kiran Klaus Patel (Germany) and Vera Fritz (Luxembourg). In the work of these and other scholars, the dynamics of European integration emerge in a cooler, more searching light than in van Middelaar's panegyrics, revealing what these omit and scrutinising what they don't with a finer lens.</p><p>The Union, as we know it today, is a complex composed of five principal institutions: the European Commission, the European Court of Justice, the European Parliament, the European Council and the European Central Bank. A consideration of these can begin with the term conventionally encompassing the story of their development, 'European integration'. This came from America, as Patel has shown, and was adopted to avoid another term too pointed for tactical purposes in the politics of the 1950s. The word it replaced was 'federation', rejected by governments and what interested opinion then existed, if ardently espoused by a small but committed minority of activists. For them and their academic sympathisers, 'integration' supplied a more neutral term for progress towards an ideal best kept, for time being, <em>in petto</em>. Nowhere was it more helpful than in characterising the work of the Court of Justice, which was, as van Middelaar emphasises, the first mover in the 'passage to Europe' after the Treaty of Rome.</p><p>Today the court remains, of all Union institutions, the most withdrawn from the public. Discreetly situated in Luxembourg, not exactly a European crossroads, and composed of judges appointed – one per country – by member states, its proceedings are hidden from public scrutiny; its decisions permit no admission of dissent; its archives grant minimal access to researchers. In modus operandi, the ECJ is the antithesis of the US Supreme Court, whose emoluments it comfortably tops – its president receives a salary worth $400,000, plus many allowances; the chief justice in Washington a measly $277,000. Its origins date back to the first stage of integration: the European Coal and Steel Community (ECSC) born of the Schuman Plan was endowed with a Court of Justice that was rolled forward into the European Economic Community set up by the Treaty of Rome five years later, and then into the European Union created at Maastricht.</p><p>Thanks to the pioneering work of a young historian from Luxembourg, Vera Fritz, we now have a detailed scholarly study of the composition of the court in the first twenty years of its existence. Her findings are illuminating. There were seven founding judges and two advocates-general. Who were they? The Italian president of the court, Massimo Pilotti, had been deputy secretary-general of the League of Nations in the 1930s. There he acted as the long arm of the fascist regime in Rome, advising Mussolini on what counter-measures to take to shield Italy from condemnation by the League for its actions in Ethiopia. On resigning his post in 1937, Pilotti took part in the celebrations in Genoa of the conquest of Ethiopia; and during the Second World War headed the high court of occupied Ljubljana after Italy's annexation of Slovenia, where resistance was met with mass deportations, concentration camps, and police and military repression. The German judge on the court, Otto Riese, was so devoted a Nazi that without any duress – he spent the war as an academic in Switzerland – he retained his membership of the NSDAP until 1945. His compatriot Karl Roemer, an advocate-general to the court, spent the war in occupied Paris managing French companies and banks for the Third Reich; after the war, he married Adenauer's niece, and acted as defence lawyer for the Waffen SS charged with responsibility for the massacre of the occupants of the French village of Oradour. The other advocate-general, Maurice Lagrange, was a senior functionary in the Vichy government, fully committed to the ideology of a 'National Revolution' to sweep away the legacy of the Third Republic. Acting as link-man between the judicial apparatus of the Conseil d'État and the political apparatus of the Council of Ministers, Lagrange was in charge of co-ordinating the first wave of persecution of French Jews. When Laval took over the reins of Vichy in 1942, transferring Lagrange back to the Conseil d'État, Pétain thanked him for his 'rare perseverance' in the regime's legislative and administrative work, to which Lagrange replied that 'for me it has been a great privilege to be so closely associated with the enterprise of national renovation you have undertaken for the salvation of our country. I am convinced that every Frenchman can and should take part in this work.' After the war he was chosen by the Americans to help democratise the civil service in Germany, and by Monnet to help draft the treaty establishing the Coal and Steel Community.</p><p>That figures like these were the ornaments of Europe's first Court of Justice reflected, of course, the closing of political ranks after the Cold War set in, when what mattered was not the misdeeds of the fascist past but the menace of communist present. It was a time when the last commander of the Charlemagne Division of the SS, fighting to the last bullet to defend Hitler in his bunker, could emerge as best choice for the Robert Schuman Prize for services to European unity.<a>*</a> Why should European justice too not let bygones be bygones? More generally, appointments to the court had little or nothing to do with juridical qualifications. Nearly all were political. The Belgian judge was a leading figure in the Catholic Party of his country; one of the Dutch judges was the brother of a prewar foreign minister; the French judge, Jacques Rueff, a former deputy governor of the Banque de France, was one of the founders of the Centre National des Indépendants et Paysans; a Catholic trade unionist from the Netherlands and a socialist magistrate from Luxembourg rounded out the set.</p><p>Among the next levy of judges were a founder of the Christian Democratic Union (CDU) in Berlin, later a deputy for the party in the Bundestag; the son of a leader of the Anti-Revolutionary Party (Calvinist) in the Netherlands; a former aide to Dino Grandi, minister of justice for the Duce, and brother of the then finance minister in Italy; a co-founder of the Christian Social Party in Belgium; a one-time Nazi and stalwart of the SA (1933 vintage), latterly a Social Democrat in Germany; a long-time functionary in the Italian colonisation of Rhodes; a former <em>chef de cabinet</em> to the civil and military governor of Algeria. <em>Justice à l'européenne</em> was never blindfold: its eyes were wide open, and round its head was a bandana gaudy with the colours of the establishment parties of the time.</p><p>The second wave of appointees also included one who was, in the words of an admirer, Europe's equivalent of John Marshall, the patriarch of the Supreme Court in the US, responsible for establishing its authority across the land. Robert Lecourt was a leading politician in the French version of the Christian Democratic parties of Italy and Germany, the Mouvement Républicain Populaire (MRP), which formed part of every government of the Fourth Republic, for which it supplied the second and second to last prime ministers. The most significant difference between the MRP and its equivalents in Rome and Bonn was that France possessed a large colonial empire of which the party was a zealous defender, resolute in prosecuting the country's wars in Indochina and Algeria. Joining de Gaulle's government with the arrival of the Fifth Republic in 1958, the MRP split over his announcement of a referendum on self-determination in Algeria. The party's long-standing leader, Georges Bidault, joined the paramilitary OAS, which launched armed resistance against de Gaulle in the name of <em>Algérie française</em> and narrowly failed to assassinate him, while his colleagues in the party hewed to de Gaulle. Lecourt, who like Bidault and others in the party had been active in the Resistance, had a doctorate in law and served as minister of justice in 1948, 1949 and 1957. Under de Gaulle, he held portfolios for France's colonies in Africa and elsewhere. In May 1962, he was appointed to the European Court of Justice.</p><p>Lecourt came to Luxembourg with a particular set of associations and convictions. Alongside his role as a deputy and minister for the MRP, he had been active since the late 1940s in the Nouvelles Équipes Internationales (NEI), the undeclared international of Christian Democracy in Europe, participating in annual congresses devoted to such themes as 'firmness of Christian Democracy in the face of communism in crisis', and in due course becoming head of its French section. He continued without compunction to lead it at the 1962 NEI congress in Vienna, held after he had taken up his post at the Court of Justice. The NEI was in favour of European unity, and Lecourt was himself a member of Monnet's Action for a United States of Europe, formed in 1955. He was an ardent federalist.</p><p>With this background, Lecourt's arrival in Luxembourg could not have been more happily timed. For on the docket of the court lay the case that would produce its first landmark decision, <em>Van Gend en Loos</em>, a suit brought by a small transport firm against the Dutch government for imposing a customs charge on its import of an adhesive from West Germany. To all appearances, a dispute of minor significance. In the shadows, however, powerful forces had been gathering around it. One was the European Commission in Brussels. There, heading its Legal Service, was the Frenchman Michel Gaudet. When working in the same capacity for the ECSC before the Treaty of Rome, he had already been determined to ensure that the future ECJ would not be an international court along conventional lines, but a federal supreme court on the American model. Corresponding in 1957 with Donald Swatland, a Wall Street lawyer who had been a wartime associate of Monnet, Gaudet explained that 'federal ideas are still very new in continental Europe', and sought guidance in promoting them. He also developed a close relationship with the American legal scholar Eric Stein, the first person anywhere to hail the promising judicial future of the Luxembourg court. In 1959 Stein invited Gaudet for a six-week trip to the US to learn about federalism first-hand. In return, while Stein was on sabbatical in 1962, Gaudet planted him in the offices of the Legal Service with a desk of his own, and invited him to sit in on briefings with lawyers preparing the Commission's case on <em>Van Gend en Loos</em> for the ECJ. Stein, proponent of a set of fundamental axioms for a constitutional order in Europe, could be counted on as a transatlantic zealot of federalism for the Old World.</p><p>Meanwhile, associations of jurists concerned to promote European law had been springing up in each of the countries of the Six, of which the German Wissenschaftliche Gesellschaft für Europarecht (WGE) was the largest and most important, followed by the Association Française des Juristes Européens. In close touch with these organisations, the Commission supplied financial support for their meetings, and in 1961 Gaudet created an umbrella group, the Fédération Internationale pour le Droit Européen (FIDE), 'with the explicit aim of facilitating exchanges across political, bureaucratic and scholarly boundaries'. In the words of its first president, FIDE acted as 'a private army of the European communities'. 'In Europe around 1950,' a member of its German branch recalled, 'the idea of European unification was capable of evoking almost religious enthusiasm among young lawyers. We believed in the United States of Europe.' The Dutch section of FIDE was particularly active. One of its members acted as counsel for <em>Van Gend en Loos</em> and it can be surmised with some confidence that the case was set up by this lobby. However that might be, supported by the Commission it found the right rapporteur in Luxembourg, where Lecourt, hotfoot from Paris, wrote the historic verdict overturning a national law.</p><p>A year later, in 1964, came the second decisive act. In Italy, two lawyers outraged by the nationalisation of the electricity industry set up a challenge to the constitutionality of its issuance of a 1925 lire utility bill. When the Italian constitutional court ruled that nationalisation was not a constitutional issue and couldn't be challenged by reference to the Treaty of Rome, as passed subsequent to it, they appealed to the European court. Two weeks after its advocate-general argued that the Italian court could not be overridden, though it should be encouraged to seek ways of integrating European law into national law, the WGE held a meeting in Hesse at which three ECJ judges were present. There, a participant recorded, they sat with 'red ears' as a leading authority of the WGE, Hans Peter Ipsen, instructed them on the supremacy of European law over the national law of any member state. Ipsen's opinion would prevail: five days later Lecourt issued the ECJ's ruling on <em>Costa v. Enel</em> to the same effect. The cornerstone of European justice was laid.</p><p>Who was Ipsen? A jurist from Hamburg who joined the SA in 1933 and the NSDAP in 1937, becoming a full professor at the age of 32 on the strength of a doctorate subsequently published as a book under the title <em>Politik und Justiz</em>, which dealt with 'sovereign acts' by the state that dispensed with considerations of justice. Exalting the German version of these based on the '<em>Führergewalt</em>' of Nazi power – which had found expression since 1933 in arrests, purges, expropriations, the <em>Gleichschaltung</em> of trade unions – as superior to earlier merely 'governmental' legislation in France, and to the fascist variant in Italy, which was based on legislative authority in a division of powers system, the book understandably attracted the interest of the Nazi Party's central Chancellery. During the war, Ipsen served as a commissar for Hitler, dealing with universities in occupied Belgium. There in 1943 he extolled the 'external administration' of the Third Reich, which now covered Norway, Belgium, the Netherlands, France, the Ukraine, the Baltic states, the General-gouvernement of Poland, occupied areas of Serbia and Greece, not to speak of Alsace, Lorraine, Luxembourg, Southern Styria and the protectorates of Bohemia and Moravia – an area comprising some 2,865,000 square kilometres and 154 million inhabitants, in addition to the nearly 700,000 square kilometres and 90 million inhabitants of the enlarged 'inner Reich', and amounting in all to 46 per cent of the population of the continent. These lands held the promise of a future <em>Grossraumordnung</em> of Europe under Nazi command. Before the war was out, Ipsen became dean of the Law Faculty at the University of Hamburg and adviser to the Ministry of Justice in Berlin. In 1945 he was briefly deprived of his chair, but soon recovered it. A better than average Nazi career was capped with postwar honours as he became the doyen of European law, in 1972 authoring a monumental summum on the subject in the Federal Republic.</p><p>In 1967 Lecourt became president of the court. In this position, he wooed national judges with regular invitations to learn from Luxembourg: a systematic 'campaign of seduction' assorted with champagne brunches, aimed at disarming resistance to the supremacy it claimed. By the end of his tenure, some 2500 magistrates from across the member states had enjoyed his hospitality. In the other direction, judges of the court were encouraged to pay ceremonial visits to the governments of the Community, where they were typically received, an assistant could report, 'like emperors'. Since so many of them had come from political backgrounds, or were scions of well-placed family dynasties, they could take these visits as opportunities for insider exchange of news and views of an informal kind, oiling the wheels of ECJ presence and influence. Lecourt, with long experience of journalism and politics, also encouraged his colleagues to give lectures and write articles for the cognoscenti to spread the glad word of the court, setting an energetic example himself.</p><p>In all this he was seconded from 1967 onwards by Pierre Pescatore, another kin appointment, brother-in-law of the prime minister of Luxembourg and a more outspoken and prolific champion of federalism even than Lecourt – his legal opinions serving in the words of one witness as the 'shock troops' of supranational advance. Together they propelled European justice forward in what would later be seen as its heroic age: one bold judgment after another sealing the court's authority over successive aspects of the life of the Community. Lecourt's record as its president, Pescatore declared after his chief had retired, was nothing less than 'a jurisprudential miracle'. His own contribution was to uphold still more firmly a 'teleological', rather than a merely literal reading of the Treaty of Rome. Whatever its clauses might or might not say, it was inspired by ideals inherent in 'the common liberal and democratic traditions of the peoples of Western Europe', and these should acquire legal force. After Lecourt had gone, it was Pescatore who delivered the last key judgment of the court as a driver of European unity, the market-levelling verdict of <em>Cassis de Dijon</em> in 1979, ruling that any product on legal sale in one country of the Community was vendible in any other. Lecourt's strategy had always been to move gradually, avoiding any blatant provocation of national governments, deflecting their attention from momentous juridical pronouncements by attaching them to matters of seemingly minimal commercial importance. In this case, the commodity was a blackcurrant liqueur.</p><p>After <em>Cassis de Dijon</em>, strategic initiative passed to the European Council which gradually took shape after its creation by Giscard d'Estaing in the mid-1970s, and to the Commission after it came under the command of Jacques Delors in the mid-1980s. The court handled an increasing number of cases and its judicial activism scarcely abated. But it now reinforced rather than led the Hayekian turn in the Community, which crystallised in the Single European Act that came into force in 1987. In the new century, it has enjoyed an extra shot of neoliberal adrenalin with the arrival in Luxembourg of converts to free-market principles from Eastern Europe, resulting in two judgments – <em>Viking</em> and <em>Laval</em> of 2007, pitting Baltic freebooters against Nordic trade unions – that undermined labour rights. These were a departure from the tactical precepts of Lecourt, arousing adverse public attention of the kind the court had always sought to elude, and conspicuous further steps did not ensue. After Maastricht an important task would still fall to the court, but of a different character. Its pioneering work – celebrated by van Middelaar as the coup that essentially founded today's Union – had been accomplished.</p><p>Where did this achievement lie? The two jurists who have spelled it out with greatest clarity are Dieter Grimm, for twelve years a judge on the German constitutional court, and Thomas Horsley, two generations younger, a senior lecturer at Liverpool University. The decisions of the court in the 1960s, Grimm has observed, were 'revolutionary because the principles they announced were not agreed on in the treaties' that created the ECSC and the EEC, and 'almost certainly would not have been agreed on had the issues been raised'. It was a court with an agenda that did not correspond to the intentions of its founders, seeing itself 'neither as the guardian of the rights of the signatory states, nor as a neutral arbiter between the states and the Community, but rather the driving force of integration'. Its assertion of the supremacy of Community over domestic, let alone constitutional laws, Horsley remarks, had no basis in the Treaty of Rome, which granted it rights of judicial review only 'with respect to acts of the Union institutions', not those of member states. 'Yet, in effect, this is exactly what the court now undertakes on a routine basis', proceeding as if 'the treaty framework, as touchstone on the internal constitutionality of all EU institutional activity, has never actually meant what it so clearly states'.</p><p>But is there anything particularly unusual about this? Isn't creative interpretation of laws by judges almost as familiar as of figures by accountants? On an alternative and less cynical view, isn't the outcome what matters? Ankersmit or van Middelaar would see this as an instance of the judicial sublime. Without going that far, it is reasonable to inquire what's wrong with the upshot. The answer lies at the level of both principles and consequences. As to the first, Horsley opens his study with the following grave statement: 'Among EU institutions, the court remains uniquely distinguished as an actor in the integration process. It is the only Union institution whose activities are not routinely scrutinised (by itself or by others) for compliance with the EU treaties.' Yet the 'treaty framework provides no basis whatsoever to justify differentiating between the court and the Union's administrative and political institutions with regard to compliance with its demands. The court is formally designated an institution of the Union under Article 13 TEU. As such, along with the Union's political institutions, it is irrefutably subject to compliance with EU treaties.' But once, from the moment of its coup, the court had authorised itself as the guardian of a constitution which had no basis in the treaties, but supposedly corresponded to their 'ultimate purpose', what other institution could bring it to book? Its circular self-validation ruled out any such challenge.</p><p>The court thus became not just a unique institution within the Community, but unique within supreme or constitutional courts, endowed with powers that no analogue in a democracy has ever possessed. In all other cases, the rulings of such courts are subject to alteration or abrogation by elected legislatures. Those of the ECJ are not. They are irreversible. Short of amendment of the treaties themselves, requiring the unanimous agreement of all member states, 'which, as everyone knows, is all but out of the question', as Grimm writes, there is no recourse against them. They are set not in stone, but in granite, and are far from neutral in effect. Written in 'a technical language that is often opaque', the court's decisions often cloak highly political issues in an apolitical fashion; they fall 'below the threshold of public attention', rendering their effects difficult <em>ex ante</em> to perceive; but should they subsequently be protested, they are treated as accomplished facts that citizens are told it is too late to do anything about – 'there is now no alternative.' Since these rulings have constitutional force, much of what would be ordinary legislation at national level has been built into successive sequels to the original Treaty of Rome – Maastricht, Amsterdam, Nice, Lisbon – resulting in documents of such 'epic length' that the Ireland's EU commissioner declared of the last that 'no sane and sensible person' could read it, after his prime minister admitted, after signing it, he had not done so: they amount, in effect, to enormous cryptograms beyond the patience or grasp of any democratic public.</p><p>The effect of 'constitutionalising' (the apostrophes are needed, because the treaties remain international pacts, not federal charters) issues like the permissibility of state aid to industries, or subsidies to public services, is to immunise judicial ukases on them against any ordinary exercise of the popular will. As Grimm writes, 'the stronger the substantive content of the constitution, the narrower the leeway for politics.' Typically, 'whatever is governed in the constitution is removed from the realm of political decision-making. It is no longer an object, but a premise of politics.' In the EU, 'it cannot be influenced even by the outcome of an election.' That the judges who deliver the decisions of the ECJ are themselves unelected is, of course, common though not invariable practice in constitutional courts. What is not, is the European court's 'insatiable jurisdictional appetite'. Its current president, the Belgian Koen Lenaerts, has spelled out the extent of that hunger. In his words: 'There is simply no nucleus of sovereignty that the member states can invoke, as such, against the Community.' The court aims at 'the same practical outcome as the one that would be obtained through a direct invalidation of member state law'.</p><p>To such self-aggrandising presumption corresponds neither judicial nor political competence. Even setting aside its systematic disregard for the limits to its scope in the treaties, Horsley writes, 'the court fares poorly in comparison to its counterparts on the classic measures of comparative institutional analysis: democratic legitimacy and technical expertise. Its judges are not elected, its deliberations are secret and, as a court of general jurisdiction, it enjoys no special expertise in the wide range of policy fields over which it intercedes to adjudicate.' But if it has no special expertise, it had from the start a particular orientation, 'a settled and consistent policy of promoting European federalism', and after the turn of the 1980s, a decided social inclination, which it has pursued, in Grimm's view, with 'missionary zeal'. Interpreting 'prohibitions of discrimination against foreign companies so widely' that 'almost any national regulation could be understood as a market access obstacle', and pushing 'privatisation regardless of the motives for entrusting certain tasks to public services', the court effectively deprived member states of 'the power to determine the borderline between the private and public sector, market and state'.</p><p>Such judgments come not from a eurosceptic standpoint, but from authorities committed to what they see as the achievements of European integration. For Grimm, what is needed to restore legitimacy to the process is essentially the de-constitutionalisation of political decisions to allow their discussion by voters and revision by legislatures. Horsley, after explaining what in his opinion have been the benefits of judicial intervention along with its costs, assures readers that he does not seek to undermine the Court of Justice, let alone add to 'denigration of the Union', but to enhance the legitimacy of its lawmaking. Yet if their accounts of the ECJ are those of friends of the court, it is not clear what its enemies would have left to say. The truth is that, on any reasonable reckoning, it would be difficult to conceive of a judicial institution in the West that, from its tenebrous origins onwards, was purer of any trace of democratic accountability.</p><p>The European Commission, whose evolution has been more winding, was in its early years the crucial partner of the court. Its history can roughly be divided into three phases, corresponding to the three figures who would hold its presidency for a full decade across two terms: Walter Hallstein (1958-67), Jacques Delors (1985-95) and José Manuel Barroso (2004-14). Hallstein, a German lawyer and diplomat – a Christian Democrat best known for the Cold War doctrine to which he gave his name, which made West German recognition of any state dependent on its refusal to recognise East Germany – was an outspoken federalist, who conceived the Commission as a proto-government of the Community, declaring national sovereignty a 'doctrine of yesterday', and awarding himself the status of 'prime minister of Europe'. De Gaulle put a brusque end to his pretensions in 1965, and he left Brussels a mocked and deflated figure. However, in his heyday, between 1958 and 1964, Hallstein presided over a Commission that was a dynamo of energy in finding ways and means to circumvent the Treaty of Rome in the higher interests of European unity.</p><p>As the French scholar Antoine Vauchez has shown, Brussels quickly became a magnet for corporate lawyers and investors from America, on the lookout for market opportunities and bringing with them the expectations and practices of a powerful federation. They soon formed close relations with the substantial number of high-flying Belgian commercial jurists, and this common milieu offered smooth intermediation between arriving multinationals and the Commission, and a propitious setting for exchange of ideas with key departments, such as Competition and the Legal Service. The European Economic Community created by the Treaty of Rome was not conceived as a free-fire zone for the market, and gave birth to a heavily subsidised and regulated Common Agricultural Policy that was anathema to liberal economists, prompting Hayek's fellow thinker Wilhelm Röpke, taking aim at its Belgian founder, to denounce it as nothing more than a miserable 'Spaakistan'. From the outset, however, the Competition Service of the Commission was a fortress populated by German ordo-liberals, whose devotion to market principles and determination they should not be impeded by improper meddling on the part of any state made them natural proponents of federalism, as Hayek had been before the war. In this cause, the Legal Service led the way, supplying the Court of Justice with the overwhelming majority of cases on which its verdicts could build an ever more extensive edifice of European law trumping the rights of national legislatures. Between 1954 and 1978 the ten most frequent plaintiffs before the court brought a total of 1381 cases before it: of these 1082 came from the Commission or its adjuncts – just under 80 per cent. The loop of collusion was tightly woven. By 1964, Hallstein could announce triumphantly that Europe had achieved 'the beginnings of a real and full "political union"'.</p><p>A year later he was a busted flush, and it took another twenty years for the Commission to recover its dynamism. When it did so, it came under other colours. Delors, whose youthful background was in the Catholic trade-union confederation in France, in due course joined the Socialist Party, and there advocated a 'social Europe'. But when there was a conflict between the adjective and the noun, the noun came first. As finance minister under Mitterrand, it was Delors who made sure that the socialist programme on which Mitterrand had been elected and had at first implemented, was ditched in the famous U-turn of 1983 to austerity, in order to keep the franc in the European Monetary System. At the head of the Commission, Delors was profuse with declarations of the need for social solidarity, and did in the end secure cohesion funds to help less advantaged regions in the Community. His main achievements, however, were to pass the Single European Act – crafted under him by an emissary of Thatcher – unifying and deregulating markets across the Community, and to drive through the Monetary Union that became the centrepiece of the Treaty of Maastricht. In his mind, these were the necessary preambles to European-wide social solidarity. Not only were they economically efficient in themselves, promoting growth that would eventually lift all boats; without them, governments could not be persuaded of the need to redistribute wealth across classes and regions, essential if Europe was to win the full adhesion of its citizens. A far more charismatic and commanding figure than Hallstein, a politician who dealt on equal terms with all the national leaders of the day, Delors led them to the single currency, but failed to achieve the social objectives he had thought he could buy with it. All governments save Britain and Denmark signed up to the first. Few wanted much of the second. Delors did get cohesion funds – help for disadvantaged regions, not classes – out of Maastricht, but these were the crumbs of solidarity, not the loaf: compared with the subsequent impact of the single currency, little more than the alms of an instrumental charity.</p><p>Barroso, installed four years before the global financial crisis of 2008 and exiting late in 2014, just before Syriza came to office, was the second sitting prime minister of a member state to become president of the Commission. A politician of the Portuguese right, whose main previous claim to fame was hosting the Azores Summit, attended by Bush, Blair and Aznar, which launched the Iraq War, his appointment to Brussels the following year demonstrated how hollow was the nominal opposition of France and Germany to Operation Iraqi Freedom. An usher of austerity in his own country, his tenure marked the apogee of the neoliberal drive that followed the introduction of the single currency, with the promulgation of Bolkestein's Services Directive in 2004 and the arrival of the Treaty of Lisbon in 2010. But though personally as ambitious for his role as Hallstein or Delors, the ideas he represented were conventional wisdom by the new century, while since Maastricht the power of the European Council had grown significantly at the expense of the Commission, and in Barroso's second term it enjoyed its own president in Van Rompuy, a rival for the limelight with whom his relations were never good. His tenure was less consequential than that of his predecessors.</p><p>Today, 27 commissioners, one per member state, each allocated a portfolio – naturally, of vastly differing importance: Competition long since became the top prize – formally enjoy equal status under the president, currently the CDU politician Ursula von der Leyen. In reality, as the former director-general of the Legal Service, the all-purpose Brussels fixer Jean-Claude Piris (22 years in the saddle) pointed out in 2012, since this would mean that the fourteen commissioners from the Union's smallest countries, representing a mere 12.65 per cent of the population of the Union, could easily outvote the six commissioners from its biggest countries, representing 70 per cent of its population, decisions are always taken by 'consensus' – that is, behind a façade of unanimity, under the impulsion or veto of the six major states. Similarly, the president of the Commission, responsible for liaison with the heads of government of member states, normally confers only with those in that select group, or perhaps just with Berlin and Paris at the top of it: to do otherwise would be 'too time-consuming'. So composed, the Commission is formally vested with the sole power to propose legislation for the Union, but here the reality differs: more than two-thirds of its proposals are now hatched jointly with representatives of the member states in the dense undergrowth at Brussels, in which COREPER – which brings together permanent envoys to the EU – holds pride of place, and then rubber-stamped by the relevant Council of Ministers when passed up to it.</p><p>Below the commissioners, appointed for five-year terms, sits the permanent bureaucracy of the EU, some 33,000 strong – the 'Eurocrats', as coined by the <em>Economist</em> in 1961 and popularised with no pejorative intent by a book of Altiero Spinelli in 1966. In its higher echelons, where heads and assistants of the Commission's 32 directorates-general are to be found, recruitment was until the mid-1980s heavily weighted towards functionaries with a legal background; below them, in the body of the administration, a general humanistic orientation was encouraged, an MA in European studies an advantage, preferably from the College of Europe in Bruges. Thereafter, and with the subsequent enlargement of the Union to the East, the pattern changed. Under Romano Prodi (president 1999-2004), Neil Kinnock was entrusted with the task of modernising the system of pay and recruitment, bringing the tidings of New Labour to Brussels, with predictable outcomes. By 2014, two-thirds of the directors-general were trained in economics, receiving commensurately higher salaries to compete with the private sector; lower down, in the name of democratising future intakes, knowledge of foreign languages or of any general culture faded as requirements, giving way to MBAs.</p><p>For observers of the course of the EU since Maastricht, such changes might be logical enough – neoliberals were being neoliberalised – but they were not appreciated by many of those affected by them, their Anglo-Saxon origin rubbing post-Brexit salt in the wounds. 'After having broken Europe from the inside for years, they're breaking it from the outside by destroying its political legitimacy,' Didier Georgakakis quotes one as saying. Another, not as angry: 'It's insane when you think about it. They are leaving after having imposed their administrative model on us?' Yet another: 'The new model is the Procter & Gamble one.' Barroso's elevation, from presidency of the Commission to chairman of the international division of Goldman Sachs, was a natural sequel to these reforms. But the alteration of outlooks and mores in the Commission also has to be understood in terms of its surroundings. There are now around 30,000 registered lobbyists in Brussels. That is more than double the number infesting Washington, reckoned at a mere 12,000. In Brussels, 63% are corporate and consultant lobbyists, 26% are from NGOs, 7% from think tanks and 5% municipal. That Europe's executive could resist infection from the vapours of this swamp is implausible.</p><p>Since Delors, the Commission has had to play second fiddle to the European Council, which is unlikely to appoint a figure of his political stature to lead it again. Contemporary popular suspicion of the Commission as the bureaucratic demiurge of the Union is in that sense misplaced. But it remains a considerable power within the complex machinery of the EU, by reason of three attributes peculiar to it. The first is simply its size as a corps of permanent functionaries compared with that of any of the Union's other institutions, and the closed citadel of its workings – 34 different 'procedures' that no lay person is equipped to understand. The second lies in the sheer size of the rulebook that it wields as an instrument of power within the Union – the <em>acquis communitaire</em>, impenetrable to its citizens, but inescapable for its states, forming the primary means of the <em>Gleichschaltung</em> of Eastern Europe to EU norms, over which commissioners presided as proconsuls from Brussels. Originally put together as a codification of EEC regulations to which the UK, Denmark and Ireland would have to adapt on entry into the Community in 1973, when it already came to 2800 pages, the <em>acquis</em> now runs to 90,000 pages, the longest and most formidable written monument of bureaucratic expansion in human history (the notorious US tax code is a mere 6500). Foucault's overblown identification of knowledge with power here finds literal embodiment.</p><p>'This technical and cognitive equipment', Vauchez writes, going on to quote Joseph Weiler,</p><blockquote><p>is not only the instrument that officially defines and authenticates that 'Europe' to which candidates are applying in phases of enlargement; it equally inserts itself into the most routine operations of the EU, turning into Europe's 'constitutional operating system ... axiomatic, beyond discussion, above debate, like the rules of democratic discourse, or even the very rules of rationality themselves, which seem to condition debate but not be part of it'.</p></blockquote><p>Nor, of course, is it institutionally neutral.</p><blockquote><p>As it formalises a stable figure of Europe (its foundations, its missions) and of its value objects (its body of law), the acquis implicitly locates the ability and responsibility for the 'rational guidance' of European affairs in particular institutions (here: the Commission and the court) and professional groups (Euro-lawyers and EU civil servants), while dispossessing others (here: member states, constitutional courts, national diplomats, bureaucrats etc).</p></blockquote><p>At the same time, along with the <em>acquis</em> as a disciplinary instrument, the Commission possesses a mollifying implement of power in the apportionment and disbursement of its cohesion funds, the <em>annona</em> of van Middelaar's latter-day Roman strategy for securing clients. These form a significant source of patronage, a means of inducing compliance or rewarding loyalty, whose promise could be critical in winning local elites to the will of the Union, if conditions were also bent where it was politic to overlook corruption in the interests of ideological subsumption, as in Romania and other candidates for membership. Little noticed at the time, the geographical enlargement of the Union to the East also produced the greatest operational enlargement of the Commission since Hallstein's time, as it took charge of the task. That some of its fruits have since become thorns in its side, as the more advanced states of Eastern Europe, once their elites were safely inside the Union, became less submissive to it, is another of the unintended consequences, or counter-finalities, of which there have been so many in the history of integration.</p><p>What of the European Parliament? Composed now of 705 deputies, apportioned between the Union's 27 countries to reduce somewhat the weight of the largest (Germany in particular), and shuttling monthly between Brussels and Strasbourg, it has historically been an ally of the Commission and the court in its aspirations to a federalist future for Europe. The Commission would have liked to become what Hallstein expected it to be, the governing executive of Europe, and the Assembly – it only came to be officially styled a Parliament in the 1980s – sought to become the legislature of Europe to which this executive would be responsible: hopes that did not materialise. Nevertheless, over time the Parliament has acquired a substantial bureaucratic infrastructure of its own – presently, some seven thousand functionaries service it – and a limited number of powers, of which the three most significant are the right to 'co-decision' with the Council on legislation proposed by the Commission; to reject – but not to amend – the budget proposed by the Commission; and to reject – but not to elect – commissioners chosen by the president of the Commission. What it does not possess are the rights to elect a government, to initiate legislation, to levy taxes, to shape welfare, or determine a foreign policy. In short, it is a semblance of a parliament, as ordinarily understood, that falls far short of the reality of one.</p><p>Voters are aware of this, and have shown scant interest in it. Turnout at European elections is notoriously poor, falling steadily across four decades to a point where its recovery to just over 50 per cent in 2018 could be hailed as the sign at last of a robust European democracy, though this was still ten points below the figure in 1979, when the first such election was held. Nor are most of the citizens who do take the trouble to go to the polls voting on European issues. Rather, in casting their ballots for or against local parties, they are expressing their views on the performance of their national governments. The result is an assembly composed of some two hundred heteroclite parties, which then group themselves into six or seven blocs, whose unity does not run deep – ties between deputies in national delegations are often closer than with their pan-European affiliates. No division between government and opposition can emerge, because there is no government to be formed or opposed. The pattern instead is for grand coalitions along German lines, bringing together centre-right and centre-left blocs to control the proceedings, and electing the chief officers and key committee chairs of the assembly from their ranks, with variable input from Liberal and Green auxiliaries. The political difference between the two main blocs, in general faded enough at national level, becomes all but completely invisible in the successive GroKo combinations at Brussels and Strasbourg.</p><p>As might be expected, in this huge, heterogeneous, largely ceremonial body, deputies have little appetite for going through the motions of actually being there. Average attendance is around 45 per cent. Virtually all the work is seconded to committees, where behind closed doors the mysteries of 'trilogue' are enacted: that is, represent-atives of the Parliament confer with representatives of the Council of Ministers and of the Commission as to what legislative proposals emanating from the Commission, and typically pre-cleared by member states and their permanent representatives in Brussels, can be accepted for transmission to a vote in the chamber – the discussions mostly revolving around matters of procedure rather than substance. As Christopher Bickerton notes, 'between 2009 and 2013, 81 per cent of proposals were passed at first reading via the trilogue method. Only 3 per cent ever reached third reading, which is where texts are debated in plenary sessions of the Parliament.' Such is the alchemy of co-decision.</p><p>In 2014, when turnout was just 42.5 per cent, the Parliament launched a campaign with wide media support to convert the elections to it into a pan-European exercise in the democratic will: each of the political blocs would nominate a candidate for the presidency of the Commission – legally in the gift of the Council – and the bloc securing the largest number of seats, equipped with the backing of the whole Parliament, would then elevate its <em>Spitzenkandidat</em> to the command of the Commission, as any other legislature might vote a government into office. The centre-right gained most votes; its candidate was the fixer Jean-Claude Juncker. After some tergiversation, Merkel prevailed on the Council to accept him and Juncker became president of the Commission on the strength of about 10 per cent of the European electorate. Had she not done so, Habermas told the <em>Frankfurter Allgemeine Zeitung</em>, it would have been 'a bullet to the heart of the European project'. Five years later Macron put his foot down, and the next president was picked according to the rules by the Council, ignoring the hapless <em>Spitzenkandidat</em>. Indignant at this rebuff to its pretensions, there was talk of a rebellion in the Parliament, which though it has no right to select, can reject a Commission president. But wouldn't that provoke a crisis of the European project? The terrifying prospect of open disagreement between its institutions quelled enough spirits for Ursula von der Leyen to sidle into office.</p><p>The function of the European Parliament, which neither aggregates nor channels the wishes of voters, from whom once the polls close it becomes completely detached, is, as the Italian scholar Stefano Bartolini has put it, 'elite consolidation'. That is, a process in which the parties collude with one another to present the appearance of a democratic assembly, behind which oligarchic coteries are comfortably entrenched. These would be happy to gain more powers, but have no interest in ceding any to those they nominally represent. The width of the gap between the institution and the populations beneath it can be judged from the rare occasions on which the latter have been able to make their voice heard directly. In the Netherlands, turnout for the European elections of 2004 was just 39 per cent. A year later, it was 63 per cent for the referendum on the Draft Constitutional Treaty – which, while supported by 80 per cent of the Dutch delegation at Strasbourg/Brussels, was rejected by 62 per cent of Dutch voters. The Parliament is not what it seems, and is the least consequential component of the Union. Does that mean it is little more than a glorified fig-leaf? Not quite. Appearances matter, and in its fashion the Parliament plays a constructive role for the Union, supplying a measure of the legitimation that any self-respecting liberal order requires. However limited citizen investment in them may be, synchronised pan-European polls are better than none, and their beneficiaries can continue to hope that a vibrant federal polity will one day arise from them.</p><p>Of an altogether different order of political avoirdupois is the European Central Bank, created to manage the single currency that came into force in 1999. Today it is one of the most powerful EU institutions, some would say, the most powerful. Based in Frankfurt, its governing council is composed of the heads of the central banks of the Eurozone countries and the six members of its executive board, meeting every two weeks. Its proceedings, unlike those of the Fed or the Bank of England, but in keeping with those of the European Court of Justice, are secret. Occasionally, unlike the ECJ, a member may resign, but its decisions are formally unanimous. No dissent is ever published. The Treaty of Maastricht conferred absolute independence on the bank, which operates without any of the counterweights – Congress, the White House, the Treasury – that surround the Fed, embedding it in a political setting where it is publicly accountable. Unlike any other central bank, the independence of the ECB isn't merely statutory, its rules or aims alterable by parliamentary decision: it is subject only to treaty revision. Nor, unlike the Commission, Parliament, Court of Justice or even Council, are its proceedings cumbersome. It can act with a speed and impact no other EU institution can match.</p><p>Maastricht gave the ECB a single objective. Where the Fed is charged by Congress with ensuring maximal employment as well as stable prices, the single responsibility of the ECB was to ensure monetary stability in what would become the Eurozone. From the outset, as economists were aware and not a few pointed out, the economies due to adopt the euro, differing widely in size, composition and level of development, in no way met the criteria of an 'optimal currency area' as set out by the economist Robert Mundell and others. Quite the contrary. But this did not deter the Delors Committee which drove the project through, since its aims were political rather than economic: in part to tie down a reunified Germany within the Community, but more broadly to create a currency which would lock those states that adopted it so closely together that they would be obliged to follow monetary union with political union. As an explicit goal, that was a bridge too far at Maastricht, where federalist hopes were dashed by intergovernmental bargaining of a traditional sort. Still, the treaty created a European Economic and Monetary Union, the assembled politicians who signed the document characteristically giving little thought to what its consequences might be when they were no longer in office. The portals of a political union were not entered; nor were they foreclosed.</p><p>The disjunction between means and ends soon made itself felt. Wim Duisenberg, the crude Dutch banker who became the first president of the ECB, prided himself on being a rough-hewn champion of financial orthodoxy on the best Anglo-Saxon lines. Yet he was overjoyed when Greece, after suitably cooking its books, promptly adopted the euro. His reasons were not economic, but political. Though the single currency was not, for those administering it, simply a short-cut to federalism, it was – as Giandomenico Majone, a thinker truer to classical principles, would put it – a 'prestige project' designed to raise the profile of the EU in the world. A decade later, the Eurozone would be paying for this vanity. Jean-Claude Trichet, the Frenchman next at the helm in Frankfurt, was a smoother figure, but equally blind. His response to the global financial crisis was pro-cyclical: raising interest rates to force governments to cut public spending, imposing austerity as a cure for the crash. His successor, Mario Draghi, was widely celebrated for reversing course, spraying money into the Eurozone economies with purchase of government bonds and a generous dose of other forms of liquidity. In fact, there was more overlap between the two than generally believed. Draghi, responsible for a sweeping privatisation progamme in Italy, was more outspokenly neoliberal, pronouncing Europe's social contract obsolete in the pages of the <em>Wall Street Journal</em>. But in August 2011, the two jointly wrote a secret letter to Berlusconi, then Italian prime minister, demanding that he resort to a Cold War emergency mechanism to cut pensions and other public expenditures – an unprecedented violation of its mandate by the bank. Three months later Berlusconi was gone. For his part, Trichet had by the end of his tenure come round to the use of schemes to circumvent the ban in the Treaty of Maastricht on the purchase of public debt by the bank. Praising her chief, the former head of research at the ECB, Lucrezia Reichlin, told the <em>Financial Times</em> in February 2012: 'The whole concept of getting around European rules and doing QE without calling it QE was extremely clever.'</p><p>Five months later, Draghi announced to an audience in the City: 'Within our mandate, the ECB is ready to do whatever it takes to preserve the euro.' After boasting of the superiority of the Eurozone's economic performance to those of the US and Japan (the latter held less 'socially cohesive' than the Union, where half the youth of Italy, Spain and Greece were unemployed), he ended by making clear what was ultimately at stake in the crisis. No one should 'underestimate the amount of political capital that is being invested in the euro'. It was to safeguard this that the <em>ultima ratio regis</em> of the hour was required: 'targeted longer-term refinancing operations', 'outright monetary transactions' and the rest, or clever ways of getting around European rules, 'within the mandate' of the bank – that is, in blatant breach of Articles 123 and 125 of the Treaty of Lisbon. In due course, their legality would be challenged before the ECJ. But just as it had no compunction in interpreting the Treaty of Rome to arrogate powers to itself of which no trace can be found in the document signed by the Six, so the ECJ had none in deciding that Lisbon meant the opposite of what it said. Since it was now a question not of reading into a treaty what it did not contain, but of purging one of what it did contain, the contortions required were, in Horsley's words, 'herculean'. The comedy of judges solemnly explaining that financial assistance under the European Stability Mechanism constituted an act of economic, not monetary policy, and was therefore perfectly in order, while outright monetary transactions were an instrument of monetary, not economic policy, and therefore were also perfectly in order, calls for the pen of a Swift. What did the 'no bail-out clause' of Article 125 actually mean? That bail-outs were fine, so long as they served 'the higher objective' of preserving the euro. Or in van Middelaar's gloss, to break the rules was to be true to the contract.</p><p>In Germany successive attempts in 1974, 1986, 1993 and 2009 to contest the validity of laws or treaties of the Community before the country's own constitutional court have all yielded the same result. The judges in Karlsruhe have declared that Germany's <em>Grundgesetz</em> – Basic Law – may not be overridden by the European Court, but since no such infringement has 'so far' or 'yet' occurred, the plaintiffs have no case. Last year, it was called on once more, this time to pronounce on the legality of the blessing the ECJ had given to the ECB's bond-purchasing programme. Once again it declined to say this was illegal, while observing that the proportionality of its effects had not been adequately appraised, and instructing the German government and the Bundesbank to conduct such an appraisal and ensure appropriate proportionality. There was uproar in the Euromedia. The <em>Financial Times</em> was apoplectic. 'The German court has set a bomb under the EU's legal order,' Martin Sandbu cried. The court had 'launched a legal missile into the heart of the EU. Its judgment is extraordinary. It is an attack on basic economics, the central bank's integrity, its independence and the legal order of the EU,' Martin Wolf thundered. 'Future historians may mark this as the decisive turning-point in Europe's history, towards disintegration.' They need not have turned a hair. The Bundesverfassungsgericht is a mostly toothless body, as its studiously suspended judgments indicate. Best known for meekly overturning Germany's Basic Law to allow Schröder and Merkel in 2005 to stage an unconstitutional election before polls were due, it takes care to avoid serious offence to the <em>Obrigkeiten</em> of the day. Berlin and Frankfurt are unlikely to have much difficulty sending Karlsruhe back to sleep.</p><p>No piety is intoned so frequently by the EU, or identified so complacently with itself, as the rule of law. <em>Fatta la legge, trovato l'inganno</em> is popular wisdom in Italy. The adage implies that those who make and those who trick the law are not the same. What distinguishes the Union is that the two are one. In the hands of the European Court and the chorus of its admirers, the rule of law has more or less come to mean the misrule of lawyers who will stop at nothing to bend texts to their pleasure, at the expense of ordinary understandings of a principled justice. So what, if higher needs are served – the survival of a monetary union on which rational labour markets, taxes and transfers, the prosperity of all depend? But as more than one writer has replied, are bankers and judges the most competent authorities to determine what pensions or wages should be? Certainly, in these matters they do well enough for themselves. Is that the most appropriate qualification? Fritz Scharpf's dictum stands: in the EU, it is precisely those institutions which have the greatest impact on the daily life of most people that are furthest removed from democratic accountability – the European Court of Justice, the European Central Bank, the European Commission.</p><p>Less removed is the last of the Union's institutions, the European Council, since it comprises heads of government enjoying majorities in genuine parliaments, the product of meaningful elections. As such, it has become the peak authority of the Union. Van Middelaar's <em>Passage to Europe</em> is largely the story of its rise to this position, and its claim that the Council is now the principal driver of European integration is warranted. What it does not do is look beneath the hood. What kind of a vehicle has been advancing? That is the subject of the most fundamental of all works on the EU of the past decade, Christopher Bickerton's <em>European Integration</em>, whose anodyne title, shared by dozens of other books, conceals its distinction, which comes in the subtitle that delivers its argument: 'From Nation-States to Member States'. Everyone has an idea what a nation-state is, and many know that 27 countries (with the UK's departure) are member states of the European Union. What is the conceptual difference between the two? Bickerton's definition is succinct. 'The concept of member state expresses a fundamental change in the political structure of the state, with horizontal ties between national executives taking precedence over vertical ties between governments and their own societies.' This development first struck him, he explains, at the time of the Irish referendum on the Treaty of Lisbon. 'When the No result was announced, members of the Irish government expressed a mixture of surprise and embarrassment: surprise as they were unfamiliar with the sentiments prevailing within their own population, and embarrassment because this compromised many of the promises they had made to their peers at previous meetings in Brussels.' (The description is something of an understatement. Spotted outside a pub in Dublin that evening, Brian Lenihan, minister of finance at the time, was white around the gills.)</p><p>How did the transition from nation-state to member state come about? After the Second World War – Bickerton follows Alan Milward and John Ruggie here – a class compromise between capital and labour was reached in Western Europe, taking the organisational form of a corporatist state committed to full employment, a range of welfare services and a set of transfer payments. Based on steady economic growth, the ideological consensus of this period presumed a strong measure of government involvement in economic life, and delivered rising popular living standards. Yet at the same time 'a more egalitarian and redistributive social contract' than in the prewar years 'coincided with a narrowing of the political spectrum': deradicalisation of the left presaging a broader depoliticisation, and lack of political experimentation leading to the dominance of centrist parties. The general economic crisis of the 1970s saw the unravelling of this class compromise, as growth sputtered, industrial unrest grew and Keynesian ideas gave way to Hayekian or Public Choice doctrines dismissive of a social contract. For a time, governments continued to try familiar recipes, but by the early 1980s neoliberalism had arrived, pioneered by Thatcher, followed by Mitterrand's U-turn, and the crushing of Danish, Belgian and British strikes. Liberated from the pressures of organised labour, governments converged towards deregulation and privatisation to liberate markets for innovation and competition according to the prescriptions of the new period. The Single European Act of 1985 marked their transposition to the plane of the Community.</p><p>The relaunching of the dynamic of integration under Delors was thus the outcome of a pattern of domestic political change in which policy priorities had become fiscal retrenchment, wage repression and a return to financial orthodoxies of classical stamp. Achieving sustained voter assent to this course was never easy, but as processes of integration deepened, involving ever closer ministerial co-ordination across borders, governments could present unpopular measures as necessities flowing from the constitution of the Community. From the time of Montesquieu and Madison onwards, constitutionalism had involved the idea of a self-limitation of the political will to safeguard the liberties of the subject: a set of internal constraints – division of powers, checks and balances – to insure the nation against tyranny, whether rule by monarchs or mobs. In due course such became the standard liberal format of the nation-state. With the advent of the European Community, once the Court of Justice had succeeded in effectively, if not formally, constitutionalising it, member states accepted a set of external constraints whose form was radically different. 'The active subject, namely the people, is not doing the binding,' Bickerton writes:</p><blockquote><p>Rather, national governments commit to limit their own powers in order to contain the political power of domestic populations. Instead of the people expressing themselves qua constituent power through this constitutional architecture, national governments seek to limit popular power by binding themselves through an external set of rules, procedures and norms. An internal working out of popular sovereignty that serves to unite state and society is replaced with an externalisation of constraints to national power intended as a way of separating popular will from the policy-making process.</p></blockquote><p>By the time the Cold War had ended in 1990, European executives had consolidated the transition to member-statehood. With Maastricht and the proclamation of monetary union, the constraints this involved naturally increased, as would their convenience to governments seeking to impose neoliberal ordinances of one kind or another on their citizens. In 1992-93, Giuliano Amato put through a 'fiscal correction' – i.e. an austerity package – amounting to no less than 6 per cent of the GDP of Italy in the name of the <em>vincolo esterno</em> of Union necessity. When the single currency, far from bringing renewed growth and prosperity, plunged Italy into prolonged stagnation and regression, and the Eurozone as a whole into crisis, the response was not to loosen the corsets of memberhood, but to tighten them still further, with the spectacular constriction of popular sovereignty in the Fiscal Compact of 2012. In this, the external restraints of the Union were for the first time written, at German behest, into the internal constitutions of successive member states, and their annual budgets, at the traditional heart of domestic politics, became subject to invigilation and instruction by envoys from Brussels.</p><p>Though friction is rarely absent from such visitations, the discipline they represent has for the most part come to be accepted as part of the natural order of things. 'For member states,' Bickerton writes, 'the Eurozone is not just a currency union but also a collective framework for co-ordinated macro-economic policy-making to which all belong and which in multiple ways is constitutive of their identities and interests as member states.' Not least in shielding them from the intrusion of potential protest, as the outcome of expert committees – ratified in ministerial conclaves, announced by heads of government and presented to citizens at home as <em>faits accomplis</em> – becomes the norm. In this process, what sets the EU apart, as a political structure unlike any other, is the presumption of consensus and the protocols that follow from that, which form the working code of its being. In Brussels, emissaries from the different nations confer on questions in their specialised fields, developing an esprit de corps and professional identification with the technical side of their discussions, in a system designed to exclude the unpredictability of public debate or political disagreement. The same pattern holds higher up, as decisions are passed to the Council of Ministers in any given area, and where required up to the European Council itself, where the result is anointed with family photographs and unanimous communiqués. The imperative of consensus is all. 'This explains why EU policy-making is so secretive and lacks what is elementary to political life at the national level,' where conflict is open and normal, Bickerton notes.</p><p>Structurally, he judges member-statehood a 'fragile and contradictory' social form, at once powerful in immunising national governments against domestic social pressures, and weak in lacking any roots remotely comparable to the vertical bonds between governments and populations of the classical nation-state. The form of national politics to which it gives rise, often held to pit a dominant technocracy against an oppositional populism, tends rather towards a malign combination of the two, with leaders mixing a populist stance on immigration with a technocratic approach to the economy, like Sarkozy, or posturing like Blair as a pragmatic manager close to the feelings of ordinary people; Macron offers the latest version of the blend. The shallowness of the attachment of elites to the citizens they represent inevitably strengthens their sense of solidarity with one another in the club of Union leaders where they gather every two months or so. But the fellowship it offers is not, so Bickerton, a stable refuge. Viewed historically, member-statehood is a 'hard but hollow state form'.</p><p>Institutionally, however, it has been filling up. Since 2017, the European Council possesses for its bimonthly sessions a new symbol-saturated seat in Brussels – lantern in shape for the warm glow its deliberations radiate, polychrome in fittings for the diversity of peoples illuminated by them – where the heads of state and government, plus the presidents of the Commission and of the Council itself congregate. They in turn are flanked by the Eurogroup of Eurozone finance ministers, who meet monthly, and whose president may also attend the Council when so invited, as too the high representative of the (considerably less important) Foreign Affairs and Security pillar of the Union. Though the supreme political authority of the Union, the European Council does not itself legislate: laws are lower-order matters for the tractations of the trilogues beneath it. Its business is with the big decisions of the Union: essentially, crisis management, treaty revision and foreign policy. That is, urgent economic and 'security' (viz refugee) problems; constitutional questions (the word is banned by the Treaty of Lisbon, but the thing remains); relations with other powers (and the periphery of the EU, where enlargement lingers in the Balkans). These are where the 'alarums' arise that call for the valiant 'excursions' of van Middelaar's tales of the Union. Notable examples: handling Greek delinquency; utilising Turkish venality; riposting to rejection of the Draft Constitution with a recension of the same at Lisbon; punishing Russia for annexation; and Britain for desertion.</p><p>In principle, the weak link in the Council's jurisdiction of <em>Chefsachen</em> is economic, since it has no authority over the ECB, whose independence is absolute and power over the economies of the Union unrivalled. In practice, the Eurogroup provides informal liaison, a representative of the bank attending its meetings, which are even more confidential than those of the Council itself, not least since the presence at them of the bank, in derogation of its independence, requires a veil of discretion. By training and outlook finance ministers tend to be like-minded, as Varoufakis discovered in his brief stint with the Eurogroup. Disagreements are more frequent in the Council. Before its meetings, participants can stake out contentious positions, while during and after them, leaks – typically garbled soundbites for media consumption – will report clashes of opinion, victors and losers in argument, to the taste of the leakers. But the proceedings themselves remain concealed from the public, and issue in decisions which are virtually always announced <em>nem con</em>, in keeping with common practice across the institutions of the EU.</p><p>In the case of the Council, more is at stake in such displays of unanimity than the generic omertà of the European political class. For the truth behind them is uncomfortably at odds with the formalities of its composition, in which all member states are technically equal, and can block decisions in conflict with what they believe to be vital national interests. The reality, of course, is that with vast disparities between countries ranging in population from eighty million to half a million, two states – Germany and France – de facto command the proceedings by reason of their size and power. Of the pair, heirs of the treaty that de Gaulle sealed with Adenauer, Germany is now the stronger and larger economically. But though this advantage makes it <em>primus inter pares</em>, its margin of superiority, and relative weight within the Eurozone as a whole, is too limited to give it the hegemony its bolder theorists claim. France remains militarily stronger and diplomatically more seasoned, in a relationship on which each depends in equal measure. Since they do not always agree, and when they do, may not always insist, not every decision of the Council is a translation of their will. Simply, without need for any hint of a veto, no proposition that is not to their liking has any chance of passage, while any proposition behind which they unite with joint force may be inflected, but will not be resisted by the other two dozen or so states of the Council. The Treaty of Maastricht was the fruit of a pact between Mitterrand and Kohl; the Treaty of Lisbon, between Merkel and Sarkozy; the current Covid Package, between Macron and Merkel. In each case the initiative came, unstoppably, from Berlin and Paris. In each case, the details were adjusted to accommodate lesser states, without its direction being altered.</p><p>The only occasion when a major proposition on which Germany and France insisted met intransigent opposition, the Fiscal Compact vetoed in 2011 by Britain, lit up the realities of the structure of power in Europe. Without delay, Berlin and Paris simply bypassed the Council with an international instrument outside the legal framework of the EU, the Treaty on Stability, Co-ordination and Governance, to which all the other member states dutifully signed up. The effect was exactly the same. Cameron was left to complain that Merkel and Hollande had not even bothered to respect appearances, stitching together this arrangement on Union premises in Brussels. The lesson is clear. Should the two European hegemons encounter – post-Brexit – similar obduracy in a matter to which they attach importance, they can respond with a bilateral (or multilateral) international treaty, making an end run round the obstacle in the same way. It is scarcely a coincidence that Jean-Claude Piris ended his 2012 book, <em>The Future of Europe</em>, by pointing out how convenient and fruitful the resort to such 'additional' treaties might be. As things stand, however, with Britain out of the way, there is little call for the device. One incongruous fact alone is enough to bring home the outlook, and power, of the Franco-German duo. There have been three presidents of the European Council since the office was created in 2010. Of these, two have been Belgian – a country with just over 2 per cent of the population of the Union. Why? Because inconspicuous politicians of a weak state, handily placed between France and Germany, can be relied on not to cross either, but to help out the good intentions of both.</p><p>It has often been remarked that the institutional ensemble of the EU is <em>sui generis</em> as a polity, a creation more easily defined negatively than positively. It is not, obviously enough, a parliamentary democracy, lacking division between a government and an opposition, competition between parties for office, or accountability to voters. There is neither a separation between executive and legislative powers, along American lines; nor a connection between them, along British or Continental lines, in which an executive is invested by an elected legislature to which it remains responsible. Rather it is the inverse that holds: an unelected executive holds a monopoly of legislative initiative, while a judiciary, self-invested with an independence subject to no constitutional audit or control, issues decisions that are effectively unalterable, whether or not they conform to the treaties on which they are nominally based. The rule of the Union's proceedings, whether they are presided over by judges, bankers, bureaucrats, deputies or prime ministers, is secrecy wherever possible, and their outcome, unanimity.</p><p>In the words of Majone, its most clear-sighted liberal critic, the world the Union inhabits is one in which 'the language of democratic politics is largely unintelligible'. Unique in modern constitutional history, he observes, 'the model is not Athens but Sparta, where the popular assembly voted yes or no to the proposals advanced by the Council of Elders but had no right to propose measures on its own account.' The political culture of Union elites resembles that of the European Restoration and its sequels, before the reforms of the franchise in the 19th century, 'when policy was considered a virtual monopoly of cabinets, diplomats and top bureaucrats'. The mental and institutional <em>habitus</em> of Old Regime Europe is still alive in the 'supposedly postmodern system of governance of the EU'. In sum, the order of the Union is that of an oligarchy.</p><p>The historically minded can reply, yes, but the Restoration brought peace to Europe that lasted for forty years, or on a looser reckoning a century. Hasn't European integration, however undemocratic in structure, achieved the same for three-quarters of a century, after the terrible internecine wars of 1914 and 1939? In the official credo of the EU, probably no other claim is repeated so insistently, and movements questioning the Union are frequently attacked as carriers of the bacillus of future wars. The truth, of course, is that after 1945 there was never any risk of another outbreak of hostilities between Germany and France, or any other of the countries of Western Europe, because the Cold War made the whole region an American security protectorate. Nato, not the EEC, laid the military conflicts of the past to rest. As Albert Hirschman once caustically put it: 'the European Community arrived a bit late in history for its widely proclaimed mission, to avert further wars between the major Western European nations.' A beneficiary of the Pax Americana rather than a progenitor of it, the Union faced its first test as an actual keeper of peace in Europe after the Cold War. It failed miserably, not preventing but stoking war in the Balkans, as Germany backed Slovene secession from Yugoslavia, the starting gun for successive murderous conflicts that the EU, dragged in the wake of Helmut Kohl, proved incapable of moderating or bringing to halt. It was once again not Brussels but Washington that finally settled the fate of the region. Even the enlargement of the Union to include the former countries of the Warsaw Pact, its major historical achievement, followed in the footsteps of the US, their inclusion in Nato preceding their entry into the EU.</p><p>Human rights are another <em>point d'honneur</em> in the public relations repertoire of the Union. The Council of Europe, which contains twenty states not part of the EU, including Russia, Turkey, Georgia and Azerbaijan, established a Convention on Human Rights and a court to protect them back in 1953, whose provisions were essentially reproduced in 2000 in the EU's Charter of Fundamental Rights, much as the EU would purloin the Council's flag as its own. As elsewhere, proclamation and observation of such rights are not the same. Ordinary police brutality is certainly less than in the United States, where prison conditions are also worse, and inmates far more numerous. But this scarcely distinguishes the EU, the same holding for Canada or the countries of Western Europe that don't belong to the Union. More pointedly still, when America required European co-operation in renditions, EU members complied with assistance in kidnappings and supply of torture chambers on Union soil, documented and denounced by a Swiss prosecutor to the Council of Europe, without a finger being lifted by the EU to bring those responsible to book. Where infractions of its charter come from governments it dislikes, as currently in Hungary and Poland, the Union will threaten sanctions. Where they come from governments with which it wishes to keep on good terms, it will turn a blind eye, or seek to render them acceptable, even if the infractions are far more extreme – as in the long-standing military occupation and ethnic cleansing of Union territory in northern Cyprus; let alone in Eretz Israel, early in the history of the Community invited to consider membership, and more recently described by the Union's first high representative for foreign affairs as an honorary member. As for refugees, the record of European inhumanity in the Aegean and Libya speaks for itself. Migration has largely become a security question.</p><p>Solidarity, another important term in the EU lexicon, refers to two features of its self-image. The first emphasises the structural and cohesion funds, the 30 per cent of the Commission's budget dispensed to poorer countries and regions of the Union for transport, environmental and other projects. Though not always well spent, these are genuinely redistributive and have historically had a significant impact on the biggest beneficiaries: Spain, Greece, Portugal and Ireland. Larger is the Common Agricultural Policy, which disburses more than 40 per cent of the budget and is regressive, with the great bulk of the money going to the richest farmers, above all in France, though titled millionaires in Britain have collared the largest bonanzas of all. Combined, the equity effect of the two kinds of expenditure is probably neutral, possibly negative. The second sense of solidarity refers to European 'social policy', broadly defined as measures to reduce the vulnerability of wage-earners and their families, and less well-off citizens in general, to the vagaries of the market. Wolfgang Streeck has traced the evolution of these from the 1960s to the present. Originally, they comprised attempts to alter capital-labour relations by promoting industrial co-determination that would give workers rights of representation on company boards, resisted by business. The Vredeling Directive giving form to these hopes was ditched after the passage of the Single European Act, and attention shifted to questions of health and safety and equal opportunity.</p><p>At the insistence of Delors, proclaiming the need for a Social Europe, the Monetary Union created at Maastricht was accompanied, in the thicket of adjacent and subsidiary clauses in the treaty, by a Social Chapter promising enhancement of labour rights, from which Britain opted out. So little came of this piece of symbolism, Streeck remarks, that its later adoption by New Labour 'did nothing to prevent the rise of inequality, the decay of collective bargaining and the deterioration of employment conditions in the UK over the years that followed'. EU-wide, these were years in which businesses successfully attacked public service provision in the name of competition law, while the Court of Justice dealt successive cold blows to trade-union rights. The current European Pillar of Social Rights, announced in 2017, does not redress the trend: as a uniform set of injunctions amid huge differences between member states, it is largely a dead letter. In public and academic arenas, Streeck comments, talk of a Social Europe has faded as the EU becomes identified primarily as a vehicle of 'universal peace, human rights and civilised speech, rather than as an alternative to unbridled capitalism'. His conclusion: 'What seems clear is that the project, reaching back to the 1970s, of a supranational European Welfare State giving political definition to a "European social model" has come to an end.'</p><p>What about European economic growth, in that case? While the GDP of Western Europe grew at some per 2 per cent a year between 1900 and 1950, it bounded forward at 5 per cent a year from 1950 to 1973, a speed without precedent in its history. But how far was that due to integration? In those years, West Germany and Italy grew by 5 per cent annually, France 4 per cent, Belgium 3.5 per cent and the Netherlands 3.4 per cent. But outside the ECSC and EEC, Austria averaged an annual growth rate of 4.9 per cent, Spain 5.8 per cent, Portugal 5.9 per cent and Greece 6.2 per cent. Pent-up prewar demand, state intervention and international co-operation all played a role. Given that the boom started a decade before the EEC, integration alone cannot explain these fast growth rates. The EEC's impact on the boom has never been subject to research of real accuracy. But if it existed, in these years it was small and may even have been negative. In Patel's view of this period, there was 'virtually no public pressure to present a clear account of the economic achievements of the integration process'. The Community was not at this stage particularly neoliberal, as sometimes later alleged. While competition policy may have been shaped by German ordo-liberals in the 1960s, their impact was still highly selective, without incidence on most of its budget, which was dominated by concessions to French farmers they abhorred. Structurally, European integration was 'born technocratic', as it has remained. For its citizens, the Community was what Patel terms an 'adiaphoron': that is, according to Stoic philosophy, 'a matter having no moral merit or demerit'. Such was popular indifference to it that by the end of the 1960s only 36 per cent of its inhabitants could correctly name all six members of the EEC.</p><p>How has the Eurozone fared since 1973? In 2000 the Lisbon Agenda of the European Council promised productivity gains of 4 per cent a year, about double the US rate. In reality, they increased at somewhere between 0.5 and 1 per cent a year. As for overall growth, here are the figures.</p><p>GDP growth in the Euro zone</p><table><tbody><tr><td><strong>Years</strong></td><td><strong>Average GDP growth</strong></td></tr><tr><td>1973-79</td><td>2.7</td></tr><tr><td>1984-94</td><td>2.5</td></tr><tr><td>1994-98</td><td>2.3</td></tr><tr><td>1999-2003</td><td>2.1</td></tr><tr><td>2004-08</td><td>1.8</td></tr><tr><td>2012-19</td><td>1.2</td></tr></tbody></table><p>In other words, a steady decline since 1973, even before the collapse of 2020, when in the first six months of the year, GDP fell 15.7 per cent. As for the contribution of integration to the record, Barry Eichengreen and Andreas Boltho – two economists committed to the benefits of European unity – reckoned in a 2008 paper that over the long run, from the time of the ECSC to that of the EMU, 'European incomes would have been roughly 5 per cent lower today in the absence of the EU.' Hardly a momentous achievement. Nor has intra-EU trade increased greatly since the Union, the over-valuation of the euro favouring imports from the US, China and other countries, while diverting trade from within the EU. More generally, the socio-economic and geopolitical heterogeneity of the fifteen members of the Union in 1995, further stretched by the arrival of another twelve over the next decade or so, made it decreasingly possible to arrive at common Pareto-efficient decisions. In practical terms, enlargement to the East rendered 'Social Europe' as conceived by Delors impossible, since the average income of the new members of the Union was only 40 per cent of the average of the fifteen West European members. EU resources were insufficient to close the gap.</p><p>The contrast between West and East has not been the only fracture in the Union. For Bolkestein on the right, the single currency was afflicted with a birth defect. Its fatal weakness, he told an audience in 2012, lay in</p><blockquote><p>trying to serve two groups of countries that differed greatly in their economic culture, lands of the North that respected rules and discipline and lands of the Mediterranean that sought political solutions to economic problems. The first group – Germany, the Netherlands, Finland and others – wanted solidity; the second wanted solidarity, which means other people's money. [Laughter in the auditorium. Bolkestein did not laugh.] That could not and did not go well. Herman Van Rompuy was right to call the euro a sleeping pill: the Mediterranean countries could enjoy artificially low interest rates, which they did abundantly, dreaming of a <em>dolce far niente</em>.</p></blockquote><p>For Claus Offe, on the left, it is clear that 'the euro has rendered European democratic capitalism more capitalistic and less democratic,' disembedding financial markets from states and exposing states to their vicissitudes, in a system that Offe judges no more favourably, if for opposite reasons, than Bolkestein. 'The euro under the ECB's regime over-generalises monetary policy across widely diverging economies and their given position in the business cycle. Instead of "one size fits all" we are left with a situation where "one size fits none" due to the institutional incapacity of monetary policy to respond to the specifics of countries and their situations.' No sooner has he casually said this, however, than he soberly retracts it. For there is one country of which this judgment does not hold: his own. Given the huge advantages that Germany derives from the euro, Offe writes,</p><blockquote><p>any conceivable German government will do everything in its power to keep the common currency intact by avoiding the default of any member of the Euro club. For this currency allows the German government to live in an ideal world where pleasure is not followed by regret, meaning that an export surplus is not followed, and its continuation thus limited, by the appreciation of the currency of the country.</p></blockquote><p>Matters are otherwise, of course, on the receiving end of such appreciation. The Southern and Eastern belt of states are paying the price of a misconceived currency union that cannot now be reversed. Even if 'the introduction of the euro into a fundamentally flawed currency zone was a huge mistake, the same applies by now simply to undoing that mistake,' since the dissolution of the Eurozone would be 'equivalent to a tsunami of economic as well as political regression'. Hence the 'trap' Europe is in – it can neither move forwards, nor backwards.</p><p>Fritz Scharpf, to whom Offe looks for counsel, is less categorical. Also as of 2015, he concluded that the EU decision to rescue the single currency rather than dismantle it was creating an economically repressive and politically authoritarian euro regime that was enormously counter-productive. By forcing member states in trouble to adopt fiscal austerity and internal devaluation, reducing labour costs with the beggar-my-neighbour effects of a permanent downward pressure on wage incomes, social transfers and public transfers, official policy was 'utterly devoid of democratic legitimacy'. In future, Scharpf argued, much of the Community's <em>acquis</em> would have to be de-constitutionalised, returning it to the ordinary conditions of legislative re-examination and revision. For the moment, no responsible politician regarded this as feasible. But if a second big shock, comparable to the impact of the global financial crisis, hit the system, European democracy would have to be rebuilt from the bottom up, restoring the necessary barriers to market interference with it at both supranational and national levels.</p><p>The last and bleakest word comes from Dani Rodrik. Might the closest historical analogy to the euro, as we know it today, be the Gold Standard as it existed prior to the First World War, before there was any developed welfare state or counter-cyclical policies? Both of these now exist and complicate the tasks before the Union. Can democracy, sovereignty and globalisation be happily combined? Regrettably, an EU-wide democracy does not exist, and the reforms adopted since the crisis of 2008 – banking union, stricter fiscal oversight – have made the Union more technocratic, less accountable and more distant from European electorates. What American examples show is that European elites must make a choice, opting either for political union at the cost of national sovereignty, or for national sovereignty at the cost of political union. Intermediate solutions – a little democracy at national level, a little more at EU level – won't work. The reality, Rodrik concludes, is that it may be too late to take the first path, in the hope that a European <em>demos</em> will ultimately emerge to correspond with a European federation. If that is so, it is hard to see how a single currency can be reconciled with multiple democratic polities. It may be better to jettison the hope that one day economic union will prove compatible with democracy as eventually reconstituted, and ask instead what degree of economic integration is compatible with democracy as currently instituted.</p><p>So if we look for silver linings in the overall performance of the EU since Maastricht, it is not easy to find them. International peace, human rights, social solidarity, economic growth: the cupboard is pretty bare. Yet, as defenders can point out, it is not completely empty. Two features of the EU that make a genuine difference to the lives of many of its citizens are plain. The first is the convenience of travel without a passport in the Schengen zone, which still excludes Bulgaria, Romania, Croatia, Cyprus and Ireland of the EU, but includes Iceland, Norway, Liechtenstein and Switzerland from outside the EU. More generally, there is the variety of products on supermarket shelves that followed the single market, the Union interpellating its citizens as consumers rather than political subjects. Loss of low-key facilities of this kind would not pass without protest; habit is a powerful force in human affairs. In this century, too, political expectations in advanced societies have declined nearly everywhere. If the Union's advertisements for itself, on which it spends a fortune in euros every year, meet no more than a listless acquiescence, rather than active endorsement from the populations over which it presides, that is sufficient for its purposes. Fear of the unknown is the more important integument.</p><p><strong>Some of the books consulted in the writing of this essay:</strong></p><p><em>Project Europe: A History</em> by Kirin Klaus Patel (Cambridge, 2020)</p><p><em>Juges et avocats généraux de la Cour de Justice de l'Union européenne (1952-1972): Une approche biographique de l'histoire d'une révolution juridique</em> by Vera Fritz (Vittorio Klostermann, 2018)</p><p><em>Vichy dans la 'solution finale': Histoire du commissariat général aux questions juives (1941-44)</em> by Laurent Joly (Grasset, 2006)</p><p><em>Servir l'état français: L'administration en France de 1940 à 1944</em> by Marc Olivier Baruch (Fayard, 1997)</p><p>'Michel Gaudet, a Law Entrepreneur: The Role of the Legal Service of the European Executives in the Invention of EC Law and the Birth of the <em>Common Market Law Review</em>' by Julie Bailleux (<em>Common Market Law Review,</em> Vol. 50, 2013)</p><p><em>The European Court's Political Power: Selected Essays</em> by Karen Alter (Oxford, 2009)</p><p>'Establishing a Constitutional Practice of European Law: The History of the Legal Service of the European Executive, 1952-65' by Morten Rasmussen (<em>Contemporary European History</em>, Vol. 21, 2012)</p><p><em>Politik und Justiz</em> by Hans Peter Ipsen (Hanseatische Verlagsanstalt, 1937)</p><p><em>Europa und das 3. Reich: Einigungsbestrebungen im deutschen Machtbereich 1939-45</em> by Hans Werner Neulen (Universitas, 1987)</p><p><em>Great Judgments of the European Court of Justice: Rethinking the Landmark Decisions of the Foundational Period</em> by William Phelan (Cambridge, 2019)</p><p><em>The Constitution of European Democracy</em> by Dieter Grimm (Oxford, 2017)</p><p><em>The Court of Justice of the European Union as an Institutional Actor: Judicial Lawmaking and Its Limits</em> by Thomas Horsley (Cambridge, 2018)</p><p>'Constitutionalism and the Many Faces of Federalism' by Koen Lenaerts (<em>American Journal of Comparative Law</em>, Vol. 38, 1990)</p><p><em>Brokering Europe: Euro-Lawyers and the Making of a Transnational Polity</em> by Antoine Vauchez (Cambridge, 2015)</p><p><em>The Future of Europe: Towards a Two-Speed EU?</em> by Jean-Claude Piris (Cambridge, 2012)</p><p><em>European Civil Service in (Times of) Crisis: A Political Sociology of the Changing Power of Eurocrats</em> by Didier Georgakakis (Palgrave Macmillan, 2017)</p><p><em>Restructuring Europe: Centre Formation, System Building and Political Structuring between the Nation-State and the European Union</em> by Stefano Bartolini (Oxford, 2005)</p><p><em>Europe as the Would-be World Power: The EU at Fifty</em> by Giandomenico Majone (Cambridge, 2009)</p><p><em>Rethinking the Union of Europe Post-Crisis: Has Integration Gone Too Far?</em> by Giandomenico Majone (Cambridge, 2014)</p><p><em>European Integration: From Nation-States to Member States</em> by Christopher Bickerton (Oxford, 2012)</p><p><em>Europe Entrapped</em> by Claus Offe (Polity, 2015)</p></div></div></div> </div> <div> </div> <div></div> </div></div></div></div></div> peromanestehttp://www.blogger.com/profile/18138498600151502565noreply@blogger.com0tag:blogger.com,1999:blog-11047330.post-50153231432576868592021-01-24T02:49:00.000+02:002021-01-24T02:50:20.808+02:00The European Coup<div dir="ltr"><div class="gmail_default" style="font-family:georgia,serif"><div class="gmail-top-anchor"></div> <div id="gmail-toolbar" class="gmail-toolbar-container"> </div><div class="gmail-container" dir="ltr"> <div class="gmail-header gmail-reader-header gmail-reader-show-element"><br><div class="gmail-domain-border"></div> <div class="gmail-credits gmail-reader-credits">Perry Anderson</div> <div class="gmail-meta-data"> <div class="gmail-reader-estimated-time" dir="ltr">108-137 minutes</div> </div> </div> <hr> <div class="gmail-content"> <div class="gmail-moz-reader-content gmail-reader-show-element"><div id="gmail-readability-page-1" class="gmail-page"><div><p>By repute, literature on the European Union and its prehistory is notoriously intractable: dull, technical, infested with jargon – matter for specialists, not general readers. From the beginning, however, beneath an unattractive surface it developed considerable intellectual energy, even ingenuity, as contrasting interpretations and standpoints confronted one another. But for some sixty years after the Schuman Plan was unveiled in 1950, there was a striking displacement in this body of writing. Virtually without exception, the most original and influential work was produced not by Europeans, but Americans. Whether the angle of attack was political science, economics, law, sociology, philosophy or history, the major contributions – Haas, Moravcsik, Schmitter, Eichengreen, Weiler, Fligstein, Siedentop, Gillingham – came from the United States, with a singleton from England before its accession to the Common Market, in the pioneering reconstruction of Alan Milward.</p><p>This has finally changed. In the last decade Europe has generated a set of thinkers about its integration who command the field, while the US, increasingly absorbed in itself, has largely vacated it. Among these, one stands out. By reason of both the reception and the quality of his work, the Dutch philosopher-historian Luuk van Middelaar can be termed, in Gramsci's vocabulary, the first organic intellectual of the EU. Though related, applause and achievement are not the same. <em>The Passage to Europe: How a Continent Became a Union</em>, which catapulted van Middelaar to fame and the precincts of power, is a remarkable work. The tones in which it was received are of another order. 'There are books,' a Belgian reviewer declared, 'before which a chronicler is reduced to a single form of commentary: an advertisement.' The author himself has posted forty encomia on his website, in seven or eight languages, tributes ransacking the lexicon of admiration: 'supremely erudite', 'brilliant', 'beautifully written', 'a gripping narrative of personalities and events that reads like a Bildungsroman', 'all the fields of human knowledge and culture are convoked in abounding richness', 'near Voltairean', 'a Treitschke with the tongue of Foucault'. Even the austere <em>European Journal of International Law</em> thought it 'read like a thriller'.</p><p>Signal amid this enthusiasm has been a lack of curiosity about the author himself. To understand <em>The Passage to Europe</em>, however, a sense of where van Middelaar comes from is required. Born in 1973 in Eindhoven, the company town of Phillips in Brabant, he took history and philosophy at the University of Groningen in the early 1990s. There he joined the People's Party for Freedom and Democracy, or VVD, the Dutch variant of a liberal party, and studied under the philosopher of history Frank Ankersmit, a sui generis thinker whose ideas left a lasting mark. Good political thought, for Ankersmit, was never of the sort personified by Rawls: an abstract system of principles detached from concrete reality. It was always a response to urgent historical problems, produced by thinkers – Bodin, Hobbes, Locke, Burke or Tocqueville – who were immersed in the great conflicts of their time: religious strife, civil war, revolution, democracy. The first and most original was Machiavelli, confronting the crisis of Italy's division at the turn of the 16th century. His novel idea of raison d'état became a central tradition in European political thought, and one formative of modern writing about history.</p><p>For Machiavelli, statecraft was the art of mastering the contingency of fortune with a virtuoso existential decision capable of giving shape to a political order that, without fearing conflict, would prove as stable as any such order could hope to be. In this, he prefigured a problematic that would in different ways haunt Western thought down to our own time. What, Ankersmit asked, is the appropriate definition of representation? Is it a resemblance to what is represented, or a substitute for it? Rousseau mistakenly believed it was the first; Burke showed it was the second. In politics as in painting, representation is not a biometric likeness of what is represented, but an act of a basically aesthetic nature: the creation of something new, which was never imagined or existed before. It was an effect of style, beyond fact or value. The creative politician perceived a possibility, glimpsed by no one else, of founding a new conception of things capable of winning the assent of citizens as if they were so many connoisseurs viewing a painting or a building. The supreme act of such an 'aesthetic politics', as Ankersmit termed it, was the construction of a compromise between conflicting parties, which was at once the condition and core of any modern democracy. 'The politician formulating the most satisfying and lasting compromise in a political conflict is the political "artist" par excellence.' Contrary to received opinion, the origins of such an aesthetic politics did not lie in the Enlightenment, but in Romanticism. Its first glimmering came in the German <em>Frühromantik</em>, where Schlegel extolled the manifold of opposites in a clouded language that Carl Schmitt would later attack for vagueness, yet which for just that reason was propitious for compromise. But it was the French <em>doctrinaires</em> of the Restoration, Guizot above all, who gave full expression to this breakthrough, as they laboured to reconcile what had been irreconcilable – the ultras' nostalgia for the Ancien Régime and the radicals' cult of the French Revolution or Napoleon – in a politics of the <em>juste milieu</em>.</p><p>Such was the true formula, Ankersmit held, for the parliamentary democracy emergent in the 19th century and perfected in the 20th: the antithesis of the direct democracy preached by Rousseau, which had dishonoured representation by extraditing it to the boundless impulses of a collective political libido. After the Second World War, the genius of compromise on which Western democracy rested would reconcile the conflict between capital and labour with the invention of a welfare state which brought peace between them, while preserving capitalism intact. Today, however, division in society no longer sets one camp against another. Instead, the unprecedented issues of crime, environment, ageing, juridification of every relationship, split human beings inwardly. Such problems, Ankersmit went on, can only be resolved by a strong – though certainly lean – state, as the necessary locus of power. Ignored in a Rawlsian matrix concerned only with rights rather than interests, such a state is the indispensable lever of an aesthetic politics capable of restoring the boundaries between public and private realms in this century.</p><p>Ankersmit terms himself a conservative liberal. Distinctive in his work is the combination of a meta-politics generally associated with the radical right – Mussolini vaunted a politics of style, and Benjamin concluded that the aestheticisation of politics was a trademark of fascism – with a politics of the moderate centre: the <em>juste milieu</em> of the French liberals of the Restoration as the last word in democratic maturity. Friedrich Meinecke, whose historicism is perhaps the most important single influence on Ankersmit, could be described as another conservative liberal displaying something of the same mixture: in 1918 a founder of the liberal German Democratic Party; in 1939 an enthusiast for Hitler's invasion of Poland. In Ankersmit, <em>les contraires se touchent</em> in a more theoretically articulated fashion, capable of another kind of imprint on listeners receptive to it.</p><p>Under his guidance, van Middelaar set off for Paris in 1993 to write a master's thesis on French political thought since the war. There he quickly found a local mentor in Marcel Gauchet, a leading light of the anti-totalitarian galaxy of the 1980s who by that time had become a critic of the promotion of human rights to a central position in democratic thought. In 1999 van Middelaar published the result of his labours in the Netherlands, <em>Politicide: De moord op de politiek in de Franse filosofie</em> ('Politicide: The Murder of Politics in French Philosophy'). Perhaps advised that this penny-dreadful note might not go down well in France, the book never appeared in the country it was about.</p><p>Its lurid title captured the crudity of the work, much of it warmed-over Cold War pabulum. Touted in the preface as the first treatment of all three generations of misbegotten French political thought since 1945 (the Marxism of the early Merleau-Ponty and Sartre, the Nietzscheanism of Foucault and Deleuze, and the Kantianism of Ferry and Renaut), it glossed Vincent Descombes's critique of the first two as vicious derivations of Kojève, and the rejection by Gauchet and others of the third as pious reversions to the thought-world of the Categorical Imperative. Overall, this was a body of thought that 'invariably led to a defence of terrorism or a declaration of impotence', the two united in a common moralism – active in the Marxists and Nietzscheans, passive in the Kantians – whose effect was to put politics to death. Redemption was to be found in the wisdom of Gauchet's teacher Claude Lefort, whose great work on Machiavelli, taking its cue from the Florentine's masterly analysis of the relations between ruler and ruled, had restored democracy to its proper dignity by redefining it as the empty space of liberty in which contention between different voices and forces could of necessity never end.</p><p>Little of this was new in the Paris of Aron and Furet, Rosanvallon and Descombes, though it could hardly fail to please. In the more provincial context of the Netherlands, on the other hand, it was greeted as a revelation. Garlanded with prizes, its author was declared a philosophical prodigy. In 1999 he returned to Paris for further research. The country had been shaken four years earlier by the massive wave of strikes against the package of pension and welfare cuts introduced by Chirac's prime minister Alain Juppé to comply with the budgetary requirements of the Treaty of Maastricht. Confronted with the largest social movement since 1968, France's intelligentsia split. Bourdieu led widespread support for the uprising. Lefort was among those who supported the government, pronouncing the movement against it infected by 'rancour and resentment', 'populism', 'archaeo-Marxism, Maoism and Sartrism'. Unhappily, public opinion did not heed the resuscitator of politics, but expressed overwhelming solidarity with the protests, which ended in humiliating defeat for the government.</p><p>Perhaps with a view to seeing how such setbacks might be avoided, van Middelaar started to study pension systems in the EU at the École des hautes études en sciences sociales. But worse was to follow. Cycling past the place de la Bastille a few months after 9/11, he was appalled to see a rag-tag crowd of youths waving red banners protesting against the American invasion of Afghanistan, and sat down to write a blistering attack on this idiocy, which appeared in the Dutch newspaper <em>Trouw</em>. After a few more imprecations against Sartre and other advocates of terror, he pointed out that even if bin Laden was not being hidden by the Taliban, no one in their right mind could be against a war on the regime in Kabul. The West stood for the values of civilisation, and was bringing modernity to Afghans and others across the world who craved it. Yet</p><blockquote><p>we Westerners, weighed down by the past, hardly even dare to understand this any longer. The White Man's Burden, that heroic civilising mission depicted by Rudyard Kipling in his proud poem of 1899 as the destiny of the white race, has turned against us and become a true burden, a depressing sense of guilt about colonisation, slavery and economic exploitation of the developing world. Which now prevents us from understanding that colonisation did – indeed! – mean something good for the colonised. Colonisation brought schools, hospitals, science, emancipation of women. Colonisation brought modern reason and freedom within reach of individuals hitherto unable even to be individuals. Sure, colonial crimes occurred – rape, torture, institutional racism – and yet, what a beautiful body of work!</p></blockquote><p>Today, the main political question had become:</p><blockquote><p>Can human rights spread globally without the action of a Napoleon? The answer is no. Anyone who thinks that it can has a moralistic view of reality. Anyone who thinks that good may impose itself on the world without struggle or the use of power is mistaken. Anyone with a basic understanding of politics knows that what is good does not come automatically. That may require an army. A Napoleon. Or a George W. Bush. A price must be paid if we want human rights to spread. We should not blame Napoleon for using violence, but for not going far enough. Napoleon's mistake was that he employed freedom and equality as symbols to help his army win battles rather than incorporating these concepts in sturdy institutions in the constitutions which he scattered across Europe. To continue the analogy: our hope must be that Bush finishes his job thoroughly, dragging Afghanistan into modernity with bombs and abundance.</p></blockquote><p>'And we, meanwhile, are patiently waiting for a modern-day Kipling, who realises that not white but modern people have a world-historical mission: to sing proudly and unabashedly in praise of the Modern Man's Burden,' van Middelaar ended his peroration.</p><p>By this time he was bored with pensions, and asked a conservative friend in the VVD who was working with the Dutch commissioner in Brussels if he could find him an internship where he might study power close up. An interview was arranged. Van Middelaar has a highly developed sense of self-presentation, which he likes to dramatise. Introducing <em>Politicide</em> a decade later, he would write: 'My book did not pass unnoticed. It was a surprise that an unknown 26-year-old should unexpectedly dare to challenge consecrated French thinkers. Without knowing it, I was putting into practice an aphorism of Stendhal: entry into society should be conducted as if it were a duel. And what opponents I had chosen!' It took some nerve to pass off this plagiarism from Nietzsche as his own discovery. Van Middelaar's account of his ascent to Brussels in <em>The Passage to Europe</em> is another little piece of theatre. More original and no less theatrical:</p><blockquote><p>In another era, on Tuesday, 27 March 2001, I took the train from Paris, where I was living at the time, to Brussels. I was nervous. A student in political philosophy living in a garret of no more than 18 sq metres, I arduously put on a suit that morning. Approaching the metro, I asked a surprised, well-dressed passer-by whether he could help me fix the knot in my tie. I was on my way to the European quarters in Brussels, where I was to have lunch with the Dutch European commissioner and his personal assistant.</p></blockquote><p>The commissioner with whom he landed a post was Frits Bolkestein. In the Dutch political landscape Bolkestein cut an unusual figure. Son of a president of the court of Amsterdam, after a polymathic education – degrees successively in mathematics, philosophy, Greek, economics (at the LSE) and law – he joined Shell, serving for sixteen years as an overseas executive in East Africa, Central America, London, Indonesia and Paris. In 1976, prompted, he would later explain, by his experience in handling trade unions in El Salvador, where he was posted during one of its death-squad regimes, he became interested in politics, and quit Shell to run for parliament on the VVD ticket. By this time the 'pillar' system of postwar Dutch politics, in which the electorate was divided into four columns, Catholic, Protestant, Labour and the liberal VVD, had been simplified by the merger of Catholic and Protestant forces in the Christian Democratic Appeal, or CDA, and voting had become more fluid. The liberal sector of the system, upper-class and originally anti-clerical, rooted in business and the bureaucracy, was politically the weakest. Though the VVD was a standard, if not invariable, fixture of the coalitions on which all governments were based, there hadn't been a liberal prime minister since the First World War.</p><p>The hallmarks of Dutch political culture, as first criticised by the political scientist Hans Daalder, and later celebrated by the American Arend Lijphart, were an imperative of consensus, a requirement for secrecy in reaching it, and a cult of practicality. Consensus demanded a permanent disposition to accommodation between parties, best reached behind closed doors. Businesslike deals precluded a battle of ideas. The supreme national virtue of <em>Zakelijkheid</em> – down-to-earth, no-nonsense practicality, with a self-righteous timbre distinct from its more neutral cousin, the German <em>Sachlichkeit</em> – had no time for intellectualism. In the memorable dictum of the country's current premier, the VVD leader Mark Rutte: 'vision is like an elephant that obstructs one's sight.' For Lijphart the system was an admirably 'consociational' democracy. For Daalder, it was a legacy of the 'regent mentality' of the country's pre-democratic patriciate, a merchant class facing neither a powerful nobility nor fractious plebs, settling affairs of state comfortably between themselves without need of concepts or credos, confident of the passivity of the masses. The political elite of postwar Netherlands was their complacent descendant.</p><p>Into this scene Bolkestein burst like a bazooka. He had plenty of ideas; and as a fluent writer and eloquent speaker, no inhibitions in aggressively expressing them. He soon made his mark. In the 1980s, the dominant figure in Dutch politics was Ruud Lubbers, a Christian Democrat who led the country for a dozen years and was for a time regarded by Thatcher as the nearest thing to a soulmate she had in Europe. But to her disappointment he domesticated rather than crushed the trade unions, and mindful of the golden rule of consensus, administered only moderate doses of privatisation and welfare reduction. Bolkestein, by contrast, had read his Hayek and was contemptuous of such paltering. What the economy and society of the country needed was a true neoliberal makeover, breaking the clammy grip of corporatism and welfare dependence to release the creativity of the free market. Nor were these tares the only threats to modern liberalism. Culturally speaking, in the 1960s the Dutch elites had surrendered to a local New Left floating hare-brained schemes and upending moral restraints, and were now failing to stem an inrush of Muslim immigration whose religious beliefs and customs were incompatible with Western values. There, Huntington and Kristol were needed to fortify Friedman and Hayek. With this combination of neoliberal and neoconservative ammunition, Bolkestein did battle within the VVD too, catching the tide of a New Right that swelled a season later than in the Anglosphere, generating Pim Fortuyn and Geert Wilders as successive tribunes of a libertarian economics and Islamophobic politics. Both were formed in the VVD, Wilders serving for a time as Bolkestein's chief of staff.</p><p>But though by 1990 Bolkestein led his party in parliament – a position that did not automatically make him its candidate for premier – he remained in a minority within it. The party, moreover, was now in a coalition headed not even by the Christian Democrats but Labour – Bolkestein declined to become a minister. Invigorated by him, the VVD increased its vote in 1994, and in 1998 achieved its best ever result. But it was still in second place behind Labour, and believing that the Labour leader, Wim Kok, would refuse him the foreign ministry, Bolkestein quit parliament. In his hardline combination of free market economics and anti-immigrant sentiment, he had been the Dutch version of Enoch Powell. Both proved lastingly influential, yet remained outsiders and personal failures. Though Bolkestein was well-read and, compared with the norms of the Dutch elite, at home with ideas, he was not, as he confessed, really an intellectual, more of 'a politician and pamphleteer'. By background a businessman, and not a dedicated ideologue like Powell, he lacked the latter's scholarly and poetaster side, and was not a temperamental isolate. Blunt but convivial, he never lacked companions and collaborators. He was not a political failure: though he never became premier, he paved the way for the triumph of the VVD under Rutte, who has been prime minister of the Netherlands for a decade.</p><p>By way of compensation for frustration in The Hague, the job Bolkestein took in 1999 at Brussels was and is, after its president, one of the most powerful in the European Commission, the internal market portfolio. It was here that German ordo-liberals once worked to ensure that European integration conformed to the principles of a free market, keeping dirigisme at bay. Bolkestein was a natural in the post, and tutoring van Middelaar in the ways of the Commission evidently found him a good learner, since he extended the younger man's internship. There van Middelaar observed close up, and perhaps even had a speechwriting hand in, the final episode of Bolkestein's public career, the Directive on Services he promulgated in spring 2004, which decreed that firms could in future employ workers at the pay and conditions current in that firm's country of origin rather than of their work – in effect, the lower wages prevailing in the newly incorporated states of Eastern Europe, rather than those customary or obligatory in Western Europe. No decision made by the Commission before or since has caused such an uproar. Deputies agitated, trade unions mobilised, port workers stormed the European Parliament, protesters a hundred thousand strong descended on Brussels. Uniquely, too, the directive had to be watered down, and eventually converted into something not unlike its opposite. By that time, his term of office over, Bolkestein was safely at home in a bespoke chair at the University of Leiden. It may have been another kind of lesson for van Middelaar. Europe was not necessarily always best served by the Commission.</p><p>Van Middelaar's own career proceeded smoothly upwards. After service in Brussels, he became political secretary to Jozias van Aartsen, Bolkestein's successor as leader of the VVD in The Hague. There the muffled world of the Binnenhof, where the Dutch elite transacted discreet business between consenting parties, was revealed to him – it was an eye-opening opportunity, he explained to a friend, to dwell for a time at the centre of power. Van Aartsen, averse to Bolkestein's <em>tranchant</em>, came from the temporising moderate wing of the party, to which van Middelaar readily adapted, rising high in his chief's confidence. When a commission including Ankersmit was formed to produce a new manifesto for the party in 2005, van Middelaar wrote the final eighty-page document, <em>For Freedom</em>, a carefully weighed composite of (classical, social and neo) liberal themes. Ingredients included a flat tax and clearing beggars off the streets, a directly elected prime minster and the curbing of quangocrats, private pensions and strict compliance with the EU's Stability Pact, help for the neediest but no truck with a basic income. 'The primary responsibility for material well-being lies with the individual himself. Private initiative, self-reliance, entrepreneurial spirit and willingness to roll up one's sleeves are completely normal and in principle accessible to everyone. It is pre-eminently the hard-working middle class who embodies these liberal virtues.'</p><p>The VVD could be proud that 'when immigration and integration were still taboo topics', it had been the first to see that 'the unregulated influx of asylum seekers and the uncritical embrace of multiculturalism would cause major problems'. While it did not countenance Islamophobia, it warned Muslims what could be their fate if they sought to introduce fundamentalism into the country: 'In 1535 a group of Anabaptists rebelled in Amsterdam, seeking to build a religious theocracy. The city council crushed this radical uprising, to the great satisfaction of most citizens.' That was a century, according to <em>For Freedom</em>, to which people should look for inspiration. The Dutch were now doing well. On average, they were satisfied or very satisfied with their lives. But they should always remember that 'the desire for freedom is the foundation of our nation,' as was not the case for their neighbours:</p><blockquote><p>The origin of our country does not lie in an elusive distant past, as in the case of England or France. Nor was the country forged from above by a strong will, like Germany or Italy. No, our country was born at the end of the 16th century from the tough, concerted effort to wrest freedom from the authority of a tyrannical Spanish king. Freedom and tolerance ignited the light of our Golden Age. These two enabled the miracle of a country inhabited by barely two million people that left every other European country far behind in entrepreneurial spirit, culture, science and political-philosophical wisdom.</p></blockquote><p>Every country has its own brand of smugness. But patriotic uplift and a pledge of regressive taxation were of little avail to the VVD, which under van Aartsen's stewardship was steadily sinking in the polls. Six months later, after telling just two intimates – Rutte and van Middelaar – that he would resign if the party fell below 14 per cent in the upcoming municipal elections, van Aartsen quit when it failed to do so. Rutte became leader, the manifesto was forgotten and van Middelaar out of a job. He retired to his study, and over the next two years wrote the book that would make him famous. Published in 2009 (the English-language edition appeared in 2013), it showed how much he had learned since his time in Paris. <em>The Passage to Europe</em> is not the masterpiece of the extravagant bouquets that have greeted it. But it is a work of impressive scholarship and historical imagination, whose range of intellectual reference and polish of style make it unlike anything written about the EU before or since. Van Middelaar took great pains with its literary surface, if not always to its advantage. The title of his book, he once explained, contained a four-fold allusion: to anthroplogical rites of passage, to Forster's <em>Passage to India</em>, to Benjamin's <em>Passagenwerk</em> and to a romance by ... Giscard d'Estaing. Epigraphs strewn from Tolstoy to Monty Python by way of Bismarck and Bagehot, Foucault and Arendt, are less than value-added. Such pretensions aside, however, van Middelaar produced something rare in the literature on European integration: an attractively readable account of it. The account, moreover, is powerful and original, fruit of the distinctive blend of philosophy and history taught him by Ankersmit.</p><p>It opens by remarking that discourses about Europe have revolved around offices, states and citizens, with corresponding theories about whether it is best conceived in terms of functionalism, inter-governmentalism or constitutionalism: the first oriented to a static present, the second to a familiar past, the third to a longed-for future. Yet none of these passes the critical test of genuine historicity, that flux of unpredictable events which makes of government, van Middelaar writes, citing Pocock, 'a series of devices for dealing with contingent time'. To do so requires, instead, that three different spheres in which integration has unfolded be distinguished: an outer sphere comprising Europe understood as a continent – including states that are not part of the Community – in the world of powers at large, where borders and wars obtain; an inner sphere, comprising the Commission, the Court of Justice and Parliament of today's EU; and an intermediate sphere composed of its member states as they deliberate in the Council of Ministers and its apex, the European Council, where heads of government assemble.</p><p>For the founders of modern political thought – Hobbes, Locke, Rousseau – the primordial question was how the state could arise from a condition of nature composed of an anarchy of individuals: how, in particular, could the unanimity required for a pact of civil union to bring a state into being lead to majority decisions once it was constituted? The same puzzle, van Middelaar argues, is posed by the emergence of a unitary European polity out of an anarchic order, not of individuals, but of states themselves. To answer it, he reconstructs the path from sectoral agreements between the original Six – France, West Germany, Italy, Belgium, the Netherlands and Luxembourg – derived from the Schuman Plan of 1950, which set up the European Coal and Steel Community, to the broader European Economic Community, or 'Common Market', created by the same Six with the Treaty of Rome seven years later. Under the treaty, a permanent Commission situated in Brussels, its personnel appointed by the member states, would submit proposals implementing the articles of the Treaty to a Council of Ministers representing their governments, with decisions requiring their unanimous consent, with the provision that after eight years majority voting could occur. Once set up, the Commission rapidly started to expand its activities. Its first president, the bumptious German diplomat Walter Hallstein, openly spoke of it as the 'executive' – i.e. government – of Europe, and in 1962 sought to bounce the Council into giving it a substantial tax base, and the hitherto powerless Parliament created by the treaty, regarded by the Commission as an ally, rights over the Community budget. Germany, Italy and the Netherlands backed him. By this time, however, de Gaulle ruled in Paris and he killed the scheme by calmly withdrawing France from the proceedings of the Community, paralysing it. The ensuing 'crisis of the empty chair' was resolved by the so-called Luxembourg Compromise of 1966, which in effect accepted that a decision could not be taken by a majority in the Council if 'very important interests' of a member state were at issue, giving that state a veto. 'Supranationality has gone,' de Gaulle would declare. 'France will remain sovereign.'</p><p>The horse, however, had already bolted, through a door unnoticed by de Gaulle. Three years earlier, the European Court of Justice had ruled that national legislation must comply with Community regulations, and where the two conflicted, courts in the country concerned must enforce the latter. Nothing in the Treaty of Rome authorised this. The court invoked the 'spirit' of the treaty, rather than its letter. Van Middelaar makes no bones about this, celebrating it as 'a masterful move'. True, 'the court was bluffing,' since 'who can know the spirit of a pact?' But it was to be congratulated for doing so: 'The court staged a coup on 5 February 1963 in the name of a new, auto-nomous legal order, while claiming that – although no one had been aware of it – this order was as old as the treaty itself. So its infringement of the status quo was concealed.' Better still, in a second 'handsomely constructed self-affirmation', the court ruled a year later that since Community law overrode national legislation, citizens could appeal to it against the states to which they belonged. It was, in juridical language, of 'direct effect'. In the vocabulary of <em>The Passage to Europe</em>, the intermediate sphere where the general had checked the ambitions of the Commission was silently trumped by the strongest actor in the inner sphere.</p><p>In the event, the outcome in the intermediate sphere wasn't an impassable obstacle to further European unity. Though the veto remains 'an invisible weapon in negotiations' between member states, van Middelaar argues that its effect is to foster not conflict but agreement. 'It is the psychological certainty of being able to block a resolution if you truly oppose it that makes consensus possible.' Indeed, even when the principle of majority decisions was formally enshrined in certain areas of the Single European Act of 1987, it was rarely exercised, consensus typically being reached 'not in the shadow of the veto, but in the shadow of the vote'. Should a member state resist a majority decision, it cannot be enforced, short of foreign occupation, but pressure can be put on it to conform by 'other means'. The alchemy of the Union is to achieve unanimity through the threat of majority, rather than to pass from unanimity to majority as imagined in classical theory.</p><p>Such was the rule. There was one decisive exception, however. In 1985 the European Council met in Milan to discuss whether, to facilitate the proposed Single European Act, essentially intended to extend the common market from goods to services, the Treaty of Rome should be amended to convert the Community into a Union, which required an inter-governmental conference. Led by France and Germany, which had been secretly planning such revisions beforehand, seven out of the ten member states were in favour. Three – Britain, Denmark and Greece – were opposed. By the convention established at Luxembourg, that was more than enough to block the move. Overnight, however, Italy – host and chair of the meeting – suddenly announced, in the person of its premier, Bettino Craxi, that since convening an inter-governmental conference was a procedural rather than a substantive issue, he was putting it to the vote. Thatcher, along with her allies Papandreou and Schlüter, was outraged. Craxi was not deterred, and the motion passed seven to three. Thatcher was furious, but – she lived to regret this – did not use her veto because she regarded the SEA as in some degree her own liberalising handiwork, as it was. Van Middelaar can scarcely contain his enthusiasm at the outcome. Taking 'the opportunity to capitalise on the flow of time', the 'brilliance of Craxi's bluff' had delivered a 'magnificent moment of passage', opening 'the way to Europe's permanent renewal' and endowing 'the Community with a robust supreme authority'. How was it done? '<em>Secret</em>: a coup disguised as a procedural decision.'</p><p>After Milan, the 'gate was unbarred' to successive treaty revisions: 1986 (Luxembourg-The Hague), 1992 (Maastricht), 1997 (Amsterdam), 2001 (Nice), 2007 (Lisbon) – every one approved by a unanimous decision of the heads of government, each a step further towards a compact European Union, with juridical authority over its member states. The only national court daring to question this constitutional supremacy, the German Bundesverfassungsgericht, after emitting a few grumbles at the Treaty of Lisbon, sensibly set legal niceties aside, since these would have caused 'an acute political crisis', and took no action. Lisbon now empowers the European Council, via the discreet device of a <em>passerelle</em>, to make treaty alterations without any need for special conferences or ratifications, merely the Italianate blessing of a 'unanimous non-refusal' by national parliaments, which would prove so useful during the euro crisis.</p><p>If these were the critical episodes that brought the Union as we know it today into being, what of the capacity of Europe to act as a single political body in the face of the outside world? There, van Middelaar explains in a resonant exordium invoking Machiavelli's famous image of fortune as a raging river that can either flood a landscape with disastrous consequences or be diked and channelled with practical foresight, the Community must contend with aleatory, unpredictable events in the 1960s for 'history has no plan, no logic' – and be tested by them. It had to 'step into the river of time' and see how far it might master the current, as Machiavelli taught his contemporaries that heroes of virtue could. In the second part of <em>The Passage to Europe</em>, van Middelaar looks at how the Community fared when it did so. His story unfolds in three stages. In the first, 1950 to 1957, all six member states relied on an American umbrella for their security; only Paris – typically playing a double game – pretended otherwise. Still, in these years it was France, possessed of political tenacity, bureaucratic discipline, diplomatic skills and an eye for the long term that its partners could not match, which made the running. Determined to recover control of its destiny after 1945, it brought the Community into existence with the Schuman Plan and later gave shape to the intermediate sphere. Germany, needing both America and France for its political redemption after the Third Reich, preferred to operate in the inner sphere. Britain merely wanted not to be excluded, without being willing to participate. Critical to the birth of the Common Market was the shock of Suez in the outer sphere, when the US forced Britain out of the attack on Egypt. Abandoned by its ally on the battlefield, France turned to Europe with the Treaty of Rome, founded on an understanding between Adenauer and Mollet.</p><p>A long second phase, lasting from 1958 to 1989, began with the Franco-German deal exchanging the agricultural subsidies Paris wanted for the competition policies patronised by Bonn; after repeated setbacks, it saw eventual British entry into the Community, once France realised that the UK could be a counterweight to the growing economic prowess of Germany. Then came the oil shock of 1973, when 'Arab aggressors' in the Middle East imposed an embargo on Europe, and the Bretton Woods system finally collapsed. In this dual crisis, van Middelaar writes, 'the member states did not transfer their political voice to the institutions of the inner sphere as a way of becoming better able to respond to the demands of the outside world.' Rather, 'the heads of state staged a coup, uninvited,' when at French initiative – Giscard's incalculable contribution to the unity of the continent – they started regular summits and 'as a result the in-between world of the member states took shape', evolving into the European Council, the commanding instance of the Union to come.</p><p>The third stage of Europe's encounter with the rapids of time came when East Germany collapsed in 1989. The ensuing crisis led to the deal struck between Kohl and Mitterrand at Strasbourg: France would accept the reunification of Germany, making the Federal Republic the preponderant power in Europe, in exchange for German acceptance of a single currency, dethroning the Deutschmark. Two years later the Treaty of Maastricht sealed this bargain, indeed went further, encompassing the Community within the grander structure of a Union equipped with its own foreign policy, as well as agencies for justice and internal security. Thereafter, the end of the Cold War assured the entry of the former neutrals Austria, Finland and Sweden into the Union, and then its progressive enlargement into Eastern Europe, more than doubling the number of signatories to Maastricht. An important side-effect was to qualify the juridical fiction that all member states were equal by introducing weighted voting in the Council of Ministers, to ensure that newcomers from the East did not by mere number rise above their real station in the Union.</p><p>Enlargement was a great achievement. But when 'fortune wreaked havoc', as Yugoslavia descended into a series of civil wars, the new Union proved powerless to dam the waters of disaster. America alone, though it was reluctant to become involved, put a stop to genocide in the Balkans. But when another genocide loomed in Kosovo, Europe 'drew a line in the sand', as Joschka Fischer put it, or as van Middelaar would have it, 'Nato bombed Serbia. Europe had finally shouldered its regional responsibility,' as it would do again in Libya. But divisions and uncertainties still lay ahead. Europe was irrelevant when 9/11 struck, and split over the war in Iraq. Nevertheless, in 2003 a Franco-German agreement moved the Union forward once more, introducing two vital innovations: the election of the <em>Spitzenkandidat</em> of whichever bloc of parties won the most votes in the European Parliament as Commission president; and more consequentially, the creation of a no longer rotating but permanent president of the European Council, appointed by its members for a five-year term, and holding – an 'institutional revolution' – no national office. With this innovation, Europe acquired a figure who could speak for it at the highest international level, where previously it had none. 'That void had now been filled.' Already strengthened, the Union could dispatch crisis missions, military or civilian, across the world, from Kosovo to Iraq, Mali to Afghanistan, and in the war between Russia and Georgia of 2008 stopped the Kremlin from seizing Tbilisi, Sarkozy flying to Moscow and extracting a ceasefire, in the name of 'the ancient French state and the power bloc of Europe'. The upshot, van Middelaar concludes, is that 'under pressure from inevitable appearances by Fortune, the Union is clambering up into the outer ranges of high politics. In light of the past, this is remarkable.'</p><p>In the third and last part of his book, van Middelaar moves to the problem of locating or constructing, as he puts it, a 'European "we"' that accepts the decisions of the Union as its own. In the 18th century, the unworkable fiction of a state of nature out of which by common decision a civil society could arise, gave way to the workable idea of a nation that in fortunate circumstances, as in the Thirteen Colonies of America, could generate a state enjoying ex post facto acceptance of the sleight of hand that had circumvented the need for unanimity among them, even if in less fortunate cases – Germany in 1848 – this manoeuvre misfired. What these differing experiences made clear, however, was that in all cases 'the initiative lies with the representatives,' who must precede the represented and call them into existence as a collective body. For the summons to be effective, more than power from above and habit from below are required, since if a 'we' is to come into being, laws and institutions – and their agents: judges, civil servants, police – must be accepted as in some sense 'ours', in the fashion of Hart's citizens who abide by primary rules (do not steal) because they accept the secondary rules behind them (their legitimacy). Over many years, politicians have striven to create that identity for Europe, for politicians can no more do without a public than a football match without spectators, who may applaud or boo the players but do not question the rules of the game. To date, the efforts of such politicians have been of limited effect. But the geopolitical context has now changed in a direction more favourable to them. For with the end of the Cold War, the division of the planet into First, Second and Third Worlds has disappeared, and big powers – America, China, India, perhaps tomorrow Latin America – detached from what was once the Old World have emerged, demarcating Europeans in a new way.</p><p>In seeking to attach Europeans to a Union they can call their own, van Middelaar argues, the projectors of the EU have employed three basic strategies that by historical association may be termed German, Roman and Greek. The German strategy, pursued above all by the Commission in the inner sphere of the EU, has sought, in line with the tradition of Fichte and other 19th-century pioneers of German nationalism, to foster a sense of common identity among Europeans by a work of symbolic animation. Faced with low voter turnout to the Parliament in Strasbourg, the blue and gold flag was lifted from the (unrelated) Council of Europe of 1949, with its nearly fifty members, and ceremonially displayed whenever and wherever bureaucratically possible; Beethoven's music to Schiller's 'Ode to Joy' was adopted as an official anthem; a pantheon of Founders created to baptise squares, buildings, chairs. Euro coins with appropriate symbols were minted; European values declaimed; European 'criteria' for accession codified. All attempts to give a cultural and historical grounding to the political construct of the Union, however, remain somewhat arbitrary so long as it still does not actually encompass geographical Europe. Only when all its states are safely gathered under the roof of the Union can the German strategy come to a natural fruition.</p><p>By contrast, the Roman strategy relies, as once the empire founded by Augustus, on material benefits: in classical times, order and provision – protection from barbarians and distribution of grain supplies. Protection is no longer an issue. It is provision that can inspire citizens with loyalty to the Union. Unimpeded travel across borders; inexpensive phone calls; access to hospitals anywhere: these are familiar, everyday advantages conferred by the EU, available to anyone. Rights to live and work anywhere in the Union, though universal too, are more ambiguous: a boon for elites, less so for the masses. Benefits that involve redistribution – so winners and losers – are inevitably more divisive than symbols. The Common Agricultural Policy recalls the corrupting clientelism of ancient Rome, the Cohesion Fund is a source of geographical dispute, 'compulsory solidarity' reawakens national animosities. 'Europe is always a benefactor to some at the expense of others' – typically taxpayers in the better-off countries, creating little sense of fellowship. Only the UK ever regarded European integration as legitimated simply by economic gains. The Eurobarometer readings of the Commission can measure only Roman-style acclamation.</p><p>The Greek strategy banks not on the creation of a sense of Europe as 'our people', along German lines, or 'to our advantage', along Roman lines, but as a matter of 'our concern'. In ancient Greece the public was at once 'spectator and participant': not 'as a player', but like the chorus in Greek tragedy, whose part lay in its 'voice', which Nietzsche held more original and important than the action itself. So what a political body in search of a Greek-style public can give it is a voice: that is, a 'say in decision-making', or a 'drama' that captivates it. Europe, van Middelaar assures his readers, has made 'a huge effort' to grant its population a say in decision-making. But can there be Greek legitimacy without German identity – a European democracy with a <em>demos</em>? Commission and Parliament have befriended each other in their quest to become the executive and legislature of the Union. Yet though the Parliament has acquired more and more powers since 1979, it has not won the favour of voters, who have shown less and less interest in it. Bestowal on them of a 'European citizenship' which confers no new rights is little more than a marketing gimmick, he argues. The Parliament is not a tribune of the people; it acts like a court musician.</p><p>The truth, van Middelaar confesses, is that European politics fail to excite: the public is bored by them. To become engaged, it needs conflict and drama, but the Union proceeds by consensus. In the past, de-dramatisation of the European project was a great merit of the Commission – Monnet's 'flight from history into bureaucracy' was far-sighted, allowing Brussels to operate out of sight on economic issues after more ambitious schemes like the European Defence Community collapsed. Meetings of the Council are more visible, but in these too disagreements are muffled. So the public still has its doubts about the project. But it is necessary to be realistic. In an existing democracy, citizens come first, electing representatives who come into being at their decision. But the foundation of a democracy reverses this order: first come the representatives, who speak before they are appointed to be such, then come those whom they will represent in the polity they found, or as van Middelaar more expressively puts it, 'first the players, then (if necessary) the chorus'. The parenthesis is a tribute to his candour. The upshot? 'We could come straight out with it and call this second version the "coup sequence". Every royal or imperial dynasty starts with a power grab; every founder is a usurper.' Much energy is afterwards invested in smooth inheritance and cultivation of public goodwill, 'but – as Lady Macbeth's hands remind us – the founding act can never be completely expunged.' Still, he continues imperturbably, 'the legitimacy of power is not necessarily adversely affected by the fact that the public appears only afterwards – so long as it does appear.' What might best conjure it into being? 'The European political body,' he concludes, 'exists on condition that, in word and deed, it can thrill its manifold public for a moment.' How might that occur? 'Great events and crises sunder the closed horizon of waiting, sweeping away the boredom.'</p><p>The Passage to Europe is, unquestionably, a tour de force. It unites an intricate conceptual structure with a set of provocative historical claims, and a wide command of the literature on the origins and vicissitudes of the Union, unfolded in an engaging register that moves fluently from the philosophical to the conversational. It is not difficult to see why it has met with such universal acclaim. Nor, given the pattern of European studies that have accreted round the institutions of the EU, why its tale of triumphant, if still incomplete progress towards the unity of the continent should have elicited so little critical scrutiny. One absence in it is so striking that it has occasionally been noticed. The book says virtually nothing about the economic record of European integration. The early rulings of the European Court, the Single European Act, the advent of Monetary Union, enter the narrative as juridical milestones on the road to union, but their economic outcomes receive no attention. The simple fact that what the Treaty of Rome created was a European Economic Community is whited out; the acronym EEC is nowhere to be found. This is not an oversight on van Middelaar's part. It is a function of his insistence that the objectives of European integration – not a term he favours: he prefers 'European project' – were always political. Economic steps were a means to a political goal, not ends in themselves. In this he is certainly right. But, of course, since the overwhelming bulk of the activities and enactments of the Community that became a Union have always been, as they remain, economic in nature and in impact, the politics of integration cannot realistically be isolated from them.</p><p>That said, the primacy of principle accorded to politics by van Middelaar is in itself an incontestable merit of his book. What becomes of politics in his hands is another matter, for a second striking feature of <em>The Passage to Europe</em> is the absence, not just of any substantive economic history, but of virtually any sense of the actual political landscape of Europe. A veil of abstraction falls over partisan identities and conflicts. To all intents and purposes, political parties join economic statistics in the oubliette of his retrospect. In three hundred pages, a single brief paragraph adverts to Christian and Social Democrats getting together at the beginnings of the story, before swiftly segueing to the more congenial topic of Charlemagne. The only time an election warrants mention is when de Gaulle is frustrated of a first-round victory by French farmers in 1965, preventing him from going too far in hostility to Brussels, though even then the identity of the party which forced him to a second round remains an anonym. If despite the book's profession of its primacy, it is void of politics in its most commonly used sense, one of the reasons is certainly that at Euro level 'parties' are wraiths without substance: labels for legislators conglomerated out of disparate national outlooks and conditions, with no reality outside the chamber in which they sit, where a kind of permanent grand coalition – in effect, an institutional cartel – effaces even the formal distinctions between them, a residuum of pariahs aside.</p><p>Since the European Parliament lacks any of the ordinary character of a legislature, van Middelaar is realistic in terming it essentially a court musician to the powers of the Union. But this does not, of course, mean that the political careers and affiliations of the actors involved in the events around which his narrative revolves can be bracketed as having no bearing. The effect of doing so is blandly apologetic. The background of the judges in Luxembourg, whose decisions made European history, is left a complete blank. As for statesmen, what innocent reader could guess that the hero of the drama at Milan on which van Middelaar dwells with such relish, Bettino Craxi, leader of the Italian Socialist Party, was the single most corrupt Italian politician of his time, a figure so odious to his compatriots that he was pelted by the public with coins of contempt and had to flee the police to Tunisia, living out his days in gilded exile on the proceeds of his extortion of corporate funds and theft of taxpayers' money? Other than extolling Craxi's 'brilliant bluff' in the European Council, van Middelaar breathes not a word about him. In the world of princes, lowly though a court musician may be, the part of a courtier can be more demeaning.</p><p>Where politics does intermittently kick into the story, it is in the form of diplomacy, the relation between states as distinct from electoral fronts or social forces. There, <em>The Passage to Europe</em> takes transactions between France and Germany as its guiding thread, justly treating them as the decisive powers shaping the course of integration, and the Council devised by France as the controlling institution in the complex machinery of the Union. Though adding little to a familiar picture, van Middelaar depicts the skein of Franco-German relations well, without neglecting those moments when lesser contributors – principally Benelux – left a mark on events. What the dominance of Paris and Bonn/Berlin has meant for the nature of the Union, not episodically but structurally, he leaves aside. The great merit of his account – its central value – is that more clearly and emphatically than any previous writer, he puts the Council where it belongs, as not just the formal apex, but the overmastering instance of the EU, the last but one part of its architecture to come into being, but the most salient of all. In this he can legitimately claim a realism in the tradition of the raison d'état transmitted, as Ankersmit would have it, from Machiavelli through Meinecke. Van Middelaar leaves little doubt of the much lower regard in which he holds the Commission, a useful but humdrum factory of rules, and the Parliament, a windy cavern of words. The Council, by contrast, is the seat of authoritative decisions. The Commission and the Parliament are given to utopian temptations of European federalism, for which he barely hides his scorn. The Council is the vehicle of the true sense in which Europe has moved, and is continuing to move, towards ever great union, as a club of states bound together by a common project that does not extinguish their identities as nations, but joins them in a common destiny, a new form of <em>Schicksalsgemeinschaft</em>.</p><p>How then does the Council reach its decisions? Behind closed doors, in deliberations of which no minutes are kept, that issue in announcements under the seal of consensus. Van Middelaar supplies a graphic, if tactful, description of the psychological and political mechanisms that generate such consensus. That it is reached far beyond any popular say in the matters so decided, in conclaves where no public gaze is admitted, is not cause for any particular complaint or criticism. What his admiration for the Council in effect delivers is a transposition of the 'regent mentality' etched by Daalder from a Dutch onto a European plane: the quiet settling of affairs between elites <em>in camera</em>, above the heads of an inert populace. Here van Middelaar departs in one critical respect from Ankersmit, for whom too the future of the Union lay in the sober statecraft of the Council, not the idle fancies of the Commission or Parliament, but who insisted on the difference between the principles of compromise, which he championed, and the vapours of consensus preached by Rawls. In a compromise, the parties reach an agreement without concealing or suppressing their differences. In a consensus, on the other hand, the differences are erased: the authority of the Council is monotone. In this, its pendant is the Court of Justice, which also deliberates in secret and forbids publication of any dissenting judgment, delivering its rulings as unanimous edicts.</p><p>Logically, then, these are the two theatres of van Middelaar's exposition, and encomium, of the ultimate secret of the construction of Europe, the key to understanding its success. That key lies in the term that recurs with compulsive insistence at the turning points of his story: the 'coup'. The court's decisions of 1963 and 1964 establishing the supremacy of Community over national legislation, without any warrant in the Treaty of Rome, were successive brilliant coups; the confection of the European Council was a coup; the imposition of a path to revising the treaty at the Council in Milan was a magnificent coup; the foundation of the Union itself was a coup. In each case, the definition of a coup is an action taken suddenly, by stealth, catching its victims unawares, and confronting them with a fait accompli that cannot be reversed. It is not a term associated with any form of democratic politics – just the opposite – and so finds no place, let alone celebration, in the polite vocabulary of liberal politics or jurisprudence. But its central role in van Middelaar's thought is not a caprice. It can be traced to a significant passage in Ankersmit's <em>Political Representation</em>, in which he observes of the notion of <em>arcana imperii</em> in early modern thought that illumination of it can be found in Gabriel Naudé's 'truly amazing book', <em>Considérations politiques sur les coups d'état</em>, to which his attention had probably first been drawn by Meinecke's <em>Idee der Staatsräson</em>, where it features as the most important 17th-century sequel to Machiavelli's work.</p><p>Linking the two thinkers was the belief that political action could not be judged by ordinary moral standards, since in Naudé's words it required 'bold and extraordinary deeds' that 'exceeded common law' in the interests of 'the public good' – or, as Machiavelli had put it, a ruler should do good 'where he could', but 'enter into evil, where he had to'. Heightening the contrast between them, Naudé radicalised the tension between the two codes of ethical and political conduct. But the more significant ways in which he differed from Machiavelli were historical and individual. Writing a century later, Naudé was living in a world from which the city-states of Renaissance Italy had, with the exception of Venice, vanished, overtaken by far more powerful absolutist monarchies whose invasions had made short work of Machiavelli's dreams of a united peninsula; a world, too, now wracked by the wars of religion unleashed by the Reformation and Counter-Reformation, forces beyond Machiavelli's imagination. Naudé was not a diplomat or an office-holder, but a scholar given to acerbic demolitions of every kind of contemporary superstition – magic, astrology, prophecy. We owe to him and his friends perhaps the first version of our notion of what it is to demystify: in his vocabulary, 'déniaiser'.</p><p>Born in Paris to a modest family, Naudé was distinguished early on not just by exceptional intellectual gifts, but a keen and lifelong interest in politics, producing his first polemical pamphlet at the age of twenty, followed by a scalding text on the Rosicrucians when he was 22. Still in his twenties, he published a manifesto for a library that would include everything in print or in manuscript and be open to all, announcing what would become the principal passion of his life. Departing for Italy in 1631 as assistant to Cardinal di Bagno, the papal nuncio in Paris who had been reassigned to duties in Rome, Naudé got to know Poussin, corresponded with Mersenne and Grotius, Selden and Peiresc, and became an intimate of Campanella. A firm if unspoken atheist, apprehensive of the power of the Inquisition, he watched with concern the tribulations of Galileo, and read the early Hobbes with a mixture of admiration and alarm at his theological daring; an unrelenting foe of religious and every other sort of imposture, he extolled the intellectual and practical progress he thought the mark of the early 17th century.</p><p>Machiavelli composed <em>The Prince</em> as a handbook of power in the hope of winning favour with Florence's Medici rulers. Circulated only in manuscript during his life, once published posthumously it rapidly went through multiple editions. Naudé wrote <em>Considérations politiques sur les coups d'état</em> while in Rome as librarian for di Bagno. It begins – a literary unicum, Sainte-Beuve thought – with the word 'But'. An identification with Lucretius follows on the opening page. Machiavelli had 'broken the ice' in treating mysteries of state, but he had made the mistake of revealing them to the world at large. Naudé had his work printed – ostensibly, perhaps actually – in just twelve copies, as too explosive for public consumption, and falsely as if produced in Rome, in fact probably in the safety of Leiden. Many of Machiavelli's maxims are familiar worldwide, but his governing concepts – 'virtue' and 'fortune' – have lost currency. Naudé's much more restricted focus gave the world a term that has lasted. His usage of it was wider than its current meaning, a coup d'état denoting not just the sudden overthrow of a regime, but any comparably unexpected action undertaken to found, preserve, alter or aggrandise a state. What defined such a stroke – here Naudé departed from Machiavelli – was always stealth. Ruthless, violent actions to seize or defend power – many are celebrated in <em>The Prince</em> – did not qualify, since they might be announced in advance, and conducted in broad daylight. Prior declaration or intimation was incompatible with a coup d'état, whose essence was not just suddenness, but secrecy. It must come as a complete surprise.</p><p>Two further features follow, neither to be found in Machiavelli. The first and most conspicuous form taken by what the 18th-century English translation of Naudé called 'masterstrokes of state' was spectacularity. Where princes are forced to take extraordinary measures in 'difficult and desperate circumstances', there could be no 'reasons, manifestos, declarations and all that might legitimate an action, precede its effects and operations'. For</p><blockquote><p>in coups d'état one sees the thunderbolt before one hears it growling in the clouds, it strikes before it flames forth, matins are said before the bells are rung, the execution precedes the sentence, everything is done <em>à la judaique</em> – he receives the stroke who thought to give it, dies who thought himself quite safe, suffers who never dreamed of pain; all is done at night, in obscurity, in fog and darkness.</p></blockquote><p>Such political bolts of lightning – the Sicilian Vespers, the massacre of St Bartholomew's Day, the foundation of Islam – were comparable to those prodigies of nature that 'do not show themselves every day – comets appear once a century, monsters, floods, eruptions of Vesuvius, earthquakes occur only rarely, and this rarity gives lustre and colour to many things that would lose them if used too frequently.'</p><p>Terrifying, awesome, overpowering: such coups were a baroque version of classical kataplēxis. But coups could also take an opposite form: so inconspicuous as to be at first nearly invisible. The greatest enterprises or empires could be 'brought to birth, or to ruin, by means that are of almost no consideration', like 'those great rivers that flow impetuously nearly from one end of the earth to the other, and are ordinarily so small at their source that a child can easily step across them'. Nature could produce from a tiny atom of semen an elephant or a whale. 'It is the same in politics: a small neglected flicker often starts a great blaze.' What else were 'the extraordinary changes and revolutions in government and politics' caused by 'the spite of two monks armed only with their tongues and a pen'? Had Charles V acted in time, buying off or disposing of Luther, the spark could have been stamped out.</p><p>Savonarola, another monk, had sought to bring a revolution to Florence, but in Machiavelli's judgment, a 'prophet without arms' was fated to be destroyed. For Naudé, it was true that Campanella had failed to found a new faith in Calabria for want of arms, but the Reformation had shown that ideology could be a power stronger and more destructive than force:</p><blockquote><p>I hold discourse so powerful that till now I have found nothing that is exempt from its empire; for it is that which persuades and instils belief in the most fantastical religions, incites the most iniquitous wars, lends wings and colour to the blackest actions, calms and appeases the most violent seditions, excites rage and fury in the most peaceable souls, plants and cuts down heresies, instigates revolt in England, conversion in Japan.</p></blockquote><p>If a prince had a dozen preachers of eloquence at his disposition, 'he would be better obeyed in his kingdom than if he had two powerful armies'. Naudé's respect for ideology was founded on contempt for those swayed by it: the 'populace'. Machiavelli had valued the plebs in Rome, seeing in the conflict with the patricians the source of the city's dynamism, and attempted to reproduce an armed citizenry in Florence as the basis for its republic, if to no avail. For Naudé, society was divided intellectually, not politically. There were <em>esprits forts</em>, of whose number he was, an enlightened elite of free thinkers able to look steadily at the realities of the natural and social world without the delusions of religion or superstition (for him practically the same); and there were the ignorant, credulous, brutal, excitable masses, lower than beasts – who at least act by natural instinct – in their misuse of reason. Statecraft required that they be controlled by the very stigmata of their gullibility: the deceptions of superstition used to domesticate and bemuse them, as practised by the rulers of the ancient world proclaiming themselves gods, or the genius of Mohammed transcribing the words of God, or the sectaries of the present. 'Since it is natural that most princes treat religion as charlatans and use it as a drug,' he wrote, why should a clear mind be blamed for doing the same? That was why the thunderbolt of the coup d'état should resemble a supernatural event, a wonder petrifying those who witnessed it. Where for Machiavelli fortune was a river that might lead to inundation, but with prudence could be canalised, for Naudé the populace was a treacherous ocean – a recurrent image – swept by high winds and deadly tempests: it had simply to be navigated.</p><p>Behind this difference of outlook was a distinctive philosophical vision and a determinate historical context. More radically than for Machiavelli, since not just politically but ontologically, for Naudé, mutability was the rule of all things: 'Since it began its course, the great circle of the universe has never ceased to carry away kingdoms, religions, sects, towns, men, beasts, trees, stones and everything that is found and enclosed within this great machine; the heavens themselves are not exempt from change and corruption.' Only 'weak minds imagine that Rome will always be the seat of the Holy Fathers, and Paris that of the kings of France.' In the face of such cosmic caducity, the mark of an <em>esprit fort</em> was 'to see all things, hear all things, do all things, without being troubled, unbalanced, astonished'. Required for such a temper was an ability 'to live in the world as if one were outside it, and below heaven as if one were above it'.</p><p>That could seem especially necessary during the period when Naudé was writing, the bright impudence of <em>La Mandragola</em> long gone in the crepuscular world that would produce the <em>Trauerspiel</em>. By 1639, when he committed his work to print, the Thirty Years' War had been tearing Europe apart and devastating Germany for twenty years. 'If we consider well the state of Europe,' he wrote in <em>Considérations politiques</em>, 'it is not difficult to see that it will soon be the theatre of many tragedies.' Two years later his cardinal-patron, who with French backing had high hopes of succeeding Urban VIII, expired and he returned to Paris to work with Richelieu, who died in turn a few months later, after which Naudé secured the post of librarian to Mazarin. He then spent the next seven years criss-crossing France, Germany, Switzerland, Flanders, Holland, Italy and England in pursuit of manuscripts and books for a library which came to hold around forty thousand texts, probably the largest collection in Europe.</p><p>A few months later, the Parlement of Paris revolted against the fiscal costs of keeping French armies in the field in Germany and Spain, detonating the Fronde. The common people threw up barricades, driving Mazarin and the royal family out of the city, and to raise cash for its cause, the Parlement decreed that the library be auctioned off. The Peace of Westphalia, bringing the war in Germany to an end, enabled the royal army to retake Paris, suspending the sale. But in the second round of the Fronde, when Mazarin again had to flee Paris, the Parlement enforced the sale and dispersal of the library in 1652. As if he had foreseen it, everything Naudé had written of the savagery and ignorance of the populace came to life before his eyes, in bourgeois <em>parlementaires</em> and plebeian mobs alike. His life's work ruined, he found a post with Queen Christina in Sweden. Like Descartes and Grotius, he did not last long in Stockholm, dying on a trip back to France in 1653. It was a typical 17th-century ending. A precursor of Bayle, who admired him, Naudé was judged by his successor too advanced for his time.</p><p>The world of Naudé was already distant from that of Machiavelli. We live in a world much further away from Naudé's. Militarised absolutism and religious fanaticism, princely generals, feudal estates and clerical ministers, civil wars and urban barricades, famines and witch trials: if we except plagues, what have they in common with a tranquil landscape of ballot-boxes and opinion polls, shopping malls and social media, product regulation and quantitative easing, vegan picnics and emancipated pronouns? Yet there is a connection between <em>Considérations politiques sur les coups d'état</em> and <em>The Passage to Europe</em>. Coups d'état, in the now received sense of a military putsch, have of course long since disappeared from the continent: the last came in Greece in 1967. But Naudé's definition was ampler, and did not require violence. What links the two works is the celebration of a coup as the courageous founding act of a positive statecraft. For both authors, it is a stroke prepared out of sight, behind closed doors, whose blade precludes consent. What it depends on is surprise, of which a classic form – St Bartholomew's Day – is the ambush. Craxi, conductor of the coup in Milan, vaunted his skills at this, adopting the name of Ghino di Tacco, a 13th-century brigand (one of his killings is recorded by Dante in <em>Il Purgatorio</em>), for the columns he wrote in the Italian Socialist Party newspaper. The coups of <em>The Passage to Europe</em>, by contrast, are not only bloodless, but their success – just as Naudé had envisaged in such cases – depended on being inconspicuous, even innocuous. What could be more banal than a procedural motion about yet another meeting, or more trivial than a judicial decision over the price of a resin? Yet, as at Wittenberg, so at Luxembourg, in the smallest beginnings were hidden the largest consequences: the division of a unitary faith that had lasted five hundred years; the abrogation of sovereignties that emerged in its wake.</p><p>Van Middelaar situates his writing in the tradition of Machiavelli, and in the literature of the EU, not without reason. But in the structure of his argument, he is closer to Naudé. Machiavelli valued 'tumult' as the life blood of a flourishing republic, whose foundation was inconceivable without an active citizenship. Van Middelaar has no time for tumult, and had no hesitation in welcoming the foundation of a union in which citizens were all but passive, neither playing any significant role in its construction nor even taking much notice of it. But why should that matter? The constitution of the United States, after all, was born of a procedural coup, accepted after the fact by its citizens, long internalised as their own and today near worshipped by them. Why shouldn't the European Union reproduce the same happy outcome? The answer should be plain enough. The Thirteen Colonies had fought a victorious revolutionary war and already declared themselves an independent nation. The colonists, united in the prospect of continental expansion, were of one language and origin. The constitution did not undercut such democracy as uniquely in that time each of the states possessed, but assembled and centralised it in a federation. The EU of today is neither the creation of a revolution, nor does it enjoy any homogeneity of culture or language, nor is it united by the intoxicating prospect of expansion. Moreover, and decisively, what degree of federation it has achieved has been bought by crippling rather than enhancing what democracy its constituent nations possess. Comparison with 1783 is a paralogism.</p><p>That the EU has been unable to reproduce the bonds of identity and loyalty which tie Americans to the United States and Europeans to their nation-states van Middelaar readily acknowledges, and the memorable concluding meditation of his book has a taxonomy of approaches for overcoming this lack. Of the trio of strategies he sets out, the tenor is not quite even. All are approved, but the German and Roman lines of advance, 'creating companions in destiny' and 'securing clients', are treated more briefly and sceptically than the Greek, on which the final emphasis falls, under the aegis of a solemn epigraph from Hannah Arendt (already a heroine of <em>Politicide</em>) on the historically unique character of the <em>polis</em> (the other two have to make do with Julien Benda and Monty Python). Here, it could be thought, democracy would at last acquire its place, hitherto all but entirely absent, in the problematic of <em>The Passage to Europe</em>. What part does van Middelaar accord it? Since the Greek public was at once spectator and participant, its example offers two opportunities for a political body in search of an analogue today. 'First, politics can give the public a say in decision-making. Second, politics can provide the public with drama, with onstage action that captivates it. The genius of Athens bound these two aspects together, inventing both democratic freedom and a public arena.'</p><p>There follows a painstaking attempt to show how in various ways – notwithstanding the 'calamity' of the Danish utterance of a 'no' to Maastricht, happily finessed on the morrow – 'Europe has made a huge effort to give the population a say in decision-making.' That the adjective is risible hardly matters; it is the indefinite article and feeble monosyllable of the penultimate phrase, to which van Middelaar reduces Athenian democracy, that delivers the message of his Greek conclusion. The Assembly where all important political issues were directly debated and determined by citizens, which was most famously what Athens actually invented, is never so much as mentioned. Instead, what Athens gave the world was the chorus in Greek drama. That it observes and comments on, but plays no role in the action, is a detail that undermines his attempt to collapse voter into spectator as the higher truth of the <em>polis</em>. The title of his chapter is franker: 'The Greek Strategy: Seducing the Chorus'. For a European public to come into being, what's needed is not a democracy determined by citizens, but a drama that entrances – 'thrills' – them. Politics at its best, Ankersmit had argued, is an exercise in aesthetics.</p><p>Why was Ankersmit so taken with Naudé? After citing the lightning-streaked sky in which one sees 'the thunderbolt before one hears it growling in the clouds', and 'all is done at night, in obscurity, in fog and darkness,' Ankersmit went on:</p><blockquote><p>The coup is a sudden disruption of, or infraction upon, the natural social and political order: effects precede their causes; everything takes place in obscurity and darkness and belies our natural expectations. In this way the coups d'état curiously seem to anticipate in the domain of history and politics the speculation of 18th-century philosophers on the sublime. We need only recall here how Kant related the sublime to what transcends the imagination's application of categories of the understanding. For in a similar manner the coup d'état transgresses all our moral expectations: the moral world we are living in is shattered to dust, although a great collective good may have been served by the prince's immoral behaviour. As the sublime transcends the apparently insurmountable opposition between pain and pleasure or delight, so do the <em>arcana</em> transcend the opposition between the moral and the immoral ... The well-being of society can sometimes only be achieved by crime.</p></blockquote><p>This wasn't an aside. In an aesthetic politics, the sublime logically occupies the place of an <em>idée maîtresse</em>, and Ankersmit devoted his longest work, <em>Sublime Historical Experience</em>, to it. Breaking our normal epistemological framework, the sublime is the experience of an overwhelming reality connected with trauma, a compound of majesty and terror, fear and rapture, taking historical form in such great collective ruptures as 1494, 1789, 1861, 1917 or 1989, and to which Tocqueville's response to the French Revolution stands as the classic reaction. The same kind of experience, a sudden heightened apprehension of another more intense reality could also, as Huizinga had shown, be aroused in the eyes of the historian by simple everyday objects of the past. Ankersmit thought that an uncanny elision of the two registers of the sublime, the monumental and the microscopic, was underway in an invisible revolution. Out of sight, a huge number of small-scale changes in daily life were so altering our world that their 'sum may amount to little less than a permanent French Revolution'. But there was a crucial difference. 'We live, as it were, in the negative' of the sublime of 1789: 'a revolution of the same scale, without ideals'. The state was being demolished and the market worshipped, and we were left to float rudderless with flapping sails on a windless sea, where it was only a matter of time before a storm broke and we might be lost. If a Hobbesian war of all against all was not to ensue, the state – the indispensable modern vector of collective self-awareness and self-determination – must be capable of imposing its order once again.</p><p>Van Middelaar, early exposed to his teacher's conception of the sublime as a paradoxical experience of the transcendent in this-worldly form, and of the new ways in which it was taking shape, saluted it. 'We seem to be in control of the world more than ever, but we can see the consequences of it less than ever – ecology, nuclear bomb, genetic engineering,' he remarked. 'The paradox is therefore an extreme polarisation of certainty and uncertainty, of satisfaction about that certainty and of fear of that uncertainty – that is, the kind of paradox in which the sublime typically manifests itself.' But van Middelaar had another view of the market. If an example of Ankersmit's case were to be sought, there was, he wrote in <em>Trouw</em>,</p><blockquote><p>no finer microcosm of sublime unintended consequences than the bourse. All its traders have the same goal, to get richer, but at times the paradoxical result of this joint endeavour is that they all lose a great deal of money in one fell swoop. That was not their intention. But it is exciting. Last Monday, the impending stock market crash in Amsterdam was definitely a sublime spectacle: the animal roar of the traders and the delighted smile of the red-headed AEX director George Moller, who thought it 'beautiful', remarking: 'We're now waiting for Wall Street to open this afternoon.'</p><p>Longinus may have held that 'slaves of money' were insensible to the sublime. But today Mammon itself is an important source of the sublime. Pessimists may think their view that the chances of moral elevation by the sublime are smaller than ever. They are wrong. The first-century rhetorician and the 21st-century stockbroker learn the same lesson from the sublime: respect for indomitable reality.</p></blockquote><p>That was in 2000, fresh from <em>Politicide</em>. When van Middelaar returned to Ankersmit's work after his time in Brussels and The Hague, he was characteristically no less upbeat, but now the object of his admiration, and his difference with Ankersmit, had altered. The fall of the Berlin Wall and 9/11 had changed international relations, permanently. They were ruptures of the kind Ankersmit had written about. Did that mean the state was on the way out? Far from it. Before these great events, Europe had become a mere marketplace between East and West. Now, however, states were taking more collective responsibility for the destiny of the continent than ever before. 'The flight from politics and history that Europe represented for so long is over.' The sublime was reverting to a more traditional décor.</p><p>Published in Dutch in 2009, <em>The Passage to Europe</em> had a triumphant local reception. Though it was still unknown to a wider European public, its success in the Netherlands was enough to secure van Middelaar the post of speechwriter and special adviser to Herman Van Rompuy when this Belgian prime minister took office as the first full-time president of the European Council, a position created by the Treaty of Lisbon. Van Middelaar would now step onto the stage where the great events to which he had looked forward at the end of his book took place.</p><p>Earlier that year, hailing Obama's inauguration in Washington in the Dutch newspaper <em>NRC Handelsblad</em>, he set out the global context, updating his conception of the Modern Man's Burden:</p><blockquote><p>Obama makes America more powerful. The ability to cast the national interest in terms of a universal mission is deeply embedded in American consciousness. America is a force for good. That is its imperial trump card. Anyone who can credibly identify power with virtue is strong. The president himself knows this very well, and spoke to it in his masterly inaugural speech. Why did he move hundreds of millions? Certainly, because of the colour of his face, the sound of his voice, the moment in time. But also because he said that America, 'the wealthiest and most powerful nation on Earth' is and will remain a beacon of light and freedom, a country that is 'a friend of every nation' and 'willing to lead again'. Obama's audience, inside and outside America, yearned for this message.</p></blockquote><p>This was all the more important since anti-Americanism had been gaining ground worldwide. 'The Statue of Liberty was no longer the symbol of America, but Guantánamo Bay. That's why Obama decided to remove that blemish immediately. Symbolism is power politics.' That the Netherlands, which had relied on America for its safety since 1945, should 'refuse to help polish up the American blazon by accepting a few Guantánamo prisoners' was 'completely incomprehensible'. It was in the Dutch interest 'to strengthen our military protector against rivals like China or Russia'. But there was more to US paramountcy than simple might. Just as barbarians had been attracted to Rome by its aqueducts, villas with underfloor heating, and fine wines, so</p><blockquote><p>besides its military and economic superiority, America's power lies in the global appeal of its lifestyle, racial equality and education. In this sense, Obama won on 4 November not only because he was able to promise a New Deal-like break with a deep crisis. It was striking that not only the poorest but the wealthiest voted for him. For in the long run the richest too served the cause by the display of their lifestyle.</p></blockquote><p>Equipped with these convictions, van Middelaar made his way to Van Rompuy's cabinet, and the four years spent with him resulted in <em>Alarums and Excursions: Improvising Politics on the European Stage</em>. Reception has matched that of <em>The Passage to Europe</em> – some thirty dithyrambs posted on his website; pre-publication superlatives galore, this time topped by Donald Tusk, the incumbent president of the European Council ('quite simply the most insightful book on Europe's politics today'), and Britain's former ambassador to the EU, Sir Ivan Rogers ('brilliant' – the sixth award of this epithet). But the two books are not on the same level. <em>The Passage to Europe</em> could legitimately claim to be a work of political realism. It laid bare central <em>arcana imperii</em> of European integration, as Naudé reproached Machiavelli for having done of princely practice – not all of them, of course, and not with any of his predecessors' sense of moral ambiguity, but as no other of the plethora of eulogies, official or academic, of the Union had ever done. <em>Alarums and Excursions</em>, though awash with many of the same tropes, is a different kind of exercise.</p><p>'During seventy years,' the book begins, 'the preconditions of the miracle play that is a free society disappeared from view', while talk in Europe was all of growth, education, healthcare and suchlike, with little care for the overarching questions of 'state and authority, strategy and war, security and the border, citizenship and opposition'. Then suddenly, crises came one after another: 'banks collapsed, the euro wobbled, Russia attacked Ukraine and annexed Crimea, vast numbers of desperate people attempted to cross into Europe, and Donald Trump pulled the US security rug from underneath the European continent.' Faced with this political cataract, new qualities were required to save the Union: 'speed and determination, a keen judgment of the situation, visible gestures and authoritative words: leadership'. After some missteps, these were forthcoming. 'The Brussels backroom rule-making factory is giving way to political drama on a continent-wide stage,' just as van Middelaar had hoped would occur in <em>The Passage to Europe</em>. The title of its sequel, an Elizabethan stage direction indicating tumult and clamour, captured the nature of the spectacle which this kind of drama offered its audience. No longer Sophocles: Shakespeare. 'Conveying the feverish mood when action becomes imminent, A<em>larums and Excursions</em> tells the inside story of Europe's political metamorphoses and deciphers its consequences for political actors and the public alike.' Happily, all would end well, as through its ordeals the Union reached political maturity. By 2017 'we saw Europe's new politics rise to its full height, not just improvising and taking shape despite itself but acquiring self-knowledge and vitality.'</p><p>First had come the troubles of the single currency. There Merkel's declaration that 'if the euro fails, Europe fails' was decisive, heralding the rise of Germany's power in the Union. Did the measures that followed respect the Treaty of Maastricht? No, and so much the better. '"Europe" trumped Maastricht.' For Merkel's 'seemingly naive' words concealed a rarely noticed truth: 'the states had committed themselves at the Union's foundation not only to adherence to Union law but to the continued existence of the Union as such. In emergency situations, therefore, breaking with the rules could actually equate to being true to the contract.' The same held good, van Middelaar argued, for the tough financial and political measures taken by Berlin, Frankfurt and Brussels to oust weak governments in Southern Europe, crack down on the gambler Varoufakis, and circumvent the blackmail of Britain's opposition to the Fiscal Compact. Responsibility and solidarity were 'the root melodies of the Union' in conducting Europe away from the 'incalculable risks' of a Greek exit from the euro, while Tsipras's acceptance of medicine harsher even than that just rejected by voters was true to their deeper desire, which was not for a return to the drachma, but for the preservation of their dignity. The green light for banking union won in 2012 was 'miraculous'. Draghi's bond-purchasing programme to prop up the euro was 'likewise a miraculous mixture of solidarity and responsibility'. Even if it was a bit above their heads, 'the "Save the Euro" show captivated the public' and 'got the very best out of the players'.</p><p>In the Ukraine, van Middelaar admits, the Commission over-reached itself at the outset, failing to realise how important the country was to the Kremlin. But once the street had thrown Yanukovich out, Putin had annexed Crimea, and in the ensuing civil war a Malaysian airliner had been shot down with a Russian missile, the Council swung into action under the sagacious leadership of Merkel. First backing US sanctions with its own firm blows to Russia's economy, it then negotiated a deal at Minsk restoring the Donbass to Ukraine in exchange for the tacit right of Moscow to prevent Kiev from joining Nato. This was less than a complete victory, since in the Ukrainian civil war neither side has been willing to implement the Minsk deal, and 'the West did not have the will to win and Russia was not willing to lose.' But it was a watershed in Europe's role in the world, marking its 'geopolitical emancipation from America' as an authoritative strategist in its own right – one that had come to understand the 'tragic dilemmas and hard choices' of power politics. Just as the Council had mastered the euro crisis by discarding orthodox rules in the interests of financial stability, so by bracketing the issue of Crimea, in the Ukraine crisis it discarded rigorous enforcement of international law in the interests of peaceful stability. But sanctions were not slackened: they would remain until Russia disgorged its prey.</p><p>Refugees posed an even more tragic dilemma for Europe, since they fostered so many tensions between northern and southern, western and eastern member states. The task confronting the EU, for van Middelaar, was to set an ethics of responsibility 'alongside' an ethics of conviction. After the Commission blundered with bureaucratic over-reach in trying to set quotas for the reception of refugees, it was left to Merkel to resolve the crisis by reaching an agreement with Erdoğan that may have been 'ethically and legally questionable', but was vital to prevent populist reactions threatening Schengen. A deal with Sisi in Egypt would be needed too, as one with Gaddafi had been, to keep the time-bomb of demographic explosion in Africa away from Europe's shores. Warning of 'political catastrophes' if the Union's borders were not secured, Tusk saw the magnitude of the problem and eloquently expressed the pride of Europe in nurturing a 'spirit of love and freedom' during these difficult years.</p><p>Lastly came the double blow of Brexit and Trump. As Pocock had shown, it was 'out of the experience of a democratic republic's own transience and mortality that there may arise a political will to manifest itself as a sovereign player in historical time', enabling it to remain morally and politically stable in the irrational stream of events. So, for van Middelaar, it was with the EU. At this Machiavellian moment, Europe, in Merkel's memorable saying, showed itself able 'to take its destiny in its own hands'. In Paris, Macron stepped forth to the sound of the 'Ode to Joy', and the EU united behind a determination to punish Britain for its desertion. Its stance was perfectly rational: 'Bluntly put, it would not be in the Union's interests for things to go well in the post-Brexit UK. Leading European voices considered that the political costs of a "soft" Brexit outweighed the "economic" costs of a hard Brexit.' So Tusk gave Ireland a veto on the withdrawal process, with Brussels compactly behind Dublin. Yet it was above all the awakening of the decisive power of Germany to the stakes at issue that made Brexit the Union's finest hour, enabling it to perform more convincingly than in any of its previous crises.</p><p><em>Alarums and Excursions</em> ends with an assessment of the balance sheet of these years for the character of the EU. What they had wrought was a transition from 'the politics of rules' to 'the politics of events' – unforeseeable events, requiring improvised responses. The institutional consequence was to deepen the change in the relationship between the Union's constituent parts that had begun with the formation of the European Council in the 1970s and been a leading theme of <em>The Passage to Europe</em>. In its day, the rule-factory of the Commission in Brussels had done sterling work as 'an unrivalled pacifier and creator of prosperity', and now, faced with Brexit, it continued to show its value by revealing to the public at large 'just how difficult it is to escape its clutches'. Yet though technically it retained a monopoly of legislative initiative, in practice its proposals often originated in the Council of Ministers. The Commission might then elaborate them, but its federalist instincts had become counterproductive. It was no longer, according to van Middelaar, 'the site of development and renewal'.</p><p>That role had passed to the Council. If member states were to defend themselves against external attack, and offer their peoples a powerful role in the world, an 'emancipation of the executive' of the Union was vital. Meeting six to ten times a year as something like a provisional European government, the Council handles <em>Chefsachen</em> – the stuff of high politics, not low regulation – in closed sessions. At these, van Middelaar can report, all 28 heads of government call each other by their first names, and may find themselves agreeing to decisions they had never imagined beforehand, before emerging together for a beaming 'family photograph' in front of the cameras of the one thousand reporters assembled to hear their tidings, whose presence makes 'failure impossible', since every summit (with just one upsetting exception) ends with a message of common hope and resolve. Flanked by its trusty 'Eurogroup' of finance ministers and above all by the European Central Bank, 'a monetary version of the passage to Europe's new politics' capable of equally decisive action in defence of the single currency, this is not a Council to be garlanded with the academic ribbon of mere legitimacy. What it now wears is something older, firmer and more capacious – the uniform of authority.</p><p>True, the Union still wants for one final complement. Opposition is 'oxygen for political life', lack of it a danger to any system. The technical, legal and procedural workings of the Commission and the court were low profile, but their 'dullness was a price worth paying to subdue national resistances, idiosyncrasies and pretentions'. For a time, depoliticised progress towards a closer union was valuable, but by obstructing protest it eventually had the unfortunate side-effect of driving it into mobilisation outside the arena of Brussels. The Council does not proceed so bureaucratically. But even the politics of events as opposed to rules can be depoliticising, its decisions presented as necessities imposed by a series of emergencies, making opposition impossible. The risk of declaring measures <em>alternativlos</em> – a favourite formula of Merkel's – is the same. 'A strategy of <em>faits accomplis</em> feeds scepticism. The public hears this as "like it or lump it."' What is to be done? It would be better, van Middelaar writes, if opposition could be fostered democratically within the system, 'to stage-manage and pacify social and political conflicts symbolically'. But that could hardly take the form of partisan division in the Union, since the diversity of politics in its member states precludes uniformity of governments in the Council, or blocs in the Parliament, because left or right parties never prevail simultaneously across the EU. In the Council and Parliament alike there is, on the contrary, always a de facto Grand Coalition of conservatives, Christian democrats, social democrats and liberals. Only political fringes on the far right and far left lie outside it, but these hold power nowhere in Europe, and their 'polemical' opposition is futile, as Syriza and Podemos discovered. So where is the right sort of opposition to be found? These problems are 'not easily resolved', van Middelaar concludes lamely, his last pages trailing away into the tritest of bromides from Brussels. The Union, of course, needs 'dissensus', inspired by 'the conviction that what unites us as Europeans on this continent is bigger and stronger than anything that divides us'. In effect, consensus by any other name smells as sweet.</p><p>The product of services to Van Rompuy at the apex of the EU, <em>Alarums and Excursions</em> belongs a sub-class of literature of which <em>The New Machiavelli: How to Wield Power in the Modern World</em> by Jonathan Powell and <em>The World as It Is</em> by Ben Rhodes are other recent samples: what might be called spin-doctorates of the equerry. Van Rompuy was never a ruler in the sense Blair and Obama were, and van Middelaar never enjoyed the power of Powell and Rhodes. He is, on the other hand, incomparably more intelligent and literate, so <em>Alarums and Excursions</em> is a superior exercise in the genre, without need for chest-beating typical of it. But the deterioration since <em>The Passage to Europe</em> is plain. The first book was the work of a historian who was an enthusiast for the EU, the second is the product of an apologist in its service. The difference lies in the quotient of evasion and hyperbole in each. <em>Alarums and Excursions</em> retains flashes – in its description of the EU response to Brexit; its depiction of the operations of the Council and complexities of the institutional machinery of the new Europe; its emphasis on the strategy of the <em>fait accompli</em> in the 'Union method' – of the realist candour that was the leading virtue of his earlier book. Talk of coups is, naturally, no longer acceptable. But the gist of the story is the same. With the demotic touch required of any decent publicist, this time van Middelaar places at the head of his book an epigraph from Miles Davis. It reads: 'I'll play it first and tell you what it is later.' The politics of the EU in a one-liner.</p><p>But the price for these moments of frankness has risen. Along with acknowledgment of the 'coercive consensus' of the Council meetings, the charades of Union summitry, the demotion of the Commission, come longer and more laboured efforts to magic into existence a 'public' at one and the same time spectators in a gallery (or, in a more popular variant, fans at a football match) and actors in the scene they are watching (players in the game they are cheering or booing). The contradiction in terms, hazily sketched in <em>T</em><em>he Passage to Europe</em>, with its image of a Greek chorus, becomes an extended comedy in <em>Alarums and Excursions</em>, whose concluding chapter – the longest in the book – is entitled 'The Opposition Takes the Stage', only to reveal that there is no such opposition. Deontologically, it would be nice if there were, van Middelaar thinks, provided it was not polemical, but so far it hasn't materialised in any acceptable form. Nothing could be worse than expressions of the popular will that contravene the Union method. Think of the referendums on the draft European constitution – mere destruction, not opposition.</p><p>As for the main burden of <em>Alarums and Excursions</em> – Europe rising to its full height in dealing with the crises besetting it – the roll-call of triumphs rarely rises above the language and level of public relations. Saving Europe, by saving the euro, by withstanding Grexit? Restoring dignity to the Greeks, by cancelling their votes? That the Union was never in danger from the departure or – Schäuble's proposal – the suspension of Greece from the single currency, only the stake of German and French banks in Greek debt; that the humiliation of commissioners from Brussels dictating laws, policies, regulations in Athens – dignity <em>à la hollandaise</em> – aside, the Troika's regime inflicted misery on the poor, the elderly and the young in Greece; that Greek public debt today stands higher than when Papandreou was forced by Berlin and Paris to call off one referendum, or Tsipras capitulated after another. None of this rates a mention.</p><p>Ukraine: geopolitical emancipation of Europe from America, resolute sanctions against Russia for annexing Crimea, enlightened interim compromise at Minsk? The realities: EU sanctions followed US sanctions, uniting stupidity and hypocrisy. Stupidity – does any Western politician, no matter how ignorant, really believe that Russia will ever relinquish Crimea, an accidental province of Ukraine, whim of a paper shuffle by Khrushchev for a couple of decades, when it was a hallowed part of Russia for more than two centuries, populated overwhelmingly by Russians? What possible gain could come from making relations with the country an indefinite hostage to the fiction that its recovery could be reversed? Hypocrisy: Europe has never lifted a finger over the annexation of East Jerusalem and the Golan Heights by Israel, the South Sahara by Morocco, or the occupation of half of Cyprus by Turkey, though in all these cases seizure was against the will of most or all of the population, enforced by violent repression and ethnic cleansing, unlike Crimea where it was certainly welcomed by a majority, if one exaggerated by Moscow. Borders are inviolable only when it suits the West to say so. As for Minsk, its upshot has been zero.</p><p>Refugees: what is there to be proud of in the European record? Attacking Libya (France, Britain, Spain, Italy, Belgium, Denmark), bombing and fighting in Afghanistan (contingents from virtually every member state of the Union) and Syria (France, Britain), increasing refugee flows in each instance: a copybook case of the ethics of responsibility? Bribing Erdoğan with six billion euros to block fugitives from getting to Europe by penning them within Turkey, under a regime boasting a hundred thousand political prisoners: an exercise in the ethics of conviction? There's not a line on the pay-off to Erdoğan in <em>Alarums and Excursions</em>, though van Middelaar mercifully spares us Euro-cant on human rights, confining himself to talk of love and freedom as internment camps fester in Lesbos and boats capsize off Lampedusa.</p><p>Brexit: a triumph of European statecraft? If the Union's great breakthrough was to advance beyond a politics of rules to one of events, overturning one rule after another in pursuit of financial stability and border security, wouldn't it have made more sense to concede to Cameron the brakes on migration he was asking for to win his referendum, rather than to risk Britain's desertion by invoking immovable principles that are continually being moved? If, when necessity calls, the Treaty of Maastricht's precise and detailed clauses on budgetary discipline and its prohibition of central bank purchase of government debt can be dismissed in the shake of a lamb's tail, why not the far vaguer provisions of the Treaty of Rome on the free movement of labour? From the <em>Realpolitiker</em> standpoint advertised by van Middelaar, the logic of pragmatically dodging the blow to the EU from across the Channel should have been obvious. No such thought crosses the mind of his book.</p><p>In effect, the expressions of the Union's new political maturity – saving Europe by dignifying Greece, breaking strategically free from America, reconciling responsibility and morality in the Mediterranean, treating sagely with Britain – belong with the splendour of white man's colonialism, the abundance that bombs would bring to Afghanistan, the closure of Guantánamo by Obama, the global beacon of America's racial equality: figments in the mazes of magical realism. But it would be a mistake to dismiss their author on that account. Fantastications can be politically functional, if they answer to the needs of rule. Van Middelaar occupies a unique position in the landscape of the Union today, as the one significant theorist of Europe to marry long-range thought with proximity to power. The balance in his work between genuine insight and glib ideology may form a shifting terrain, but not one that is to the detriment of his ambition. Having served with Bolkestein and Van Rompuy, he has since attached himself as special adviser to the vice-president of the European Commission, Frans Timmermans, another Dutch bruiser who would probably now be its president, had he not, after years spent buttering up Erdoğan as the Commission's point-man in the Union's cash-for-stopping-fugitives deal with Turkey (he claimed most of them were just economic chancers), hectored Poles and Hungarians too stridently for failing to uphold the rule of law. A loud-mouthed transfuge from D66, a Dutch equivalent of Britain's SDP, who is today operative on the right wing of the ultra-moderate Dutch Labour Party, Timmermans was the most vociferous champion of the European Constitutional Treaty – he was one of its drafters – rejected by Dutch voters in 2005, and a key figure in sliding its core content back into the Lisbon Treaty of 2009. Alongside him is a natural berth for an intellectual with an eye to a yet more organic future, as special adviser to Europe itself.</p><p>With whom might such a figure be compared? Not to any contemporary, but there is a historical parallel. Mutatis mutandis, the person and career of Friedrich Gentz, the 'secretary of Europe', as Golo Mann dubbed him in an admiring biography of 1946, suggests a resemblance. Bourgeois son of the director of the Prussian mint, after studying under Kant in Königsberg, where he corrected the proofs of <em>Critique of Judgment</em>, Gentz won fame by producing the first European translation of Burke's <em>Reflections on the Revolution in France</em>, with an impassioned preface amplifying its summons to battle against the 'despotic synod' in Paris, whose theories were bent on 'rooting out all that gave happiness to millions'; published single-handed a <em>Historische Journal</em> with an international readership, in which he wrote the first systematic comparison of the American and French Revolutions, translated into English by John Quincy Adams; and set out in his <em>Political Condition of Europe before and after the French Revolution</em> the first strategic theorisation of the need for the anciens régimes of Europe to transcend traditional balance of power politics and reach an accord to stamp out subversion wherever it raised its head, without consideration of borders or sovereignties – today's <em>droit d'ingérence</em>, before it was draped in human rights.</p><p>Hired by the court in Vienna as 'the best political writer in Germany' to sway public opinion in favour of the Habsburg monarchy, he was lionised in London – by then he was on Pitt's secret payroll too – where the French envoy observed that 'if there is one man who can be called the champion of the counter-revolution, it is he.' An implacable foe of any settlement with Napoleon, who had trampled on the balance of power in Europe, he became an early associate of Metternich, serving as the secretary to the Congress of Vienna, and under the Restoration drafted the Protocol of Troppau, authorising the assembled monarchies to invade any country afflicted by revolutionary disturbances and crush them in the common interests of order and tranquillity in Europe.</p><p>For fifteen years Gentz was Metternich's closest continuous collaborator as policy adviser and propaganda chief, roles in which he displayed, according to Metternich, 'real genius'. Contrasts in background and character set the two men apart, in a common commitment to legitimism. Nine years older than his patron, Gentz was an outsider in the social and political system of Austrian absolutism, as a Prussian and a commoner of no independent means. Metternich was a wealthy aristocrat from the Rhineland, scion of Vienna's plenipotentiary in the Austrian Netherlands when the French Revolution broke out. He was a consummately cool, controlled and self-confident diplomat and politician, where Gentz was explosive and emotional, a gambler and spendthrift. In the current hagiography by Wolfram Siemann, Metternich features as a prince in name and nature alike: visionary statesman of peace; masterly strategist of war; pioneering modern capitalist; impassioned humanitarian; devoted husband, yet as a connoisseur of women, lover of many others; before his time in understanding the intellectual equality of the sexes, not to speak of the true path to responsible liberty and prosperity.<a>*</a> In a portrait in which no other figure in a potentially crowded canvas is allowed the smallest detraction from the limelight accorded a hero who termed himself 'the saviour of the world' (he assures his readers it can only have been in jest), Siemann dismisses Gentz in a paragraph as an 'ambitious journalist'. The reality is that, far better educated than Metternich, and a better writer, Gentz was also an original thinker of the European counter-revolution, in whose essays and books can be found the leading ideas of the Restoration long before they found scattered expression in the letters and papers left by Metternich, whose only sustained compositions were the self-serving memoirs put together posthumously by his son.</p><p>So too Gentz had an independence of mind capable of detaching him from the cause he served. In 1810 he could envisage a rational reorganisation of post-Napoleonic Europe into no more than eleven states, including a politically united Germany and Italy, and an independent Poland and Greece – just what the Congress of Vienna denied. Even as he helped conduct the Congress five years later, he could deliver a lucid judgment on it:</p><blockquote><p>The magniloquent phrases about 'restitution of the social order', 'the recovery of European politics', 'enduring peace based on a just apportionment of power' and so on were trumped up only to quiet the masses and to confer on the Congress some semblance of import and dignity. But the real sense of the gathering was that the victors should share with one another the booty snatched from the vanquished.</p></blockquote><p>Towards the end of his life, he could see the ultimate futility of the enterprise on which he and Metternich had embarked, writing in 1827:</p><blockquote><p>I have always been conscious that despite the majesty and power of my superiors, despite all the single victories we achieved, the spirit of the age would prove mightier in the end than we; that thoroughly as I have despised the press for its extravagancies, it will not lose its ascendancy over all our wisdom; and that guile will no more than force be able to stay the wheel of time.</p></blockquote><p>Such reflections were beyond Metternich, whose encomiast takes care not to let them ruffle his pages. In them, however, contemporary conservatives can find inspiration. For Siemann, Metternich's career after 1815 offers a premonition of our own times, and inspiration for how to handle them. The epoch of the Restoration? Banish the term, which is a misleading description of the objectives of the prince and his fellow statesman in those years. 'It would be much more appropriate to describe their aims, and the constraints under which they acted, as giving rise to "security policies".' These were required to defend 'the system of international law established in 1815' from 'attempted revolutions and rebellions, or assassinations and seizures of power', such as the Greek revolt against the Ottomans (best for it to 'burn itself out beyond the pale of civilisation' was Metternich's humanitarian response). For the brand-mark of the period was 'the hitherto unwritten history of Europe-wide terrorism, which developed between 1817 and 1825. It was only because of this terrorism that nationalism was able to become an unassailable social power.' In Greece and elsewhere, 'modern nationalism presented itself as a form of religious salvation and exploited a context of social and economic backwardness,' thereby generating a 'universally usable myth' of utopian dimensions. It is easy, Siemann remarks, to accuse Metternich of repression, but if we look around us today, the counter-measures he took against the jihadis of the period are comparable to 'the activities of modern intelligence services and other state institutions responsible for safeguarding constitutions'. Do not 'the holy warriors of 1789, 1813 and 1819 have something in common with those of today'?</p><p>The security policies set in place by Metternich were far-sighted not only in dealing firmly with a nationalism spawned by terrorism, but in furnishing the antidote to it. That lay in the 'historically evolved legal orders' of the Holy Roman Empire and the Habsburg monarchy, and the fashion in which these were folded into the German Confederation set up at Vienna. In this, Siemann goes on, Metternich was astonishingly modern, as we can see if we consider the contemporary scene in this respect too. 'The European Union follows the same model, guaranteeing national identity under the umbrella of composite statehood' in a way that 'advances the common interests of all'. Perceiving the deadly bacillus carried by the nation-state whose unity 'led only to war', and rightly suppressing it in Italy, Metternich pioneered the vaccine against it. The Concert of Europe created at Vienna has found its historical successor in Brussels.</p><p>The political connection between the two is a descent freely affirmed in <em>The Passage to Europe</em>, where the founding states of the Community were possessed from the outset of 'a profound consciousness' of the 'legacy of the Concert of Europe', and the meetings of their heads of government, informal at first, then institutionalised as the European Council in 1974, formed 'a contemporary "Vienna 1814-15"'. The historical circumstances of the Union of the 21st century, of course, differ vastly from those of Metternich's system. Composed not of aristocratic monarchies but of electoral democracies, it is in no danger of internecine fighting or revolution. Front lines in the war on terror are in other continents. The commonest arena for nationalism is the football field. Nevertheless, tension, mostly submerged but sporadically visible, is widespread between the elites and the peoples of Europe, as it was in the days of the Restoration, once again requiring extra-territorial interventions to keep public order. No longer military expeditions of the kind sent to crush Spanish or Italian liberals, these now take economic form: dictates of Berlin, Paris or Frankfurt evicting unsuitable governments in Rome and Athens; commissaries of Brussels invigilating the taxes, labour laws, pension systems of other countries for conformity to neoliberal principles, today's legitimism.</p><p>In defending and illustrating this system, van Middelaar is the closest thing the Union has produced to a modern Gentz. Like the secretary to Europe, he won his spurs with a philippic against ideological toxins from France: the ideas of 1789, the ideas of 1917. <em>Politicide</em>, denouncing latter-day philosophers of terrorism, was his translation of Burke for moderns. Both propagandists yet also original thinkers, each combined gifts of literary eloquence with calculations of raison d'état. Both enjoyed a European reception for their political writing beyond that of any contemporary. Gentz exercised real power, though always as a subordinate; van Middelaar to date has not. On the other hand, compared with Gentz's prolific writing, remarkable though it was in its age, van Middelaar's work is of another order of intellectual complexity and sophistication, as befits the distance between the relative simplicities of the Congress system and the labyrinths of the EU.</p><p>If Ankersmit gave the original impulse to van Middelaar's outlook in much the same way as Burke to Gentz's, can it be said that in exalting the Restoration as the cradle of democracy, Ankersmit offers another connection between the worlds of the two? Not exactly, since his Restoration was that of Guizot, not Metternich – the censitary rather than absolutist variant of oligarchic rule. In that nuance lies a difference between the teacher and his pupil. Ankersmit transmitted to van Middelaar, along with a conventional anti-communism and commitment to capitalism, his distinctive conception of politics as fundamentally an aesthetic enterprise, his lofty sense of the state and his cult of the sublime. But Ankersmit has also in his way been politically anti-elitist, attacking what has become of democracy in the West as 'an elective aristocracy'. That note is entirely missing in van Middelaar's writing. There, the enemy is on the contrary just what the elites of Europe themselves decry and fear most: 'populism'. Democratic systems have effective oppositions that may one day govern. The European Union is organised in such a way that it does not. But since it is good form to regret its 'democratic deficit', it would be better if it at least appeared to do so. Hence van Middelaar's successive attempts to supply an ersatz opposition – a chorus, a gallery, an audience – that could offer a façade of democracy to the construction he extols. No thinker agitated the young van Middelaar more than Jean Baudrillard. But the public invoked in protean guises across so many of his pages is always in substance the same, the neutered onlooker of a spectacle, as depicted by Baudrillard. European democracy? Less diplomatic than his aide, Van Rompuy has voiced the truths of Brussels more bluntly. In Greece, 'the performance of the troika may have taken place a little too much in the media spotlight': better in a blackout. What of the continent at large? 'I believe the Union is overdemocratised': in so many words.</p></div></div></div> </div> <div> </div> <div></div> </div></div></div> peromanestehttp://www.blogger.com/profile/18138498600151502565noreply@blogger.com0tag:blogger.com,1999:blog-11047330.post-22433643635299758812020-10-28T17:53:00.000+02:002020-10-28T17:53:09.059+02:00Emigrantii, DUNYA MIKHAIL <p>Dunya Mikhail este o poeta irakiana, stabilita in America de cativa ani..<br /> <br />Traducere: Ilinca Bernea<br /><br /></p><p style="background-color: white; color: #1d2129; font-family: Helvetica, Arial, sans-serif; font-size: 14px; margin: 0px 0px 6px;"><br /></p><p style="background-color: white; color: #1d2129; font-family: Helvetica, Arial, sans-serif; font-size: 14px; margin: 6px 0px;"><b>America</b></p><p style="background-color: white; color: #1d2129; font-family: Helvetica, Arial, sans-serif; font-size: 14px; margin: 6px 0px;">Te rog nu mă întreba, America<br />Nu-mi amintesc<br />pe ce stradă<br />cu cine<br />sub care stea<br />Nu mă întreba<br />Nu-mi amintesc<br />culorile oamenilor<br />sau semnăturile lor<br />Nu-mi amintesc dacă aveau<br />fețele și speranțele noastre<br />dacă fredonau<br />sau nu un cântec<br />dacă scriau din stânga sau din dreapta<br />sau nu scriau deloc<br />dacă dormeau în case<br />pe trotuare<br />sau în aeroporturi<br />dacă făceau dragoste sau nu<br />Te rog nu mă întreba, America<br />Nu-mi amintesc numele<br />sau locurile lor de naștere<br />Oamenii sunt câtă frunză și iarbă<br />Se nasc peste tot, America<br />Nu mă întreba. . .<br />Nu-mi amintesc<br />ce oră era<br />sau ce fel de vreme<br />ce limbă vorbeau<br />sau ce steag aveau<br />Nu mă întreba. . .<br />Nu-mi amintesc<br />cât au mers prin arșiță<br />câți au murit<br />Nu-mi amintesc<br />formele bărcilor<br />numărul porturilor<br />. . . câte valize cărau<br />sau au abandonat<br />dacă se lamentau sau nu<br />Încetează cu întrebările, America<br />dă-le o mână<br />celor osteniți<br />de pe celălalt mal<br />Oferă-le-o fără întrebări<br />sau liste de așteptare<br />La ce bun să câștigi întreaga lume<br />dacă îți pierzi Sufletul, America?<br />Cine a spus că cerul<br />și-ar pierde toate stelele<br />dacă noaptea trece fără răspunsuri?<br />America, lasă baltă chestionarele<br />și lasă-mă cu iubitul meu<br />Am fost despărțiți atâta amar de vreme<br />pe două țărmuri îndepărtate<br />am trăit, iar apa se zvârcolea între noi<br />„ca un pește bine gătit”<br />A trecut mult timp, America<br />(mai mult decât durau poveștile de noapte bună ale bunicii)<br />și așteptam un semn<br />să ne aruncăm cochiliile în râu<br />Știam că râul este plin<br />de scoici; nu că ar conta<br />prea mult<br />pentru cochilii era important, ce-i drept<br />De ce pui toate aceste întrebări?<br />Vrei amprentele noastre<br />în toate limbile<br />am îmbătrânit<br />am ajuns mai bătrână decât tata<br />Îmi spunea seara<br />când nu circulau trenuri:<br />Într-o zi, vom merge în America,<br />Într-o zi, vom merge<br />să cântăm un cântec<br />la Statuia Libertății<br />tradus sau netradus<br />Și acum, America, acum<br />Am venit la tine, fără tatăl meu<br />Morții se coc mai repede<br />decât smochinele indiene<br />dar niciodată nu îmbătrânesc, America<br />Ei vin în pâlpâiri de umbră și lumină<br />în visele noastre<br />ca stele căzătoare<br />ca arcuri de curcubeu<br />peste casele<br />pe care le-am părăsit<br />Uneori se enervează<br />dacă îi lăsăm să aștepte. . .<br />Cat e ceasul acum?<br />Bănuiesc că ora când vine<br />poșta ta oficială, America<br />această oră a zădărniciei<br />când mă joc cu libertatea<br />ca o pisică domesticită<br />Nu aș ști ce altceva<br />să fac cu ea<br />în această oră<br />inutilă. . .<br />iubitul meu<br />acolo, pe malul opus<br />al fluviului<br />are o floare pentru mine<br />mie - după cum știi -<br />nu-mi plac florile uscate<br />îmi place scrisul de mână al iubitului<br />îl văd zilnic în cutia de scrisori<br />strălucind printre fluturași<br />cu oferte speciale<br />din seria cumpărați un produs și primiți unul gratis<br />și anunțuri promoționale urgente:<br />Veți câștiga un milion de dolari<br />dacă vă abonați la această revistă!<br />printre facturile de plătit<br />în rate lunare<br />Îmi place scrisul de mână al iubitului<br />deși devine tot mai tremurat în fiecare zi<br />Avem o singură fotografie<br />doar una, America<br />îl vreau<br />Vreau acel moment<br />mereu inaccesibil<br />din poza pe care o cunosc<br />din orice unghi:<br />momentul etern, din ceruri<br />Imaginează-ți, America:<br />cum ar fi dacă unul dintre noi renunță la imagine<br />și lasă albumul plin<br />de singurătate<br />sau dacă viața devine<br />un aparat foto<br />fără film<br />Imaginează-ți, America!</p><p style="background-color: white; color: #1d2129; display: inline; font-family: Helvetica, Arial, sans-serif; font-size: 14px; margin: 6px 0px 0px;">Fără nici o poză<br />Mâine<br />iubitule<br />Mâine<br />noaptea<br />ne va lua<br />pe sus<br />vom trezi muzeele din somn<br />pentru totdeauna<br />ne vom repara ceasurile sparte<br />ca să ne sune în piețele publice<br />ori de câte ori trenul<br />ne trece pe lângă<br />Mâine<br />iubitule<br />Mâine<br />vom înflori:<br />două frunze care au fost cândva<br />pe aceeași ramură<br />fără grația verdelui<br />vom cădea<br />vom dansa purtați de vânt<br />spre locuri cărora le vom uita<br />numele<br />ne vom bucura de dragul broaștelor țestoase<br />care sunt atât de perseverente în drumul lor<br />Mâine<br />iubitule<br />mâine<br />îți voi cerceta ochii<br />îți voi citi în riduri<br />liniile viitoarelor noastre vise<br />Pe măsură ce îmi vei împleti părul cărunt<br />sub ploaie<br />sau soare<br />sau luna<br />fiecare fir va ști<br />că nu se întâmplă nimic<br />de două ori<br />fiecare sărut e o țară<br />cu o istorie<br />o geografie<br />și un limbaj<br />cu o bucurie și o tristețe<br />care nu se mai repetă<br />Și când îți revine nodul din gât, iubitule<br />Nu vei avea timp să te plângi<br />să-ți faci griji<br />pentru ce a mai rămas în noi<br />netopit<br />din zăpada imaculată<br />Mâine, dragule<br />Mâine<br />din cutia de lemn va răsuna<br />chinchetul a<br />două inele care<br />strălucesc de mult<br />pe două mâini care au tremurat,<br />împreunate<br />în puterea absenței.<br />Mâine<br />albul își va dezvălui<br />toate culorile<br />vom binecuvânta tot ce s-a pierdut<br />în alb sau s-a ascuns în el<br />tainic<br />De unde să știu, America<br />care dintre culori<br />a fost cea mai veselă<br />cea mai tumultoasă<br />cea mai nepotrivită<br />cea mai inadaptată<br />sau mai asimilată<br />dintre toate?<br /><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLTuufpZyTG2isoHmAeBKFobrdHnfy9dcX9i55g62j6hZlD-IkDrasAbhz-NiEVqyFuFnUtPa4PXyEhshS4h2cVw-i-ymI2spwAYwXuCF1MxprOHO4xWywq5Tfnl6pyf4GlonP/" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="641" data-original-width="427" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLTuufpZyTG2isoHmAeBKFobrdHnfy9dcX9i55g62j6hZlD-IkDrasAbhz-NiEVqyFuFnUtPa4PXyEhshS4h2cVw-i-ymI2spwAYwXuCF1MxprOHO4xWywq5Tfnl6pyf4GlonP/w426-h640/image.png" width="426" /></a></div><br /><br /><p></p>smaranda dobrescuhttp://www.blogger.com/profile/07884621658494272587noreply@blogger.com0tag:blogger.com,1999:blog-11047330.post-87079026439632220722020-09-13T02:26:00.004+03:002020-09-13T02:33:09.892+03:00Wagner & Hollywood By Alex Ross<span style="font-family: georgia;"><br /><br /> <br /><br /><br /><img alt="Image may contain Human Person Richard Wagner and Art" class="responsive-image__image" src="https://media.newyorker.com/photos/5f3f0276afc71fe17cc0dad0/master/w_2560%2Cc_limit/200831_r36927.jpg" style="background-color: white; border: 0px; box-sizing: border-box; font-size: 21px; height: 972px; max-width: 100%; object-fit: cover; vertical-align: bottom; width: 951.469px;" /><br /><br />The composer has infiltrated every phase of movie history, from silent pictures to superhero blockbusters.<br /><br /><br /><br /><br />In February, 1915, D. W. Griffith’s silent film “<a href="https://www.blogger.com/#">The Birth of a Nation</a>” opened at Clune’s Auditorium, in Los Angeles. It was advertised as the most amazing motion picture ever made—the “eighth wonder of the world.” Subsequent showings featured orchestras of up to fifty musicians playing a multi-composer score assembled by the movie-music pioneer Joseph Carl Breil. The film, set during and after the Civil War, is based on “The Clansman: An Historical Romance of the Ku Klux Klan,” a baldly racist novel by Thomas Dixon, Jr. In <a href="https://www.blogger.com/#">the movie’s climactic scene</a>, Klan members ride forth on horses to save a Southern town from what the film characterizes as oppressive African-American rule. The score for this sequence is dominated by Richard Wagner: a passage from his early opera “Rienzi,” followed by a modified version of “The Ride of the Valkyries,” from “Die Walküre.” At the moment of triumph—“Disarming the blacks,” the title card reads—Wagner gives way to “Dixie,” the unofficial anthem of the South. Another card spells out what kind of nation Griffith wants to see born: “The former enemies of North and South are united again in common defence of their Aryan birthright.”<br /><br /><br /><br />“The Birth of a Nation” set the pace for a century of Wagnerian aggression on film. More than a thousand movies and TV shows feature the composer on their soundtracks, yoking him to all manner of rampaging hordes, marching armies, swashbuckling heroes, and scheming evildoers. The “Ride” turns up in a particularly dizzying variety of scenarios. In “<a href="https://www.blogger.com/#">What’s Opera, Doc?</a>,” Elmer Fudd chants “Kill da wabbit” while pursuing Bugs Bunny. In John Landis’s “<a href="https://www.blogger.com/#">The Blues Brothers</a>” (1980), the “Ride” plays while buffoonish neo-Nazis chase the heroes down a highway and fly off an overpass. Most indelibly, Francis Ford Coppola’s “<a href="https://www.blogger.com/#">Apocalypse Now</a>” (1979) upends Griffith’s racial duality, making white Americans the heralds of destruction: a helicopter squadron blares the “Ride” as it lays waste to a Vietnamese village.<br /><br /><br />Action sequences are only one facet of Wagner’s celluloid presence. A colorful—and often shady—array of Wagner enthusiasts have appeared onscreen, from the woebegone lovers of Robert Siodmak’s noir “Christmas Holiday” to the diabolical android of Ridley Scott’s “<a href="https://www.blogger.com/#">Alien: Covenant</a>.” The composer himself is portrayed in more than a dozen movies, including Tony Palmer’s extravagant, eight-hour 1983 bio-pic, starring Richard Burton. But the Wagnerization of film goes deeper than that. Cinema’s integration of image, word, and music promised a fulfillment of the idea of the Gesamtkunstwerk, or “total work of art,” which Wagner propagated at one stage of his career. His informal system of assigning leitmotifs to characters and themes became a defining trait of film scores. And Hollywood has drawn repeatedly from Wagner’s gallery of mythic archetypes: his gods, heroes, sorcerers, and questers.<br /><img src="https://img1.blogblog.com/img/video_object.png" /><br /><br />“The Ride of the Valkyries,” from the opera “Die Walküre,” has been featured in hundreds of films and television shows throughout the past century.<br /><br />This contradictory swirl of associations mirrors the composer’s fractured legacy: on the one hand, as a theatrical visionary who created works of Shakespearean breadth and depth; on the other, as a vicious anti-Semite who became a cultural totem for Hitler. Like operagoers across the generations, filmmakers have had trouble deciding whether Wagner is an inexhaustible store of wonder or a bottomless well of hate. But that uncertainty also mirrors the film industry’s own ambiguous role as an incubator of heroic fantasies, which can serve a wide range of political ends. When Hollywood talks about Wagner, it is often—consciously or not—talking about itself.<br /><br />When the lights went down at the Bayreuth Festspielhaus in 1876, for the première of the “Ring of the Nibelung” cycle, a kind of cinema came into being. The Viennese critic Eduard Hanslick, no friend of Wagner’s, felt that he was looking at a “bright-colored picture in a dark frame,” as in a diorama display. The composer had intended as much, saying that the stage picture should have the “unapproachability of a dream vision.” The orchestra was hidden in a sunken pit known as the “mystic abyss”; its sound wafted through the room as if it were transmitted by a speaker system. The inaugural performances took place in a near-blackout. From the Festspielhaus, according to the media theorist Friedrich Kittler, “the darkness of all our cinemas derives.”<br /><br /><br />Bayreuth’s technical achievements predicted cinematic sleights of hand. In the “Ring,” magic-lantern projections evoked the Valkyries on their flying steeds; in “Parsifal,” the Grail glowed with electric light. Clouds of steam generated by two locomotive boilers smoothed over changes of scene, in anticipation of the techniques of dissolve and fade-out. Wagner’s music itself provides hypnotic continuity. When the action of “Das Rheingold” shifts from the Rhine to the area around Valhalla, the stage directions say, “Gradually the waves turn into clouds, which resolve into a fine mist.” In the score, rushing river patterns give way to shimmering tremolos and then to a more rarefied texture of flutes and violins—what the scholar Peter Franklin describes as an “elaborate upward panning shot.” In the descent into Nibelheim, the realm of the dwarves, the sound of hammering anvils swells in a long crescendo before fading away. This is like a dolly shot: a camera moves in on the Nibelungs at work, then draws back.<br /><br />The <a href="https://www.blogger.com/#">convocation of the nine Valkyries</a> in Act III of “Walküre” is Wagner’s finest action sequence—a virtuoso exercise in the massing of forces and the accumulation of energy. At the beginning, winds trill against quick upward swoops in the strings; horns, bassoons, and cellos establish a galloping rhythm, at medium volume; then comes a trickier wind-and-string texture, with staggered entries and downward-swooping patterns; and, finally, horns and bass trumpet lay out the main theme. Successive iterations of the material are bolstered with trumpets, more horns, and four stentorian trombones, but the players are initially held at a dynamic marking of forte, allowing for a further crescendo to fortissimo. When two tarrying Valkyries, Rossweisse and Grimgerde, finally join the group, the contrabass tuba enters fortissimo beneath the trombones, giving a sense of powerful reinforcements arriving.<br /><br />Wagner figured in silent-film scores from the outset. The “Ride” was employed for battles and horses; the “Magic Fire” music, during which the god Wotan encloses the Valkyrie Brünnhilde in a ring of fire, accompanied flickering flames. The “Flying Dutchman” overture served for seas and storms, “Tannhäuser” and “Parsifal” for religious scenes, and, of course, the “Lohengrin” Bridal Chorus for weddings.<br /><br /><br /><a href="https://www.blogger.com/#"><img src="https://media.newyorker.com/cartoons/5f3f0276840e569c23e38df1/master/w_1600%2Cc_limit/200831_a24478.jpg" /></a>“Honey, if the government won’t contact-trace Kimberley’s pool parties, I will simply do it myself.”<br /><br /><a href="https://www.blogger.com/#"></a><br /><a href="https://www.blogger.com/#"></a><br /><a href="https://www.blogger.com/#"></a><br /><a href="https://www.blogger.com/#"></a>Cartoon by Maddie Dai<br /><br />Given those habits, the use of the “Ride” in “The Birth of a Nation” was hardly unusual, but modern viewers have to wonder about the agenda behind the selection. When Griffith read Dixon’s novel, the ride of the Klan especially seized his attention: “I could just see these Klansmen in a movie with their white robes flying.” The idea of Wagnerian accompaniment may have occurred to him early. According to the film’s star Lillian Gish, Breil and Griffith squabbled over the “Ride”; Griffith wanted to make adjustments to the music, but Breil said, “You can’t tamper with Wagner!” Griffith apparently won the argument. As the Klan hordes assemble—a famous shot shows scores of white-clad horses and riders traversing an open field—we hear a bit of the “Rienzi” overture. Then, as the riders undertake their rescue missions, the rearranged “Ride” pipes up. The galvanizing effect of this sequence on audiences of the day can be gauged by a report from a screening in Atlanta: “Your spine prickles and in the gallery the yells cut loose with every bugle note.” “The Birth of a Nation” is credited with bringing about a revival of the Klan, which had terrorized African-Americans after the Civil War.<br /><br /><br /><br /><br /><br /><br /><br />Matthew Wilson Smith, in <a href="https://www.blogger.com/#">a penetrating essay</a> on the film, concludes, “Griffith’s use of Wagner married some of the most reactionary energies of Bayreuth to groundbreaking techniques of filmic integration.” This is a reasonable assessment, although it bears mentioning that W. E. B. Du Bois, in his 1903 story “Of the Coming of John,” had used Wagner in a diametrically opposed way—as an expression of the inner yearning of a Black man who will die at the hands of a horse-riding white mob: “A deep longing swelled in all his heart to rise with that clear music out of the dirt and dust of that low life that held him prisoned and befouled.” Du Bois might have pointed out that Dixon and Griffith’s racism had no need for a German antecedent. If anything, the influence moved in the opposite direction: the Nazis admired and emulated American laws that curtailed the rights of African-Americans and other minorities. The insertion of “The Ride of the Valkyries” into “The Birth of a Nation” tells us more about the cultural arrogance of American white supremacy than it does about Wagner’s nefarious impact.<br /><br />In the sound era, the lush production values of golden-age Hollywood called for a sonic carpet extending from the opening titles to the final frame. Max Steiner, who scored some three hundred films between 1930 and 1965, honed the leitmotif system to a near-exact science. In “<a href="https://www.blogger.com/#">Casablanca</a>,” “As Time Goes By” is famously sung by Dooley Wilson, but the melody also courses through Steiner’s score, undergoing expressive permutations. The composer Erich Wolfgang Korngold, the doyen of the swashbuckler picture, subjected leitmotifs to sophisticated development, variation, combination, and compression.<br /><br />Wagner’s own music rumbled through action-adventure pictures (“<a href="https://www.blogger.com/#">The Lion Man</a>”), historical epics (“<a href="https://www.blogger.com/#">The Viking</a>”), romantic dramas (“The Right to Live”), gangster movies (“<a href="https://www.blogger.com/#">City Streets</a>”), science fiction (“<a href="https://www.blogger.com/#">Flash Gordon</a>”), Westerns (“<a href="https://www.blogger.com/#">Red River Valley</a>”), and horror (Tod Browning’s “Dracula” and “<a href="https://www.blogger.com/#">Freaks</a>”). Frank Borzage’s 1932 adaptation of “<a href="https://www.blogger.com/#">A Farewell to Arms</a>” ends with Gary Cooper holding the lifeless body of Helen Hayes and exclaiming “Peace!” while “Tristan und Isolde” swells. Less sentimental is Borzage’s <a href="https://www.blogger.com/#">nightmarish montage of war scenes</a>, scored to a mishmash of the “Ride” and other “Ring” motifs. From “The Birth of a Nation” onward, the “Ride” has almost always signified male derring-do, ignoring the femaleness of the Valkyries. One exception can be found in Josef von Sternberg’s 1934 “The Scarlet Empress,” about the rise of Catherine the Great: a Valkyrie fantasia accompanies Marlene Dietrich’s climactic horse charge into the palace of the tsar.<br /><br />Comedians treated Wagner more irreverently. In the Marx Brothers’ “At the Circus” (1939), Margaret Dumont hires a snooty French conductor and his orchestra to perform at her estate, in Newport, Rhode Island. Groucho and company—circus performers who wish to eliminate this rival group so that they can collect a paycheck from Dumont—direct the Frenchmen to a barge at the water’s edge, then cut them loose. In the closing shot, the musicians play the “Lohengrin” Act III prelude while floating obliviously out to sea—a fine metaphor for the predicament of classical music in a pop-culture age.<br /><br /><br />The onset of the Second World War inevitably darkened Wagner’s Hollywood image. For most of the thirties, the studios shied away from anti-Nazi messages, unwilling to offend German sensibilities. Warner Bros.’ 1939 thriller “Confessions of a Nazi Spy,” with a score by Max Steiner, marked a turning point. When the film was rereleased, in 1940, with a documentary-like epilogue about recent German victories, the score was augmented with distorted allusions to the “Ride” and other “Ring” themes. During the same period, the cliché of the Wagner-loving Nazi took hold. In the 1940 drama “Escape,” a Nazi general (Conrad Veidt) has an affair with a widowed aristocrat (Norma Shearer) who is becoming conscious of the evil of the regime. When Veidt plays Wagner at the piano, Shearer says, “Oh, do play something else.” He says, “I thought ‘Tristan’ was our favorite opera.” She responds, “Perhaps I’ve heard it too often.”<br /><br />Shortly after America entered the war, Frank Capra set to work making propaganda films that explained the country’s mission to young recruits. As part of his research, Capra watched Leni Riefenstahl’s “Triumph of the Will” (1935), and his first reaction was to tell himself, “We can’t win this war.” In his memoir, he wrote of Riefenstahl’s film, “Though panoplied with all the pomp and mystical trappings of a Wagnerian opera, its message was as blunt and brutal as a lead pipe: We, the Herrenvolk, are the new invincible gods!” (“Triumph of the Will” contains a ninety-second excerpt from “Die Meistersinger,” in a sequence devoted to old Nuremberg.) On reflection, Capra decided that Nazi sound and fury could be turned against itself. The result was “<a href="https://www.blogger.com/#">Why We Fight</a>,” a series of seven films that mixed sober history lessons with taunting commentaries on Fascist and Imperial Japanese poses. A team of skilled Hollywood composers, including Dimitri Tiomkin, Alfred Newman, and David Raksin, worked on the project.<br /><br />“Prelude to War,” the first episode of “Why We Fight,” quickly delivers a musical answer to the series’ guiding question. <a href="https://www.blogger.com/#">As the narrator speaks</a> of a battle between a free world and an enslaved one, the orchestra quotes Siegfried’s principal theme from the “Ring,” in muted, menacing form. The theme recurs dozens of times in the series, in dissonant variations. These creative manglings give the enemy a readily identifiable sonic tag and also supply a forward-thrusting energy. Even as Wagner is being painted black, he lends a heroic dimension to the proceedings. From time to time, we hear patriotic American tunes orchestrated in a Wagnerian mode. The U.S. side, too, had its fantasies of invincibility. “Why We Fight” opens with a statement that by war’s end the American flag should be “recognized throughout the world as a symbol of freedom on the one hand, of overwhelming power on the other.”<br /><br />Hollywood was too addicted to Wagner’s sonic zest to demonize him entirely, as the case of cartoons shows. The music historian Daniel Ira Goldmark counts more than a hundred Warner Bros. cartoons with Wagner on their soundtracks. During the war, when cartoons were deployed for propaganda purposes, some of those references took on an anti-Nazi charge. In “<a href="https://www.blogger.com/#">Herr Meets Hare</a>,” Bugs Bunny finds himself in the Black Forest, where he confronts a Hermann Göring type. Carl Stalling’s score dresses Göring in a frantic cluster of Wagner themes. Yet citations in “Hare We Go” and “Captain Hareblower” bear no trace of Nazi evil. In one anti-Japanese cartoon—“<a href="https://www.blogger.com/#">Bugs Bunny Nips the Nips</a>”—Wagner is actually converted to the Allied cause. Stalling’s score uses the Siegfried motif to signify the prospect of Bugs’s rescue by an American warship—a rescue that he ultimately refuses, in favor of the company of a sexy female rabbit. The film-music historian Neil Lerner has noted the uncomfortable alignment of an Americanized Wagner with a gratuitously racist depiction of Japanese people.<br /><br />When <a href="https://www.blogger.com/#">Charlie Chaplin</a> watched “Triumph of the Will,” his immediate impulse, according to Luis Buñuel, was to burst into laughter. The orator onscreen seemed to be an insane variation on Chaplin’s Little Tramp persona, down to the toothbrush mustache. The experience unnerved him, though, as it did many leftist filmmakers who witnessed the technical virtuosity of German cinema being applied to sinister ends. In 1940, Chaplin released “The Great Dictator,” a lavish satire of Hitler’s histrionics. Inevitably, Wagner is on the soundtrack, yet Chaplin makes the surprising choice to detach the music from the Nazi context. The ethereal prelude to “Lohengrin,” suggesting the sacred power of the Holy Grail, is heard twice in the film, serving first to puncture Nazi iconography and then to amplify a message of peace.<br /><br /><br /><br /><br />Hitler is caricatured as Adenoid Hynkel, a nincompoop of a Führer who jabbers mock-German and is more than a little fey. He prances about, tinkles on a piano with candelabra all around, and, at one point, holds a flower in an Oscar Wilde-like pose. When his propaganda minister, Herr Garbitsch, raises the idea of killing all the Jews and making Hynkel “dictator of the world,” Hynkel becomes so excited that he scurries up the drapes and exclaims melodramatically, “<a href="https://www.blogger.com/#">Leave me, I want to be alone!</a>” As the high, thin, shining music of the “Lohengrin” prelude begins, Hynkel slides down the drapes and prowls across the floor to an enormous globe. “Emperor of the world,” he murmurs. He plucks the globe from its stand and spins it on a finger, laughing hysterically. A singular ballet ensues, as Chaplin bounces the ball from hand to hand, off his head, off his foot, and, twice, off his butt.<br /><br />A parallel story arc shows the travails of a Jewish barber, identical in appearance to Hynkel. The oppressor and the oppressed switch roles: Hynkel is mistaken for the barber and sent to a concentration camp; the barber finds himself addressing a Hynkel rally, his closing speech a stirring critique of capitalist ruthlessness and a plea for brotherhood. After the crowd cheers, he sends a message to his girlfriend, Hannah, who is in exile. The music of “Lohengrin” returns as the barber reaches his peroration: “We are coming into a new world, a kindlier world, where men will rise above their hate, their greed and brutality. Look up, Hannah!” Hannah—in a field, listening to the barber on a radio—gazes in wonder. “Listen!” she exclaims, her eyes shining. “Lohengrin” swells all around her, as if playing from on high.<br /><br />As the film scholar Lutz Koepnick <a href="https://www.blogger.com/#">writes</a>, Chaplin uses Wagner to both “condemn the abuse of fantasy in fascism and warrant the utopian possibilities of industrial culture.” For some viewers, Chaplin’s idealism may seem wincingly naïve, just as his lampoon of Hitler may seem to trivialize Nazi horrors. Yet naïveté is at the core of Chaplin’s enduring appeal. Sergei Eisenstein, who made his own cult of Wagner, once called Chaplin “the true and touching ‘Holy Innocent,’ whose image the aging Wagner dreamed of.”<br /><br /><br />In the postwar era, the motif of Wagnerian evil ran rampant. In movies on war and spy themes, a liking for the composer is nearly as reliable an indicator of Nazi affiliations as a swastika armband. In “<a href="https://www.blogger.com/#">The Boys from Brazil</a>” (1978), Josef Mengele savors the “Siegfried Idyll” while supervising a scheme involving Hitler clones. Conversely, when the Franz von Papen character in “5 Fingers” (1952) says, “Wagner makes me ill,” the audience learns that he is not wholly evil. By metaphorical extension, the composer became a favorite musical selection for sadists and cold-blooded killers. In Jules Dassin’s noir “<a href="https://www.blogger.com/#">Brute Force</a>” (1947), a prison guard who follows a pseudo-Nietzschean philosophy of “the weak must die” puts on a recording of the “Tannhäuser” overture as he prepares to torture a prisoner in his office.<br /><br /><br /><a href="https://www.blogger.com/#"><img src="https://media.newyorker.com/cartoons/5f3f0276322964f142b4511a/master/w_1600%2Cc_limit/200831_a24061.jpg" /></a>“The monks are pretty cheap—the ink is where they get you.”<br /><br /><a href="https://www.blogger.com/#"></a><br /><a href="https://www.blogger.com/#"></a><br /><a href="https://www.blogger.com/#"></a><br /><a href="https://www.blogger.com/#"></a>Cartoon by Kendra Allenby<br /><br />At the same time, Wagner could still serve older, more innocent symbolic functions. In William Dieterle’s “Magic Fire,” a fairly ridiculous 1955 bio-pic, Alan Badel portrays Wagner as a manic Romantic in the grip of a controlling muse, spouting dialogue like “Tristan is dying—and you ask me how I am!” The composer beloved by cinematic torturers still led countless brides down the aisle, including Marilyn Monroe and Jane Russell in “<a href="https://www.blogger.com/#">Gentlemen Prefer Blondes</a>,” in which the Bridal Chorus from “Lohengrin” morphs into a reprise of “Two Little Girls from Little Rock” and “Diamonds Are a Girl’s Best Friend.”<br /><br /><br />The Central European émigré directors who were a potent influence in wartime and postwar Hollywood knew Wagner better than their American counterparts did, and they often used him as a marker of a damaged, poisoned past. In Billy Wilder’s “A Foreign Affair” (1948), set in occupied Berlin, American authorities investigate the Nazi past of a cabaret singer, played by Marlene Dietrich. They watch a newsreel of a gala performance of “Lohengrin,” at which Hitler is seen kissing the singer’s hand. “They certainly fiddled big while Berlin burned,” one observer snaps. “ ‘Lohengrin,’ you know, swan song,” another says.<br /><br />The otherworldly bliss of “Tristan” plays a nobler but still darksome role in Jean Negulesco’s “Humoresque” (1946), a melodrama with a streak of noir. A dissipated socialite (Joan Crawford) falls in love with a rising violin soloist (John Garfield) who comes from a lower-class immigrant background. His vacillating responses to her advances send her into terminal despair, and she commits suicide by walking into the ocean. <a href="https://www.blogger.com/#">As she goes to her end</a>, a radio broadcasts the violinist performing an arrangement of Isolde’s final monologue, the so-called Liebestod. The female lead has all the characteristics of the femme fatale, and her death is necessary for the maturation of the male protagonist, as the musicologist Marcia Citron has argued. Nonetheless, the disconcerting intensity of Crawford’s performance suffuses the film—restoring the dire, desperate Romantic aura that tends to fall away when Wagner goes to Hollywood.<br /><br />For decades before Coppola’s “Apocalypse Now,” aerial warfare had been stirring thoughts of the Valkyries and their “air-horses,” as Wagner called them. In Proust’s “Time Regained,” the Germanophile dandy Robert de Saint-Loup watches a zeppelin raid on Paris, circa 1916, and exclaims, “The music of the sirens was a ‘Ride of the Valkyries’!” During the Second World War, an Arturo Toscanini performance of the “Ride” was associated with B-17 bombers in flight. The Nazis employed the same conceit: in a German newsreel, the “Ride” underscores a segment documenting a paratrooper assault on Crete.<br /><br />Given that history, the “Ride” seems a foreordained choice for the helicopter operation in “Apocalypse Now.” The idea of an air-cavalry unit blasting Wagner originated in the mind of the film’s screenwriter, John Milius, who had heard that American forces in Vietnam were using music to galvanize troops and demoralize the enemy. Years later, he recalled, “They didn’t play Wagner, they played rock ’n’ roll and stuff like that. But I really thought the Wagner would work.” Nothing if not ambitious, Milius’s script gestures toward other exalted cultural artifacts. The chief literary point of reference is Joseph Conrad’s “<a href="https://www.blogger.com/#">Heart of Darkness</a>.” Willard, a Special Ops soldier, is sent on a mission to track down and kill a renegade officer named Colonel Kurtz, who, like Conrad’s villain, has gone mad in the jungle and created a private empire.<br /><br />Milius, a Jewish American with conservative leanings, did not intend an antiwar message. He began work on “Apocalypse” in the wake of the Arab-Israeli War of 1967, during which he had excitedly followed the Israeli advance. He told the writer Lawrence Weschler, “Tracking that victory day by day, I was throbbing to the Doors—‘Light My Fire’ was the big hit that summer—and of course to Wagner.” Although some scholars have linked the helicopter scene to the Ku Klux Klan assault in “The Birth of a Nation” (the air-cav men have the bearing of horsemen), Milius was apparently unaware of Griffith’s use of the “Ride.”<br /><br /><a href="https://www.blogger.com/#">At the outset of the sequence</a>, Lieutenant Colonel Kilgore, the leader of the air-cav unit, explains his methodology to Willard’s men, throwing in a racist slur:<br /><br /><br /><br /><br /><br /><br /><br />Kilgore: We’ll come in low out of the rising sun, and about a mile out we’ll put on the music.<br /><br />Lance: Music?<br /><br />Kilgore: Yeah, I use Wagner—scares the hell out of the slopes. My boys love it.<br /><br />The music kicks in, and shots timed to Wagner’s downbeats show speakers affixed to the aircraft. That strict rhythm is broken when the camera focusses on the two Black members of Willard’s company, played by Albert Hall and Laurence Fishburne. Their disbelieving faces highlight the subtext of the scene: white Americans are assaulting a nonwhite village to the music of a racist composer. Another irony is that this pageant of masculine savagery is driven by music that once had feminist connotations.<br /><br /><br />The version of the “Ride” that we hear in “Apocalypse” comes from the Decca label’s celebrated recording of the “Ring,” with Georg Solti conducting. Coppola took about five minutes of music from the first hundred and forty-three bars of Act III of “Walküre,” making a few cuts and telescoping some sections. The sound designer and editor Walter Murch played a crucial role in creating a seamless flow of sound and image.<br /><br />The entrance of the main Valkyrie motif coincides with a wide shot of fourteen helicopters in flight. The soldiers ready their guns; Kilgore nods to the music. Another wide shot coincides with a gleaming B-major chord, after which the trombones take over the theme. Then comes a brilliant stroke: one bar before the trombones complete their phrase, the camera cuts to the Vietnamese village that is about to be struck. The adrenaline rush of men, machines, and music abruptly ceases as the camera lands in a quiet courtyard outside a school. Milius had specified in his screenplay an armed Vietcong stronghold, but Coppola paints a more idyllic scene, with children singing as they come out to play. A female Vietcong soldier suddenly appears, ordering an evacuation, and Wagner seeps in from a distance. The trombones finish their statement, and the Valkyries enter with their “Hojotoho!” The first missile is fired when the Valkyrie Helmwige reaches a sustained high B. Houses explode, and villagers are mowed down.<br /><br />The operatic bravado falters amid the chaos of battle. Copters land; soldiers jump out. A young Black soldier is badly wounded when a comrade fires into a house and sets off an explosion. Tellingly, Wagner drops out at the moment the soldier falls. The sight of blood gushing from his leg shuts down the Valkyrie fantasy.<br /><br />An indictment of American hubris is intended, yet the visceral impact of the filmmaking saps the movie’s capacity for critique. “Apocalypse” soon became a military fetish object, its Wagner scene influencing real-life behavior. A Black Hawk helicopter blared the “Ride” at the time of the American invasion of Grenada, in 1983. Eight years later, a PsyOps unit played it ahead of the Battle of 73 Easting, in the Iraqi desert, during the first Gulf War. Speakers mounted on Humvees boomed out the “Ride” at Fallujah in 2004, during the second American war in Iraq.<br /><br />In a Wagnerian mise en abyme, Sam Mendes’s film “<a href="https://www.blogger.com/#">Jarhead</a>” (2005), based on Anthony Swofford’s memoir of military service during the first Gulf War, has a scene in which young marines thrill to a screening of “Apocalypse,” singing along with the “Ride” and pumping their fists in the air. Murch also edited “Jarhead,” and found himself in the peculiar position of showing the defeat of his and Coppola’s complex, multivalent scheme. The cut to the quiet village fails to have a sobering effect on the marines. When the Wagner resumes, one of them shouts, “Shoot that motherfucker!”<br /><br /><br /><a href="https://www.blogger.com/#"><img src="https://media.newyorker.com/cartoons/5f3f0276dcb11d2009b4ced8/master/w_1600%2Cc_limit/200831_a23683.jpg" /></a>“It really makes you feel insignificant.”<br /><br /><a href="https://www.blogger.com/#"></a><br /><a href="https://www.blogger.com/#"></a><br /><a href="https://www.blogger.com/#"></a><br /><a href="https://www.blogger.com/#"></a>Cartoon by Jason Adam Katzenstein<br /><br />It is an astonishing cultural transformation: the “Ride” remade into an anthem of American supremacy. This displacement is of a piece with other troubling historical continuities of the postwar era: Nazi scientists migrating to America, Gestapo-style torture techniques resurfacing in Iraq, the cult of the sculpted body perpetuating Riefenstahl’s Aryan ideal. Eric Rentschler, in his book “<a href="https://www.blogger.com/#">The Ministry of Illusion</a>” (1996), writes, “Contemporary American media culture has more than a superficial or vicarious relationship with the Third Reich’s society of spectacle.” Nothing in film history demonstrates that idea as vividly as “Apocalypse Now,” in which the German will to power gives way to God-bless-America imperialism.<br /><br />Wagner’s influence is nowhere more enduring than in the realm of myth and legend. He manipulated Teutonic and Arthurian myths with consummate dexterity, understanding how they could resonate allegorically for modern audiences. “The incomparable thing about myth is that it is always true, and its content, through utmost compression, is inexhaustible,” he wrote. Wagner’s master array of borrowed, modified, and reinvented archetypes—the wanderer on a ghost ship, the savior with no name, the cursed ring, the sword in the tree, the sword reforged, the novice with unsuspected powers—lurks behind the blockbuster fantasy and superhero narratives that hold sway in contemporary Hollywood.<br /><br />It is probably no coincidence that the superhero emerged in the nineteen-thirties, at a time when totalitarian regimes were overrunning Europe and Russia. The objectification of the young male body in Communist and Fascist propaganda probably influenced the trend: liberal-democratic societies, derided as weak, required warriors of power. The chiselled and buxom torsos of comic-book characters seem to be descended from the fin-de-siècle sketches of Wagner heroes and heroines by such illustrators as Arthur Rackham and Franz Stassen. The philosopher <a href="https://www.blogger.com/#">Slavoj Žižek</a> has observed that the motif of concealed identity, a staple of comics and superhero movies, recalls Lohengrin, the knight with no name. Like Lohengrin’s ill-fated bride, Elsa, girlfriends of Superman and Batman jeopardize the relationship when they ask too many questions.<br /><br /><br />Modern fantasy began with the release of George Lucas’s “<a href="https://www.blogger.com/#">Star Wars</a>,” in 1977, which paid homage to the “Flash Gordon” and “Buck Rogers” serials of the thirties. The project drew Wagner comparisons almost from the outset. Susan Sontag had coined the term “pop-Wagnerian” to describe Nazi-era German films; Pauline Kael applied it to the second “Star Wars” installment, “The Empire Strikes Back.” As in the serials, the sci-fi future of “Star Wars” is given neo-medieval, chivalric features. Lightsabres stand in for swords; Darth Vader is a Black Knight with a hidden identity. The critic Mike Ashman has noted various similarities to the “Ring.” When the hero Luke Skywalker seizes his father’s lightsabre, he is like Siegfried mending Siegmund’s sword. And when Yoda, the wizened Jedi master, trains Luke in a swampy forest the scenario recalls the dwarf Mime’s relationship with Siegfried, except that Yoda is on the side of good.<br /><br />A more unsettling echo comes at the end, when Luke, Han Solo, and Chewbacca, having led the Rebellion to victory, are honored at a temple ceremony. Fanfares give way to a vigorous march version of <a href="https://www.blogger.com/#">John Williams</a>’s “Force” theme, which recalls Wagner’s Siegfried motif. Lucas chooses a curious visual design for this scene. <a href="https://www.blogger.com/#">The camera watches from behind</a> as the trio proceeds down a long stone walkway, with troops arranged in rigid rows, toward a dais behind which imposing pillars rise. The shot has two clear cinematic predecessors: the hero Siegfried’s entrance into Gunther’s court in Fritz Lang’s silent epic “<a href="https://www.blogger.com/#">Die Nibelungen</a>,” and Hitler’s march through the Nuremberg parade grounds in “<a href="https://www.blogger.com/#">Triumph of the Will.</a>” Although Lucas has denied that Riefenstahl influenced the scene, the likeness seems too close to be accidental. To be sure, his heroes break out in goofy grins, undercutting the solemnity of the tableau. But this aw-shucks appropriation of Fascist style makes the allusion no less strange or disturbing. As in “Apocalypse Now,” but without critical distance, American-accented heroes absorb the iconography of an evil empire.<br /><br /><br /><br /><br />Fantasy films flooded the global marketplace at the beginning of the twenty-first century, with Wagnerisms strewn throughout them. <a href="https://www.blogger.com/#">Peter Jackson’s “Lord of the Rings” trilogy</a>, in line with J. R. R. Tolkien’s novels, is inconceivable without the central conceit of the “Ring”—the all-powerful trinket that corrupts all who covet it. Lana and Lilly Wachowski’s “Matrix” trilogy (1999-2003) brushes against “Parsifal,” Wagner’s mystical final opera, with its themes of initiation and enlightenment. In the first film, the young computer hacker Neo is drawn into an underground movement led by a man named Morpheus, who divulges that the everyday world is an illusion manufactured by a master race of machines. Morpheus’s summary of the Matrix—“It is the world that has been pulled over your eyes to blind you from the truth”—invokes the philosophy of Arthur Schopenhauer, who had an immense influence on Wagner’s later work. As Žižek points out, Morpheus’s concept of the “desert of the real” is equivalent to the wasteland that lies behind Klingsor’s seductive magic garden in “Parsifal.” Morpheus is like the sage old Gurnemanz in the opera, leading an adept into secret knowledge. The science-fiction commentator Andrew May pinpoints the apparent clincher: at the climax of the film, Neo stops bullets in midair, reënacting Parsifal’s feat of arresting Klingsor’s spear mid-flight.<br /><br />Democratic mass culture prefers to consider itself exempt from the forces that made Wagner vulnerable to exploitation by the Nazis. Fantasy artists like to believe that they are creating allegories of liberal good versus reactionary evil. A scene in the 2011 Marvel Studios film “Captain America: The First Avenger” explicitly inserts Wagner into that binary opposition. Johann Schmidt, a Nazi operative turned global terrorist known as the Red Skull, is working away in his mountain laboratory, with bits of the “Ring” playing on a Victrola. As at Hitler’s Bavarian retreat, alpine peaks are visible through massive windows. Captain America, a scrawny kid who has been scientifically beefed up to superhero proportions, hunts down the Red Skull, laying waste to his laboratory. Wagner is a monster from the European past who must be ejected, but only after the sound designers have obtained a thrill or two from the roar of the “Ring” orchestra—much the same trick that Capra pulled in “Why We Fight.”<br /><br />Any myth is vulnerable to ideological simplification and distortion, as the political scientist Herfried Münkler has argued. Superhero narratives in which unheralded individuals acquire exceptional abilities can speak for marginalized communities, but they may also encourage the sort of grandiose self-projection that the Wagner operas inculcated in the hordes of fin-de-siècle youth who daydreamed about fulfilling Lohengrin, Siegfried, or Brünnhilde roles. In “The Matrix,” the newly enlightened Neo is given a choice between two pills: a red pill, which will make his knowledge permanent, and a blue pill, which will restore the veil of illusion. Members of the American far right, who have a few Wagnerites in their midst, have made that fable their own: their “red-pill moment” is when they cast aside multicultural liberalism.<br /><br />The chief lesson to be drawn from the case of Wagner is that the worship of art and artists is always a dangerous pursuit. In classical music, the slow, fitful learning of that lesson has had a salutary effect: contemporary European productions of Wagner’s operas routinely confront the darker side of his legacy. Perhaps it is time to contemplate the less fashionable question of how Hollywood films and other forms of popular culture can be complicit in the exercise of American hegemony—its chauvinist exceptionalism, its culture of violence, its pervasive economic and racial inequities. The urge to sacralize culture, to transform aesthetic pursuits into secular religion and redemptive politics, did not die out with the degeneration of Wagnerian Romanticism into Nazi kitsch. ♦</span>peromanestehttp://www.blogger.com/profile/18138498600151502565noreply@blogger.com0tag:blogger.com,1999:blog-11047330.post-16425379427789346932020-09-06T19:09:00.000+03:002020-09-06T19:09:39.788+03:00Povestile exilului<br /><br /><span style="color: red;"><b>NAHID</b><br /></span><br /><b>fragment de roman</b><br />________________________________________<br />Psiholoaga lovea insistent cu stiloul în masă de mai bine de zece minute și Nahid o privea cu o mină absentă. Își dădea seama că femeia care încerca să o facă să vorbească era ea însăși tulburată de ceva. <br />Mereu o altă autoritate o înhățase și alesese ce e mai bine pentru ea. Fiecare nouă autoritate pe mâna căreia încăpea o condamna pe anterioara și proceda la fel. <br />Părinții îi aleseseră un soț la 15 ani, soțul blamase educația părinților ori de câte ori i se părea că nu-și cunoaște locul, iar după moartea lui, imamul londonez decisese că locul ei era în casa unui văr care avea să o mărite cu de-a sila pentru a doua oară, dacă n-ar fi venit salvatorii englezi să o interneze la balamuc, după ce încercase să se arunce pe șinele metroului. De acolo aveau s-o depoziteze într-o locuință socială, ținând-o sub strictă supraveghere. Oricum, mai devreme sau mai târziu, statul britanic avea să slăbească lațul și rudele lui, care vegheau din umbră, aveau să o captureze din nou. Dar, la a doua tentativă, n-ar mai fi dat greș. Știa de data aceasta ce are de făcut: era suficientă o singură înghițitură. <br />Chiar n-avea niciun chef să vorbească. Când ești supraviețuitorul unei catastrofe sunt toți cu ochii pe tine și te simți ca un animal de circ, se gândește psiholoaga. Nahid îi studiază inelul din aur masiv cu rubine. Îl poartă la dreapta. Oare o fi măritată? Îi vede ochii zbuciumați, în care se citește sentimentul eșecului. N-ar vrea să o agaseze, pur și simplu în ziua aceea cuvintele refuzau să țâșnească din gura ei. <br />- La ce te gândești? o întreabă psiholoaga.<br />- La vântul deșertului. <br />Nahid s-a născut într-unul din acele mici orașe cu istorie milenară, pierdute printre dunele pustiului Kavir cel sărat, undeva în provincia Isfahan. A crescut și a trăit acolo până la cincisprezece ani, când i-a venit vremea măritișului, pe fundul unei foste mări. Bunica Ara își scotea scaunul în pragul casei și asculta vuietul vântului. Știa înainte cu câteva ore bune când se va apropia furtuna. Cânta uneori niște melodii vechi, alcătuite din câteva note doar, cu o voce gravă, care venea, parcă, dintr-o altă lume. Bunica Ara prepara pâinea pentru toată ulița, îi spunea poveștile pe care i le șopteau dunele și recita din Omar Khayyam, deși era analfabetă. Au primit trei catâri și două capre pe ea, atunci când i-au dat-o fiului unui negustor ceva mai înstărit din târg, care avea un magazin de covoare și mirodenii, în Teheran. Pe sora ei mai mare o dăduseră unui localnic și avusese ceva mai mult noroc, se pare.<br />Avea douăzeci de ani când soțul și stăpânul ei i-a zis: fă-ți bagajele. Vom pleca de-aici în altă parte. Îl bănuia că avea ceva afaceri necurate. <br />Ar fi vrut să îi spună ceva femeii din fața ei, căci chiar părea nefericită, dar nu îi venea în gând nimic care să merite rostit cu voce tare. Era tunsă scurt și avea cercei lungi, cu niște pietre cubice, care păreau din malachit și niște ochelari cu rame late, negre. <br />Cu timpul te înveți, nu doar pielea se tăbăcește, ci și părțile moi ale conștiinței, gândește psiholoaga, lovind ritmic în masă cu stiloul. S-a gândit să-i citească lui Nahib despre destinele altora ca ea, ca să nu se simtă un caz izolat, iar iraniana a ascultat-o cu atenție, absorbind fiecare cuvânt și lăsând să se întrevadă durerea acelor femei, dospind în ochii ei migdalați și negri. Numele lor, în parte reale, în parte inventate de psiholoagă, pentru a le fi tăinuită identitatea, au fost primele cuvinte pe care Nahib le-a așternut pe hârtie. După ce i-au dat drumul din ospiciu, autoritățile statului au trimis-o la o școală specială, să învețe să citească și să scrie ca să poată avea o slujbă. La 35 de ani nu se punea problema să trăiască doar din ajutor social.<br />I s-a spus că poate alege să trăiască oricum. Inclusiv cu o altă femeie. I s-a spus că poate renunța la Hijab, dacă vrea, că nu e obligată nici măcar să creadă, pentru că este cetățean britanic, iar un astfel de cetățean își poate permite să ridice pumnul la cer fără consecințe. I s-au citit drepturile o dată pe zi, mai întâi, apoi o dată pe săptămână, apoi o dată pe lună. Un băștinaș englez ar fi remarcat: în aproape orice deprindere se aplică formula sexului conjugal. <br />Nahid, susțin autoritățile și savanții, a fost terorizată să creadă. De aceea trebuie încurajată să se îndoiască, să își pună întrebări, să se revolte.<br />Ea trebuie mai întâi să ajungă la revoltă, ca să se poată elibera.<br />Ea trebuie să se elibereze de tot ce i s-a spus că are voie și că n-are voie, de acea imagine de sine care o împiedică să dea ochii cu adevăratul ei chip și cu propriile dorințe.<br />Nahid, însă, știe că nu trebuie nimic și își privește psiholoaga cu regret. A trebui înseamnă un efort, dar ea e obosită, sufletul ei e vlăguit. Sufletul ei vrea să doarmă, nimic altceva. Și, apoi, ce ar putea să își dorească?<br />O carieră, crede psiholoaga. Deîndată ce se vindecă va visa să aibă o profesie.<br />Nu, nu e adevărat. Nahid nu vrea nicio profesie. Vrea să stea pe prispă în fața casei și să asculte vuietul deșertului.<br />N-o fi știind ea carte, dar proastă nu e. Toată istoria li s-a cerut femeilor să muncească, să tragă din greu, să poarte răspunderi și griji de le încovoiau spinările. În ce constă emanciparea? În recunoașterea obidei? Atât? <br />Psiholoaga îi vorbește despre respectul de sine, despre demnitate, despre auto-afirmare. O pune să evalueze cât de credincioasă se consideră pe o scară de la 1 la 10.<br />Dar toate acestea sunt pentru ea fantasmagorii, o limbă străină. <br />Versurile lui Omar Khayyam sunt cele care ei îi vorbesc. „Am venit ca apa şi plecăm ca vântul”, spune poetul iubitor de vin. <br />Așa-zisa terapie e o învârtire în cerc prin labirintul din mintea psiholoagei, printre coloanele și stabilopozii care susțin lumea în închipuirea ei. E o femeie subțire, cu pomeți înalți și osoși, nu foarte înaltă, cu părul blond-cânepiu, care gesticulează abundent. Nahid se întreabă dacă psiholoaga și-a pus ei însăși vreodată acele întrebări din testele grilă ca să își dea seama cât de absurd e să încerci să dai răspunsuri. De unde să știe cât de credincioasă e? Ea se roagă, de cinci ori pe zi, așa cum au învățat-o mama și bunica. Sunt rugăciuni de mulțumire și rugăciuni ca să capete puterea de a îndura. <br />Reprezentanta statului britanic își notează în fișa de observații gânduri care vor ajunge în arhivele clinicii sau pe mâna unor specialiști, care vor spune povestea ei altor victime.<br />Nu trebuie să îi fie frică, i s-a spus, răspicat. Aici, în lumea noastră, femeile sunt apărate, respectate. Poate vorbi liniștită. E încurajată să vorbească, dar Nahid tace. I s-a explicat că nu e nicio rușine să-și descarce poverile intime. Dar ei nu-i vine ușor să-și dezvăluie sentimentele. Și apoi fiecare suflet are o taină a lui care nu se lasă prea ușor descifrată și împărtășită.<br />Ce știu ei despre onoarea și dezonoarea unei familii persane? Ideea de a trăi până la capătul zilelor în barca de salvare a englezilor nu-i surâdea cine știe ce. S-ar fi întors acasă și ar fi acceptat bucuroasă să fie a treia sau a patra soție a imamului din târg, care era un om bun și pe care îl iubea încă din copilărie, când el era tânăr și frumos ca un zeu. Cu el vorbea în gând atunci când simțea că își pierde cumpătul, el ar fi vrut să îi fie stăpân. <br />Nu știau nimic, li se părea doar că știu pentru că nu-și înțelegeau decât păsăreasca lor, cu drepturile și libertățile. <br />Nahib e conștientă: între ele e o partidă de șah. Chiar dacă nu citește, nu-i bătută în cap. Nahib știe că mintea omenească e ca o cocă moale în care oricine poate sculpta ce vrea, iar cei care nu stăruiesc în rugăciune sunt expuși, pot fi oricând transformați. Așa au convins-o pe Ara și rezultatul a fost că, după ce autoritățile statului britanic i-au garantat un divorț fără riscuri și dreptul de a se converti și mărita cu alesul inimii, chiar în ziua nunții, în plină ceremonie, a împușcat-o în cap unicul său frate, care apoi s-a sinucis. <br />În barca de salvare, primii primiți sunt femeile și copiii. O ilustrează cu desene și abecedarul care i-a fost dat. Învață să scrie și să citească direct în engleză, căci nu știe să o facă în farsi. Se uita exact la această imagine, cu barca de salvare, așezată în iarbă, în parcul Golders Hill, atunci când un bărbat, de o frumusețe care îți tăia răsuflarea, a întrebat-o dacă știe încotro e drumul spre stația de metrou cea mai apropiată. A durat mult până a convins-o să-i spună cum o cheamă. Nici ea nu poate înțelege ce vrajă a reușit să îi facă, cum de i-a inspirat atâta încredere și cum de a încolțit în ea sămânța unui asemenea curaj. Chipul lui îi părea familiar. I-a spus nu doar cum o cheamă ci și care îi e numărul de telefon. Abia după ce s-a îndepărtat a intrat în panică. Putea fi, prea bine, un individ plătit de rudele fostului său soț, care încerca să o atragă într-o cursă. Poate că îi luaseră deja urma și considerau că îi dezonorase grav atunci când încercase să se arunce în fața metroului. Îi stăruia în minte, cu neputință de îndepărtat, imaginea unui braț tăiat, expus în Teheran în dreptul intrării într-un magazin.<br />În întuneric, înainte de a adormi, Nahid aude încă sunetul primei palme încasate de la cel pe care i l-a hărăzit ursita și duce instinctiv mâna la falca pe care o simte dogorind, apoi se chircește în pat și plânge. <br />______________________<br />foto: Ahmed Darwish<br /><a href="https://www.facebook.com/photo/?fbid=10159268940914925&set=a.487734639924&__cft__[0]=AZVltAFqwBZWB1PM4BLSP2y2_8ilZRL5hATIhOrMWH3rJzvm37RbH2WE6hc9nGccMr6A_wTxlL2S3z-03hBD1UUyz-777XJiPEs8JpfxTmbaRExy3e_TaOEVzdqm0J4hIFc&__tn__=EH-R"><br /><br /><br /><br /><br /><img src="https://scontent.fotp3-2.fna.fbcdn.net/v/t1.0-9/s720x720/118729634_10159268940919925_3564696209857005911_n.jpg?_nc_cat=106&_nc_sid=730e14&_nc_ohc=jx05mGfcuNwAX-nB5m6&_nc_oc=AQkxUz9Tp5Q4SuCaaogP5yNkHWgMd4sE7U-mtzxYcAcIMdoF0KnmHLlJt7HUfQov-js&_nc_ht=scontent.fotp3-2.fna&tp=7&oh=2ee64eb9b61450951db948845f653651&oe=5F78B1D3" /><br /><br /></a><br /><br /><span style="color: red; font-size: large;"><b>Dunya Mikhail</b></span><br />(poeții exilului)<br />___________________<br /><b>Străina<br /></b><br />Totul are gen<br />în arabă.<br />Istoria este masculină.<br />Ficțiunea este feminină.<br />Visul este masculin.<br />Dorința este feminină.<br />Cuvintele feminine sunt urmate<br />de un cerc cu două puncte peste.<br />Se numește cercul legat,<br />înnodat cu dorințe<br />care se împlinesc numai atunci când sunt uitate<br />sau înlocuite de altele.<br />În orașul dorințelor legate,<br />toți trăiesc în puterea așteptării<br />căci va veni o străină<br />astăzi, în zodie feminină.<br />I s-au arătat cuiva<br />două puncte strălucind,<br />ceea ce infirmă viziunea altuia<br />cu ochii unei pisici care vâna în întuneric.<br />E atât de înfricoșător, spunea el, cum luna<br />se ascunde în cercul ei roșu.<br />Toată lumea e ocupată azi<br />Să înșire dorințe<br />Pe hârtii pe care le aruncă în vânt<br />Când străina le va găsi <br />în drum, le va aduna <br />și va face din ele o ghirlandă<br />va da uitării dorințele vechi <br />pentru a face loc celor noi.<br />Iar cele lepădate se vor împlini<br />Întârzierea străinei<br />Face așteptarea încordată<br />Cineva spune că probabil caută<br />un anume cuvânt ca să încheie<br />o frază legată de ce are de împlinit<br />și dăruit orașului.<br />Altul se întreabă dacă nu cumva<br />caută un verb sau un substantiv <br />și se oferă să îl găseasă.<br />Al treilea se teme că străina<br />L-ar putea preschimba într-o floare<br />pe care cine o atinge înflorește<br />o singura dată, apoi<br />se ofilește și își dă duhul<br />cu o melopee<br />care spune ceva atât de trist<br />și de tulbure<br />că nici nu poate fi numit.<br />Va adăuga ceva unui verb,<br />unui substantiv sau doar <br />un cuvânt va fi cel care <br />va cuprinde înțelesul întreg<br />a ce va aduce?<br />Se întreabă.<br />Când în sfârșit se aude sunet de pași,<br />le e limpede că străina e pe aproape. <br />Se asigură că poarta e deschisă<br />își reamintesc unul altuia.<br />Dar nici unul nu ar putea spune<br />dacă se aude clichetul unei brațări<br />sau zăngănitul unui lanț. <br />-----------------------------------<br /><b>Altă planetă</b><br /><br />Am un bilet special<br />către o altă planetă<br />destul de îndepărtată.<br />O lume agreabilă, chiar frumoasă:<br />fără prea mult fum<br />nici prea fierbinte<br />nici prea rece.<br />Ființele sunt blajine acolo,<br />iar guvernele<br />nu au secrete.<br />Poliția este inexistentă:<br />nu există probleme<br />și nici lupte.<br />Școlile<br />nu-și epuizează elevii<br />cu prea multă învățătură<br />căci istoria nu a început încă<br />nu există geografie<br />și limbi străine.<br />Mai mult:<br />razboiul<br />a fost anulat de dragoste,<br />armele dorm, prăfuite<br />iar avioanele trec<br />fără a rașcheta orașele,<br />bărcile<br />arata ca în desenele de copii<br />niște zâmbete<br />pe apa.<br />Toate lucrurile<br />sunt pașnice<br />și blânde<br />pe acea planetă<br />îndepărtată <br />Dar tot ezit<br />să plec singură.<div><br /><a href="https://www.facebook.com/photo/?fbid=10159269335574925&set=a.487734639924&__cft__[0]=AZUIEUQIImSivSSIA081FPgIYqzUJyO4cX1xSQugTq3ugBGVWhYViAg0uGnTESmwlAfcAPbm41CX4OlmmmvSrcTdLw6DzE2QrxkqkNWBVkilFB8GKBRJ47icu9czaeFTMNo&__tn__=EH-R"><img src="https://scontent.fotp3-1.fna.fbcdn.net/v/t1.0-0/p526x296/118729626_10159269335579925_3221574786066912492_n.jpg?_nc_cat=111&_nc_sid=730e14&_nc_ohc=yNP__etBjfYAX_jWnxY&_nc_ht=scontent.fotp3-1.fna&tp=6&oh=7f2bf87903694ce0ae35d9edea6d768c&oe=5F78C747" /><br /><br /></a><br /><br /><br /><br />Traducere: Ilinca Bernea<br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br />s<br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><div><div class="stjgntxs ni8dbmo4 l82x9zwi uo3d90p7 h905i5nu monazrh9" data-visualcompletion="ignore-dynamic" style="border-radius: 0px 0px 8px 8px; overflow: hidden;"><div><div><div><div class="l9j0dhe7" style="position: relative;"><div class="bp9cbjyn m9osqain j83agx80 jq4qci2q bkfpd7mw a3bd9o3v kvgmc6g5 wkznzc2l oygrvhab dhix69tm jktsbyx5 rz4wbd8a osnr6wyh a8nywdso s1tcr66n" style="align-items: center; border-bottom: 1px solid var(--divider); display: flex; justify-content: flex-end; line-height: 1.3333; margin: 0px 16px; padding: 10px 0px;"><div class="bp9cbjyn j83agx80 pfnyh3mw p1ueia1e" style="align-items: center; display: flex; flex-shrink: 0; height: 22px;"><div class="gtad4xkn" style="margin-left: 7px;"><div class="oajrlxb2 g5ia77u1 qu0x051f esr5mh6w e9989ue4 r7d6kgcz rq0escxv nhd2j8a9 nc684nl6 p7hjln8o kvgmc6g5 cxmmr5t8 oygrvhab hcukyx3x jb3vyjys rz4wbd8a qt6c0cv9 a8nywdso i1ao9s8h esuyzwwr f1sip0of lzcic4wl l9j0dhe7 abiwlrkh gpro0wi8 dwo3fsh8 ow4ym5g4 auili1gw du4w35lb gmql0nx0" id="jsc_c_l1" role="button" style="-webkit-tap-highlight-color: transparent; appearance: none; border-color: initial; border-style: initial; border-width: 0px; box-sizing: border-box; cursor: pointer; display: inline; list-style: none; margin: 0px; outline: none; padding: 0px; position: relative; text-align: inherit; touch-action: manipulation; user-select: none; z-index: 0;" tabindex="0"><span class="oi732d6d ik7dh3pa d2edcug0 hpfvmrgz qv66sw1b c1et5uql a8c37x1j muag1w35 enqfppq2 jq4qci2q a3bd9o3v knj5qynh m9osqain" dir="auto" style="-webkit-font-smoothing: antialiased; color: var(--secondary-text); display: block; font-family: inherit; font-size: 0.9375rem; line-height: 1.3333; margin-bottom: -4px; margin-top: -4px; max-width: 100%; min-width: 0px; overflow-wrap: break-word; word-break: break-word;"><br /></span></div></div></div></div></div></div></div></div></div></div></div>smaranda dobrescuhttp://www.blogger.com/profile/07884621658494272587noreply@blogger.com0tag:blogger.com,1999:blog-11047330.post-4103925256537310802020-08-23T14:00:00.000+03:002020-08-23T14:00:03.143+03:00Singuratate<img alt="" 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LXx13/y5a3/6uLns770VzI3oSU2cKq9NFl26Dk56bBLnj4efbFkd9IWbXOy+W9MKB90yOPLRfWrcbNJv7yVxw6dtRObmC2wxtP4nqONqw24seq7/jZefRdf/OJcSrbtq7o11KHdGGuvDE/7Uckmmq+NL97SM6aVqZ/yn+j2xre+i2NzvfLq9Bozml3ynSe8U17/j+jaq+9652/l9ZkvsniPKN2VFV/jWtmr1IvlEc1n8h1je+HklYOldLYkay/rh9x+syfx9Znec5T+ls6f9i9aX/wWc+cBeXucXvb61RbTCVadg3Q2P2y9VAagAXUvmXVLvDfCgfWnf/qn398I95KZHwgD2m6LuyX+9//+33/t2bVb4m517xUz0A6sF8CXf4J24B1lTweAqwNz/bqjbFzAeM/N8ikfxq+ceakNC5U7iDMoyRy3GNS3NInLS/cRLfnRFm00PhrvpPprAdBzkLqNqeymUz9tr9rbZ/Xi19cusk2qPFUe8ctl8hZiixb/1GlsaHZiKJbyflL6O74zF9qNq3HSr0521Qdedvlf33hrK+YWG1qOXkIbbzmobzHWdzEXE7pjqE2vONf2qfoCdbaB0srwHgH4qbdgxufZP159XMmK4yX0tH/V9tlX8e08nDr6auxk23e6Ozfkpx7/dHYd7hrIfvXIi2vl9U+WfrxXpfl6b1Hxv7QY9+ap8yB+fmonL0f47Tcy/HReSu3TR4X/zdNVPPp3LjgnFCCmnc8zPj7IARcKtNyN9Sj14z7u426f8AmfcPtjf+yP3QC2OtB2S9y3l9797nff/vpf/+u3v/23//b96hdIezscUAPZ//bf/tsdWLtiBraVQBg9gbz2ypa3tgBfG+XbVfv3f//33z+A2AsniBvjls5VeukuiHs0cAfxEiqBkmbBN8GoyTHJJVodj+wlZSdWfTfUypbfIeAwoVN/+B2S+k4vuj5eUt/4G+eOtTG3uKLP8VeuzrcSH23jJNv+xbW5OePM5rkxlpel2fBfDM1pfqPpnvbiKV45abGhuwifq28+i6Gx13d5KAe1UTGs/sapno9HNBBqTbEJwFaGp/2oZBMtDu0zjvrg64wru5fS0/5V22d/jYO/ZPEaE74xoM1F85Fdc3UVV7JdS+caSIe9+q4BvOaerD6yIYv3KjQ/703aPmtcO54dk/i108uufK/d6mw+1Z079lz8PY+u6tmsrD2L6p9O/rZvNtpkdMOZPSO6s0qHLn/ODODkCtvVtatWL5p5jvxRH/VRr90KB9R/5a/8lXv5q3/1r95viX/nd37n7Xu/93tv//Af/sPbP/kn/+R+pf0v/sW/uAOxq2HPsAPWgPeK0knvKbDOdoG7DwIoeSCu7oODt9e98W7fAGSl3JznJX6gfQXieK+BOEWJlsgWyyZWvYlUb/GgT5UmNb+7IVqY8XajdXDUDxmeA8TB8UauxLefM3Zj27GSn7zaZJuT+Gh+ydXLw/pLp9yg6cqJ8W6s5QnN38q3nu4V6HQI07+KubjQfDYfxVSs7NugLcZzIT7VZqvIU3krH/puHDvmeOSbL+2Ns1gbwxWVn8Ap29ora91d5fPUK7/8JdtY1OvjjKkYXkpP+7P9nB+5PG20165YlybHo28edi/kN3r20Rzyo9562vlMlm16rQ/y6ttPvsmyfSnN9ieKbr/5FFfFeCs7FrqPbNNvv5SzfKLpLKXfHLXf2n+P6OqfOue+JtdH/WgD44Ba+/THB51f82t+zf09p9/2237b7ff//t9/+6N/9I++9jUuL5z5pc4v//Ivv3+1GFD7Cheg7jY4oFY8c+5q261rV92ufr1oBpS9jBawkgfCSwNkIFx95dmTLWD3bBz1HLyvlQXm+vN1M98b936XeXJmVhbIy/VzIE7+ptNwF8bWLYYmaBfGc/VdWOot5Cu6i7a6SWdnw3ZgkGk7INEt2UW3n3hLi+8cR2MlP2W1H8nyifKDFsfapEcmJjSetnFtrFvP3469+h62ctQHHlR7gcVYGmsUb+MolvxrNw42FlyLDT0391PtFmuHSn1vTjYv+k1WHMvbGDdfj+rlQs6yLX8rwyt3VzSbaL7SxY8XxTvjSvZSetqf7ef8tI6esmtM0XyyUefDvHVAt+avfMZrTtnj1T7nEv+0oYPHNv1TL3/ZPqL0nir8v5Gy/dbP+pO31nz89NDkaPuzPKMLjKec7JFdPp7am2Ttz+hT+nzuWNTZiUtdYQ/AgLZn2kDbz2m7Ff7n/tyfu33+53/+refXrq6/4zu+4/5DKYD7u7/7u+/Pk4G1q2oFSPe8uTY5wASegDtQVacTqC8AB9ZRMnpovIC8djr0KoF3ND7qA8T//J//837nAHDLV+fmAvnmPfmj2+ns3uQPoyZ1aYuiCTjpTs4pq93CXLqLdBd59ZWzi4+Sra8OlOjqpp+/la1+8kd0+9s6feNcnvr6Ideub/X0qyevTU7/6pDPT7RxdMCiAQd68mtnpy8xmsvmXr1xnP2ww1s7G7XF9t4AcX1V5Kh8iWXbxRpNr/YV3RyVk3K0sjOvm+NTj+76Wt18l8czpuyip/z1tvPziObvlG+cZGebnfw2VvXd82fu858duTmt/+Uvrzp79daBOp42X9tf7dN/vpbm78rP9rd6r6de3HxtXHxcnR0bB/3O4Ec0cG3vRuPv3sZLHrVfnyr5OcE7G/KVpU8OeLS9Ke6nSH/X7/pdN/910jNsP0H6p//0n77/+qb/RgmwvR3+d//u3739vb/39+7PsF1lA11X170tDrTdEgfSXVlXD6RRQAtIyfioJAuI0cCZTOlK+zmQvwLxBe0+AOD5+plY/vf//t+3d73rXfe5l7fyGIiHx/JmjsjxHoH4/XY6BQYtEnXOUQuAI7JdcLsw1J8r56JvMaO7udtcK1dvYZM7EH/ST/pJ9/KSF9vWV/7R+n2OZv9oDMtPd2mx14++k6snj5+/YkwXxYu//pbfYRtwrCwbND6/5s88m/PWgjjSQU9b8tYBmxYbupv6uXp9nuus8ZaPaPkopo1x66u3/LO+ANwYN4fV0XJ6RVdPfX2l352Q5Gcs2tlFr3ReDy8/j+gZt3bxold2+i+/dHY8zVt2xbptOs0nmq90a5PFY7/9quO91D4/J+3suvKTf7JXLee4G/v2+5Tv9KKnbvumM5peZzlZ7d1n+Er7NiC5olf799SDIYDaFba3xvsOtn9a5Vc23R73oylf+IVfeH/hzFe6gLbn2T3D9vy6W92BKgqIATAZwAWMATJwBOhkwJfMbXM2dOnhA08lcEaTBdzRdPjmh8/AeIE//gnapy6/dNxGV//hH/7h29d+7dfe17Lclks5rOCZG3Okjv8IxO9vp69BCwVtkpvwk7ZQnqP5bPG1Qc/NFD+aPnv1Nu25KWqfh1H8/EXPfp9r80OHfTGpF88jv/GLo37iR5MvXd3qaDbLExM++3KQL3pnfQ9ctvJrDptf9XJ+9sdXcWRnsVmM50LD65Conm5tffKDkum7seinfBcn3UqyzcWOd8d96mz7zFntgCw/8aPJr4CZDb0A7rTBZ6dsLK8Sfzb1V5/N1en/bLOj21w33uyLfWkyvswD2/yuH7Hgnz7x6LGtnt0VzXe6u2ZaBxuH/srH2r5KvdhP2+JsPT6iG99VnR1+/lenPtD49Dtz2z/bxqtNV7v9ZY9V4q9+evZne5QPNvkC1vY6HgDxPNtLWm6Lf/AHf/D9LXH/38KvaXpT3D+r8izbb4j7/XBvZgNst7wDYFQBrEAQeAI+oLn1E2jpAt1AOtt49AN+sgBXXSGj+1xZH9mgxZhcW7zFXH/G5UdgxPm//tf/uj8uMJ+wVw4B9Hl+hsso+eqlW/7vz8RNWJNpspQWwk72VT29RzR/qMB3YbZw0eXvos2Gzrmh6MXbQ0Y9/vZxVU/vKXoVX/EU9+n7Ef/0ddVvvvjYej5PfjpXvuLRUS832nLbXDe35vGcq/Wvrv/s2vAWm8WlqC+/A8HGj69en+q1m+/Gql2c+qzEL7Zo443Gf0RbN+mXIwCkxE8vmvwE8Uf67LJZesaV/avQYlvbeE9R+uVbPNlvfe1X3nzRzQdKh805vtqr+1T9XIvptia0WwtRvPp5b9BiuOq7GKKt16coXXHmrzEvf2Xknbdbbz+tLB66+2z56mzS2f3Kxp7OFmi74u5/WXhj3M9ge5b9NV/zNfcfTvHillvjvtpV3S1yPzfa8+xAENACua6MA1sUuAaEgWeAq50PtnulHdinE2jnq3byp6j+yNfm5JHl+wRwfPbAW1yuyL2kZ3/IaQDe2Rk1B+ZDG1j78IQG5gG4+fh/vifeId5CakE0yU1+k7ryqzo/lRb2boI22fJasPTV0zHw6ulod6h00NReWbxXofyc8eU7vvaW+EtXXv0qnmRs1fNx5i+9k+ZTPqrTUY+nzV+HQPNqDpv7+s0/e3X87AD2c2UPhRPE2VpL+t/109w35tZQNH6xLW3Mxbuys14+1gYvoI2PtyV59PSTbvJo/OgZT/1F03uKppuv2my64n9E6bDbuc4+fyjexpDO2qk3b2zo1yZbf9k1j6u3uq0L857NIz+tjaXZvCqtr9N+436qvrFc1a35Hbs6vXye/cfP1+6Zp+rt72i6nePtwW3bq0AEUAQgvvLlNvnv+T2/5/7rZ15Gc3sYYLvK9sZ4b4d7lt3VNpANrANnz4kXHANDFPABveTRE3CBJn/801ePZoMGstFkp7+rdvYo+YJ4/roCD8TzT1fdC21sUR947B/5DcQ7Q+VbncxcdRUOxBfI1c3LjwNxRk1ki8jCPRcLx000mxbDUzQf+d1Fey7SNkuLtcMCPXXpxFu91d2DR/3Ue66df7TYnuOtbjbo2j3Vb3prWz6iyXas8dg37vrBUy8H2nyZE3O3m7t5Wn/Zo/jZtfishS3xW5C7ZnatWbRk/CnFITbxNt7k0fhnjOIr1s1N/JOWn6XlDvDGjxcNlKPxT5ocXVl+n4tnbR7V+eJnc4H3SH/5j2yL65HP4l+5+s4LnZ2vU1c7Ocp2dcTQubLyYtsxsz19rb/8viptXNH6es5feo+o8W2c6umq7xj1Vf/R8vOI5uuUx9892/mP4tu79qf/WeHK221zP7TiH4R4Oc0zbs+2/QIZ4ATYABxYA66ujgPWrphRgBYAXtETLAPFKHk+UP0r8dF00bOPlT1Vzw97eqf/Be/q6dIvJs/q2f6f//N/7iBuPuQ2EFevjde5+f8bEBdwi6bF1+JvQ9aOptdh8UgvfnrR+HtgqSeP1t9TNF8nXZunZOmtTv1f0fTYqWdfTmqTsV/9bBp3/tMtB9r8mRfzE3g2V2TbT/YofnaB9R4GHQArewTidPXd2Fon+hDryU8evxij4ns9ZfPTGPHO/NWOBs7bro7m99RbGZ0z1uyi6/NRPT+bAzz68R7RbMvnxrM2m5tiQ+lko86POYq/64lsfWonZ1MM2fIb76Snn5W/xH71X1Jv3UXFrTxnm/4j2vgbz+rxHR+96sveKZZsa5OdvGTxd68uiNu7rr5d8bn69s9C/L8Kv/ntP3B57u0/e/nhErfIARfQ9pIZwHLbOBDrynUBkD7Qo1N9QRBPCUTTi6+trM/VUQegyzv9k72kFF/x1CfbfBpzL9XRy2+2jeP//t//e38jX66BdlfXJ1gvuCfrVjq75ubHXYk3gS0qk2zRNOloBz3aobzy5+otnF2MewBcLdgOGXorX7vqHS616e/Bd8rpbSxX9fqku/bxo/UZjb802dJ8Lk3Otjqar+Vd1fNl7NXpqcfTNl5zsnOr3tyf/bFnh59dQP0UdVC0XtRrt462z+ageGu3dqLxi3Ep25eWxrT65alcbbv1dIJzbfQpO762bL/qK7vqt/6jdPJRDmqTla9HlA67zWf2+UPP2FZn6/XDH7vmFr8+0PSWrry+1/fare5ZL1626/+N1I1jS2fhcz7X5qrODx+NQZ3ec36TP4ojfn3WjsZfEFcnt1cBB4BwBQ7A3UL/zb/5N99B3IRuLxAAACAASURBVK+n+YqYZ+Df9V3fdX/WHYC7ygZswKu3zQO7BbkT3ALDbFH6gWGU3ZZuV8fLTlssyz/7SPYczY6eOJ4C8XOMXmhzC50de1fiHkHIvzwD8YAc7Ra5ujlwru4VunptQH4HcUpN3i6eJrlJf0TTe0TZrWwXrIW7m7SNi7aoV47XBnX4dADFSxfN11OHXf7SfYryWZ/rP5vte+Unf2Vs87k0G/IFhPjpktE5+cmX0tHOn7bxd2g0v+aqOTrHxp4dfnbWTgdBC6w1FR99BOL6Tabvc060i1OflfjRYo2Wk1eh5a1clTftSqB9thfE9Z2vpdmgZ3yr95K68Z4+apeLp6g+yDeP7LPJF0q3dnI0XvPUGiJrvtDk6p0JK0+nWFC++Vnb9DaGU57O6f/1tosTbY8sXfmr1Pkq1saQH/zqS3cM9s6VD7xkxds+q51OH8Dt03gAwtfFAnA/zBKI+8qYK3E/e+pWumffgG3BEGh1i1v9CggDRHbATwkoUTa100WTBfLpdbUbkAJ4uukXQ/rJnqLZ5LM46mt906msHeBOz8+u+gBk7TovA/C9sgbMgfgCNh3A3pV5oH9/O93kWiS7OJrMnfCt76J6qp5NOvVhwSodALsh27TJk2mrs3GgOAST5Scafw9CMvz6zn82V/Tss4MsP/Vz2sav/5UnQ5MvTZe8A3/l6vHztbx0+Tnr7PDIjK2DYucJr3HzXzzZ4WVn7dj8LTYLTD3gDtA7QPCT1ac2PTrNSX1oF2drp/iSRctFtLhfhRpruapeztFAPFntE8S3b7rp52vl6ulET/nZNnbjXVt1PLL8PKKru77OHGb/SB+ffeuiOdo5q+4saO7ZVJIvLY58k6k35o1n/eZ/fb1K/cpnaxntXHtVKs7G1Bjzhd840PhLxXDlAy9Z9Y0br9L+Q/FQAOH73n6kxVV4V+K/83f+zvtvmPsKma+N+beafoil59899wagAK1b6YEYCggDY2AI8AK/Bcm1oVfBp+/FuGzxfGio316aw89PwIo+4q9O9WLT3vgaQ/7TWyof3kxPh41/3GL9etfgCpgD9hOw45+A/9pXzFqQ50Lfid9F0QJoQdWOxo/mtw3Y5kTxKjalA6PNyR8f2eEnY9vh8oieh+X2q15/p339bCxrKx5jWl4270u6/Tee7b/xN75k2RmD/O684ZXv9NaObG2siw6C/VTfemkN0anEyxZfDJvTYtj+8lmMxfWI7vzxk0/6ZOf48MoZWt6Wv4D9qN/4a39V377O/rbP9K58PMVbn2JqvOViaTndHNFfnezLH5st7ffo2lZPP51o/PTQ+lNPTr/1WnzL68zAa8z55KN6lF7rUZ1O/vDXhm9rFT//PrQqzRe5Azg/9MjtDfHW3j7xlPpCydsv9ZlNdMdaTrLTH5/FvHszO/HQ78N3fgGFK3Eg7mW23/Jbfsvtd/yO33F/K/2DPuiD7t8D96Mt3kb3K2rAKZBTVwLwwDd+gAbsAko08ItHLx22+UHz4co2MMdT6huor6/k2ZIt76peTI+o/iviSK9+xVKMbq3LiZcCrT2PKgLqaGspCrjNA11X6PTMzd52/3EgbgKbXIuohdTEJm+xpNtCueK3MPPXxkF3g8bv8NvNl14Hxx5aq39VTzd/+UJP3rY3Hrobb3rLyx/Z+7I86rdxn4d/sbFTzMvOX/P1aGxsyNbGunDIdEig56FzdRhZL9mSa4un2IoBLU79boyN5xGVB7J8RvHItNe2vKHl7im6+m+kvjFsvAvC+T91n2qvTWOXz3Ja/WyXl5Wr50OffCdvfy81T8mXptNcRuOjq18dP93OGrL48VB6+Lvuqneetd7onaV+dl3itV5R9g7bBUA6+OzsA4dwNu0PV2BeFiPDK1Z2dM82Xv3R2RKfzZZ08OgUz+5NMnpkjSE9IAE4XIEH4q7C/a9u3w3/tE/7tPub6T/4gz/42j8ZAVwBdaC77eqBaADNLvBbHr2A8QTcbJIHwOnVv3a8dOo/H9v39v9IvvoL4GIpnnTEQUe7H3zxz13sI+vAGqh0VR6Amyvz4nv56WrTx1PUX/ueuMlTdlFY2NpbWhzRFoJ2eis7N8fZNpg2Itrh0UG2B9QeIB0iK39Uz25p9vG0qxePWPG0K9tH+tGVva/rHdZLF3ziF1cxG+POoTpec5He2pGtjXlv81uAHRStqZPSb41kSwevnOt3Yyj/KJ1KcT2ixk3WOKJ4yR7Z4m8Oq5dLNN4jurpX9eJpvDtOdTZnfGtzyp5qZ3f2Ubt516bLV7JoPpKjyZY2P+szOZ71c1XWLtt46bd20Kd47Fb3qr7gtWu4g7Q+NoZ4xkNP2zruNudexfo3moDQM2V1X8/yDz+84Q0cXWXxYRx82Dvo1biKPxkqZvrFVJzRYmts7c1sGid+Rfx90OhZuNj99vkHfuAH3n+ZzctZ/le33zf31bKAMaAORBc4k8V7BJILuoEhin9V+OO7GNKtvf62b3zAGhB3xbxAfNXf8gLuR1R//LLxxr43+f1+vH3jg5I8A2N1gHwCufnBJ7dWlbVj+xqIN4HnojDZW1pIJ12dFgidFtMVtQg7BMhtivNwcJCsTn5W96mDq4Mjmv+rA3UPzPqMFp++0iPb8lQc7y3ZOY7nwKQ4itu4zEPzqd5Y00HXTi6zad6tn/NA2IPjqfVFT2m91G9zXDvaXIqzuF5Cs3+JLh36PeMur+U7H/Ef0fQf0WJCG1d0x7d6q1scj+j2uzr5qy+0eVcnp7/ybLb/5S0/Oz7Xb23r5yWF/uq1Tp+i9OvnSs+abc1Zl3QaM7u1yQ+f+Lum1R3CgNh/5fI74W45A+gP+7APu/8Yyid+4ife/0PXp3zKp9zfSv68z/u8+y92fcZnfMbtIz/yI+/6vn/Nl7jEo14M7a9o/Gh25HjlKjk+nfZfNDugYd/mnxxouArve+FupftZVSDuzfQ//If/8O0tb3nL/dfY/ISq5+EBW2AKvNTjB55LyU7wWwBe3a33YaDb625Rd+ue3vqorq98FBMZEF8gLx6ytc3mpOkv3Q8FfABvffvnJ94f8GKg9XaCsbYSmAfo8RfEA37r7zUQN6mVFoSF0ORGWxwnTR5N3iaItsiiBpMMdRA4PDoQtr56bbo9mK7qj2wcbg7etcGrv/qP8qNP8lOPjrK+3lf1PaQb0xWgpFdcxWxcHVDmTL2xprNjU5eHbMx3h0QgjnYYdWhEOzxaH9nj4+m7fpvj2lF8hW7jeUTZvB5ZfUQ3l2cO+V35Vf1R34/49fuINvboIz/xN6biX5qf8llb/3xcrYV0d66KN/sonbO091tvta9o6+SKdtagyU8frcnWY2tVu3W69uT4DtA9RL3k9X7v937370oDtQ/4gA+4AzBA+5iP+Zg7UANst5m/5Eu+5P4dat+j/vqv//rbX/pLf+n2zd/8zbdv+7Zvu337t3/7/d9reinML3ex9d1rfRlD+0NM7ZmNnXx1HrV3fOvnrAMGvPLH34K4N9JdhRtvIO5K8nM+53Puv4UOlPpaGYA7QXyBMBBFA0PyBUD1RzbZL4gD796CVz8/OPC1/rbfR31nc2WXfXRjX/Deuhfb6P/Ij/zI/c6FPMp3QBxIo3hb4qEL4rXpvgbiu5B1oH1Vmuyl6Z0Lis65qc52BwL+eWCQdRihHRTxHEbxHtHzAOGTLh/sk3foLCWju7z63njqe2Xv6/oezNWvDvDiKmZjlPvm82oeyldjlo9szL1579Cw0DoczwOjNv3WTPZ4Yijn5b04dw6aM7TxPKLZk5eXxpHsKZrN0u1rc3xVX92r+vpVv9I549tcnLKzffo/2+tLPmvzI5Z465cOvjWAn81S8nSqR1s7V+dD6zC66+SpevrrO/36Ofsnt16BlisaV5+eVQfWAMzPi7qy/tAP/dD7lbX/xuVfaLqS/qzP+qzbO97xjvu/lvymb/qmO1j7z1y+O+23wv0QimfGit8Nd+tZ3dWrf7n5Dd/wDbfP/MzPvN9edxiLr5jRR/uoc/aK7j70wYCP5wqb9iTKTi58vSwAXxCXi7e+9a33/0DmF9qAaIAXiAOtBevay1uwXDAMyFee/8Az6mo8IA/EF+zzkX70Ef+Up/eILlhf1V3l93b6j/7oj96/kudDoJybc2tPAcoBtrW4xZ0euuZFUQ/EtS+/YmYjWERN7C6sNks02bmg4qfXRuK7zYTugVC7g2HbHSrnIbSHy1U9//WpnS+HVHHVV3JUoUM/frYnL/7VIfze5D3qtzwFLLWLhZ1i3HvwNT873u1DnSyb1omDok+KHRodDuhZWi/Za5sL8RRbMaDFqd+NsfE8ovki3xzE57sS75Gv9ZGv5+hTvk5/z+mSF+Or0rOPxl6Oa/NPt31RG6XT/KdP7yzNVfOVPNv2Xnralc6PqzMo2dL1pb7rig/rz/p0+AEot7+BtbevHaqeVbvN6aUtV5of/dEfff/HHq44/ScuYO3HTVxZeyvb82D/3OO7v/u7X/v/174z7W3tH/qhH7o/+wRwgKWvXXmLWwF6QP2v/bW/dnvb2952+/AP//D7oS0/xS5++2j3TXtmafIrXnuy/XhS+WC3evwBhr5e5ja6OwWBuGfi8gPE/ZMT3xE3xoB3QTxARANW9QCRTTp42icQ5nd99EGATfyuzvNHBy/7dMm3/43rlLF9rnQ7fm/JG0N26v1u+o/92I/d14p3JOQ8MA7Ao/gVYL4g3vrF6wPAayBuAXUwqFtEJnQ3inqbLJp8F5F6/Cj9NmubeQ+ANjpeB0WLmix+h1CxPke3D/5qs+Pr7BfvPJjxzn744W/5xfa+pNt/Y9r+39sg3rx3ECyQWz/JO2zoVW99pWONbE6bc9Q8kbcGm8sd61U9H2TNq7pcNYf5Kpf5oX/Fy4/cpvuqlK/Ttj7R5+Sre1U3tsZnvE+V1eNLXPFqo3yYD3OR/yj+VTnlnR+rG68zA21tRFdWnd36yc76cmXt2S6wdmXtDWtX1oDoIz7iI+7f2f1Tf+pP3T77sz/7/lvgboV/xVd8xf3q2u+Cf8u3fMv9Nrh/8PG93/u993/y4bvRQBhYK24pAzNgDaD9UpnnxF0lxicDLA52dny//e1vvz8bd2jL645J/I0bTbbUfmpPXensfkwXjc9GHTgAbzJU3rzUBrwDcbk7QdyLWsYZWJ4gHkhGA0r68oB/8vADx8CX356Bo9nRTSc/tekUV7zVIdu4khUb388Vz7uV4qXPfguZuQfi7sD4ACnPAXU0EA+cUTJATlbb3PiQld39dnqHqsXRhkBrt7mu6G6ebPHa/Nm0GPkkt2AdCOlpq5OxaaHiP1U6HF6VdiA7sDqg8lWcT/V/JeOnch7QZ/uRXnElf4qePp9q8yPmxtj87NyR1x+92vldH9ZOh4LNrzgU8FpXT9Hm+SqOq/wXd7Q40eKLlkPt9M75SjeaTTS7K//r9yXy9VU9H8XVuDbvq3vGmQzNx3N0bc7+8s+H/Kebz/TJnirNZ/roI/09G9QdVtbR1dogt7Yq9BxmDjVg7YAMfHwdqpfMfDf3T/7JP3m/Fe4W9hd/8Rffvuqrvup+de2ZNUD9ju/4jvutcAftD/zAD7x2G9ztb1fVAAtAB8p7GxewAJrAJhldBaijwEQB/N/5nd95f3b+5je/+X61JdfGbP8Ypxw+tXdWVj7w2JY7OVfH5zeAaJ/iqW8bYACK7lJ4WQ+YA/BA/Mu+7Mvuuep2OtAyrnJQHgBjpbEvwMV7RAPZ/GrTBZbAMXm0vqIn/6of8ZxgzTdw3liv6oF3NBCvfzb16XfTrTG5lW95Doj39rl6fOvanaN42Wi7Gid/wyBuc+8GbfOiu2nj49G3YB0Yq9eGz44s3nuLdoiK5zyoirOD7IpmE73SeSmvA3TpG7HdseUzf8VbrpcaNznd9NTzh0eHTQeJQ8SBoKjHf4522Oz64Lf5rv9o/GjjKb7GGQXGxb3j4e/KJvCOvsR/fdTn2jxXfxRb8a19/peuvBy9Hto8lvP6ReOVa/T0vTL6LynNdfu7NcAWL0BSd9hpB0zqDrKeX3sj3JWiW+HdBgfWnll/7ud+7v129Zd/+ZfffyLUy2SeWX/rt37rHUCBtdvhqFvhnlkDbFfJwGmvroHyAnWg0tUh+Zb4AX60Ax2Iux3t9vwnfMIn3D+AGL/9Yszo+YGlvLyEtu/4UGfDbyDeB6V4cpoMQPRhyDNxV+By7M10xZv3Hi/InVy5ymxcC5rq8d8oBYrrmz8AGS8aeEav+BsLOd142eU/fu0TyE/wD8TXTp1fP7/qMYy12wcqYC3fV6UPpwvi6QNwfPN0v52+E94Gs7EsgNqPqEPExraZ6bQho9m1udv0HQZtTnqnDt14r0rr71Vpcb6U7qFabp6yPfW195B+rn5lv7z6Xt7Wr/IqV+xWrzjwmhdztofEHi4dQq2tR3TXiVjqu/6LP3rO48aoXpwnJctHvh/pB+Do+j99au/jCu3tR6xr/1z9ubjy/8jPjq/66sY7cyjv5qE9mBw/XnNDlh++031E88FPpTlH2cVXp9+aIg9YHF6utN0SB9huhbu6div80z/90++A7Vb4V37lV752K9zb4H/jb/yN+9WPl8y8bNZz6wDbd5z7n9eAtitoV874wDogWOAGXAoZfnZ46tnVjna4Az+36N/1rnfd/vgf/+P3A1k+5aJz1/h3Tz1X70P0FQXWAXY5jQLwBXEA4aU232N3Be59AW9U+6U2Re7f+c533r7ne77n/mHH2AK3BUH1QG2vSNORu+we0ewDwubiiub3OdocoM1TNvnVXj31jTHwjlc7Gh/F4++Hf/iHb+9+97vvV9DmorxHrXGlNnpeiZMH4D3yeNMuDAethWMhobXVH5U2b5v11OMjoCZrw9YHWXI8fras/qvUi+8RXZ/bb/odWK+HXh2cL7VfW/Ur4Fjeqa+9fRmTseClm732jrl6+tmkj+KRy1vzhprn1tLOufpTJR/8nbHW346neYkWY2NDN171ZPmpvfS0Ccif0mGTHvrSvtZn9R3H+t240kWvxhJv6RlTedu5bi7Nxc4Dndqrn4+naDGwr5xng3Z97NlgvXSl4sByteHlMwACuN0OdyXoH3B4yazn1u95z3vuwAiwv+/7vu9+S9yVtateV9ZeKuu2NurWOAAC3gF4hzogJu+KOhpYZ+PQZ0NOpqivn+T4gYGrfHH+hb/wF+5fMwOoPhDKR3l6at88ktmDgfiCdiBOVl2f267uqjAQdwXusYS39D/4gz/4XvzimEcR3hGQU+MCVABLPgJAdMEsUMSvBHpPUT7YZhPQluP6TI5e9bXyrTcn20e89RXvqVjLA13FLXkvtuG7nW7NdtVtbfdBCt15iU+HfuCOancnCr2DeJNuYXSodjCjTxUbtEWX7bkhs08PveKdm339re3rqXf4PKJnHMXwSP/kXx1kHWDoHrxX9ezXZu32EL+q53Pt84kaj5jV85sftunuuOJd6ePRbQ6j1s6rgnjzLNaNU3w7LvVii668XEQXwNbXIzl+uYmmeyVL5ym69o/qV2Pgsw8G6mt7pU++/OrZ1Za3nWt1ed99sPJTv/0RPXXPeUkPfbRv9d36cRZ1BeLtcbfLXQm6+nPV/YVf+IW3r/3ar72/2e2Z8vd///ff/wlHL5oBR8+ugUtX0kCmK+E98NWTkat3aCc7QXkPf3U2CybslAVuevECNTG6je92ug8mDmu5C4RReXgE1stv7qKby8ChM/6KBh5k6mLZFwHdQvcs/EM+5EPuJRAXvw86xuaZsLEZ9+Zj8xWwlQP0OUA87bd9Va+P6JXOyaNbTCvDy8/qbNw9C48aD11+5AWI+5GXQNy7BOZEjhWgHEAH3OY9/gI4eTK2rtLvz8R3Ui2ccyHUfj3UZn3J5qXD79Xmfj39PaV75Xt5bYZ8rOwl9R3nHmjVO9ReD+3ARTuEn6Krr5/6RsWH4l/5K661SZ/s7JcPcrmRO3nr0AjE0ZWV4yu6ed9Yi3fHpl680VN+xlt79fAC3uRLk53gufzqj+y6Ql/5VX3j2jFf6eKtvvrqnbKzXc7Oud592BzQUWeTvrbSvjB38dD06ifb1Vl7fpp/55ADyuHkNqFbuV6oAiB+2cyPqLj6djsy8HZLHIi4qg6EHZxbAmk6XYXTrSzYBj4dwGy7uibD7zAPfALxZB3g+RULnqIeWPiQ4fa+8Xgm7jCWCyDaOVx999VZb0+x3XnBpxtAo3vWVw8Y5L66/L//+7//a18r8/jCPPhhG0D+UR/1Uffb6e4kBOKBV/nYOZCbzU85YFP9Ed05KY9L873+V7711d16Onji3j4fxRU/8I42pvxr+564PoC5ryyam66ou11u3e8VuivsZAvk5kmbPh1fV3uTyWyiTboOLIgWAfpUORdO9m3ONvBu2BYc2fYZP5/oU32/RFYcj+iVj0e6j/gbr3pjfgnt4EP38Kt+HsRPtTs0+arv/JM9sq2vdDeWbAILbXLjlI/yZx47GJrTZM/R8loeN/b6jxZrNP7SYo1eyYAwoE2WbvQ5kE7+iObnOVr/jWdzj5d86SOfq1M9v49ouW7dpieOZEubo+jOXXpsG0f1pemh2Vs7DibPvR1MANx3tv2wiF9C831qt869TNU/3XBLuwP4pB3IgUntwBXYBNIBT7K9+k5vD/YO6HzqY3knvwMfX93B7i6Buwh+8KUrcTmVB1S+7Bt76akS0NOVS7bo7kc6XeVFA3WgUFkQ74VBz8IXxN1S96HKByrP9N1RkC/5l4dyWT7OeXm97c07W/lD8x89/Zbz5aeLti7yuX6T0TNXlXS2/+zTWUpfG3jzBcx9GLXuu9L2gQkYX4E4mQLMr+SB/JsC8Ca1xYBaUOhTxWITVIuH7i66+Luo1OlZbPWL1yLcTb6+rupPxfa+kol7izFXln9V38NNvUP0pbTDGmXTfJTD/JOtbvrRbFe/GE47Os1r822ttJbUm+OXzMHmpbxFz76LaempsyD3SHaCOL21U6ezvCvAvnqxjU39rv1VPb3Nv7l7ah6u/Gyf+UTzg27OqrdOULxs6eOdc7P6dMxvOuYsef3WDxpvafNszTjM3EJ3Fe45LAD3s6R/9s/+2fuVn7fKPet267yve3Xgdtifh7YrbrIOcCCD15U5AOKjg5lu+g7gwCCaXv1uO1sy/SXrYNeu7grW19i+7uu+7j5Gh7pcAFI5Vbefnts/AJhe+81csNGW0/Ylva7+UP20X6N08YGDK3HPwxfEXYUDcT9O47awOyLeNfBhypiNv3yWr6XGX06aj3iP6OYyX3TLf3le+/TQ5dcnmr35cBXdd72zQZORqyfLTz6KIX2+Kmy9lS4OYO7X/uwRoKxY8+eVdvNE5t0EH2wDezxFG5/8NRBvwpea3DbZI9qmJd8F1MLYRXgFwmtDtwMhfva7KIsxXn21MMmzSxet/2Toc/LVvaqv/VWdjbFsfpYndnHh0Smf0fgdhvjpOQzjL91D8qq+uurp1Of6rd7hHjCIQWyKcTcHm4PG1vjSR5uL5pu/4tj4lqe+MYplda/qG3f1EwTjX9EF7m6RLz19ne18PuIbE1k+1dnEM6ba+dDGZ1u9sdcmk9O1byx0Npf5Mhfyqx8885SfnTtz7KBx2DtEOnTQ5pF+c4XXHsCrb3zFWgAy/HkW643ovt/tH4f4IRa/luZ3x129AvGedzs4Kw5ZByow2QMWj2xLB3G6HcR76Kunlz/6XZ0DrA72dNND87kA0G1Xt9O9GOY76m5PG3+5kF9nmbJ5v6rbY/TlEN19iMeHean4kOQlQZQcgNRX82gefNceiHsW7krcrfRup3/yJ3/y/QUtX5HzYUQ+jLUxy0ljLn+P6Jnvsx24PufvtNMWR/0+kp8AnZ3+HslaR3yn37yyy1bs5GTZfPzHf/x9b3lZU56BsTkw/+jOR3vi0VU4+/tXzM5JN7FbOmQf0TYiSsdCY9+COhfe+lZfG236y8s+n/xW4jWGFjR5vtKNh5+M77U966dNtkvX/1W9vnZMy9v8lcPVFSP+HnzkeB2IZFs6PJeuXL1Df/npn/KAwOEfABSj+Iy73JWzeOVkc6Yen59zPMWGFl/1jTHAWv2zXsxLA0P0ET+dwDUaEEbTe0Sv/C/PeMScfeNE6TUe9XTiN0+bo3zj8b2yfCVrDdEzjw4NB7lDvQPEp/2uBPr073Y3IHDL25UZ6qtfrt5cJbC3Hpqr1nX9bf/m3lrQL/98A3Fvovs+su98exv9z//5P3//5TQg7o3znsV2iHZ4ai+vgzaewzSdDvh0OmivKJv0A2qAfvpLli47saXXYR+Ie7FtQdw8tKfOPXPVlmf5S3buQ/zmFUAE4uYKODTfgT0d4EBuXoF4v3DnStwjDnMibs/0uwrf/JQ/OageLfcvpVd2eM335nl9Zvec/BFQB8T85Fed/vnBIt31hUcvSsYPELf+TxDvA5T8my+lubCn1BVzZn4qZPcr8RZBC6iD9SWUzamH16LK59JkaLpnDGR42dXGq+Dtos3Hle7akFeyX9onUzS9R3TtHtXXVhz0itVB1yFXLlYfb/ObDI/dc6WDNNqhvjRZlGwP/AAl8KCn/+amMe24ync5qR2N3/j2gN/YqotBfWMsnmJ9igZu0QXEkxdAo4E3uvzsn6P5fkTLdfLGeY4lOZos2/JSOx9Xa2Pnrdyj1rqDwZWw56Ed4K6++v/XgNUPqrjF7R+BuEr2oo6656QAHQB3dV5c4mgNN3/xrGd9O5x8WOgKMBD/pE/6pPs/GgHifqt8QXwPaIflFoemr/bQ2UN4D+VTtvaBwBUvf+jpr5iidPhIz8GuuJPg0cB5JV6eUDlqvz+iu+fotK/sM+3mFkj0QUmOfVgy38AimwWOQNxVOOD2gQqIA3Qg7h++uCPiKrwxosbdWH2gMQ+Vq1yW5+co30p6fAWMyaLpoPGWrryYlqd+8tnjUPQnGQAAIABJREFUmTvrSgmkxaGO0sm+cZP1n8y8/2BerfVui3elra00V8nRQFzdvPnAi752O30nvMWjI8UieKq0UOjsAswmXu2lLUz972KkQ4affm28Cp4DYG2vfKZ/RVefvAUdvbJZXnqP6MZHR3t5jXXHp44vd+f4+dB/Oskf0eYR7QCNdsjWjp5gUDsAoSe2zd2Oafmbqyt+4yw+fV2VgGljLJ5A7Tm6QHhVB8gBdeDtmXf1ZPSyfz0gXnzZRvPB//omz+ak5QhfffNyzo+8m4ddf61Dh0Lg2W1sV4ZumboC9qtnbmf7j13+6UX/ZhP4OMi9bOa3xv2f7E/91E+9P8d2Ve4gEptYzG3nQOuxtS0uuh1IvZUecJy30z1H3itxQOGA7eDsMO5g3cP7qXp2Szu4O9A7oNOp3/wG3Gi8dNioO9AVdxICcV/ZkoNyUq7krj3ziHYWJN9zKFlXdskChNYDPeUEcb/UZh58iAPiPtD5oOa5rl++C8SNTb4bY/mRh8AtQCuX6TxHsy/3m9er+unv1Dnlj+KJX7/s1FtXxbVtvPTTbdyei3sXwz/WMb/Wex9c7UEFMKPNj3ZgTVdJL5kPZK9die9h2oFqET0Ch/gtnuxbgOeCjJ9dlL0FZEG16Mjin3otuHTXrljy56Ba/efqLfIOuIAp/hVd3au6jZEftA0Vr3Gu78Zm7PL2SOdqPOUAzb6DM2peK/Gi+EAh0DjbHczFpR+xN55i3ziKpblEk8fjr5gCqKVXYPUUyBX/FQ08s6+9YBpwLw1kF2izeUTzXfzlNv6VXXGlWx7KT3OF4qHlsfnoQO5AcAD0Cb4DAAWavoftZSVfdfLrZ35X3I9S+Acg/tOW/4Wt7sUyz0GBj38C4j92uTJ2hexQd7UM/L0M5bApNnNbfOq1xWrdiFEs3QUAHq7EezPdhwk/LuIX2LoS92JaoOmg7nBWD0TxzkP8bK+PlcXPb3R11LeP+o2fbG27igPibkd7O93Bbn7kqP2jLk/tk0d09Zv73Yv2ZmcQOb/54p9cmx92faDqStzVNxA3F4p14idtrQlrwHsBxg20yk0AZtzqlfJQXugne0QDS/K1r16ftZeyeU6e/tl//PqvnZ4234H4XpmT0SNDtf1am98wkENzYL5b9/al4sM0ik/ulns8+0lpD+Mr92fiuwjaYHtIxHtEWxgtuvS0T94pS6dFtL7inTriraTTGLYdKKYbjR8NVJdayBUL+40UftZeP3htLOMrbjGtrnry4kWNJd2Tv7ngt5xHd27V46PaDt7AA/CcbTJ6xbWxiFd750wMtU9Klnz712clAAsElx/YXQF1vLWPhwaiV7wF1q6+F8DJs1/dq3p6xRGNj4ohfvEYp5ygzZNcle+dd2upjR9Y29yefwJGxe1Tn9odzoDbLXPFv5r0QyqA0m+Me1vaAQ2svXjV/8Puf2L7uVBvhrsdDIhQP2Xqhz/8LrTb6wBY/+It9qu5NxZrRswOpAXxnsO6/egKX2z8+wDhShyIXx3QAGWfS3fY0g2Y1+7k1c5Huq+H6rODnL/aqMPerVXx+0Di2bIrcfMnX+3v9hH6XGkPZS+n+UFrL696e7a5cDYBix5ruPJ2Ne4q3NW4WN2Z8eEOiLu6bIzlKKCr/RRN9xFd23K6wLm5rb6+4i29ki9PPX3zFRinQyauHhcA+kA83WJkQxeI+10DuTRP1nygvMCs3hy4VW4f+YAbiKsH3u2Z+/fEWwQ2Wod6m672I3qlF49fm7iNvD7SwVOnWxzLS4/sXMzpr8zi3LI2y7d4FQm7Kgvqb7ReXyhf+kO1N6bq6dEpN2TGYqwKHX7Q9bM65YePzb36o3nBBygBXaAZuJDR4bPciq048M45K+bl4xVr8fFbf9EFN/XlB4DFdkWzR6/kz/GugPn18sR5FTs/jaE4i8c4y5c8Nd9t/ja1jb5gHWADare13SLf4o1jV7quvv2UpkPlz/yZP3P/b1p+vtRV9Xd913fdgRlgA5t+YjTq4PYs1CHm5S63VV1VenvcL6q5ehOTuM2p9XauAbLWTSDug0bP4z2L5ceLQL5b65b9fsXMBwjg4YB0qHbwai+/Azd+suzQ6unSUYwv+euhxSMmfrQrgbhcejTg1+d8iGqvdwag7RG5elTotE7Uy2lnQjR+Z53+4uWbLr611QuGPkwpC+I+qPlNej9n25W48Z05k79yiZbDciE/wO6pkg3KLht5VPIVJd8SP7oy9dNvIEyf7AqcV4ePE8TJl2fsfnLVh10/miPvcgyE28eBs7Y5QhfEgXtgD9gr9vn/A+K7ICwKm/Cp0gG8IIHH9rRfHfVs06/dxteu8NVii+Ilx2tRouksxU/Hgm3RWriV+OnGfyOUz/pdP3gOMJ/C8bU3XnXj27HX5pPdGS8b+pubcnTmvzkgTyb3AR6A0QYo8VA8NsVaDGgx1+eOqbiyIytO/ddXQF2/23cyvAAw4Lui9LZc6cRbver6eL2gferzz9/GjkfPFf6OI1v6ciJHzbVN3KdwG1wB1N4Ur2gr/vuUq+x+9zrQ1naQuFoG4F5K85zbVS7w9mMqrhBdbTt8AusAWxtwO7x6WcdVul/vArJf8AVfcD/wgbg1YE6No7mPWgOtm0cg7iqw//V9fsXM2937UlWH8x7WDtPaCybq8dFsUe2Ag171Dvu1W91Tjy/9n32dIG5cbrGaZ3mSF/X2RnvlEW3/yLV660Vu1QECyt4Z48yIR3/PHTba5sOHwdaP9eKFRlfiXmB8y1vecv/A5oPUzoGxWhvWitJ3xvHLZfmWm9dTdo6q7/w2L8mi8aPxo82rdvGo0ydbECfXXl52QLuSnv1Bl58f+ZEfue8r+0+OgbY9ItcAe0G8OQjE7flHIE7nx31PfBeEBdWiwq90OCffg7cNuzrVn6P5i6Zv8RXXyvDI6KmfizcbNF06lTZF7bXvcJHMrWtX4tsQNsaCcTptlnzjp59Nuo9o/Tyi2ZHrp3Fvrsrl0uTmrBJoBjABCgpoFOByzrN+xdE4jVG7+anfnYvyj27MfAd20QBVe+Mu3uSBcbSYa6eHxmtsePkjwwew6eUL3bys7gnIdLN/ROs/uTjkQE7MqXUilza6W5yBNZB2he0tclfWnkMH0A5dV9l46oorW1dUwDsAB+Juj/rhDs+0gbjn3K7AHboOKIfxHnQdhii54va2W+9A3ItwnqF2O735erQGOqDou9VvXMYkRoDhQ4Zb/f47mQ8a+ukKsIO2WGpvvOLDTxagBDRAJ+BhR98hjOYnW+3lpRP/iupn+1cXg5z5xTOPL7xI6PywF9rnnRP21Fl275RX1JrJhzXDh/aVfXsxm/au9WZOWmvWiLVjTt0Z8Uzc7XT/F7u7IcYUAJY7FKiV73JTLtDmhh79cgv4tOXOD6TUxqtku/7ySVYBpPyTFYs6P/lNlx5e4Esnn+rkFW128dmRaS/PFbj19WM/9mP3nMkrQAbgilz3gRy/s7MrcbywIqDHY5ePH/dfzJrYc2Fsu025NBBAn9NdO3V9slHPjzpe8aSzvpOlt4tVPRtUe+W7qK/4baSAsbaNodTmp81S8teGrM2Bnz3dSrxHdGO9qtcv+/puvOWoXGz+qpdz9ASxAGYBDNgEpvktD421mMSxMVQvvmh+dg0UVzEFsnTSW9kCc4C4lLwSP0BGk+XnfQXiAb1+jce4zY1cyqPN3IYG4G6HK4DO1bUDtuLAddC6alLcAg3EUd/5VYB9xUtVgThQcYu3t4479DpcHWh7GDustBfEvaXuCtrBZF6br9bbuQYaHxB3K90HEx9AjENs/k2nN+PddvYLYf3kald5xeZAPePrcE6WvHGhgbk6X9nQPeXa+HQ68MvHU7T+F9Dd6fCBxH8xA4z2r1yVn/ZSe+QRbc/Tr+xZszz89NdfOmLwYWI/UFlTALz15IOVOfbOhPchyknghRpvQCZfV6U8l0v5LLeBK9/V10f5bO5P2fp+ql6Mxd6cLiCzT49c0c5vsrVZng8hgbhHVe5wWPNyHHij2gE20FZfvjYQXx1td93u/0+8hYPu5Kq3+aJtyigbstrq8RxI8R/R1XWI7UGWDL0q9VufxZ6dPtXxW6gnzW+20fSesk3WptkNwr5Ns/QE65Vd1YvjET1tVq+xRBurfFUCSzRQBHJdbaov2GnTY88vqk/jQsWzIF7fJy0WfHV+zNfGszEFcq2jUxYIB9DR+Esbk3EFonjpqAfi6SwtN+jqvsqVeP227o1PTjpQbWTPJ12hAu3At6sjB6yDtqvrQNytT2XlbAJxvpSP/diPvT9v9vb5FYjvAenQdLCiDjEHGmAC+l2JO+DF4CrBvBpPaw3F27VgrQAO43QguavgA4dbzG9+85vvz8TdvnXFKj59AQ/P5R2OHeTiEav28hyoe+g2nvSiOy6+8PGMD03OvrEbf/6eovkTLz3xeCburodvAQBGB7fctIc6JzZXV3X5a7/Ze7v/25f5Wrq6nSE7F32gcvfGfPqg4UOhWL/oi77oftfGT67KS2PaPKsHeMuXiy10TgAMuM0BXf7POcAjR7esb/XmTQz81ld+9V+cxVL/dJIvbTz6bZz51V6eujX0oz/6o/c7Sda59Q6A1YE62h0pAA+otQG7fYTWZrdX5j7Mv3Y7/Zz8JtbCeqqwI2+jptuhHP8RzbZDucOMfjL0XMDJOiS0t2z/8U8f2vWTDrp62y5Hycnw5MoGaWMkJ2vjlM908vUczdcjunFf1fOffTrNx4LmIxAHNIGYOhv2fKL6aFxohwp5/EdxFBc/5nLjaU0EruKjk552MaeDirGSTjS58QBhNN2Vrbyxn/QnGsRby3Ilhza0228A3NVpQN0Vt4PVARtQd9W0bVfFtR3IQJwvAO52uytdt6q9bex5OGBxu9rhtwdih2aHYgecZ6LeugXibncDcVdtPnhYa60ztLXXnLc+HGoOK3caxCROH0D8qIx/fgLEPTvux17297o7yDuUtZfXoYrueNKPrt2ONZt46W0f6VxRdvj0uxIXCxD3dncgLgfmvXOkPdS+Oal9tXvt3Gfp8+PQ35LvzqYoPgABLOYCQFgvwNvLd9Ya6iuIHr34QLXr4cyx9gl+p84C6wmiclfe9aOUTzlNvvScAzmXe/z8o8UR+BZnbXJ+i2/52ZKrn36XV2xA3CMrgGxfA2Nr3j4B4tpdbQfYdM0FPSXAp0vG9n4l/mhyWyQthke0xXNu0DZw/EfURibrYHZwq+ORtfnViyGbPSDSY7f8DsaVF8vqXcnrp1i0K/kw/jZBuaAj1mRoMvx8/ETQxlA80Ue+k0cXNANEoNbVZgAX2AE6Nuz1of/GGu2QIG/sj8ZfPvjja9fBS0F8AVp8FbEni55A3fiWBtaBfO0ryo6eq/BXuRLvg4D4jLd82pc2NRB3i9nVKZBWADOgBHQOVm1FvTbAZ+Pqu1vpgberXQe02/If93Ef9xqIf8/3fM/9drXvszp8Ouw6tByGe2iTu63dlbgPAp6Ji03czakxtd5al+a99eJQcyABDrEBcVfinhV7Ju52+ld/9VffvyfuLXgfMrw1/3quxI2hsgd9YzPegLm6sZ5yOlvW11WdD/x85q+fXTUu8+gMkSf5aW+h5Wj3UefNSenEswcV68gHhC14Kw8D6AAIc2HN+aBn/ZhPV+DA3Jx86Zd+6f0Dnw9vC5KN31jVjTXwCyTxygEd8nh0eh7d2tvc5Xd94W0phujOKd72xc8ZX216/IrnjGnjV18/658vPlAvtvmBJABdAcr2CYDGk3sUqAfc5oIemm4gXvtNNlAT3ORaCLtott4iiZJ1EFuAbU60xdjGvaJt7qfolR3eUzbJngJxOnvAZLP94dVubLXJ8No8m4v45e60fWn8xfSIFsvS+kIf2cV/DsQDLmAVgJdTPgId66ExPwLxMxfFWS744nsLcAuU1ZMF8IFzNN1o/KVkC9pbb7zRPsw8AvSfSBA3NjmVpz1Qe0vYgQqcA2wU4CmBOxB35Y3nKqriNnwg7moXWCpuWfv6FgAG4g5mV7oOvz30OrgCsGSuxD0T9/1t3y/39SOHvpfUzOu5v/Ca99aLQ8mB5KrCh4tA3FWfDxlebNtn4p4nA3G31DukxePALD51vOeKA3ht2VXyddJ8y0m6j2i30IsjGzl25wOIu6Niz5h7OSlH0fLV/unsDYiXBtrOdR8CO9tP2lm/fDZApB96sXasMR+ogLgPGx6/vP3tb79/G8ELkCeIlwfjNdYFXO2rkg3dBcxsmx8UDygGttlGy3NUf9mvTn7qo1jznd0jEL+yw2t8+df2a22ejZtrax1Ad5UdSHdLPRBf4A7AUXJzZ6748djjTU1mC6EFglo0bbRzAaWXTgtO+5FtPpZauNm2WFvIu6jpaKefDbqyU2fb63/7WJ38nfTKNh2yzcP6q590l6b3Ruj6u6oHeqgDdQ9V+s+BeOAF+Oiun/wZozkvD9aSNv8711tv/bBR5IC/jVcd+C4gJ38E4qu/dgvip04gHnAvfQTi2bxRENdXuTV+OZM/B7CN7XugrpiBMBAH0K6IgDVAB3j4ldoOYKCN35U43oJ5z8TdTu872ADZlXiH8x5K6h2EqMORnsMciLtd6NY3EBe3seza1laac9Q6cKABjkDcBxLA5s15t/uBuBfA9sW2lz4T7zB/RB22ZAF148JTj780HflY/lV9QZxdOQzEjcuHFWBaPton7Qs53NwlR9tHS62fwHxBujpZ5751BhAq5sLc+YBn7QBu82k++lDVlfiuk3KCVq5y3nqK0rWGuusBNAPIAJ1uvgLH1wvizWdx1j9/Ww/E4xdDbbobw7avdPD80Iv+vUAqz8BYnoFwYI0G5AG8eUjuQ66yIE7mbHjTLojquyB2w6mfOtr4bU62HeJk6+uq3gJdXXX+yOq/dvrxoy3y6PLV+Tz70M5fdmi26LbzkZzstA+I0FO2fVSn90aKPipXfgBWQB0Apy+GZIEiQAmYAFi3iPGzr5/a8mFuUTlq/vmPV+52DdDbXK7fwHoBVz1+8UbJKoH30mSnfuM15gVv9c1DH2bSIauUp3IVPx+1H9HGZV7kyWFrs9rkvdDmQAXaANyB6uoI2DlgA/QAG2gH1mh1oO1w7la6A8CPqbhC8EMt3kwHLn1HvFvBHVQOpD0MHYh02ABxv6Pu1rcYXwLixmo9BBy92Obqz21bdwk8E+fTT7r2QUN/7gCIC3B2MKMB6fLUtwQIaGM67dLRh9K46RlzJbtHNBAvtnzJsV+5My5zKQ/m336wb9Tth9a7+u7b9lb62lvaV1dgfoJ4QN4HR1d3vZtgrVlf1lkg/ra3ve3+droxBMBX+S5nyc6cNn/mUp60nwNxOuZMUd95PfupP5RuJT59vNp8AvGAm6x6/eGp4yu1+1ChvTx8IG69eCFQ7rui7rZ5V9r2e7fU8eyHdAC4D7raO08eQb3JYeHTgQO1g3Zphy75lhYCmm0Lhw3efvLTxm/jprPt+oqS5bOYsuNP36ubzpXPeBuHRS9GvLVVb3Oc/LN9xpdtm3A3VvVkgWDg1Sa9ounspsYDSsrJb9Of/PrOX+CGBnoLNoEXXmCT73yZA3PR2JsT4918xV+aDd38nUCr3x1n9eWrK+cYxF/s6WQnN/EC80A6CpjzwQ9+OXkpSPO9c1Sc7OsXz/jlw3q0mW1kt9JdUQNwV+EOVFdHATkAcMAC9G6XA/Nup+MBdW1g7lln38V2Zd4zTr/A5e1vvyrl+78OVcDU4dVB1wHVYUXH1TtAcjvdM3GxOVzsLWvF3LZPqhtn66axOrTEJy7j8mKbK3HfS/bzpOLzMhgQ9yxeTOchfrbF12FtLAo7fACk3pg6iFeefXqNO1p/5Fc6+aqPdOTY7XQvtvlpWeew+e9Ma3/iKeWtcyl+Z1dteuW2/PJZ6UyO4vOBAgdxAAwf+HwY84HK+nI73byaEyDuxTZX4sCpHMmFem1jXXljlwv15qU2XqW8BpZLzVMlP+lrNzet3dpXtDWRrP7zm4/aKJ7++w57seHxQwetnb7fnA9rF7ADah9m7QXUHNhDzgBX3No+GKP06fQh/xLETb6FsIsBz2SfxWKwAE6bFkZy7XTQ/G19fcc/41idFma+s1na4YHylT0d7eKrvbbn+FdW/dTRVtps2391G82m64Cr3UZc2mYGOIHXCQiBUvKAe22WVz19NGBZoDrBasFIXOI0JvMgj41bjh+tic1/OS9X5aS4d1zFvHTj3zGIM3AMaPOFVs9Ge/XZZFcOzrwssJM9VTZv9Vl/UTEYvxzKkc1swwI14AvAHahAHMAp3VbHA+LdNu+WOgDvSjwa0DukFSDuGad/LgJUgKSvcLk6cgA7gDrAHJQdUB1WeF5sY+u/mrn1LU6xG0trRL31Yb7NfesEcLjK6MOFcRif74n7t5c+GLzrXe+63053t8CLbX3Q6PB9RAF1oJLOjmfHZKwKPXx2dHfMZPGyrR2tn3T5iZeOHANCjzLMgf1ibZQXOSp/zoerIrfts/ZQue18Iq/Yo1sCFP3QJwvE3bGx5nxgdAVuLjzecOfmHe94x/3bCH1PvPyWs9rG+hyIl49oeULNxWnfHKGBZHnmI7tTvn63vv7UV8bf8ta/voF3tHr29b/UPxfyQUmeAbNcKyeI4wFvd0SAdYBtTynAm70943x4k8OiyWzio01u7WgHcZsQJbOAKtlaQOlnH40fbbHVfgltUW4/ayeOCj5940XZqK+tejL1l5b6PMe27eriadMVW3nbzWqTBvAL5tVRG3+BTX3lJ2jRD0jIssULUACYK1DlBKdsiq2cypnxGU88udPGx9tcaqe/+RC7mIqz+BqTfpXa6e2YjKMifjGnp06Gxo/XWAPw2ld5eb0gXl/Fmc8oubmWE3mykW1St7yBGqAG2oorIwUvcEeBt+Kq3dU4wHZVC6zdHgXkZIq62+qusIC4r2/56VRfMfPmtGfOANAh5PByQAdaHVQdaq7EAZL/yOWg4t9B0xqxto1r57txWjcOsb6X3G1c4OGqz7+99LU1IP6e97znfqfAlXhvpxfLI2oMygkG6S/g4F0d2ulGy8eCMxn+VaFXrsqjW9F+MOWd73znfQ7kwxooL9HzPCin8Tu/6HeWqFd2z8n1lmyz0zZv3U43jz5gWCMAHJD7/+4ev/hp3kC8ddHYyqmcxGv8m0O8bJMHel3d+jDZB7F08oHS3zmrDVyV2o9oetFTr75OfvposaqvPj47VE78hDAQL8/2OIC2/ru6JofJ5gFgqyv0ALsSiLsyvz8T75NBhypavcld2uKIrm4La2ny9E9af7vY1B/xV0anpLQ4Tz/xUcmTEMlD1zY7OvgrWx9nffXygdZf9ey0NyeNU17K8wL6FT85urm+qgONgDC6gBZgOkCUgAuQASogE9CQqbPvMBHfjrHxRY3p1JGL5GSNUfwBdHGhALv+zjGmt2MyjuJW3xxcyeI19qVkyeWjf036RkE8n+VW29isB/mxaW1St9OBOPB2dQq890rcVS8AdyUeQKsDc3aBOXAE6t1qD8SBpdujbqd7Ox2IAxjfYwZ8HUwO0A7RDrQOLFfGPgC8+93vvl+Ji8eVgjlTrNNzbWsbq/3mAGus4jQOwOHNdP/B7PM///PvP/bSi22uwh3sAcRT1OFpHJUAprGcINKYdrzxomT1GQ/N5pTrMz11xa1o4/H9dx9WzLm13HlQftD2efm0Tsqp/NlL7aHdT/nIJ70t+mSfjTMRcOzvEpiHHt8AdP9q1st4QNyHqc3njlt9c9L4H9HWVOAYMDY/7OiQo/nO7vQbP3+PaP08ktdvfae3/tfHyWdP7vGPf/Ur5zDDmodDAXhtc6DY//YQmp52PPrmyvlw/4pZi6DJbEFYKFssii30LJDsWnAtOosNL/kVfbTAHvHFmgx9DnADa3rqEqIEvqjE8luCS+Ta1s9J07EZtuRjedXrT/zVG1c5Ks9X/HTQ9JbunLXxl3YV69AIpB5RALiAo86uw1lf4ih3xmhcxaNebhs/2rjJG0frRnz6UIpVfx1eO770HoF4AJ7PcyxrF6AuiO/49w6F+pX+2lbfDxRnnvOhH+OSD/mxSV0ReS7mahqIO0wBeIcqCtQBeQB+UqANzIF2t9CX8uuflviKGSDumbMrXQeoA8jB1SG5h5k6cHQl7gNAXzHj0wFjvuS9udOuGKs1Yj8Zq7sOxuo2rg8hgM2t9EC82+l+djUQX9AIVE8qbnrA5grIjaGxpZuPAEo7UFrds06nkg86/KSLr92VOBD3Ap85lyvzr5Sf3Ru77uWufUe//RalK9d0KvleKv/adJxZAYMPfNaS5+Dm0zoD6K4mPcf3fX3zXo7OcZevQK3xnzRQfETp75pL72reiiHKNv3naEB80qu++Wpc6tksH88zc3pebLOf+rAGmK35qLoCl8wBmiwQRwG4q3B1tEdQ96+YmcAmvwlvEezCqZ4u6oAOaFoc+SBnk378KH426JWvlV/VAwagsCV+NFntYraI8ZJrB8Co9lMl3dVpIvqwsDL1+hND9fp/lIPNmbyd7eZmqU28+W8+8AP1QCwaKAagtVfeoVxf/Iq/fJmnYmxc0fKPykVzajxsii3wLo6zz/ouPrQYFyjx8pHOypcX2ALf6mjAj+8KXHkVEM8Xfxsrvrbxm395sUm96BWIO0QXxD2ndKg6ZHsmDvy6Cnclrg7EA3IHs1voSrfXHdCudBfE+zEVh6DDyOHU4buHmrrbnf0XMyD+1re+9X7gAwNzVu6bP7S6ObQOHEr0A3FX8oG4f5MqPi+2uXL1IcNVrDsFrsaL6xEVI5mDHeBUAuY9eNMLaE/dR33EDzyWkvGHiiWZRxZe1PMdffNoH8gVag20f9ofaHt+efHpZ7N7KRv0tNO2L9Ox7gCFdeeDnvVjnbX23E73ocpceAHSVwvlyJiMr7GV23OtlKdyQb4AuHP3h0IjAAAgAElEQVRBtvnKNp/Zxde3fivFkp9HVJ9b8nvS1dk41Vc3PTzfD9f2Qy/mWy6t98DYHlcCcftgC35nKiyhm2375X4l3oR3KLYYOkzRSjpLd+G0GPJJxpZ+ei26dLI5F1j84qm9egHeUosygLAoybJRTx5fkugHMmzwSp72Swp9iT7L+svn9qd+VYoHLdbGsbS8oOXq0fysvPkNLJ+j5+FbH+ITD2qsxiIWvM3bjodO+Wpsxc/vxuZgCwhaS/WNijsdFBguSKtnT3fl6muzwF39BHTgrcRHnyr5iS6A61ubTN38lEebFah5cQUgdwUOdNUdCG5vAvaejaOKK6hum7uK77a6OiB3QKOuzvlxO93Xt7xhDiS9qOZqt4PPQdnB3AHc4ektdj8Q4yre76/7sZenrsQXwBuvg8vtdGMNPIzNm+mewXom7teuPEMOPF4K4sXZoY7G2/HhpdNYtbee3epms3T11PnQlwM9mfx6GdD7CObQfrE+zX97yJ6wP5TdP+rx2dFrz8VvP9WOnn60+Wi/Ag5zYR7c4bE+xGc+vEXvnQfvPvTuRPlpXOVB25hdjQI0Y9dOr3ygT5W14zu/fHalm9/6Xlp/j+j2ra9KwKwPpTjSTw9Nt3HisXEFTh+I+2Asn+YBGFvzcr0gXhsvPj2YgjoTKoH4/cW2DsTzgLTZLCr8LelH6bQxV089Pl0btoXWogtUksVvAeLXT7r5sOgkpAVY26K0CQLPlZOdwBKwtrhXnp/lnfV0AiXJLvF4Z2HPpv7Uz3L2cdqsrXobdPNRLje35bO5MT/y27xpK+ZUCfzOeWwuUAtM/PpuXPoWl0VJLv6Nk14Ls9jN0xmfGALaXWetCXRjDZAXqAPN9Mgq9LMJTAPbaM++ay9g4237qr46+WhM+q5fdeOXJ2vGCyxA3FWzKyJX3AG2KyNtV3AA3eGgqJMBcYCtAOoF8q7Kk7ni9eMdXmzz++eBuJeWOhwd1OdVqYOyA9wB5Xa6H3vxdTAg7laf8ci79dWcVSezTsy/deLqz6108TZesXmO6OoecAC9ntn78CA+MTxXOtQDgA5gh26yHY96uleHf7pyUt/r57ShI1b9oYrbq3LmTW/zaN7lxtzbL+1f+SGzZzoX2mdke76l214jy5bNltMXmT1pLoC4eejDorXWD+/4mtQ3fuM33u++WCPGVr6MuzyUP2AWuBl3uVE3D+nnI37gCACBYbk79a5818frofrdvutf3wvijSt5VBzFgheIWyOuyO0re84+gA/yba4Da3lXAmmUDFhXdyaop+dx2/1KfBeBusVjg3WwO1w6ADvM24gCuuKxr5DT47tFVx/ptGC12+zq2agXD93ipCsZ2koLtsUsScleD2V/lt0A6snbDKj+roq4lGS1A8DTVlsf9HYs9BV+kucLLcaN6Wrc5RuVQ/mNt/lPjqeer8aO4qP6FFsfYLTFtDE3fjR+ueR75784Alx0AcF6sLasT2X1ds0mbw3XTh+IVgLZBeOuvJdeyfGyX+BOF69+9F09fuOTA/kBgjaow9TtZQCuOFgdqq6QUAWvq3EAqHQ1DrRddQNIV1f/H2/3umrbUbRxfN+It6bgB0UMqBFPMUaDivFAQAURE1Gj4ndvxXg9eflN+G+edMaca+0kvh+K6kN1d3V1dT2je4y5llN5dYKK0+5Pf/rTT3yd3u+wnwqEexJ3ne79uoAPlM2pfWutrEHxIr/jBwIT4PDQQkdz6abhtddeu/2RDCDu+rkToGv8BdHA9ORX+hesN/AWxOPAQl8CsrL6WdAJUNSd5eW1DciS06/rVe+VXad78GrP2g9shNqT597bvd7+3z1ZurqVb5z2orwx5YGEdfPFM7+hFwrMPWy4aXFr46d+1j7gWhuZZ3b0/7TJsId5Z4/+FGntA0Pl1WV7baSTad1q29jZfHl63ONXY+146d+cjFmb0q2rvLXWng7prw9rzbf5fcC9cbDYCaDVWwskDgTitRNjlfXNzCf+YptBCpAFvjZfztXGTG7zbU7BCKnDBWnOheecleV0ysnWh/y9NtoiDlp/ZOXrl4Mm92l4etVvIGmM6toU97iFIo/aOPVj4aRrq750bZJdOTKVJ79l1eHpuXxtwXbZC8+WlVuP0vWRbme+cVendTzz3TmS374af30wgA6Y+dNZfwJzsvy2uvVlZYH48gXWADkQji+Yb/oE8QXyBeqr8ZTRz9zYgJ2AGhDvJ1ddowNywRRQuuKUVqYe+HUq74t1wdiDgACCpIE3Au7+wYjfKn/wwQe3k7irdCcsILnBUPoESHlyrtOdKl2nu/qmE/3Nq9hwxg5riPgAHyHfX6czD3PzwZd3sG+88cbtOh2I9//EA/FTxzMvwBZkq6tMsA0Itkx5bQrE1dcHnsyWXaXrLxDTznt9P8tzErdW9ll7ja3Yxv6qbPegPdNeaw/e4+1t9dtu96i+5AEDEHf740HPAyLfwvuJmd/s+yUDEPegZ07ZwjwDW2nEvs3fvE8gXvlAsIeebL/9nu0bZ8dY+a3f8sZtrPygMbe+MvqffXRLoH0PILWVZxtjWGsPR9YxgAbY9voSgEbqAvTK7JPiqT489NozL3SaAxUcbTyOdIJ3G/HkbVRcH/UXzwE5VJRTrTNxsvSpzTqedM4qra08WVSf2zb5ezx97vHaGW+p8jbTPU5H7dQviCu3eNVt+8YxRqCnrDFro4/6lK6PbV86Xh9x85be+i3bNJnGiDe/tR85eplfTpcjKmtOp870sHZ8KP8LhHFl+Ve+ukAdQNamOnxpQTzZLXsKzE/wDuCvgLy+Tt02T7fmxgZsFYg7QQNiIL2nogC8d5aBOABcMHcq7+dmABxw9z4ckPsC3O9+vW/ui2MgLkA76QpcKHBaIFfv9+RA3Pt0IO7q28nNNSCbmlfxwZqdxG8Eq64GO4m7SndL4GvoPmwD4sbqIcP46XWPr/6re/IboDdIC9blS9cGr99ArLrKa9uYdEWBmlcQ/tStWxAgzk7sVexlJ7bBHwF5sa793D6Ob7k9a8+h9ideeSDuwdHDIODmXx7KPFD55yceqLx6AeLW3sOUr/7Nny3Nrzmygfnj1WVvNj0pGaCXHH5SYzTO9rN96Oesq6/t40wnU9vy5mGerbl6YyCAHaA3X3lp/Xvw8YBkPRbEWwdx0b7Hi5HVxa1P5IT+EsR1ylk4Q6C7G60NyMnuUTJ4Tldfp5MZy5gcJ+VSPEBQv4CR3NZLa0du+9Sv9o0h/4i0T/4Rb1PEky1/rx9jJ0PnJfOqLl6/5oTS/ap/ZVt/9qGvqzLl9Y8ng1e3bZUbZ3WXrgzfdvLmxinx1k++J8x4DqsNXfhNgYy/LRDL5184ucB5QRhAyqPql1e3coFqoNtJfPOBdSDe+/LKF8RrV7+NGd9yupmLubMjO9mk/V4XEHe1iXc6iitb4N7TeOWAAph3CvdgoF+/+/UzJwDpt79+NgQkBWjBWQAqiAlaglLBTEAj178i7Sdm9KF/8WLjQnGmGCPvQU9A6sM2+vc+nH5Of/3Z1VcF8QLx6lwQpn9zkiYjb76Vx7e9dBRIa7991E9j4UBcuTSbAXF/7MUDmLXPv9nrpPy+eGqv8BXtKjv3bPu2fXq1D3eP3gNxD4wA3F9re+utt17+SsDau1LnJ+aU/cwxu5mz8oBSOjutnWubnDpl+d4j3nhxsvq5B+KNgddv8tpU3hzqD6e7OeHqceW12/r6BOb+hoIHW2vRibrYh1uH4mPp6oulgb916sM2Dwa3n5hZ/HNztclypjbkFU8Gz9k4F8rZFig2yKcwvko3sZU1GXl9NbHKgEp9BTDqTuA58/pbWj2fm2a/yHxPOjfX6qBu5a3DSerp0txrs3LbR7rEt05620krW9kta1xjr97ZbG1UWXLZH7eeXQ/1NLnOrB/+wof4WL604KusoIXzNbJkTnAMoGuf35Zf+QA34F5QvqoLxPGrNlfX540XD8TTk37mZB3Yyia1QZ2aga3TLboCceWBNV46MMeBeO/CAbi0Midd/+bTdd/+SdOuSgWiDWoFNsEKOYkBfv8A5U9/+tPtnSl93CRYn9axdcv3Wj/rLjh5deC60Umcvn7O5CS+IE7HvpwHHgXTdLniBen0BgxLlWsbkGhT+crWf2VkAultr7xxlW+avJ/GmYfbDx8Vmq89yF7swzbsxlfxSD1Snz3ju2f5UPty92T7sDjZfixvHfic2x++Abz7NsGX6V69uP73gaGHKWufTczrtAU7qc8e2YucdCC79lx/U57t7vEr39RO/427bes/Xh1dlrZf6d6D67M5Ke/BrLnI782Ecu/E/ba+W8nsjodzlRUbA2zl1gcXExAZ9W6vbiBeUG/DFexwzrP5e+mcDF8n42D651ALAutMq/w5SYo2SROR1rb22qJkMkByeIByjydbv8mt8ysrH0+uzbIgmE3bkPLqcZQttD1l26BtTjY97aiv+k6uTdxYbeTGjJNbqv3Wb1n9tIZ03zk3nrJskr2UtTbWtvVpna2pNE7WuPlcvrQ+x7dO3dUvMC84SqvbPpIPTK9AOhAH0mc9gK4eV38CuXzgnD6NV377VUYv82dvNgvEeycOvIGj0/e+Ey/QBvDkkNMdEow9BABtJ3EExCN/1vQE8X6+JcAVDAu0BW1cMAamQHyv0wV+wcV8Nh7s2pW278w1EPfQ4iEEiPuLbXudviAOCOmQXvd4Qdo8kmlOeHPcurNM3c5bvj5OHSqvb7KBgzSbAT8gbj6+5vexIXuwl/1Uur2v/B4lnz3x3ZPtVfyMXfZp+88etA5uRIA4n7GOJ4j7EM/3D9bc2q+tzC3KLmuP7IhrF/AlowwwKq9f+UjZSVunH30vVX+PN6b61ml59b3vVldf0sbC1ZNt3ukpr86NSzZmc7b2oCu9BPOqA9LyxU3lSB63x+ybl3/sxWYrwOEcCBUglUXV4Ssrv5s2p+RAAa8AVWDfpwtKUbgJUbQJKGMAFOgrK61cvj7kG6N297g+UG20W0AvHzAFwM3nBDVBeDcWm7TBsk0bauXUoWyYbPlsqf/GaLNWhu+mld468ifpt42fPmfZ1ThXsjt+47YO1udcU3bPvuyoDV2yg7mjfEx5uuL0zCf5KaAMJOPVL8+nV35BdYE6gL7HjROQB+4L4urSJb7yyZqnObEDu+yHXp3Euz4H3EAu6uO2ADwQ71TeKRyQB+iu1Z16nXS9E/d3yf3EzAmrv4gmWG1AvEoDJG2czvwrUu/E6QMMWq/WKr9qDfmQfWffkncSp5cHEtfpTn/7YVsg7udZTjtX+jwqK8CSCTjMUcCtXeXyyePRymmX/D1OvqBfW7qzmY8Jv/GNb9xAPN9nGyTPPu3n9lP7Lrn2uDx7Z3PytX3E239467Ag7r04shb+LWwg7iHE2p/zbo7Za+vZiy2AXrbDS1cXUCaf/ZJNXt9b11grp69oZZOpbDn5QDs5XLmrcaReG+WnbOPRx8mcvG8f7GvAy+d7px1miY3FSGX2P1lycBApT149AL/9Tvx0ggInZ7DpBLqCXsGUTA6zZZVrF3EuYwC9E0hNytMGohQFdzIUNwllZFGTwU0aKcebpHzgQe4RbR/anWBenv6dNANwdYLuCeQ2WpuN7Qpe2adN1UZUz57ZPrnKq2tN2tzGTad9yKj/K14wiNNBf/LpnF7KSquLKlv90q25JksHurGVdWyN4uccyOufX/E9tsjHjKEuPY1V/auAuP6SN8YjML8H3soD6AVlQB4wG0PdSeoX8I1vbubFt9ipp2ynNGDcz8lwIAnIO5E7LQG+/bitK3TA34kcmOsLB5a+QnZF6pTgwxsg6Y+p+JOgZ4DeYLZpcn725WrYfzED4nQDytZm18p6rX/wL35hf5qvgGS+5uhDKsDx9a9//eVPzBbEu8YMNO5xYNLpEA9cyAcC5hMAxGuXfLxxyF21q31yjVNegNeXr+zff//9j15//fXbg5V41X5jI2l7gT8Ue4oz6tpfymrH3mjbb3zYGFFfcWPYk77DcPvDR/iVhynkVgSIAyMncQ8h3ombi7mxRUAorYy92SMbmLurZaBGRn1AWPsAkWxl268ylJ3Lx8lqWz9xZajxal9Z5duenulvDuqUmYN+jalMWj9klZFRpg37/Pe//73Zzb5m393jsO/EOHLKwsXwq5iJ2y8eem8ncUHRogsiOUFBU155tPVkTsqB9MmxIo4SqNq0CHhSNvCmaICqXJ6ygLU8HtBKm+iCgzbqa6O9sm3X2Mq1Z9DkyaWDerqdbVdWnfbIBrHpClq4/NpwA5h69lGWHbOz4K9MXRR4aaNfxK5twi2TJtfaViff2hjfGJU1Dp5M/ew42p2y5CszB2njswnbZPNs29qzsbR6csbTlz7YjX75XHZUT4fk2Cq6AuTqTh5wG0N6gXZP149AXF39aB844/L1c/bdiRynV2tt/vzL5rVBBVNflLsCB8RORMDNCRyAC7J7+i4NqJ24XZkH7IF61+rqACYQf/vtt2+A4krcn9J00nWl7rpUECo44fKVCVzenftHGP5i27vvvvuRPwZifHvPGrVu+ZW1W7KH7DPBzZzp5IHEHM3VX2zz23OnfDcF6ZduAUQBFU9PICFfmfKo8uajn5PU1baAfI5X8DZWoBUgGEt7+Yi8fv3EjL19VGi+9gu7FEfsufZE+7d9SCZqL7Bv+6Y4sjYvbhQvdjxl+rMP+V6vNPgX/7EOQPwrX/nKDYzc2vi6vn9CY57NT9r8ejfc/M0bZRtcPntmq9Zl7X6uy+a1e0SN33iNr41+Gk/5UvoGyAF1MrVrTsqlySVLxhj6+NGPfnTb2+IdXwfCHnTZO4yxZ2AS3p4gJ49qoy6Q18eL0wlygCteQBV0osri2hVocxROyCEBeSRYmRCFKFhA3wCvnLKRvAkj8vL1U7n220fl5CL1tee4ypOrffXqyJx615d5oTZf9sTNP7vE21jqkHy2ZDtyG9iV1aY+2bONR6/GTxe8zapNso0p39iVpbe1ixqP/PZHn/SSjpRVrl82oQv7tSbZtzWUV0/OvIytD3bILri8ceiUrvILzieIB5LJ6Kd04Ct/gnig+xSAq1+gXvn6OPkCeG3T09zZge/ZnE6mTsznqagrTickaYDuxA0MUNfpgBuYLwXiwBI57frTn07iQNK7Tn+IBIgXiAMzgUpgKmhKA3wnd1+2+4mZn4MJ/vasNcsfzC1/yudwfiCQmWs/pzMXc/NFNBDXp1N+72L7iVmgSZ+CavrROb3Td4O/dIG8dHKVb3sy9bnybEL+qk756lWgJ+vBB4i7nvbQwz7sYT8H0HxB2YJ4de3J3Qv2Q3swnt03Zmwf27exxeM+LnQjwp+AuLXwc0QftnkN4DrdSTxbNM9s19zj5p6ttky6fH3E75VX/yo82+PaneOmXzwQD5QD5uob+ykQNw4ZD6LFQv4eCC+I2/fKwz2gjSoLxLVBxYjbO/HTEQrKp1PYlCcVcNuwV5uWw3EQwToqqKegCdjQlQeiFF+gV37KBgy1PQF560+ZxgTK1W3/gTi9pbdvefNCC0Ls1ubJPgEIO6m3OdmFnLKAShqwyJPLrtLWyaYLHI1L53TEm2vAaAy6kW3zyku3sQsI8vRaf1gZafo2pzgdl3Z+OS67ZddsKJ/+a7/6ZQMAyx76N3ZBjY7GIYMWnAPowDF7riyZ+g5MO0EHvAvKj9LJn/zszzgndf1OF/O2Fmxik3pidxIX5IE1YOsa3UkVAAuu0gXcTuPxPmbrfXjvxPvATVs/GwrEXZMCGCAuQHfaErQKbAVB9QCVvN+Y98de6GKNzdUatRdaO34UNVencCdAenoICDic/gTAQBx4GLOTeMG0oBynG1pd5QPbeO2X6+OqfW2Wn+2q014/Ww8A2NDDRyDuAcqasBOb7L61R9kM8Yv27+5X+wAlV57NUfbP9vVhvyF9GRc39oK4dfCAyMf4Xtfp/hGNhz0+kr3NM7vh5ukEetphZWqzNipdv4HmPZ78Pa4fdVftt81Zn6/fA3Hy2pOrrXTy0o1LB3/pzhqweYfRwNpeCVuURdYiEA/05VE3V7d34jq28C24RV8SWE7agH3Wyec4+uQ0ACSA2QBOsRPEt16QV6+MgyGbvknr14SVqTOGNoFFZRlIu+qktdO+/rZ9fSZX23TWTzLGWRDKfuzKHuwFSAIN9TYO25BRD2DiK6csm1orm81YxkTpRxckX5l6Nkr25Cew65dOxsgvpNv4dLamzSl9A8e4eu2102f2Z+vWJ05n9eSMxR7so28ECNhDWh2ZU65xTyDPjtXHW4vqjRFIB8TyAWx1VzwZ7Rag5cnX39Y1J+PXjm7tF7axUTuJA3HBtCt0vOvmgL1332SRUzhy2gbYgbhT/QK5h4If/vCHt/9i1rvO/p84QOo3wAJRwQovyDqNASRt/btQH2oZnw9as/aCufEJxI8iPumBxft5Dyx023fivp6nn9/ZGiMQ93BRgBYs02d5QbT6gHm5uRSwmx/5ZGqrX2Vs0tV5NwH1QVa9Gww8XZRHZBfEvWO2TtnHPmCbbMXnpXcfSieTHe/Vs7++9VNftcHb77h9aC26Ts/PelAE4v66n1cnXgd4lcIm5tn8mrN5ArTq5MlUj1emXDpaucru8ca9xxt/x2i9A9qta5xkFpQrSwZXVl565fUrb73tC+tgfe3vsGbxRyxUpyyyHsA83JF2Au91m33zStfpgvNzKMehNOcAFgswNjglA3DpgnogtHkb3eT1EyDoT7m22ijPMNpWT6Y29Vk9mR4SrtobT9/prl3GrA/9p59NYc4FLptGns0CDlyerDnZoPIBDB646EcgVK8fstmTvvRC6b56Vh4/5ZUjOmRb8zBn+d3cyQSe9KEXCjjTv8Dd/LQ19truXG/1xq1/824MgGcM/bInGcQW2Sdd0iGd2LGyk5NRj4yxAB0AB9Bbd6bJoMA4sK6P8vHGXL7zYy/26aoM+DpVAzYksAJuJ1WncyDsxOTac99/B9Su4wG5d+CBeadzZR4G/BUu/7zEF+ZOWL5O7y+2ASMUqG1QFKSAKdAX2P0W1n+5AuL2ifWyNtbSWvHhgMT6IfMVmAQj4EG3rtPdNCyIG8NNgev+RydxehWYC7KVBSLlC8xxAVkduQCqNpWxR0BOZoN5dXjt6g8nq613+x5KvBM3X3ZBG0Pa88pQvi+d/eLVxZOpbXInJ1/f9r+16DqdX/Ev/sbX+ut+/iaA25BuacwzIGuu+UtzPtdhbVbbeH1sv9WdnOxzqbatNYCtbXXxZK54MnjzKn2CuI/g2MmvLKynWGdv4GccFI/FSeUI9pC1JkiZvNjQfvHdzKcCcRsyKti2Wc8Ny0EAAgeheETBVVh6SX20QFS7ZJtsoLRtjNm4225l9CN/1T5dz36SVw98Aj5ztVAbsGxMefYRrIGJfHbB5QMZMgI+rjx7tsFPEKfDI/3omkxzlJc2922rPFnl5lU9bmxBoPmYEzBqXuagjA0Eh2xjLOu0zii/tierTfbKr+pbPhuQo4dxlCdr7LVjbdNLfTLq0IL4Cdpn/gRw+UBc+gTygDu+wL1pemQ3oMYuTuK+PHVKC7w7GfnICPU+XP2+CweiTtweAHr3jQP0kwToPhzz9bcPllyTBuKCnIAMlAKmAp8gC/C18QCwH7bxu+xtffiM9bKGSwviwMODRe9h/bGXvU4PxD00pN8CZXrhG2hLV1/A3QCcDE6ufvHaVR5AsYe08m2XrdSd/ZBzUg/EPfgAy/y5eMBe+bsydAJwbdauyWTj9jE792Bu/0T1i5MBEn2d7uHCWgByFIj7dmJB3DzNK3uaczZgmwXC7LTyV/XZjdxnoXQ6+1D+aUF89d3+61O/0ubulYLbKj/ltE7intO1mMjW9vrGQnnlyorR4qY2yYkNQNx+edZ1uo1YoGwzcrA2ZRs1Tian4lCcI+AJEAIRG53STSQl5dUhZdGW12b7kDbxwKg0jupzeeX1vW3IBWoBUro3Bsdvg5irzXPOXxl7ZSNptmkjyS/4LIhn5za0sdhx9Vi7NrfmId9GVoZqf9q7NvWXXOVsYI50ss7mExgGlMrpSk86aqM9x+SIKCc1Pv3UB+IFpvrPZvlVPrVy6lY+W8brI648vYEp8F0wDpz3L7JdAfhV2QJ5DwjWc0Fbesc/QZxNAnEnakG+0xDgdkIF4k7RgisQd1rvGj3uAaDr875GD8QDd324rvYnU4HknsQF4gWuBTSBu2thP5fyZ1sDceNaU/OyLuvD1m3JuvMJH7U5iQfirnD9G1J/7IV+fZ3ugQGA+GkbMAwoA9INqsrSP1BYOcF25yTQP2oTEJx90mH1UC/Pfo0bV7cg7jf6gDKb2Df2mHyxs4fWe7FF+VJttW8vF6PEYmnE9gE7TtZadJ3O7/gVn+N/HqjcHADxvQ0xt2yTDcubb+nqsrm89VpaGXJbd5Xevq/SezLe+vqi36kjueprU/6Kr8yOp1/yHjr9CsQ+AMhO0sVEuCMeojCtGEkGXYG463R75nadnsNY+JwECEUCX0GyDdmmJFOgxJNdEOOAHIaDpBQuUC2IBNSVqU9mT3Da1hdZeTwjBBxktN8xG7e+cfKNw4jy9R+wV6Y8+fpoQ9gEbJkNcfk2IJtkR2n2PkFc0CvwS2dnfSWfLelhPqtb81u96Wmzaleb5sFuOYw22qtbap7V0XnnQs9dezrT1XjaGBu3PsZqPGMj/dc3G2q7/evvtBuZ7Lz15Pjg+mS6BeBbn70/DxDfhwD9BdSPANz42Y/u5sVe7NJ1OtAVTIGaYCrd+/BA3IkJcDp5I8ANyF2vAwhcmatqIIm6WvcQ8Oabb97+vaSvpb1z7qQb8ARQgpUghQNwV9q+Tt+TuHd/Ar89az6nD9sTS3zNA4vTXyBuPh5SnPxcQ/rTpP6kqz8LSzcnm/7YS0BZwKSfwElHZQFsPMApGDe3gEUb1IyNol8AACAASURBVNwr119t6ju5Tp3btzQbbf/1tSDeO3H+bG/Zo/aOvYCkN4ZkT7YtfuBsqqyYo12kn5VVzs92n0uLAW5/PODxG/5lLfqJ2de+9rXbX/cLxF0TN7/shrOTE+iHH354q986Ntg22TSebckh/Twi8o9I29MnkjdmulUWX33OsuriW3+CuDm4deHP1k7881FaMdFeD9/YX56MMjL8QdoeKa6rB+IA3EP+C4vLgQqAAbEBn0uCrj4KrAtSHIvTUKaAjQvqKUZx+SYjraxJyUfK60ef+lCnTN7ElzjnlpfWt3Y7Rn3rCyVDrjp969MmQPqTN0e2NN+1Q5vH5gqc2FW+jURG2Qb11kGbtadxjEeP5kxP6forn92TxekbyZNNXh/Kmp/21Wkjv/M4gTFAMheBo3Hw7MmOS8BKnu4FLeOwY/63IG78dMhG6RF4l9fuHohna7wHp07ReKfxwPke7wHAqZ3M9rH5wLxx0xWnpzU2L3NnK37tqmzfEQumAqtTEZIG7q7ZBd0IiEoD/IBdP5EHA1dxgoD2fsP63nvv3f7+OZB0ygXQQEigKkjhBb2CrI/a/LzM1+m///3vb+/EjW0O5lVcaN3i7RO+xgf6Ot3DB+AwJ9fpQNxJ3NfpwMN4rvsBCPBcQKCT/JbLR+m8vPmYW3NVVl9Xc6/Nc3g20580UJE2D68gXKd7AGOn9oB0cSM7bRzYsgXo9g+btvf0eVL17XXjaWvNAIQPDPmQhz/r4OERuRXx8aI/COQ1Ch9ZW5bO3vjaL9CLA7wTZMmrry4bb3lAiddXvPFaw5W9StOZ7LaTT4fSp5768r77P//5z8s51L+2+qtfD8bsaW+LdfY2rLO/2bx4CGfUeZCyJ8ReZZE21oeMeg8DL9+JC5Yb+DhMm69Aeo/bqOq0WRntbdgc0gTWeShI+ThFr0DcJJfI10Z77eqHUy5plwFWTrk+lJWuD3l9VE5OOtr+2yjmZX5XIL5Bi30CFRvR5qKDfuStQUDYerQW6vWfHdMRT8fsW77Nq3z1bm7GJpu8cnL00Ub72imTp4M1te50XDBqbnQWFLTJbsYwHmqd42SyH3uZqz70z2bGQsqMr29yyaTHFUCmU/Y8Zf+/QbwTeussT0dzMSc25os2qOsyIAzUADZychZQy0u7TieDA24gKgAXiHs/HojHnci192Gb63QfWjlVC9BOu06MBbeTC1DIu2l/sc3HTr/97W9vf+xF4Le2/MS8cGu6e0EZMl9BKRCntznQyxXkN7/5zdsfo3ES97DQLQHdBGBAUSAuv2UBirorKtDu/JQle5Y37+dy7ZOVBgZ0CsRdT1sf9mnPSfPxqLiSDeVR9sTvlbEvsr9Q+WKFPZrf2Zv8jl9YA/7E3/ia9fCRof8mtyB+gufa60wnu/wER23UA0R1pQPI+PZRuvGyN17dI95Y6VIeSNdHdfoxDhn15cmt7o1nrf/973/fbsbY3L5gY2AMxOWlI3X2AiBXZ28g9eWTER/I3T5sEygLctJtPJtM/hFpF5CT24C7TschOVCgE3gIWGiDu3TlgUg8AKpN/cnrUz7wqKyxFqRqt/3VfsfSV3k8+fpUb3ECIXNmNzYsMJu7TSZf8LZx9GdBzJcM+wnoyRTc9adffbBhOtEl0pdyRDflZNus6Z48GeM2j8rrR7uofvVHT7rQ1dqna/5j/elLTvvWMWfNKePqjU3W/PTNTvmc9PoUmQKStHHZKbvRZ0l5usVP2c9yEj9P7E7ikbpO5k7i52mcnspw8+UT7MBWgZrrskBcQBVcA3KBFWAG4MqRfO/FS3sY6Cpdn05/ZARoJ3F/AtRJNxB/7p9dder1xbireO/EfZ1OB0GnfZD/ml9knRGf4gvN14OHObl18IdevvWtb93+wAgQd9p3Nekk7jq9a+xAO+DFC6pbdpW+CvzaRtXjlX1aLrADgwVxf/LW2rBF+619HujaS9lNnXyknTQ7kpe3ZxC7t1dOvrFBn8a2ZoCFf/SQuLc+rtM9qAXi1iCwusfXftKn3D1Qrpy9EMAsrU4/+tv0rsvVWOfY8trX/44h7ZRdP+lTH7VTb9z1uWTUKee39ps4x9cDcafpSDn7B9DWoTwZ6UBcnRO4GxNAfrtOb+ELnLjAKeht2VWa3JaXb+MW+DkaRxG0KROA4I8ocLkHNvonUx+BUGXGDPTURYEYufrGa4+r27byyQdOydskNkO2DIiUtYHYJFBhD+NZNH3Js10ARA61GW3iNiudVhfp5pXeuLmXNxY5bbOJdHPfPpRHbXZtkLnQxZrzj06W0q19gYW8uVmbBfEcF1ef3fW99mMvZKz6zg5swbbKr8A5+2XvZHBl2Rn/vEC8D92eAnHjRSeIs/uCuM0PuAVV4BiIywuwyjqBA3Uk70SLgDi+IC7t9KdvfXjn3B976S+2AXFBaIES+JyA6UTswzaneFfDrr+NaV2tm/VEC0LWLTJfe8DVfte4C+L+jKu/EgbEPWTQz3v4ft60V+cFU4Gz4LuB/QrEBdwNxMlop3xp+3rVdPoI/nT2MOJDQn9oxztofm6vIbZpr21cyY7q83921cY+Z0vl2ZxcsUd5VJl27TnjAQonu0Ccb3iY6jWOv2PvlUkgbu2vfCIb4ld2DOTwExyrq/yKt2Zsql7eOI0rXd/1d4/vutTXlpU++0svDwDS5Jbowjba2Rtuv8RYe1vc6xATV27PLHCLm4G7eiS/IO7B/IWF5QicqCe4gqZgJ/0UBTS1xzkSJ8pROEtBPYWblHwgHE9pjknOBJMT9JXXNwfWjkzOXN84eXURWcZikK0PTPSB1F0Ruajx6GK+5m3+2SzQUac8cFGuLZ3Yhf3VBYrSAEc5qh/jZJPmRcdT3/Tacmlj6QO1HvqpDzJLyZFF1pEu5ke/9JUGqK09OXqaH3tbu2ye4+KtifGNpW99IPPOnoF4fkVOPTm6LJjTJcqO5XFlnxeI9648AI8H5J3Ar/jazjzMiY3ZSzD1lO20DNQE1IAcF1i9z1auPnAP1F2pA1PkdAu0BWcAHgks2gMSJ3Gg4mq8024BOr5BMhBz7a6N04arVqc1Dw18iK3NCfF/JN7wDWS9+Z6gZK5AXFtzoZcP25zsffz15z//+eVJ3BU+IKRPIJ4+yqQLvnh1eHOIC7LJVLZ9bGDefp6b1le6FPh9a8DGgrtXGebNl9mEfdiJbbKVPBvm+8qTS7Y92x5dG5euXf0q16/9I20v2pMeKviUB8IAnM9ZC390x/WwVy5A3FwiaxHlM2untWU2CVyzTbzycy0qb93IS+/aSiurbtucabKrS/pu2bZJv3in93Ms7emu/G9/+9vt5Cwe8nc25vNITET2vDo8kLce4SAZ5eKCB17ftPgQ1F7+2J9dLXBucAyMHvGzXcG3TZvzcDDOFjBKUy5wNoGooF+bnRCZQCdAU88IOXMGUV6f0o1dPZ7M1pNTd0X1EaeDTWe+gU7Aggc0C9LKbSC20UbA63QGYAKdbJls9kg/czPnHIS+6rIDeXXlpcuTM+dts3XKa6+8wEJf+tORrgFlQEtXssbUf/bNYRfE6W8c/bOFtvkfu609y5NJB7Ioe2e3eLqVxz9PEO9naEA7AAfs0lfAfZa11uaW3djDhnXFDHyBmmAakON+ZtafXQ24yaHAu3Tvxp28kT4BuGD9pS996XbSBZJAxanaX+MCzgJxQU5QuiKnYm2cznx89tprr70Ecf5gTyBzKx4ADP7Bt/hGIL4/bQrEPRQ4ibsp8KDgup9ugCMAL9AXgNNZ8F2dqycfVV/dyavHz7rn5NlQW7oU6BfE/Ubfh4b8Of/PD9iLrYqfeLbDs21ybBqpR2ysrPzJ20f65nfirnXgQwE5/wLofnngjwIBcT/zWxA/wTv7njZae2aXbBMwZifl7Nf6nm03v+PUr35W5ird2J2o5bd9umzZyp716iJ1dGczsc86iLn2tutwD67FxDBQbATUbqfERvXKtLFPAHi/5PDwZx9/DMQDjA2cguNTJABFZKX1tRt3wWCBgpIm0CQoXl7dgoA6pIzDRQyzwCWt7kouwMOTaUy8Pqvb/FW6cS2QzZTtBLBOh4H3gnTgwlaARZ0Aj1envDVpo7Ij3ZsjnZtTOpdPt2TVS5fPtpVbl9Zm+6q/5kinnRt901m5dadnfWTfHHJBXBk58gUrczUGX8LZSLpAJxAZQ93WX+mUXv8fIA7I92R+ArZ8J/R460138zM368NGQNyTtoAK1AJxgB6IKwusXaMjp3DAHXea7yTuNI5sfldxvjj2pzT/8pe/3N5r9ztx1+mB+AbI0gVpp2Ig7qOzvk6ngzVtTuYVFRPMs6C2pwu6mo95eSdOPyBOPyBOv75Od6V+Bnj6bZmgXGAWiKtPf/kzuK/M1il/VQrEBfQCPvBzEvcdgZ/3WYsAmn3aP8rsBVQ9m7UP2XTT5OTtJfaVt5/la6c829fWHiIjHoi9Tnl8xzog6wnIfZ/gA0g3L34n3p/kfS6AZ7u1qfQC6QKkurPNruXWk6vf1vyUrX65NTFmJ+ptu2tW/8m2lo1RfW2qt/6+I2BbNra3xTwAzu/ZWz7qnXh1wDtStw+8QNwD4O063WK3yQqKgp5TwlMATs5mTa60wKtPfae8CQAEZJML7il/gnjllKa8em3qA68P/AQgZcnjARbeuIwTwOgfqU9enXGi+qyv6s2nDWHO5s4OETueAA1cBHAypeU72SpD1iM72nxsmf3oQ2d5829u5avPlvRV1nzwLTttmC3IqTO+ANP8rH16xs2HvqsPHenQE2VOiXNWOpAvAJkjvzEO4lu4sZNZXdQbN33YMKKX8iVl1ePsHsDGnaQD5Ee8k3jtyG6Z8ijgPrnx6WetBWv2Zhsg7rQMkHsHvlfprtMFVyAv6Abi5IEhcvL2IACw9YWkA3FfHPu4ykncT576s6Z9PCYIRQXrrk9xQCqoO8X7+ZErVyc4vtOcWkfcHK1joGTdzdU+d8KgL+DwoOKvXHkP+84779z+X7lx3BJ4wACEQKTgucH0uSBuXtrf60P9BvxkX4XXR8GdngviXmV4wOLXiG34vj3Mx9nrtBnb2WP8nq+Qk9e2+FBfxQLljbFc28Zrny6I51uBuG8TFsTNBXUzwkfMuYek1mJttjaVZhP22RNs65nd4pXXX/3Xp/qlyu/xe+OuXvoznrITxOX1cfZPr/wLiItx1qKYy+fF4mI226NAHNeGnLhZvXR7BYg7mb+w8ByAoxQwA2Q8JyJzJbf19YGT5Rw5JccxCUqnkMDexJTLUxoFLk20ySqPlEUnOMmjZKVz6PQw3tmeXGOlZ1xf6up7+7RJ2lzsGKjEBbSAbrkAvgRU1GsX6Y8dbbg2aTrIC4ScI93TUZk6883OylBlzX/Lkq0/XD/Gp0frzD/Mi575TLq23mzWunJMoI2kEduSMb65FFT4DtJvNsSNTYcomWxKn9OG2ugn4E5XbU4Q70o8DpAfUQBP/gTn+lDeGq9M4E6H5naCuFMzUAZsAilw++IXv/jyL7YB9d6JkxF0vVeuTUC+1+ie3oE4OSfdX//61zeQdDIE4q7IFyALSHgBUrDuj724XvWHWLwvdZ1uLP7C7lHxo7hgra259ecPgCOdzNMcgbh/Q+rfdToB+hlbvxOnX0GygB7fgCrAKu/Bwxyq33lVhpPXd4AkvaQdmWQb9x7XD7s57WlDFw8j/sqdd+Iequwbvswu+b69gPgEf2c7XL1yeyyZeACtn0iZNtq3f7I/rlx7+9QJke/0qoZ/uUp3M+Ik7mGvB6lsugBurvKBu3VSxjb5zmnrbHlVHrAvWLZu+t02pfVHBl2NmRzOP1ZGOmBvvZJXrmx/G54Pktl+6KCODr7p8EBuHYp3Yqy4B5DFYHtBPATK8M9ayIdRwNseQdrozz72UH77Oj0HscCcaenchCsjGG59dXibNYfjLBQHCJQ3GQoGFMr2pKZOWSAjfVJ1uH4QY6DyxslwK9d49bl1tcW3PdnGTMacBCwL1GZjvwUfwHIF4gFIAR5XdoI4e7IjGxoLSRtT+gp0s8PaIt13rqXJ6Seq3Y5lfgWDAgJdF8jNnT/RTV9s1lpzzgVx+dbGeOYkmBgjyqf0K61vepDD6RHIn+AcsCvXvnVobdg66iQd8MYD6XscwKtL/ooviDeOstLW/R6IO0X3sVfvKAE5EmABXifwQBxwawPQu0bHlePAEkn7mtxX5QAFSPrDFH39LQAJTnjBSiBD8gK0d6Pehwfi+vPgYS2tjfWK8hnc2pGxj+x74AHM6A00/EbcA8Z3vvOdWxAMxPvorj9GI1ieVNCNF1ALqvfkBeHamPOStlHlZz/38gviZBbE/bzPGq9N8v2Ama2yIa5enT2WzMnVVb/p9g7bt9f1SUbMBQ78gl/xp3wOqL/++uu3Xwl40HNTsyC+QH4F4mx22oetK8vu8crzN7z1UWctejhINt76kKldbes/wK1N/Kwvj2vTSbyHiua1ctL6U+dhxh8rEufYuRgs3kmLj9ZBXjwE3PaDdbBHAbZ1aW2AvBiq/hPX6QZokwmWJ6mLzsAqX9uCrTxny4E4DUBI+QI7HlF0JyIfyD7iAZGAoP8ANp6xVq6yxq7/ZPTDuFf1yej/BDl2ZI8AJVAOQAJz5QvepZMX1CP92XwBNlvatOx7Nd/sQP+1Ab2jyuPNt40tj4zVeAWTXesFcfpegbgx2Zdz5oC4fGtMj8YpiOHrc2xLh3yKDdjGuOya70kHznh6qW9dyADR5Ng/UF0gvgfelX/hC1+4ndTL13bz+m19G+MEcfqYizmxhX1gowZsnbYBtjQAdzqSBtYoEAeETsN4oN3DgFOWut6Nu/72+24g3jvn/WtcBSMBSXAqqCoXrMk6iQNyJ3HX38bkq9bLGlqz1tIcUWtprgviHjSAuL+b7m91+z/MTuK+nvfevY/uXOMLkAXf5RtQN8juXKTJFczj27Y+9YECcbyyZB7xE8Tp7Ubhn//85+3nfezFz9nJHsj/+YKy7Mdm2VRd+wCXvyJt1QcUeDHLWNLGw60DkKAPv+rhkJ/5ANJa+EjLA1vvxDtxn4BeOa5ubSed/bPb2l16y8+1Udd6JFdZ69J49bty0pWTr66y5caWT0a+PYBXfo/r38eLYqC1EAdhSnjD7tZEvlhIthsRJ2+xoPgJ1MVO6wTEyb3IUSwkByloxtt05fHKCprylVcmn3NQNKKwjZvSFG9SOEeiNI5OEG3yy+8Bk/LG2n6S14f09iWtTaB21tU2biO0iSwSG7JHgCF4AwpBOrABfIFGwT1OVj1ZBHT0x5bGMR5q3dIDp/fq3sYNkKtrbq1F9VuuLrJ2xjQ/62pu5kPP9G1+6tigwJGN6WetTxBvjelmHPMy1/wxX8P1S4eCVfpkV2OnW3ply8AbTz4ZvPXY627pwPgeB+InkCfrlB5Yt76BOF5aXSBuTtZhQdz7bsAGpKUBtrzT+AniZAA1MEQAu5O3tPaBvGANxH/zm9989I9//ON2Et8P2wqUgZZgVkBVB5x82AbEPQD4Ot3vuo1hPYsBu57FCWup3L7kE4KVBxY6m1N/Ox1w/OIXv/jor3/96+1drJN/p3DgcBU8NwgHGJ3ImhO+89lArc/tQ752gUP8avyzjJ305/SmDrC5UWDzTuK7x7NXe7x8NpNvHxQPcHuuWNQewe0r61GM2H1NXr98DkAABuvXdboTuW8vPFQtiHel7mHKjcyCdmnl1sj8s1dpdlibr723fG255dYDVV9+uTr5xl6eXHosOC9wS9ePNtLtgeq2fvtVbs2/+93v3uxvjfh7MZHNWxexESmzXva//eA7ETGSnHprBMCBt18R2DufCsRtxDZjQba8IKpMnrOtw0inuImYUEE8sFTWhJbv5JNdnoOabIZRRkY/jOKqAt9+0ydZ8tvXjlGd+qjN04azIcyfHQCGAA0kBOnoVUA8YMqexjFmtly7mLf5RGSyx3L1rUuy8cpxzhQ3prHN7wTKANx81Vl38sZMP7az1pyup0n51oM9A3EBSh/Zcv2JDgUqcih9evDJzgF35YF39fI9iPyvQZwPoMAbb0zldDFP87EWbMNONjLQdhoSUAVYJyQncYEWmMuTAX5kpAE1Auh92Aa0K6/O9bcPx4Bkf0zF6bq/2LZBuCAmOAmI6gCqk5mP4vxOHIjTx9qzP7+1jtazNZU3T2vZPAUkDxsniLvCpd8HH3zwEsQBh7ERXU5aQKCnfCCe7vgGa/kCcFxZwKFsQaA0madoQVw/wC0Q7ydm1p+t+Ha22nRleH7PfvbMkn2HtEXS9vC5v+WtkT70KQ0cvGP1IAi0kQdFfibt1YYP2zy0AXGvXfgJH7AmAbr5lQ+0s1d5dsi22XnXLZu2FvhZ1toqP+XqS3ljx7ev+iQfOKcXudJn2/qv/Y6//Uv7TqS4xe6th7UJX8RJZB2sJx5mkZGHW9YIsPd+3G3dK4O4DYg4HBJ4CrK4gFqec+RgKU4ZATulbeIN9NKBrHRBPpnA08SUneX1nxyj7XjaVYfnzNtuZaQ3v22lza9NY3OxjfkHIAVvYBEpK4DjS+rI2dSIPbOpvjkDWxr7nL85mM9S+i/XNll9tTa1k2/dCga4sc3RutPJHOkKFKWVqSOzOu5DFBBHHqj2oYpO2hhHe76Tr+Hyxk8vNpdHxj2BWT67sWP1+Op8tSZ7Gu96/B4/T+HJdRrXl/XND1r3QLz1DvCyHZux04J4p3FgLbg6rQL3rtFxIA5EgXdADbwBOd4JXR2wB+J+YuaDJR+29WdXnbAFIKeqDbzKBDQAqk4Qdwp3NezduoClX77E1vaC9TOvyJoFMHzYPIE4HentAaV34n6b7CTuD2a4sncNfX6dXiCNF2ALwPgJ2JXVBje3JfPc8gI5nty2v5c+QRzAsfPf//732ynN3NmKnfg1X8/fS8ezYXz3g7YnVd+eVq9MXgyQtx72H0CgizUA3PzLKRw/Qdw6uBXxm33EXwJ0oI7k+Un+w27S5dkwm+2atW7qsnn2jldORll5vH63n8rIt/Z8ov6W1xc9z/7rB2+sbXum2cEfLbK29kRxzv4uDoc9xXPl0WIPLATiAXi/F7/9xIxDGOQEZhswUkfmpK2XLnCS53in01COYikMxE1IHpffsl70q98JbR/SW5cB8HXYK+Daduqj7WPTjRVvcwQ+7MMGgjLwKHgvX9A+0wX1BXF21a91Yk/OYPxs2Bya384hmfgpm30CcLw5GatgK41seLrQyRwFnx420lMb/TSmNRQgUOuJO2mWp5dxsyPfMU4+KW/sghI5eTZhbzr0IEEndOZbl4BbG3Ly7L4A2zV4oHyPP/Vh2z0Qb92Nnf3M1XzMkT1sWicjQRWAIyCNA/H+YlugDTwD9EC8K3VX6ZVJKyfvOh1I9mdXnRALzoJUAVcwK6ApC8R94ORdtb/25idmHgo8IFj/YoY5WStrFvEl87TX+YFrXO/p3TR4MPnyl798+4cbC+LGAX4Aoyvb9Fq+gOAEXjAvABfEK9d22zTPDdIF9i3bMR+l2Uv/rlbpEIi7XXDVau58tbXH+X57AEfKT2LXpewbV5et2bt9jNtv7Tkxzjq4pvWwZw34lwcqIG496PrHP/7xY99OuLVxIucHgbn1iYDYXqvnN8qsYXZb+++6ZPcFR2Vsmm+uP/bQ2VrXPl5549Vv9fUbV994+MqbS+3qd31HHZv4nsC68XUx0d4o7kmzvf1evISDUeXy4oEH3vM0/vJ34gVMgfiK2pDklpJVL32COGfKYU5lKU2xgFva5CqjeHmyJ5g2aRNFW99YeHJ4cmuc+g4EGRbJX/XZePgCnoVih0BlASKQKHjj98oK7GdwZ8dTr51T+l/p3TySSW8bW7o54/Jt9sqTFxTMUdBJT2lrr1yw0dY41o9+HM9TowBhPXPIBfVsyV/YsQDGlqi+C04rY3xEBrEb3dh/09UrZ/9k8NZir7ul74F35Z245fcEL61sT9w7Rn5AF7rvHNnPetkXfkYCFANvXIAF4kgaGANlIC0NCLVBAnIADuzVVSbtv4T98pe/vP0xlX7CFYgXJAUmQc/JRVpwEsCQ4O13w67UvRP3YRtdrKd5WKeAJJ8qJsgDDr7hxoGe9AccTn4+bEs/p1ZjeMhwwitwBwLLC9B4PxMq2JLral29fHNTXp3y2py8gF37HftMk6ErDsT1BcR9ewDEv/e9790e1OwfdrHf2Gxj7D0QrzyuXfYO2NVJ2+dRewi3r3H+FkDwj256PBQ6lfvDO3T18aK/CdBPEfnKAnlgvid0QN5DV1ftylD2Yp+lytkr4MTlW/t8UN/1y7YBOdnGjWuTX+tvb2jIR43ZeNtGnfyOoyz9pWvHNuxnHexncdEa2R/FYjFSnbioXD7Ari5MJNfDlhO5NfsYiAfCAor0c6jAGOd861ScBHFOSlOyIC6gU4KCEaXJ4eoCAnltOVuTr0/5JTJkl7TXVyRfn8oyon5W34xHVr9L+qeDzWEj2CwWiC0EZgF6CVicVDCPC/SBCwCyBvosABrLmHQ03s4j+1RPdm2Q7tmKnH7rc8uVNSbe/KwtnZofHaWVmbf1J6tvugFuYG0tOd95Imdf9qdbehvPnPW1IL7BSDpfMy45ekT0CiCV5dPJVU9mQbx1iHciB8YB84Kzk3gAjj8C9frSd+ssTQf2Mx/zsrZswl7eEwNj4BZdAbkrdiDuNOtaGpACacCNBOauq9XJ68/1t5N4IOmk20/MBCnBSEAtMJUXxARMsgDJO/Hf/e53H33729++6cuX2No6mhOfiNbnrL8rXDcOdHfL4ATod+IniLtOB+JOeQXwgv1zuCC7QC2/Qdwcm2fp5/T7lEw2I0dvgMPOvkMAjPYIG7ELbu8VQ/Jx+06an+xeI6eObdunbF4M1l/251coWfutPWe9xOMeGvmTteA7/M1p3IdtQNytS682gJQv1b0jd8XuSr7BpwAAIABJREFUX8UG7OqslYeukzqpB3at54JtgMvX0CmT7PJk4oG6PDn5yowdtd7lG2/7lrZ2S+Tk1Ulr39j69JNN+9deEIvFRHs77Cjmin9bT4asNREHkBi61+nF0hcW1CJbdA6xTiL/qrROdwU+lKUc0CyAU1g6QG+i5ckGsupMNkCKZwy8spXLQNrXhzJOrU31eGljStdfvHp62wQ23dqRDSzaAnhg8VwQBzLIemRHYwS4xrVp0wlP9/TbeTaPtVN91Ke6NrUy/Uc7PzoBxuaEB5T8hb7saswAvAe2HK+1zQfov7bUh77YEjfmGazWZwNvdo8qSzd9qJP/rCAOkAHwCeIBeUBPbmlP5nxBHqeXudqL7MD3bFzA2+nUCRXtKbwrdicmIO40iwL+gFyZvgJzgCk4O+n24VjX1U5TBSoBaQOcNPDDBS6yAOlf//rX7cM2/XlIsJ6tn3WynkgamSffMk8n8a7T6eTk4grSX5NznU4/DxkBRydxAfMpAFVP12SB9gL5/xrE9U8HHAn07OZhBIi7ol4Qb4/zhXw++7UX1q6bJkcm+fpi5/b4grj93v7mc/aohyk+0yubuJsRuv7hD3+4rXV/UwBoA2/zQcAcqANyvCv2E8TLs0cU+OGVLa+e/aKrsnwX7zqfvPyCuL5rLx2A443bOPHtW1r7+qyvZOR9BGgv8n2x7ozJ1kCZumJh8TvMq05e3HQC97BlzwD1FxbRYhuEAyxxBk7yKpQT5Ug9BRrnBMyeSChNwQI8Z+oJRHnU0wl5FHDh94iRqqtdXPmpE4Max5iMR0Yfkbz2yWlvg5hnQYoNBOUFigDvEYh3OiN7gnggyo7NydjNLZ5u2ay54udcAk39SEfNqQ2ej5ijdV0Qp3P6mjNfIacvNrKO7IhzQGvM8QL3HJdu6WOu+V5jFqzkVx/lAfOC9QK2eqSs8l0ba2Ienb6XB7rKpIEz6lTt5F1e2VmvzT0QN6Z6nO78xtytL7uwkWtm4Ay8XZ0H5MDOKQl4I2nBV8BAgTdA9RCAd0oXAAC6/pwE/cTM1a4P1ACywLuBSFALCPGASZAiG4h7J+7rdA8M1tMaFg92bxQbzNVeA2J92BaIAw3//KTrdD/H6qtogZke6CkQT++CdIC6QO6hJLBP/rn9PzW+cfTvKl2aLQECm/l78L74th/YIr+2/4rHOJ9HlWXT9oZ8+2D3oLjEl/TXHscbS1173N6zR08Q5yNO4T7O8iW934n7mwJ+yeBK3S1MZE4AHZBH5/vyBfUF2EAyIMQXZCtPLr7lfBag6hd5UMCVbZ289toqLx1wL2+cePsirrzxKusBRd6rB3vPWngoF4eL36Xt9WKiuK1c7CwdFlVGFoBbKzd1NxBfB+EMBcyco7LncG1yshwwp+FAJpCSAWHKmaTAtQE/4CajHQqw6qvysy5jkVenj6XKjBFVv32W3nH1jQKeNlSBa4EOyN0DcQF8CaAEigK7fvSpf2TTNR989U2/6tWlO648vdN9N7i5yHO4NnfcGjZHOi0IShc8rLn2xsv5AnHrywEF7ei5IJ5P5Ut4QS1gXhCnj/yWkVvZ5vAIxIG39VkQX+De9D0QXyCXRvVbmi72l3lZJ3vAXrBRgTJw69Qt3ckbeEfAGngvOXlrD1ilERC3+T0Q+J0y8F0Qd9UpOAlCQCegCjQXxDuJu04PxI3Bv/Jbc4rWj/kJH+kkTifXuK7TO4n7iVl/Fta7dyc/QbMHi3S7xwPlgr12QPX/C8SBN3stiLMr4POLgBPE2ccezE742o5NEd9Xrv7cB/xImb3bfmbr0trJ87P2vPXic+d1Op8D4v4Err885sM2ty6dxK0J8k9wXB0D8k7l0p3MXa0vAXNg13X7gm2AeY8HlvFOwoFpIFrfgXn1gXo+rp/G4ielt76x8MarH/0ao7peFSj3qwp+zeYOMeLixl5p2KNOfCwekit+Fz/tFURO/LRvxNNPXKcvUH8eIE75nClwCTBxClFMmhOhlBbEAqm4ySF91V8TbtLKGQdV15iNVd5YqPL6yNCNt7yxG8eGsJlsrmwGLABIAP55gzg9m/+pz+ZPvbNL87OJI5u8jR54xwsY5mhuAaB5BZQFD/Ywbra1pgvgnK+fSZCxFnQuoBizwIRv0EpH+rB1dg+cgXcATrfy6umXHJ2bw2cF8U7lj0A8IF8Q78EApyv9zJ3tspnTM3AWTAPx0gAPoOOdxgNyp3fgrT1QdfIG5MoFlQDz7bffvv33MSfdrtMFpIJZgBdwA0tlwFHQcmUKkLwn9U7cydl41tJ82v/rR9J8hIzg5RTuZEEn8+j05504kPPTNcABKALxTkv3wHvLAfcJ4uYDyHHzId/puweEHlq2r1dN138PDfoW/J1i33vvvdt7ZoGYnRB/L55UtrZTjxbcq28vtF+Sibe39WuM3XPiAZ87Qdxa9EDlgc+fv3USd8IE3l5xRPKAnD/gpYG6dQPondRdtwPyPZkHioFooLigeaYDzOWBOL7l0soaR/+NFW/MgHnH6yFgOflTtjGVe1Dj29aMr8MZZI9bt+KxtVgMFN/tD/XktbU+CC7yGTFV+SdAXJAr4NmEAuUjIrNElhPlSG1YylCcok0Ep0yBXD5AxXfS6gLe5SavX5OO5JUbU1nyO25pdbVLFq99hpSvXpvaK7c5bAxzZosFCsE5AhYnPTqFAxp9cYA2dACZjoGaudLF3O9RcyKLmlvpNrkxCgxx4xck6NQDivkAw3S1/mT1yU6tY45nvVFAbo3JNB86FcTyo3xJeboao7HY57R7AA3E6Yvy0/RP5hGId1IOcM/r8q7SA+euzrddbZPZutafj9CLva1fdgO+gBdQB9ZAvGt1XP4E8T19A3IA2dW6PuW1888ZfKzkJC0YC7gCXSAJfDpFBnZ4YCQwC9aCun9FCsSNx5fM5wSc9WNrLRAJcsirA7cK5uS9uNOfj6lOEF/9ngLVHjjoGzgrC1zj/ysQz2YniHsg8YdTfAhob9hbaH06W+0eZM+1qTr7ojggr13AjZNXlkz9sn99SwOI8zrdKdyX6T6A/PGPf3w7ibu18XcBXKnzGb8aQNKA3AMKMkcE1PmVk3nAzm9ctQfiAG9BVRoFiAGwtV9yExT1UFCf2khvvbYLzAveC8j1tWNJrz7S+qoscG9ceQ89fNs6WGfxjs/b32KZmMz2SAysHr4U65TLWx+x0wHISZys9JPvxDnVIyowxskWfHOegm/KmEAgaEIBqXKKVh9PNk4+yhD6rkw6IJfeurOPldUm+TWuMdTpX3t6ReTV2xiBeCfBQOIRiAcggTvZQLFTJDvuZqMLsvA2Jp7udKRTgJ0sXhl9kXaV1Ze1aqzlBQZzDARPXZUXhPRPD/bibBwY9fSIc0jcmtObjtqZk/HMGwXiyuhJhp6rUyBOh7V/IJ5/JpeMObQGwPakTtmA9zxpk/20IB6QNzY96M7m7MC/CqrAF0gjQA7k+nmZk1Ig7hQeAX7tukYH3PLAXaAGtL4A97+6vef0h14EYMFWEAJ4gA3ILYgHgOoEQCcsQRqI+5eL3okbyxoWN6yfIBaZo3rryDc6idOL/uYHPJzE/eesX/3qVzfQoF8n8UD5KRBfkCab/oHr1v8vTuKNw4aoG4xO4l4XBOJ8nQ/k8+zFxyP59sTWZU82bf/i8u1h6fa6/vSDV29f5W9ex/CpfmbmYcq6/uQnP7n5ig/yALk1950CAHeLgwJyaxUF4njA7kTe9XpgDiQDwgAzAI4HrgFn5cv1F5GXNhYZ/QbixiqNN3Yg3Fgn37HIlpfWf3lpD7b823oAXjYW89CJRfZ8dcXEMC3sETM9FDgEFSNetOg5iA0XWeg24j2+wVGa3LbnKMbYoJ7y8YCmCe4EAtV7PCBS30QDBE5b37XPKJsnQxYplw8opLdvhqO3fiona57mHYicAB5YBNb3+AmMwMY6sCEy3/S1MdOPTummjJwNKh21iemLsl3pDQJt7rj58ZHm2El8QdLa01UbY7UerWuAnfMF7jj92VO7dC9Q6dO42UE9oq8y47L7SXRb/fLV1qg5BKQngMvfA/FA+LOAuD7yixPEW0+nU0E14O7nV644gTAQd6XeNTreR24BeWCOu+r29I4Lzq7Tvef0jhOwLIgDINQpUhroyUs7rbsWFZz7Yy9+J05n69PaWLvWsnignl/yjV6tBOLmZG7n1+kAA4gLuE+Bd/X0DajTX149QK2uvLJO7NL182m5MZHfqyP9uNpnM1etJ4jzV/7MV9ls7Sa9e6E9iaP2avG2OMDW7UecbPupfSQGWIvzOh2Q+0Mv/igQEOcrQNyvBXrwA9wA3IeRAN06BeB7El8Q52eAdd+ZA1sAGOjyrQX66gPJBdfabVvtK5dWB2gDbqANaKPNk1uAbkx9LClPz/SpXnu3SACXnYF4MVEsFPcC7fOQow514g63yHkoAObipfwNxC1qzmFxlzhTddICoPoCZ7LySJ58DijQIpPgKJzI4AWpuMAeCFVWcN+gryy5QDRALa89hyRrPOPu2BmEPEfHlzK0cZSns/6QNvXXJmgDZUt2AhIAQoAOnBfcA/JO3uS3Xjqb6pcd0xenl3marzxdkHJzoL/yZOmcTOuSbapTbi7Gs4Y9PFRmbflBupoDPc2XrrVJB07KETkyx0PSyhbUzYHO2tHRuOmgT+PTLT3l8zE+l28uQKdXZYE6Tv/mkM0XzAEs6no8Xnm88njlcQ8CXZm33svJqW+tzct6WVf2cWIGzH3MJu00HpgLsudJfD90I4+cjoGrkzkw92DgtFtgFoQFWUFVUANggXf/Q7n/oxzwASeBSzvvrH3YBsQBgbXLH1onZeZnba2ldba/+APd6AXAXaV3jQs8/E12/fe33QVbQGv8dMTTK0Amo6zyABUPlD2IdKoPtJPTTtmSdurV9TBTX3jj7ZjJdhp3gwHkfJ0OxK3zxlH2Ko5Wbt9F2RNnY+XZdW1rr7A5W/OpYhm7k1dHXp6s/QcgPPzxN9R6+KXAW2+9dbtt8df9vBcH4h7+ok7iQD1gVwbIXaMrA/IBO7/xUIb6WVqgDRjRWQcgA9TlypPXRlpZ/eG15bMBtwcq/qQv9VsnrR+6pR855UhaP24VPADrR7nXBunjOxFAaw3EY/EPX0Bnd/vdw2ynbG34BflipXbwxxrZz2KDvfOigMkhOMM6iHxOwpkEQ5RjCZylyZWunxyoDctRcqaAOrClnDRF0ZZvnXZLDIAWhKW3PBBr7K0zVgCy7eozUCngKFemL+2Um59N0cYwf3YKJALxgnf5wAM/ZSvTT2ugf+MZPzArLR+lHx2jlUtnetcmrs7Gbi7Smze3BfEeTlZP8sZjH2uXI3JMtCDeWrI9XRuf7+RHfJI+6UtGPl/ldwvidAmopct/FhDvXTjui/Qo8I4H3vGnQByA8wvrbQ7mxQ7ZzbvrrjeBNQDvqhPYAXOndOWB93In7j5w05c8IHc172dD3ol7Nyu4Cj4CYCAOfABPII7LB1BAS9ASjPsHKEAXIFur1me5dTVHPkLG/hOUemcfaDiJ98deXNM76TvhCcYCr7EDbvpEAXTAu+WBczILuld16usnroysfp8D4qe8Nk6C5gIMvRMPxNtb7FU8VXbS2lNdYNw+XftKs7M9Y4/jm5dWbv/xObch/IdP8TM+5ud+rtP5ilcvncL5jAcrYI6kncYBNyoNtIFcwO4BBqijPnTz8BhgA0xptOUA9aTAlV8EuLUNfJNRv0DupMzX98S9AB0Qpw/ew0DjkaejuehHG7cMAF65n29aX3YW6wAynxcH2VwdrMOBuL1AxlpE4icig/f9iLWyb54EcQGS03CWAqIy+Rwt8I6r0yYQz4EE9oDSRBDFIkpXHoinvHzAihf8pZcCg0CLXO0au7xgqX/jbh/S6gK2Nsc6v77oREa5zWK+5s0ObAWYAYcALVB3XVvQVhcIkpFWh2ubvdlZv8bIlumWTtn2nL95IPXZpI1cW/lIWfM9g4O8tV0Q72HDXJSbu/bGtJZsFHizs7XmpEg5GWtEb/rRY21p3vmSftNTOn3YJ1stX9CuvDL27cFpbQ9UrdOCsHQgHYj7Iy+ocrw2y58C8dafLuZh7mzBTh52bFQnI+Dm1C24lg7wcKcmQN67c1ww9sTeR249vXuCVw8kBWYf35wg7nQKgDo9AvBAfMFL4AL+fZ3uj7MYh3+2H1rD1tEcrR/iH4KSYOThogcUIP7Vr3719k7cT8wAh+AvOAJBHyEB1gXfE7Dpf5Ylry6APcuUL2iXxmuz/dYXXjmu3+qkq3NiY2/X6X3YZl8VU9mp2Lq2k04uzsZrT/loy7O3MnvcXhPnpNur9iTf4Ev5Gm4tPJzxFX/sxftw6+0EHoh7P45OIAfm1g2QB+I4UAd8fAfoIYC+tGUA8SSyZJQH7oBWvn6kF9TJBcR8SRpf8A6gt8/tI1DXd7L0AODqjK0/8/PNibhnP4h19jSft7/ZXQxUj9QB8mKjOrIwSh0C8mICkrZeD6/TORJn4RR4gVCglg+0lytvs2oXUJgEpTmOoF2AD8BxEymoV28i6kwmQF7AFfDKVx8gGHP7bGw8GQYjs33oh64AQx+4TdBc2gB0vAIe9mCrBQrgvNeqgR9+gkggDhRbgzYffYxJP3M4bZr9qouT0675mJP5tLmXG6tAUHll1ndB3BwDRnM2d22Ma83o0xqzM2JzDrkPaGyuDf3o1XgFMfrod0GcjPHoY2x64Jtf3dQltwB+2n9BvDXrAWwB/RGAJ/8UiPdARy+2NT++yGbs5FS778QBttM3knbtXMDtCjQwB+JdneOBOO6K3btO1+kCs4As6AhWTidAHGgF3J3I8UBcPUAStARwV4dObJ3EzxhRbLBu1tI6848CE73o3Amwn5j5sM3Vs+AvUBZwncgXWBcoA+aAs3w8cNUH6lq9/qqPK9+6xsKTwRtvQbwxqwvE33///Y9dp7NPD3LZqn3YPjiBXH323D1TGRtHbK5c3j6z36TFBvvSOnjg86DYDY+007jXJHzFh1oePjxUecXhtA24rX/X64DbQ4r1wntHHogrA+yA3C0OWjCXjoDjgnl59drJL1AvgJ9ADmAXxPlSIO5hlF/JJ1d9oB2Q4/o2tjptjCutXNqDgXl+//vff4kv4qEH1uKgfR6uiX+wTly07xFAJ6tMO6+pgLd94qFXXvrZIM55OJgAmYMJoNJIujzZnK/AC0A4DWUpHjUhPAAyOXLyWy/dpPUVkK389kFm2+gzqn0PCPpQVl/SdA4wA8HGrL18IN8GYydBGVB0sgbMJ5118pUBH7Y+QdxYNqBx6Zp9sov5KY/oma6B+AnkbfJ4m71AUN6aWmt6BYKBuPkq5wPkjUkn68HGPYzhnHOfOM2B3mvLDUjsigpAbEBX4xjPuIFzepQ/9dvyHqAegfieqqUXnKWfqn8KxNXzC3MwP2u0NnP9HbAJqAXYrtKBeAEX+AXkTtqA2gMA8sQOXJ12kTofx3nP6R+XCMBAXJBzyg14FsQXyNUDNbKCliDu2ttPkQQcftJDVWtirayjdcuPrTvwoFsPF+ZhXj5s6z2s37E7zQm0HjIAIdC8AtbAcnnziQe8AfgViJNN7mqssy8y55ib9/Aj7yZBgAeGfpJnn7TP2z/tveIo3j7Ai7vSp4x8No7b86h9g1sD49h39qB169Ynn7IO/i1s1+l8xWsAIO69+IL4nsTNbylAJ4/U7bvxgDxwlj9P6kCzenUo0Ay8A/kTVAHvPQDvoRBoB9SAWbky7RbIG4su0mRwbZXRQXsPN+wm5rGvOMjPO7wUu8Mc9eqiYqR16fQNvMUEZL/Yy09ep3OWnES6jch5crwcKp5j5YicRXCi7AnMHDhSF/jY3PLVZQRcHZCoz4yg/CR9KNt+y+tj6+URp940+dVNX+ptirjNYt7sc4I4YF7AkA6wA+0AvnwgLgDq0xqwZzY1Nj3Yg42k6c0m6Z+ezal6ba1J66JNVF2b3byQcelgje+BeP6grTHpxW6ceJ8uPUEiTroPUcY2lnHYMjKmNB0KPnSXVpe92WqJDU8Qp3vlbN66SLP9eZ3eu/BHp+6A/AT48p3md81L3wNx68puTkYAOYDuZOSKU4ANxJ3KyaDejwNvQVkfgodA4ESuTJ/edfoDHk5XQFzgFJAAGsBBfcwmHYgDdgDmtA7EBS8B3Ado/hWpkwM7s+na3zq1jtbPevOPThQCEt3NhW6ucOnX79id3ugHBH0cBhAD8QB1QVNZ+erjgXP1eHV49ZWVj1e+surO/uSzJS4fiDuJnyDOn/l1vl7sjbcn7vH2in3ExvrZfc7m+m9Pq7f3+Zt14DNudjwk8jUPer6doKfrdGsRiDuJW3dX676JQAF5H7sB607m0oE+bj0D4+VO6AjIK+eXkfzWd9pegA9cAa9yMgviABYB507g/GqBWr3TtHJygTsOsPVLp/ptjB4ylLOFX4AEymIdEBYLA2zpYrj9vgBf3DxB3B7uFRn+JIgvgBRcLTwnslE5zVLORZZczgRAgKHAbgJRIB0nE2g2uerwBV0gVV6bBS0ggs6y+l75ysjm5HjgZwxUn7VNBjdPc2cvdgEmAljgfI8L8AF3gILvKeZcgzYefZtfAH2CePXNRT190W7uypUVRFq/Nrw1tdbmZ27p2wNHempvvOzGMZ22ckaODFTkOap1zfbGzM/ypQKTcn3TMT1PmwfiAfXaEoi0NsqtSXOQvgLxABpfIC9dfYAdD7jlSwfcJzc2fdnP/NjC/rDBF8QBdFfogbhg23V6QA8InbQD8E7i7L4ncUD55ptv3q7BBWLBUfACkAAJQAbigZH8CeKC2j0Qbz3YvYe8YoO52kvAw8nCXM3BKdBVv/frvt52Td8foxEcgaATdICKA9MTQLdsQXeB9wTYqz5W/hzzrLtqf5a5SQBs/mLbfp2eL9tv2ag9gCs7yX7ZPcOH7Bdy7Vt2tt/b4/IRGbGDvwXi7O/hkF8BcWvhROn9bidxf+yFzyyAS/eBW+/KA+6AHLjzFbx35cB6Sbkr+K7ht05afTKBPPAMQIFr4C29oA6Q92Tde/EAHF8KwPn4+cBg7GSNIY3TEWcPdgyMxbk9iXvYFRfFRzLyDjYBeRipzNpo6/QdiNsz9vaT1+k23jqENKfhVDbmAvgG25yLkwi4HEVQB8wph5uYsgCbTGUmloxywQ0FuuRQdQFZDhugVQ5YaquNdGBjfH1zbnPEAz5ySH+ovH61UWaebUJ2CUQCuwAi0AYe6gR5dYFJXJ0A2OlF/3SKG9vc0wlXRue1kbSy5kIuEA/Id0O3ttZSQDAeKlAoN7/mRV9z3QBtvY3HTuwMjDihkyAgcbXLGZX1VJp96ZLvWAc2zcfyw0AcX5sHGNn+ypb0JKfuOSAe4AbE1msBXTrgjieLKytfX8vXjvQyR+vI921eG3av0wVYAI6k0QniTtk2N1DEgXpAzu6CgX4F6DfeeOP20zBBWdAUrIAMIHfK/vDDD19+kQ7wgDgCTE7sAFUbActJ3LtTevMdc2PvpUDGujVXgYxP0LePqrrC1Z9+BX5XsgIl3TqBB+DANLCUDlzPsq3TVj/1VR8L7Kf8gnhjb1nj4elQH+Wd/oCYXwX4i3SCNnvky/y/WFp59mKz9gdeTJCuPRtLK2vPkNt9U4xUbq/yN/vTw58Hw/zLg56TuAeq/bDNegBm3NoH4ObllI0D8kC8K3Tl2qgLqE/e1bu20uhKpnIPn4E18JQO3KsD6vyU/3gQRPIeWpVJKwvk5fWVnPby8W4EyJOV15d6ehmXTdxmsK04J8axsTy8WdDeg479Q169NuoceOxb+8Te9TBuL9vbLxaEOE4bbjfbVbl6spylIBvP4XI2zhPgBTAmQbkCfcANtNWhQDqgBgiRdggoLWAEzvUrr708HXJkehijfq7A7l7fZJuHPgNGG8Lc2UUAAxJ7wgusC9ydwDYfsCgDRqct27inbtmILdRF9FOWvriyBfAF6frfTa6sdW7dA0pzBT7yOB9g49YE55QcDoCj3udwzB7S0ltb+gg++Z0x5dnXvNJ/7d34+S/7AU+cXvpI9/TVZtcnwMWBs6v00p288YBb//JkrK2+6k+ZugXse2ltPBiZj7nxSXYBbp3EBQMEsD3dA+ACbacmG7qrd2kncZtdHza+vCBdmXZA3OlKYC0QOZ145wyIArQzDbhcpwN8pyInZT+n8R7bw5mHJPNlY2RdrKc1YH95fmV/BiAeVswPcPgyHXD4MMh1v/4FckGTbk7iQHH1ct2/RHf1j2gBOFCuT31V1ljqAmV19V0ZfvYp7/bCw4+0Bx+B3tW0v0hnrfNvNrEH5Isl7KZ896G68vg+bEu3f/Wjvr1jn/ExYyhnfzEBtx/5D7/iX8AcuRLu1YafmPk+AXknbl2WAmggLb0n8OQAOYCOAvzK2UY7eSd7DwCBuDrt5AFlp3KnX3k+jAB5YC4fADtNB9jAmwzglQbCgTo5bQJzfRvj7Lu+uk5PH/16XeKhNJwTBwFzoA6oF7DZH5GpTn2nddze3e9b9H87iVvMnIbDLKkrgCuXjuRrdyWTA3EozsNZAhOOS1ETQiba0wceFeQD24BdXp8ncVBl6jlmFHgFbjluOtWP9sng24908vqly4Kh+RakgMcG9QJ4p8NOguRKJy8fKGXjNqnNaAPSM13SETcPdUvKkq3e3Oi+/da3/lF5MuZGlwXCALJADYjIrd3o1EkLgPc0KZ1zWmNydM6exuR7xkT8S55OKL80HkBYHcoHjgsg3SJk69ap9YkH3vGr03cn7Ee8/uKNi68vADZzMn9rZU8AwwVxV+mBOADuJN6Veh+1kQP4AjICjj044WzfSdz/iBaYBV0BUlAKJJ1QFwgX0IEREHeqFNwEW3+dKhBn1/wj0LaOrU2+Yh+ZK7/wgEFv8/H3ugGHn2D5IzJuCgR2JyP6OY0DsOTjAAAgAElEQVQvsKYb4C2NL7hepa8Ad/u9arNlgfiC+9anQx8Ishn9gZC/fuYfvAja9lv7UTq/t9/4Pj/H2Y89UTbkN0v2jr7sp/Y3bt8oR+3vytqnHvR6ZdPDYb/X95GhVxvAyV9t804cMONRJ3IALr0gLo+As/IlQN1pHUirkydbeQCuXpoN49IANDBfQF/gDdwDeO+8A26+30m7elyfjdUY+Dmm9sZtDOtrn3UgBchwTh6+iX/I+quz35Gy8slopywA18ap3lrd/nZ6C50jFLA5kjrlypD0WZaDcbKTyHIagYmjIBs3EMejAP3kwLL20p2gOam+1AUAxgIiwKqx8MDrBDRtkfJk9KUPFFjj+klenh5tCPM090AcqBTIBGxBfAN3ZVcAXvCzSdvE2XHn17zpTbf0ay47r6u56Uu/beTm3Aa31tJkWmM+cTVH81WuL2NlH+vFMQOPrtQFbU7JmQNx42dP/WTTfIoOylA+ia8+BTf6sG0AQgadIN46WY8l6wXAAfQCOTDfkzi5U6Z2AXd81z/faHx6mid7s59Ny0Z7xQy0AZyTUqfw0so7rS+IA/C9Sm8dAnEg6XfigiUgF4B6Jw5wgFBAteAYiPuCV+DSHtgCcacJ82JrtGsgX5315KPW31wBiIcO83Cd7iodyPnq3alPwHZiCsTpsICbfum7YPooHZCfV+v1XdvkyjfOFU8XDxXksyPbevABAIK8d83iCD/m+/xe/OEHiI3U5fPFmPxZXUQ2eW2LidLtG/3XN24/K7NPrZuTnlscvuY0Dsj94sCNyM9+9rMbiPMXIG7Ngbi16VQOpANw6QAYD8T5mTyOAmpl+eGWKUc9ECzIb1mA3mn4Cmg7UVcHtE9yAo8WwOs/QKfHPjQAcQ8MxqDvO++8c4t94rI1BsiwTWwU9wJsaaDM/pWRFSvlcfniASAn263mi4J7wdNicwTOYoE5yDqH+gJscgXZeI6kLVnB2WYNaEzCxqU857kik0aCmXp66kPZBn11+lUfCHFeeWQsvDKyyvSVXtJR7WqjvDZ4cpWT0495mncg54m5U8cCdaevQHyBoyC/IC7osWt2bB7GpYN1U7Z6VZe+zSX7LNceVZYftMY2enPLJwJDwdh86EtP89feuK1ppyzgwQk5Jc4xOW5PpnTUtnELTI2JK6NPuuLK2BxQ0AdJl2fTQMN6BCrJ4vQ/12FBvJM2cD6puoA8AN9yfdV/9mr8wJxe5sIG1pJd2CgQD7wFVgDnyhmAu+r0zrLrzwBcIO4EDrC7QlcmDzC18U7W78QFWAFV8PIuvPfEC1ABEw6YyDjJFLSAuGtwD2fm16lR2vyyf3ViCd/lK/yCXk7jdDc/IO7DO2AnqAuQrvpdR/denB6rY2nlge4jvnKBeHPXLvCVrl7aONU15tqna/36JyNNbw8+wMd1uj9nar35d3uNTfgB/1ZePGWv9kVcXbR7xT6qD/1qW+yWb6z2rLhqDfI3IM6/+AgQ/8EPfvDRz3/+89urFyDu/2QDKn7jFA7EpRfA5QNfvLo+fpP3EIDzPeWd7LWVt+54MuwGTHFt9NsYndAXbHsYUNfJOZCXVy7f1bmbHqDOp5NbDrSRMu07sSurnTT9/bIC+IqH7CtdvIN98jg8Eyc7kcetB7AWB3CvJO1fe1fafrFeLwxQALXIOQQnkecYkbqcQX1OI4gieTLqOFHEGTlqoNKkTIjy+JKySLlNXntpBtGHfuUD5WSak/rSgR/Z+queTKSPJc6urXpttz/t2Q4nZ95XIC5QB95xQX2D+xnkgZDAh/TJls3BmFEbVZ7elWeL8trSk3yU/uqUtbFbN3mUX7TeQDyQFJClBWjz12djsxWH5HBApCdKzokWxLXJjsY/xzS2/ulDLsrmCxj0idg70KB3QJJt1ZHJ/vFAuVN0PHAOzPdUfrZVR37X2Vj8wbhIG2X0Mm/rxW7838ZlN6fTrtEFVV8LI2mgCcQDdWAPyF2tA0ObfD9y01dl2jthOel6xykYOk04KQKbQAr4BFpdVysDaq4iBTQB9d133739FTjrao5snO+bq3x+w6etJb8zX8DvQY+udPeg0r+/9BW3oC1I0s378L5OD0CXB5yPwLs6siu/AE4mG0h/GhBvnEC9VxDm411/vyPOr/k9PyiW8lm2QpWJsdJR+ZWzL/SjX7x0e19+95OYaE+yv5sQ/saPnMRdp3t33/+eB+J+4x7QBuKAFuAqD5wDUbxyMslpWz/ay3t1Unlt6o+PAl78BHE2PYG88dUB95MArodDIN57cGX6p2PAryw6QV3euIAf6cu4Xj+IeXADZnXzCNOAtz2uPEySVxf22UeBvbS+rA/wdgrv1uSFRbWgHCEnkOZMHKAyvPIzwCaTk+WIOZCAuyAjYHOalG5SFE1xdT2hmGhgHZDqA/goFwQCjuSMZ26BWOOTTb4ybe8R29C//vFAT//qThtusFqQKIAX2ArgBf/y6gW7gIZd08PYS8aXT39zqn7TysimL52zjzJrZd0i47V+NjsdrHNASD96mp80EOIf+sxWBWfXPxxOkODIC+I9iVrXbEsf4zfuBqv0U2c8pJ5e2Z0+kTJ19ZEcvaOnQHzXByAH8ID8VT5sa33XDyqjF3uzAVvwfyAO2Dx9F1gFVYAdaHcKV75X612944KxEy7wRh6qcCDuhAV8nawEItfVTopOu50eAzr5BXEABcQFOgHYO3EB3wkjH87Xy1sXdudL5ssv+Qk/4CfmSl/zAuI+vPPOXlAUHH1I1x9moc+efgPc9KZfut/jyS6QSyuPahsgl6/+iqdXdb7yR/rwOoCtgbjf1YtZ/J0t2nf8WxrxefmIz7cX+bX81pWvfZy92/f1K29cOiyI8zc/9+Nn1tRHhv3bWu/EgTigBXRO4YA3EFeuTD4QBbjKkXJ5vDb6kQbWEQCvjTJ57fSJayMdAd6APDDHkXJEBtUG6AJnPgzgkw/sA/+reuDd9Tn5+tGnudhbbh3hF4JtsC68C8D5f3teXfLFAOtiT+nrBHH75UWLWTBcp+A8gktBcB1Lmiyu7VIOVcANLAIVnOIpC6wpvwDeBHH1KMDWHgl46vXFEQsIAQIwUJYs+W1LrvrKT759qJPfsvI2iPmyCUATqASugljBWr66gvkJIvJkAkd96rsNiDcu/c2LDXB5dSuTvuqQOvpa+9LlW7Pl1rag0Um2eTUHutJTP/RgW+vF+QRnYMQZrTFwkgbo1r213XWjW+MaO19Tjv6PtrtbleVGtii8Htl3De2LbjC0sd/P73P4CsZmdpBVy3ZzLoT+lSEpFEORWWvv9K+65LsgJ6+69FO6OdTWWpvHBvsF1uL2Tr00kAN4Xniv0Ndbz1OvrLjxGjMdIZN50THrYF26efNMwTgwgy/jKuaxAri6Xn/K9/q9OocduN3iGQP7oY0ftvkTLp44w8YTBxmv1MEyYAW2PEpwAiSvtxk4BnZ/2BasrbH1TZ9ba/OlY3REMF964k0BuUAc4Lwp8NqZ0fbqMk+cR0um5CkO5Cv3p7R5bL18ADbm1j2lg/Qdp7bJsz9sMwdw8FcB9tGZYWPT685iZ7m8emkh/Rcrd447y/LbVrrzrG9txeronEuUy53LHnjzxO2DHxjaB59dfOMFcP/YixCQ/ettQqClS+WDLqgBe3BXXlBHfzYYawGuTe0W8srAXOhZgToAi+m2+ts2cAd2MZADNBjL699FwDjbJi8ewLU3nvNgDfwbAGwc/WbjrLE0ZkmDdPqvXltBedxjJ3uDyfu2P16n99bKPr088RSjzWbwGM0MoziQaCNQHu3qU76+2md4jR9AAgroNCFCM+4MvkmYoEkEAhN0yJUBhDEonjHUKWsOniMvdAhqW5nynm+sp5C8wdEYHRLtjUV+5YL2ZLAODiQjFugy3AEvo3aB/tSuC5RD2BzFZEkOMiYnOZJz2ylPTv3UdbDv2Lu/7Ss5gl9zS16xuWhjXGuTEgJ2EJe+ENfOOtprc2idW0fPNG66RvbmSE66mX6KtQ8grbMyumiMq5/b/tN+BHhzXYhLr2cevHuNHrzfxckKduZsftbBGXBoGVTGFLDztIHb63QAADvltdEu4AO4C4AxwBHIBcZa4G0xNGCSQebtelUN4LzeYCQGqmApDeKAxOAFcQaf3F2Q7F3p1Rt7Yy/MMwNHT8hLbvPyI7mff/759U2c4SSb53nVT0avt8GxkGyBM5kXtN+l9TVOY5pja1Df8upumTrlBfWNQV4XJG8vwIAnbu+cP2tER+ljepz9FCuzXtp2PpVLO+/3fCvLRmiT3tMxZ7T2xnP2wMIlj37QC3LZA3pmT/3A8Lfffnv9bbu/b/dKnfdt373F2V+r+w9SlAF2oNZO+zx28xdAVV2A7yIgD4TyQG0cMT1tHGl9BXUBPZj3jPrW1jODc9BdT1udPtoF8AvxPG/tGgPEjQPo5Hfxodtdyuk6+8Y+4hlbqD79twdC5bionX7S+GiPBG8226vXD9sYjjaasggUxMbb9Ks4KRdl2HbGUJYCiZUZPyCLBcabgAvyBBYTWlBfG5O9Rn8BZnECFSX13JVHXlBX0P5TeOrT2Oo8U7zrx3BlsAJJMVDckIcHENLaOtQZwCDWPnQ4yW1+zfHOjZzk0j6ZtTWOvRW2v3by+th39cZUJp085lYI4IFSX3LZJ8pHIRl1oX0Fc0GbLm0pu/Ukq2eme+QVlDV36eZBB8lWCMxdLFaftd321tl67x4smBfG5nohHsB55Xnm9al9FwDxwlx9e01G8zF369LrMwfWt2037vXEwRrsxGDed3KAZ4C1Z4y9mpY2BpArE/ftEyRBnGFk9HwXBMp+3AY8F1RAB0xgyhPXhwHlifuhnX1PX6y1udkbOtN81dMV+22+9MFbArKRmQfoe7F/YIT3x5h6DggCOE880IIumQpB2N9lB9x3cXN7F3cx2Gds22At7ps52QoBXH/9yO9v3Rl/EPea2hpYl9ZJbK2smXTBWjoTe6adtc65NU2HKhN3htV1ppwfwVhsKH3r9xd0xKUwkPusQU/8OwD9qA1gBbACcNAGVdDlhasL0OCprvbKAyvgB2ptjCdfe/XKjKGcnhpHfePXfuGuDozFdDOAS3t2cNYm2IvV6WNMz1Wmj7zyvHSwlgZsb4jEvVoXW4N+tIhfWJaNk2cL6Xx17OA6sdlK9jM7qr42YO/S65z8+HV6RtEmFzKSbbw4IyhNAbTZoExISdRJUybKKgTegL6QNtGCw33bKNNeeeOIjRuMU1zK+xSAIBho+ynUzji1a0x1ysyvtXHwFiIO54W2/Br2BYh0hi4odXitZeubXMXJVKy8uuSWr397tPnSzYXxUFa+eZGvsPJqry0Z7Il97AZJ+ShmykuBpSlplzV97KH+Pdd4Qnq089OG4bI+rdWuPxnJpF672iozlzxE7doDcelgHniDsvx63KWfIK6tfo27YynzbHKQyRzt1ULcqzMABraADN4M7EIcvAVAV64trzaQu7UDt7jbvDqvq/3tLwPIoPnxmG/iIB6YglYgXIj7dbo+jCQjz6jYT/tgbtZ5g7nKp9P23HwZsf3+by48QD8O6u/YPedCnCzJt3FA37K/k36Cd+sgvhAP3mJvMwqerb3fGvDErbXLU4beeqWf9EC6c2et6MfqcrYgO1vbdMg5ct6DvLS2zox4bYM9cA6tP50BcDok5o336/T//Oc/r08vPPEgDaZ54gHWq3b/65w2ABgU1QOjssCojO7Iq5M3ZmAGw8rUG3PLGlOfgr7GC8jSQbxnkUn9BsAO6sr1k28csTx455nLB3RvpHjlYvP3W4J1WK0xPRekBYAusIexb22jtD4+g3GGvF6XBvHX6/Q2mXHcjbbZQoeNcgiUJYMonWJUX5yyBBDP6cAuiE3yCeLaPAVtM/bGlu5ysHNpPltmfs0x5U++d3F9gkdx5WJztiYO2YVIAM+Ib5xxDw7lM+yMnTGN3boW3/Ul/8rWvph/a0DW+mmr3B42prj9bS5rQMwt8O1FJHmT1bPtSfvKqKeUlBHACxSY4tKDLmJkM0byJKMydc1VXl0ykq9ATnKpE9LZ2lrb5qJd+2Je8u1bXnXwFSvLA990MN8+pXeP2+eeQQ5rZ77mRu9dehxY0O0bZd44gIN1r9jzxoFPmsfeK3QxoPNwwbvvabxe43md7ps4A8k7AUreNYgDz3eeOCB5zc1w+n+/GX37yZO0VmJrbV/MsWA/7B0dEehB32RdLsyDV+/HQTxWBrUftq0nHpiDdvG78uqLa/dn4uAduK1NF531wgN3MXkD/nriLk/2kd53Bq2PM5o9Eaez6XZrmV7vmZWmQ8YUZx87M9kIeec/+wsoPHG6km7RIzqVJ+5PzFzU/EaB9w2I9CaIg6vQN3NedLCsrfYBVTrgVp+XLa8OpIXg3TOKPaM+2gtdAoyxAN/6BX7tkjXPPMCXF2+Z8xLo1QV2IPf2yNuxbCD750wDsGC9s4sLcWXOj/bK2QJlPG/749yCt7Pi0sUWfO3mBibGUaBMKUpKlmHNKNauckokrdx4KVEKk+CEo0DdPMTqCpVvvj7GMrZnUNaM/9NcKqu9PsmmLKX+LjbOhtoby3w7aA6hQ8ZwMWDBofga881rE0QY9oyfsVtXz9r1fZrDzjU5xVsubT7G3bGlMyDNI6PR3AJkc1qI629s+26/7GOKSIkpI4CL3SZTZsquj71tz6wtWZJPvj1oPldesgoBOtnT4/ZJufVtnwKquRSULbxLB+5PcW2BXXr3OYh3WaAn1ta+mp81C+I8I8Y0z0jMyPa90iEO4srlwTmI6y8v9qMY3jhjAObG8jrXr9MZVEZoIQ5030Hcr9m9PtQfxHniDJD1N+902PwK9iAd7kw7511ayGsuIO5NwUJ8PfG8ZHGv1sWVA3Owfhd/B+8ncFuTPO6F93rfwC3U1jjSPlX48SCIWC97QPfZMDptjdJ7a2ithNXX1lSZumyxvtLOX+co+5uNVC7Iq8sG0zeXvNY+XQLx/slV38T9OaJ/VwCkgBxgQVwAU3lgBVlzBDlwDNKVKaczgrLgq/8tlzeecTf0Gl/d9itt3KdgPG0EMq8M5FioS+eBA3WXAmXOSzGg55Er97bCubTG9pd+s3V54s6Ic2791WUb2UVt1Mc+MAd+59YeLcS9rfrKGK6BB2/BQVsjKl95xlOZUF6sjXHX4MpTnG4mhKdMwfpdXHuHXTpDn9wp5T5r5yJdvnnJJ1/17+LaGf/ds4xrnTpwDlOHLtAVX2NevnrgYNQd4AWRsa1te9AcPNuhT37ytjbKtr28tq2DuP3b2Fx2DhkLMihf8JGfzBkc41gre9VtUkyBKSJDTVGDOOWlpCl0RsdaG8ecm3cQr675rbxkbe3JlMEj9xq85rLzWXjbD3MLxuInaG/9pmv7HcQ95wniLjpu22B8Ic6wgiWQMxQX4trzZoG77+lBPY8czAEfxP0jLYwd4+O7M0/c924wBJ5AF9AAkQeqjX8cww96GERQ8nfr9tT6Ws+7H/ZEGT2xf/SELaAj5kveXuP2wzbQYCzJ5nU0OPJyyUHGIO4b+IV4sv/dOK97Pe4AfuP1vIN4YLeO6kHcPMDj119/fUGc7lsH9rHz42ymo+kzXX7S584uXRb07axfeGfDlBfAwoXaJY8nTi/oGE+SnoG4b+K///77ywsHcK+Lg3he8YJROs8XCKXBUgzqgjT4618dPdRXmTUCTWXSC/C8/y4MyVCb4Fy5vHE9Z0PlnqG8Och38SBDXnhzoY88buXB22t0Z8grdjrrQmSNsYt+C9JCUF+I2wOBbXT+naOgz3byvAU21FkBdWf/B8Qz7hQiwym+hl672m670vqrX/gFQAKbAKUVl5fuMCsT5IX6Woxujhl6ZRl07YLXypgyN48UvHHVfwpBUfsNletrTPNfkHfw8vCC9MZBQqxcW4ZvIS7v4DrQnmF9dw7lzbl5JJuYTO3JlVVdY2ojNA/GIAMs7fkZFfKQkbxBPBnJZk/sKTiDd7fMlFRMKYM5RaXU9tvetr/GSa6dc3u+81l5W3syBfLmYM7tkzKh+Vjr9mv3JjgH5uLKxdoX5GsjvvXatd/iYGeudMz5COL9AhWYgzkDmycuLfCcHGgGOK9de0ZZDOLGWohr559d5V0xWkHcN3GABsnvIM4T96MexhDE+7fTzcW6tgfpi/WVpkv2tHNOT/omSy5euNe4//rXv378Op0HuxDP475eNmD3+vrvwrt+nyAOykF6AW7tNiQzsFvbhbiLVvaUPtNN+c5iOtpZFCvr7HYu9FFWXedmbYH02rDSzl5vQYI4gNsD++kHhj5ruHR4lQ7gQVps74PlxsqD80IcAIO4vzfv+3mA3PGULcRdHApAHrTFgV19cO+ysWXGD+hi45Ov5yR3EBfvxUPbPPBg7uyAOYBr61OJCyn9zokRp+/S7B+9F4K1WLn9cB4COpvJAxeCuFfrLlk/fp2e4lCEFIRBt/HVUQxpyiamQNosCJSpqx1FAVvCM04CpRFMJKCrB+9AHcj1Z7SD+Br4jLk25CTXykaWyqVT7Mr1S9ZPcePeuDkaz5oFucAAIAuGACEO5hn4jLr2jJygv9jBNfau9T472Ve+ysyZfPJiYyRre737XV0gzHiYU2Vkag6ARGayauN51tz+tc+ARAnFlNItkiJSWDAHeW31sc97OSNz8pufPWu/m6M5teagkczSygXr19zkm4v4aZ/sR1AWg/F+8w7O7V9gFgfx9cJ3v+tT2SeIe+3N0ANxvxhmYIN4HjmQ55UXA7t67XnmPC0gN6Y0WPbNmbH1SnD/xTYg+w7ivonzxBk+r1t54vaYHgTx4tXr9Dm7QDcYpd4cmN9CnMfz9MO2J8+7NwbiC/ibD9bv4i4D7zzx4C3O+w7gflcg+ARQGYibB8j4t8jtLR20NumxtVHWuVy9TY+1tcbOQOeh/tqrK9wz5Bx1dthQF2575u0M77FLIt0Bcf9amx8Y+h7Ow/TN236DXrAUF4BcfW1AMBgDIMj1On2/n6sTuhgYP6/ZWCAN+r0J8LxA7pnyYA3c/biu9vpIK1+g6xfIxc3Bc8lMHjF5hWSUBnCxc9PrdBBX5mLsrMU5Do10/JNn9+i9wBaCeeXsZRC3N+xl38SVS9svn5u+/WdXbbJNTyGkGWmBIihPSTauvVhb8A3UjDXFaYLivHFtBHlB2w0MPKUlh+etUV/lTBbyr6yr/Ns+pb7xzq+6xlbXGjg4C4fAwEBvWJBLr0GXz9AVB6IONPmbAznM4QYyqSNfdfL6MQLk7KDLZxiUSQc4MkiXJ4sy8wlyYvkgbgzPt0/tJSWklBSV4vZNh8IGccpNR7qYrY617sp2vys3L3MKFsksJo+gzc6PvK1x8zEXeyAvDrJ/BuLbdiEe3KtXV1AneB5Z7Zf5WQtr5rIDuLzoAB6YeUlA5xewjO1CXJtA73W5X0C7BARxh59HDvb+fWfe1UK8/08cwL6DuFfv/UmNfwyEXPbYWltf+5J+pWvl7Qkdcf7pge99vXkwH/92+v46fX/YRi6vz/0raL1GB2gwDtS9av8Uv4N35V0I8sg9V+hVehB/B3D1QK4eyK2XP0kCGm8Z7IF1oLv0OT1NHzrHle/aKdOnMyG/Z1vfdJ9uCcoK8tllZ9P60zP61OXPfvp7Z164X9P7EzP/DG4edJ4umAqgSJeC3TsAqgfmoAueecRgagyw3wuBtp7dP/uqj+d7bpcGZUAN2toW+0Zd6BKwz9ZfX2WC/MoOzEE9OeUF4A7iYnDPE+eoxjfnWp7dE5RnE4O5s3PL1GULnF37xC44Ky7Nr9fpGU6bm1IwmJRilab6wPAUZ1hTFHntKBrDntKYgIkEb+UCYDvYYvnq5ddDy8gbu3TKLK7syph8xeSkzOYqSKtL3vrXvnjLjdFaOXwBgnFeICykpRlwho6BD+baByPjSBtzjWFyktUhFZJbXQeZjO2f+oL22hj3jq99c0iW2pE1uInVk1ucjNZi943SAjgoUU43SkGe4c5DpwuU3D538UqHindf0gVl5uP5QvNtHsnVOjVvsfC0V83NvOxR0H2Kn/6srD68dekAbtyn0B7Yn/Tf+XBw8055zeCclwTSAKC8uoyvNtIg6Fum16HKeFlA7ibPELgc/PTTT69fpzNGXgd61cu75j3mhYIgqAESgPF+5b0m9o3Xt0BGrz8x41GYS2vb/OyFtHVX74yar/bmSibyeWtAXl4g0DG+jGP/2As5QBSsPwH61gX5wCw2j/LSXQAqN1dl64lfiAdosLYm4jxv66hMDODedDD6QASMDDEdpq/OLl23LvLp8uqsNoI6a7ln33lf+2Qc56TytVnVdaacP+vfr9PBm/744ZS/YLAPvon7kaH9AE6gBb68WfANwGI6EYS1DX552LWVF+QbTz6IKzcOOLs8gKznS3eZEFtTskmLu3T4D3T8maK4C0ieukuAZyZLsfPg+eSWdulQRy6QFpR5Q9SfldFRfbTzT9TSZfzqjXM2C9+CO0A764EaxO1F9tH5l1bP+zYmgCu3X87+63W6wUGLArWpNlmeAqVMlMfhy6iKU4wUJSWqDYMcnB1Y6fLdwhnvwC0uXVtxC3AB7XkrQ+nkKH/lqz45N67uz8T162AxVBkvEBAYboZcnPcnzcCrV5exV+9wNobxAtHdB3shKBfamw462YJXZcm5hqFxa6tuZSCLsLKSVwjia5zteXtIIUE7jzuIU8qUkxGnyPVJH+1Z6yuW73KVPtgjc2qdmkvzS67mpr66d3tlbwTzbZ7NNZAD9H3FXt3GAby4sTcmI1nsnzPSwQe29cId2H50xAvvlXpwB25l5RlinrjyvoszAgyAGNQZaK/+eBq+bfvG3T/2AlwAxtMFROAEMGVi7YCJEWMIGXmXCwbKels/a7170lztmb2z5y533s4wTt4QkMs88sQZXs8gGzgG3+ZYzL0AACAASURBVF6lX1jffGAWg3OhcT5BXB/15pvX3XfwC2+g9hZDCN6l5b1KB3EAAENvGewD3bZO1owOsL27bunsU1l9nA39BGfEGXRGBGXWuvrsmnadKXvmcuf1Pm/cPvY93D/N6x/d8VcM3trwZEEUrIRgTQeUiwvgW9BO0AccA2QA3/rGtvfGrK5LAZADdUAXg3dw1o+s2oA7gAvS6sxB6BJA3pVzZXsHceV54P2Tq/bWOP73PQ6Ks8wGCtKdbXlrLigDb+3Lq3culLGPnRHgtk/OizT78HqdDpI2dDe3PCUJABTsBkpQqP/GQdxhFQJyCkZYBtxEarPtyCEYR5CmjJ65z9m0Q5GcW156wSBdeWPW37xrq83Os/Jt67AxxgwVGDNiAoP9BPEMe7G2AfPPQpxcnuuZ9kqeTGSXv0HbNQoZBmXaVme8wG0uyWMuCzTpLh7m7rntuT3Oy6KMFBXEwQnEgR3Ilae8IKaffbbeu87yxk53pM3XM83D85uP2BwEaW1ak61rXu3XwrV9sz/BHKAX4JuvXFntn8Yw3uoGGYM43e+gO6jfQdzrdMBbDx3EwZ6nrg7AGWffmxfiyr0q7YdtPOq8cN5k3m7eKJAFdmmA8o+9+FEPQ/sE8fTK2ku3R/L2MwPGMJGNnC4r5uVX0b7Z86IYS7+EB/FebQMs2QrBe6F90wF84yeIK/Mc7cQA3ivzhXfe9wI8kIuBW9xbC3Ng/P3rdv4pU69H6TiddP7YLeuy65budjatYfXptjH0E9jHzom48mxnZ0q5s+TMgURvfVyi6JBXtTxxP37897///XrTwrsFxjzYAAyCQAqigVT+Qj4I68eTdXmUDqDBXd4zgNY4wV/sWZ4Byr1Op3/ayQtA7fv9Qpwe5ZHntRt/5TWOZ5ObfAUykk2ety0Ed2lngI4K2vpMxbY5z2wbOxi4xaWxT2Af2cWcGfX2RJBmI9kD54QNlaY7LltfGU0bupvbxjOShVumfXXv4pSSMgG454lL88IvwC/E9V2lpKSebWzPvXIpT/GTq7kVayOUv+2qN470fY4ydckhnZEKgMCwUMhwL9gZe0Zdu2AZWIJ6MNrD68D3/J5bXlx96QyAQ78hgBi7oIwshW1DNrIGKbIrM6ZnWBd71T5TwDzxXhlRQEqr3CuioK4tXaAb9tia7/4oY3TUiz3H3puj55M/OcTkTjZt2rOtUy+Ya/uyeyZtjoI5B+1+5LZlF+L6NGbtxJV7pvFbd3Ol+86EtXBgM6zABsoLa3mGlqetXHCoGWDtQVobr0jBUfD61przer225mX5EzOGy2tekAEkcOr1eZADbmmwFGuznrjX6S4NDJa1bm3bl/aInthb+2e/8zIYJTKROS/Q5wDGmmz9sM3lQgBYbwn6Jr4QX0hv+gnqzU9cW+nmK84LD+YuE+Zf/A7m1scbi4DucwUQuPD4wZh9sO/WJB2l5wHdOmZjlFlLeq29cmnruue9Ptks7QTjAnnnytkJMs5gb0HoDl3q9xY+x4CSvz5YTxxQgY3u5HkH8jxc9XnVxQEcBKUD/YIaTMFYmeAZjQ284EwvxIG4C4S8OrIGbjGoC9JBnJx58Mb33OZlnwI1OZPbxaNv5GRXDuS8cHoqb73YO3bQeQZyIWiXB2ewpweCs6BNTo56ZRwetoBNYDvZUPvlrL8gbmNTFAqQEigLkDdOEcSfQoadAgXihXgGOeNMqRbiyqtbw002Sv9OLnNQr92G5lfcPLQtqFNu7A6TMZqntDbVlTbXDllgYLAZasa8sJAAhTXqgfPGxgumDq1nbUgWc6ievMq1UyYEjKfY+EKyJ0PP1Ucd+cFIMCflnuPZnmlPu5hRyDxuikkJA/em1QEXhdc/Y2NtW3tl6c7qgjbNrbmTqfko00ZofZrjzjfg2o+CuZYOxPsaXd2Wq1tPvDFrI9ZH+UKcjOZp3awZEDq030EcwAN3kGeApUGcR86zAnIxb9yYQZyn619sY7wYJpABHHACLyHPVwyCYCmtDUjxQhhxRv5C3BxXf6TbDzbBfM3VhY5M3jwEcZ6417iMs9fpZHPBAHDP54H/f0Hc+J4D5qW7PAD5hXffva0daAu88IJ18m+m+67PyAdxr0Tte+dX2rrQU/Yn/a9N51Z7Z03eesoL72yCcYxn7OyY8wQy6Rr9sPbpEYi7TPnk4v8Sd9nL+wUvkANXumP/A3awFasPzurNXZAWFprGbDzl1VUG6gDd6/HALAbzgBzglXtzAOYBvHTwN15B/2ROVmfCPJMb1DcAdyHgG8Pl2DlmzwTpm7fu7B7d9xYqiLODbKYA4oI2vUpXHsTt2QviNpaSFCiQkAK16Rtrq37LSi9Ya0NhQLwQnJVXx0AHccpVm2J9tTX+p+dX59lPofmJyay9tAPQYVLeYdq1aOzGML50B8iBCgxAwWADQUAMCmKG/EJcWQY+0OgrnTH0jA5raTKQjRzaqTcHsTaFjIA2tXtXp/7KQu6ARHay6d+6WTN7SHEDUgoZxEGEEoK5ugV4Fzh7bSzra172XBkdSTfoQm3IkEEzZ2lrJpZvD8lZXWtqnuZhru1P4C425+adx80b33rrsUH7Ha8x9Gmf1Se3/bJubulu333z6pfpPCRQBmmwFBhct3GxOjGoayOvj4MO6NI8XR6vW7xxebq+zzKUjJFvtkAJVOuV5qWCuHL1wAVMvA+Gy5+YeS75rbM5Nrfdk/TOvtKRjFbzNQdvGPyJmT/DAnEXBQAERa+zXS5cJnqVLl5P/Hrc5ZvTxuZ2g/G7LJS+EDd/0C4EbsD2WcLakDeAW9v+YRxr5UeFzgAd7/xIp9PFyoTsTG3pi3Rn33rWRiw0trT22U7pbC+4kIOe0BnBPoK4PfDa32UKxIER7EAbdMX2XhzcpAG3GIwX5nnW1asDTeNpq29jAqxX4wFWHQAHZfII2tAT7YK8dn4lDuS1X4hrq592eebGIBdZyMTDBnHp9cxLqy8AvX7GAHF6DdR53WJrnV10xgM5hwaogz6bWL02vHVt2E1pb06A3179F8SDb4pAASiGDU8BtCkvVr9ttp22FDFI5z0xxtIZ4yAtb4LXkBujkIzJkIInh7iylHjzyjY0B222/FOfbVfaYQqYjJQAEhnydxCvfo06wx6AxMFmDaLnFQAsUJGnvDnoUz/lQrKRKZlrl+zF2iQDGQEoGCW7thkT+2P/unVSZArnFVCKCOLKKKUyykrBKfDde3Owp8alN3QkvVmIB4nmaD7klk82a6Nd81evnfw7iO9cF9CBXH0g37XRVputk7a3GwIdueiidbNmbt9B7RPEe2UO5A50r0LzzpXprxwceeQOP49c3f4HKH13BnGgDNwBLi98Ie7HZn6hy7g+Qdz6m5uQ7llze2K+9pyRoh/N11xA3A/bfItlaF0U/GkWIPKCu2QE7k9xABdfeMubH2+7eYqB2zMW3PKCtQnged3FoO13AgBubaQB3WcKnwP8eBC0/Dvk5ucctDadZ+siTefXvkhna7N3W6Z99kwsKMu2bR9l6thVNpccPrd02XNBJJ+3IYDk19a+44Og/chLBuSAC2xCIDbPgKxMAMgN2myoLxAKnhVgQRfUQXthrF659tVrA84B3BuE+umrT+NJ92reGOQJ4i62vTlwSVnPXB7cxdqZu37G/cc//vE6w86yM82+0XN5Ni4bqYz9o//OPNvmTEgH/c6IPQLxXqf7NPaCuMFspA3vZmaDKVEb3WZXn/HUL8VIaVIcfQRtg3awzuMmXEZZTJkW4vo2fnHjB/UUP2VPYTd/y9TVz7jJLl3bDlb57bNjlzZefQIDSAS6dxDPsDPmjHv5AAQwxssYeo5nkqvQ8zw/eaW1vf2No73xA4g2grLkLK6/WNnKGNST1fPsub0M4pQRrCkgr1vard+tU1nlFFkf+08/7L2xzMe+SHfxM750eqiN+bZOO8fWof0LJM25tWs9ml/wXnA/pRfi2zeI33ptNrQH5DTHIO4m7vXad6/TQTnvO2CX500J8gI4as8TZwDA3atSHhZj5JU12ABS3jiIAReogWAerzyYART4M75eETP+DJU9sabpj/lZe0HamWMXzDcj1iv+hbg/bWLIycaTBU/PBt1P4H6qC+IL6yeI9/p8oW2uBZcI62OdeOHSBWXrieeRkx3E/XjQWnk97a8HGOR0sPVJn61RemvNpOlI9lo7Z06cXcyW1c4aK9NGMIax9HOunCFnznn0doZ+uPDxwr0p8NcNLnreiPQ6HbSBjQcqNh+BDgnADYYAH7DV6ydW1it2/aW3XjsgBGFABeaFMO/a2yNl6uiHuD7ALYAzYGsnDeLV1XcvCsbxbCAmFyg/QVydENRdMOmn9TAXz/J7B3yLZ+m5s8G+2Rexc85Gso3OAdumjTzAx0hAt0d549kF+/TlIToa1Mbb8CewqdNOkKYQQU+8wRgUzZi100ee8SW8IH3L5CmWIC2ktPuMlFucgoopZ0qqLhm3vTLyeEZK37xrb5wU3bj1V9a49VGWsaqfg8lAZ8QZbnkgFGfwM+jKqmf8CtobO+Nnbh12MVmUeZ5w221fdfLG1lY/4/csdYVbJn9ld+Egs7qeY60yDJRRyAMH74AupohiCkuRA3mAFndZE8t3i62u/Wod7vq0H+oLtbEGrUdzax+Kg/m72Br0Hbw+AO5Ve3uvTf3vmulDjtatQ+zAWh+w9ZoT2ACZhw2U0kEbjPPWawfa1TPK0gIjzVjndfGyfBPnYfhHW3x37pU1gPfdOXj7Bv3HH3+8PFow4x171c348S49n8Gx7umidPuTntg3e8i4CXTAXMlnLr71AwgP0Nhk49mCZp44UHex6Mdtgbry5K48rxuo1/su74JQyAsH73645hIB2OQA7PK9Ns/zJitwW0+xTwG8cMaeoQdFBpj+Z7eskzSbJ7ZGq6vWs7VcXZbWds9CNti5YeuqM66gXrkAFs6m9e+HhS4Y5OON0xF7C56BzhyCGdACM/gJgJwHLpbXHuD10UafwB18QVu6vFfg0sEXeHv1XZo80r0uB1BltQN7Acwbh777i4zK9PEccyCfswDQvVkguxC0zaP5aAveLrL6m6/n+FU/QOd9p+d55Owdu4i/lYlBW9BPfXXGks9Ocn6cY2f7SweG0YFifNtYcfBModQLKQRFSBkytvptGYU0dkG+52hX/QW78m3bM1NCiptCJ5/4lqfs2m77ZFRff2U31H/jxnLAyCXvgGW0lDNWwJAhf4J4ZRl/7QtBVD7D14HeZ3m28uZGntaKzNUlY9D6uxAnT/ImfxD3LGtpfykngAMzA03pvArKA2c0eF6fIG7/dz+Mm55Iq2u+5tpaWB/zE57WqnprUXial3kG33fxO4gDe3sfxMV3zawdeczDGTI/B96htWa8Zj/26nU4eIO4AJjKCyCd160MDDeWZqQZaxBXz0DzsBgo32svxHmqC0Bp8AQ6MNOeAeMJAS75GCD7YW3Ts/bHXOmJvbO/XfTohVf8ZDQv/8qcP3/zzZ5R7FU/7xiIAyxZumhIkzc4r+x53Hnh8jdUd0HvWS4OgB20QRy4rUHedwD3Kt0bjQAuDeK8cF4beIG4H42Zd2fT2kjTA+vlLK2utpbatJ7WWBv5zoK17awYK5vceRELyrVzRl0YQcGF0UWRbPbAN3E64v8SB0P7HLBBDszkBWmAlnbxWpjLF/LUgdN4gAvEYLoeNTADspgHTQ8usPWpr7aNqUwffRfWyst71vYlX3A2D+lek+d5OyfKm19roZ20OZuPdWP3QLhA150N6w3GzniQllfn7GOytsqklenjrY0A5r1Sd9l9eeJB3IbvBttkIShUF/SqpwhBWrpysTGVBeXalRczXHn56quT1je5yJEMyZQsyivrAMhT+ILy6upXrP/KXboDUztjGoMhcniUC9pV5mAxzsCQ4c54B0CxMm2+Cx3UxvdcQT5QkYnM1q41tHYrnz7JlkHosqB8wy0v37yS2TyUNZ718dwgnsIxVgLlAydGw7dZYM8Tp8SUtn03l/ZVbNwgrq49Urd7QJbCrlV60DrWpjUxp/bF3gjv4L3lvWavT/mFOD1IFzzDs1pLcpCfnpu7NQjieafgFqQZWQEwBdAL3qWDtz6lfe8Eb2N2MQjiDDLIAA8o9Qo9IAY2MfipBzIeJzAxhl59k4fs5tMczW/Xnq7aM3u4ECcbec2NB+i7Iq+JcfTd3SUDNBe2QRzIXTDU5Umv7NuH/Nru5WTr88rrD+LXGw/i1qrv4L06zwv3+lwI6NbXPADAv9bmdbW1sj50UExfrQ0dtWZ7ZrWRV1eoLLumb3bAWemM3Fg7gd0lgwu19acj9rC/EQcj+0Be8PP62X7kVUsHtCCeh60uL10bfUF2Qx5zHnR1ykE7wEsLAZ0s+gjV0cHGU+/NQfXVVQ/gAVeZCwD5lJG5wMt2NkC8WJ35uIw0Z/sqrT8ZvcUA6CBMz4HYWhfyquXZQDEbqN8Cv7Q22dDsqMvW64dtNpuBtKkZfcZYsPlt+I2ry/gED3lBfWnjB5gMMQXSR95FQl5a2QZ973g9m4zk2rw5VO4gpOCVq2ueK2PPeDfWzn/HaCzPchADHCOdYWe4n4I2hfptrK6D6gAbv8PuIHf4PZvc1o/idPtTRlZrkEGoj3zPVlaojByVFVdXbE7SZCKDZ9nnIE7xKFwQFwM3iPMyAV09Baas+pmDPRfIXzBur9NrY8/sS3O0Jq0RmckktEfFlWurnTmYr/m0Z38V4oE6wJcvblzPaI/Vebb9MRdnwDpYJ2vk9TKwgbO4NEML3DzyBbpyofa9VgfyIN63T20Y6L6J+2dXQedCPOABXd4rsAEqQAVxfxvreYyVdTYva5u+FjdXe5ie0gGeuLcD5MoTZ3wZT544CAJmcCUXiBeeoEzeAF2/nUfA/xTniXulXjD3Xqn7Br5eOIgHbhcPr9PlfRLIE/f7Ab/6pvfpa7G1a63E6WfnzLnNFojpPH3OzjkL2cRNd47UeYb2bIUz6ix6S9P6e51uD3qdzhPn2YIsUAEWkEsDGmDnvQa4gBjoQS9IF4OnAKogmpcOrOBs/xfWZABnkK5O2mXPvyjnNbk2yoTGAdbaG88zyem5Bc8ma2DeuPnu5wBtrYF5g728OZDBGWSreNFBeT1wzk2vx3N0Arl2BfaRjpQHfu29weQEOftfHpRBzBjaYJu/CpBRLaYQKYNYOSMr1EbMKAfoIK+cwRI8m+HKOC/Y1emjfQq4secKW0bm5E++5lH7YuX6Jktx42mnTWM2bn3IpazgIDl0GWiH7gnca8S1uaH+4qeD6xkdXHFp8lo/t7kUw5yUJxuDkGHNQFRW7JnJUFnxldVclDEmjIJnLcTJ0Q0SvCmfV+kA5dfIlBSwtAvi6UD7bkxrHsQX9Oanzh55vrXIwJnfGrbdS+WtiXbNOdAG3oD8LuZ1V1e6vhs37tUH5daWDpmvc+DAWiuGNaPqsIKbIN3fhwds8FQXxCsXqwviPHCw7LWpvxMHcYZo/4xrPfFgGcDFwObVMujzQhhG/4yo5zBa1jc9Tc+ssbmqay/teZeWIO6iwhP0ozt/2sTgkw0IecQg7PkCgHfJCOYbL9jXwy7dOBsv0K3DeuFBvG/keeRBnDcu5I27eIC4vN8PgDhD7xuzf0SF3nd+xemstZLetWv9Kr9x46TzdCq4033nSKhce/oGEnTNJY8OuRjy8Pwyvdfp5PU6HfyCHY8UqIM1HVJmfsD4BG3lxqAvoBrAldtnMfCux52nDc5gLfSdG6hB0y/n/WNDdHnrjK+/dl0KgrnnqU8GcgOxeRSA3vyUm5vyBbk68wT5xiOfNWSH0+8uq/LOd3YRlK1/zo5YUF+b0toZM/vgvNif1zfxNYoBLKDZdMZl4Vw6hXjXBoAZZDAOyHnYlYkpEhmEbb/G3DMywmKKSFlTTnLXRl3lyj4FbQVtjGHe5lvYZ+2BqF391TkUAMJQBQUwvIY7QGrzXTDWHtbyntX8ySBtDtaTwth43k2A0/6OY6ynkOzkrn7lTP7mps745PA8e2wvKWxKmQe+AAdxsBLISkF5BukBPWv9xdbc/NKLdLQ5WgP7YA8KyoT2Sbx7FfCbc7ANwAH6Xdy3b/X9wE1f4zRG+asHAdza2Tvr5ixYB+tlffrb3eAM4F7VMbJAx+gGaQAN5pWLQfFCnME2ln/jmdFhhACGt8jbBS5gA7E8V+ALcOp5o9r7Hnghbo3pW/vR+iqzB0GcERPoQK/4yWx+/rlP8GBI/SgMxD2TTMkVxF0sALvv4/3QbetX/uaxcWAvNm/z7Hu4Z/ddvG/j+zodyIN53rj1Ibe8tB9CgYh1dxFjmK3R6q689bJWq5+VdY6dzT2L8vqurmcnlDlDgmcpN7Z9cE69TqcnPPAAbv1dNPw63T6AJdmB1p4AW5DLU1UWqEHthuqCeEAtH7w9C5DFoMz75mmDtfJgLq1crI3+YJ3HHsTzxF0QPEsgS2ntQByUzUXotXkAFzdPsbl3aVFnDPPxjx45h7zwQC5dUJZHHcQDNjvo7Bf0AW3lzgh7Wt6eOStfGjGcDKMNzTAGMQaydDAsry6Y6StUJ83glhdXxlB5Lth47kJcWtkGxk1/z0sGSkkZKaWy6laB1VWeAqfM9cnA17b5JHfPq//G6uQzVA6FwyHcA8aAM9piB8+B3DbyBeUbOrRi5eI9nJ5f3nytl/UDQ/KZY8agsXr2Pqc0OQL0Lau8+ZiT9p5vba2f5/dKnzJSwJSTIvLCKaDbf545j5xypuj0gL60n+Zh7Avx3V/zbC3II+x+SRuv/bIWrUvrceH7Dt6VAzdIy/tFunz7vBB/Arj61o4uma95B3Hr5BUnAAdxN3zw9qpTnEfOaBQcbEFeX948aLsQ+O65r9N5zwwlo9R35/4WO4ABHaCJAyhPFMB4l8DESHqd7rn20Rqb865vettemm8Qpwf9Mtrlote4ZOP5gLhn8XI92wVjf3neRUPZlt/X6UE7UJcvrtx4gucsxPc1usvO/R7+9F18vXI/jAri5mmvrYv1Si/pMX1Mh61h53B1Vlp551XaGHS8syAv3TnaOuPTO3aCroG4CyK98utq3+y9DfnnP//5+mEbcAIkWOWNg7Q0mHm1vBAPimCXdx5ErYHQa29x4PUcUA7W4KyMpw3idCKoB3H1YE8PBWl1IN3Ynkd2MgjSApibR1B2FswD0JVJm18e+b5x0Lb5G8f6+P0AXabf64nHPGX2XQBvFzkhx4vNZA8FbYM2B8g5Uc+OsqEuWd964gwnYcSUQdgyRrXAeGsLgNLKg7K0ssqDd7DJA6t99SZOyfRvbM9nvDPK4oCakoqVZ+QrT6G3j76CtoXKPKsLSM/XpvGM46A4QHsYpRmxDljQEz9BfMsayxgblFfnAJrLk5Ekj6ANOcWNo71ALrI0nvrGX1BXducRoBbi1sJ62asgntKtR04ZAdwPrNQzIJQyiLvc2XO60j5Yc+tPP9TRD/nq24/mXkyegjG0b01ai+Zu3gvxQP0pvhAHcmPsWEFdWWvbc4xtbTtX5mcdrIc16ps4g1/gLQkADuYMbzCvTa/TgzeAG8sruH7Yxmj7MRqDuBDnTQJXEAc2MFyIq/cq2et0YGI0eZeezxhZf58X0h9rnD7ag/YiY8Zg8cRdPFxU+kGVX3Ezjt4SgLhn9uqbXIDNAw+60rxv8gZk8ROktelSIm5cce2bs4sDgK/n7Vfo63mDdYH33a/TlUn7zYELj/n4O3F755zQCbrYOaUL1ktsHdWlo+LVW23qpzy9r4yuC86mUL6xldE5Z9KFz9rTHfsI5r7bu5z5v+LBcyEObCAIgEC3EDdHAAQ+AAdNMM2rFoN2Yes8p6CdANIALtZWkA7w6njklekvbfzGSvZALgZgIQ+8b9zmRn5zC94BXZvgrd5FQZ05m6ffOzhv7GDgZtMu0NVxbhbk7GQOT7CWV+6M2Cdv6HwPdyG3T18GNhijyNi12QwkY6nMgRM/wUxd5YQuMMDGWGh7ToeW8jbJAC4WKFUGWv8Nyj0vwyydYaaYlDTFZkDMJxmbX+2qM6Y65ULzNa426npuz+pgiB0ch6bDJfbswOeQSmfQNgbSDdu2g6u9MT2jIF+9uNDY8to2pz3cjSFemRuzsW7c2IGoS4B+1sE62VN7CETdLClfsAZsSpgnLq9eW7pBR95d2uy18dWnKwsEc20+7aN9SxfJR87maT6td3tlTgtYl5XyoATSedzle40OyNq3n7tOld04wNsLspqXdXCArVHfrwGXlxu4eUqMrOD1ZyDvVbvDDdrA2EUAIEHdmHn4IMkgMkJ+QMbjBR2wBL+F26ZBDcD86RSjxoj6kzDjk9/6m2s6Rv+yLdLtj7POQHWxY/zME+D8cp4h5vmQy7dlIHW5AFqwDt6BWqwMoHu9vlBfONe2vsY1L6Fn7OvzfYXej9nIwxvngVsP5eWBXHDRAXFz8FaB0fcv0YEl404n6aI1kaY39CI93XPYGSy2xtLbtvNNp413Q/uQLXNWuzCCuAsiPep/kQNxYAJMUAQuEKMz5gKO0vYJGOWDH+9XG4GHHHQbaz3y6ux5nnjed165mK4VvLpWFrTFoC/WxnPpt2cnU5cKwM3jBupgDeCCOao3t94qKBPkye5SVl9l5u+C5qLsLVO8K7bWAu7ae+m8cLG8ttKBmy0ozXZmT50Vb6x+eOIgzki2wRlMMeMX2OS3rLQ2hdowSsYVHFYGOuEz1CbCcMmvcdaewa6/9Bpj8mTAe64yCuswbDAndYK0NpUZozlUbjyy7zNqk+LrX/oTxB2yBUWHzwErqL9BXW07pA5qRrFDq+7pkCurrTjDaV2e5DVeYz6NlyzkIqt5MTTy+lk762Xd7J19XWXsVhnMAcptUn4hrl+6Yazd4/TJ+ALd2H1tXuZrnvrqU7Cv5GxdyH33oHmBcVDurYM8YC/EbxtrEpiN6/yREgAAIABJREFU9WeC9SQ7/XZGHGRrwrA6qHmnfa/kpTKwQA52eU8ZXxAE04LX6cYQjAfibvHKeVo8GIbIL2x5u8ADRkDJ4wbvvHKxPHgBV/8WuDGM5ZnOuPW3tq212NoL5iq2H84+T4Me0AcyAgjjZDwGmkHlxQKhy0WQBemFcmlQDtDa5JWrN6e9jMhX1mtzsO4ZQdx8hTzxIL6v063Hvk63ji5ELh+CtXLhATlvLXi+1ootcb6smXXpjFmzPXfpanE2o/Na286yvDFusP6C53k2fXOZduFz+XNRFOiX7+J+/Oif1AVHMOS5ArY4COeJ55kCGvjJB3YwNcbC2niCy8GWA7kA0mBMDwR6FsDFXQbqL79j5ol7Lll5y+QRk7GY/gfvBbd6deYL3uaszLzML6Ardymwty5ozi5bBuSB2V4X1Dnr9F9Zn5W0FXKAgrk8G+qcSLMPzvLrh21rEBk7B+saTgDLWKoXApw+1VOI4KaN8iDsOYwzwXcC8sozyrVRfuuAfGWk8GT1HAZQ7PkpJxkyGNrdYA7aN6fmbZx9TnNXv3NUnlFyUDo8YgfIYcuIO3AdPnEHsIO3ZdWJq3dQd3xpZeo7xOUrywgobx1anytvY+9YO54xkz/QgRUZtbPm1sO62Sf7mYEO4LwtxoKC+y4LJF4bq6eYlJdC60dvjEVe626P7HH66hn2SVDv+Wuc5IX0ULu7X9agObXmzS1w87alzVUsD+SF9rc4iBdX/i72XDKQ1Zw6+NYF1HjgIA1sfasEcN/CgE7cq3RGl1cODmCqH6AXAJJX3tqDuH8VjaFkqPxADWjAklcJbmAGbgGuPJiBlF9fAxPPx5+rMSzOrfnQi9Wz9sQ+2bMuLRkl8+WdupgwTgDCUDOq/qUzHi1oBlke9wI5iBeTPy87ULuEbGhuzc8lAaw9ozJ55Z4dvK2P4JX6wtuaBG2xeiAXuyDxxC/ErUVniD3p3FmvbEl6ok6gM3RKXFk63Fl2ZktvbE8Knu3MgYLLHYjTGzFdol/eiPjOC4hAuPB6gjiYASSwaQuagdoYgArQvGzpvOg8cKAWQDuIV0Yf9MtDB+3GCO7KXBjywIt55WQjD7mAGYy7cNAzwVkge5DXFuDVaR/45aWNp9wcyeITFSeFrQLhPPK4F9uKOTvOAG9be0He5Tagl2cXtBP/gHiQLQ6GgStwytvwyssztAwkY1lZ7ZTpLxjfpAhOaXq9kFHu+fJAvqE2yWJcz2DgPTNDvTJU7lAEe31uCBLa39A86qPttve8vwLxDpk4o+6gBcjqA4u4+g7qjdVv2bYPUuodYsYzQyqWXyOrzdNYjUmeZA9qYvXGs35B3P6BMeNA4QK410F/BeLtIx27EPcswf4swO0Jecxt90u7yjNirfXOq7kFbd52UJZekFf+Lm6f38WeSwZyBTUHN08cxBlUXrYA5ODd63RAB3h14CetD2Brm5cur7zv4v0SnIFmIBktgPGnXGADUGAYMME7uEkDGkjxkPVjvPyK2bjOq/WlS/YlnVKWDtpXZ56eMFoMFt0gozmAOE88iPfnbyAKqOQC6N4MgHTwFgft4n2bcMFtPoIxjd34zTnv25rkaQdu0A7kffv2icGFw/ooE7Tv9wPA5xW1ubKF9LK1orsBNz2W75y3hsqyD53b7Iex6pOe7/mga4Iy+8AmA4PLHX1xKRTTp4W4PQYqcAM14AJG86E/4CcvBEFtQc7FJYCDLGDTOwAX2+di4Pb6HqilA3YA3zKgbyx9BGWeIXguecggBHHymQOZBaDeoCyom0P9tFEuNn9zN750Xj+Is3HOwXri1plNFADd3qf7bKTgHAB2UA/exZygvou7qDv/P/7FtkDpYC3I5RnKACkuUADGNWNavFBv3KBsAgty9Rn8JqnMc0G7/uWTLXk8yyGg8Ax28pBNmbqnoK4+C2dp5Sm6cfSvjVheORm0dRgcFgen4NA5ZBnvDljxu/IO5h7EIFqcUeyglhdvGzJtnbQ+5G3uHfLkrn3j3Jh85hC0gE6Z9bIe9sx+tseMA087mKesKaLXQ+uJU246kt7Z7/RKWnk6I1ZnLzJK5tWemJPy5rrl6szd/J7m1Px43AvxwA7kBfWCOqG+4vb5XWwtPd+emIu5u+AGNV4177RXnADHQxICexAHe153P0zKowJw4/C8QdwbELFyEGf4GCJGLVgCUxBbwAG5AGigxEPmiTOYoAsE5pHemFd62ZqnK+1jngWI8y7MA8T9k6sMN4O6lwtQJQNAA/IF+QX3et7S+phT8+uiIjYuiIvVL8DzqgOzOFBXZ00W4uqBvvVy4WHsXXjsgf1mT6xN51JMN+mrteoc16Z6a2xt1avLtnTOq9O+c2DMxlXm7DivIGHv6Bm9EtsDv04nK08ccMneK2YxvQGyPFL1wAl8gvra8IjpiXHE2roY9Jo8GHt174d09HKBHdSVB3Z9jSdIC8Y0tmfISwfb5CEv8II5IAfzgN4lRF7b+uujfZeTLXfB8UwQ9008UDvPgJ1tYxuV5XGzf+xgttB5COLqBJcBZX2GdEnwuxb/0cqPPzG7sHQQM8qBM0CqC9SV5W2La68/gQkvSFMYzwrmYnV55tLaBO2VS1lG3dgUUB5YKTKlJI8ydZRX/A7i6vXVb5VcuUDZPWchHsAbVxttO0gOk7BwyFAz1gEjo97Bq00H0xjGzBg2XvkOau3lha3XP7m2vzJym0uy127HIGvjbjlZkx+ojG390hd7SmkpHhgBOAUF7pRVWnCzBHYKSgfSEXpEz9InaYEO0I/0x37bC/u4xqn5mN/d2/ZIm9bFnMzlghioF+IBO2gH8trd/q3Tu7j9J6f5mZu1c5CtDdCCccDulXpeN4BLKwdvobbSoN7rdTd34OAtg6WxGWr/5jlDx2D12hp88noDG++7AGD+7rn/+IFR9SdJQEwP6I61Na90yHq3H9o42/abfujndXqfAXiAvFVGnNH063Sv+sGSXOQAZKDNs76wvvW10wewg3ZpMYADdyDv9TlP2pwB+b4y37IgHsjlraX+3nC4KPE4GV/zpc90l05am3S4tUpXi1vL4vqly9ZcWrhtsnOeUxtnh845f16n0zUBxH1qcTHzJ2b9Oh0gebT2RAyKoM1TBTQQC+LgB9zy6oJclwHlyuQB3NjSIO159j6IL8CDe967Pp4rFrocSLsQGNtzyEomgBbypJXR/X60Zm7mQ776BO1kVm8Ma2BuYnXm4PcOIMv+4Znz7O0a+yYv9Jo8mLOTYH0BLq9Oe+OxmUDuvNgvn5y+DMggZiwBMAPKQFbOwFRXWQCvTv0NFGRB7llbps4kTUYsH7i1q710EM9wg5Bniym/w8A4qFdGadfAq5evTL2yFNoYHSKxsQTtjSfc/tp1KDpo4uAQuOW3LBBuWYZPmQPYOE9ttr7DKta2/uZljOq3PLCRfeVvjOTeOTWOuuAjrU3rZf/tVYpLAUGa0lFsgRIW5IGdEaGL7fPqmP0UjN0FML1oP3ZP208xueyxvRObd/MVN1+QvRBXFqyDcxDP4678XfwO3pW35+QyP/NyFqybNQNhUAZp3jdgA6/QN0uv1sFc0E77vHD9eeCgDZBiEAdz5fr6NS3Dx3j5W3G/ogYfoORBisGsV8hi3819D/djOEbQPwZCNntpL1bX0pt0zVy1cZ6DuAsLT9DFwjy8JuQBMuaMred4dQ+IQE4Gl4unEJTztLVRtvAG6UJjBHBz7aLgWYUgTgbzD9ALbvAWXHBcOqwleOsbxHmHjG9vLayHM2R96Kv8nl1pZeqtK52xpvLVbZ/WOd0Wa1e5OLtgH5w5sAAF+uI1v9hFipwgDoZ0BAztN10BOHnwAjFg00Z5Xri6wBdc85QBXplLjXAhHriDOXiTQ1DW6/U88MYJ5sq1A3HPAlu65HU4aEuTWwzIyoSAbR5kNy9txMncnJWbQ/N0mfB2C2ytacDmdYMwu5htZPOCufMewLWVBnW2ILjnFMk7Z/bLHr3+xMwmgmHGUrr8QtmhC7CBXn1tA6i8eu2lxYyTCQV0whNWuTJhDXi39Ppop8zzPIdRpvBkDrQUspDRZrg7GNLa1r66QJXBV56RqW0Ar782DoM+4g5dY3XYxDcsBDtMtVGXYVfWQaxPdcr1rY18bSsjU+naK9vQwU7+xkiObbuyJo/22lgHa2Y/Ms4UMMXrBhm8AUrw2kldELfHAdxeW2drb1zldIQupCvq7Il66QwUWaV338hnPAav0HxBdUHcq/AtA/A8bvVdZLqQGWMvAtoH63dx+2P9zM85cDYcVOuTZ90rdNAFOBAHTa87QZvRDfJACNjiC/E88bxxHiFQMnCMl1fjvF5gAr2AKc7jFAOSV9z+LE1fv8glB6/aflj/dCfdsx+tu30xX3vJYLno0YV+UGWePHv/Zjfj6W/Re9UPomTIY+6Vd28JKgdnZZtXFqxve+3uZQV8BfMP4gHcGkiLAVuQLu/S4U0FkJMX3HudDowuUXTSulgjMT0QrJ0yobNFdzvz6uU7e9L6t8ZiupV+adfaq5M3lufbAxABhX43QTa/vbAHLlMAmjdLT0DcvgOYcjATgps2yu2dMoAWQFC5foAHtMYWwFagj/Y9eBeDt7qFOHDXbz3zLgQuAp4B7MrScxcRcvC+F9zkVQfq/XCteZId2LXRl/zm2djKyOJMBV7ADspsHJuIaWLl2vWpUVobNlNsT9iD3mQq00dwXpxhZ/7H/yfO8AZdGwu+DCXjKF2QFxhYh1B4B3LlxmCYjS2WJ5jJmQiDJR3Ea0OxlDW25/fsQLoxmRkGylzIqJenxB0I7ZVTZkqtXH15dZ4nNk5j165y7QtruIwpvDPeT+ULhdLGLDjQwXUPp/o9sNten83XThn5tk7b6nuO+p5LpsovxK2dNbJP9jDl5WEJ4O31IUMtyFcO4hSY8lLwAJ1O0oH2nr4Zn34I6uyFuYjtqz0it7m0N2Ll7aX26mtnbgAcvM1PffNUb88upEE+77xY2Y5Vn6dX741PPmtn/g6pm3a/1ga2Ai91PXGGttfpeePivHHG2Ov0vq3z0IGcwXZByBNn4BhhUAbxvF4eL3gFTum8cF47A8iY+X7twkB2a2u9rB+9SMeUdwbtZ3vIDpivtwRe45KJIfRrdx6+8fteHzhBkSz7dqCLRuWADMzeJqgTywv6mdMCXb3ygG0c4DXfnqfPet7Sm88D95ZC6D9u0UYeGEDF/FzSrENrZH3oqDi9VVe++myP+Km9MqG1bozy9bEvzo/1dx73bU2XQq/UvR4GWTrCc+11M2CBMbApD86gDXSV56Ur1x70FrwgHWyVg7FgnUAa0OmBduTw+ad/Bla9dvUL9NoqN666BXCykY/OywO1PIALgbty7eg6uGunvHbGNkYXE2/D7G1AdiakhfW22Tt2D5ABOxZqH9w3zU6ymdoCu/1yVn78f+JrMMGRQWFMxTa6IC8wpvpUnpHVV7p+C2WH1pjiQE5wSnQhXrvG77nGXngrr4wBv4HipvQpd22Uqy84JAVtGXxx/cs3jnKhvHE6cB1ChuxTYOw+hQthRj/AOISeE4g8J4Mp1vf2Txb1ZL3tqxd7jvrS5Oz5Ynnjk8HcnyDOOAsUkGKvJx7gKTHlpgd0g850QbS/7bd9DuL0Q6Af9sBcxPaWLM2/vSGbOmOJle/amcuCtzXuslXdjf8KxNerN46xew6ZzSWIWxMQd1B51OALzqDNsPLGGQuH2G0ctAvaqRPzrPQP5tJu8H7cZkzjeZ1+Id63cSADLjADojxP9V5xM8wMp2+nnsVQWWs6QzdWx8zRutsne2n/nH996Ia5uqyQ3fy8ymWAGU0Q9w9ruGDwbMnEkyYf6AZe5QEXkAN45UFfG/PRr3ZBXJ15mrNnAXPzz8vO81YuKF+AWx9vDsgrrd7FCAiCuLNgz62XtUl/xfJC57NzbD2rk7ae4uzNrde2+tobX9CXDbcHF+L2su/i/WMv4AteQAZg4BXAgJouyIvtmSBdUOdCthAPtEH85kGb9+2HdXngAL2wzgNXXlv9lAdxgPV8MV134WguvGmQNgdlyUn3zHPnoU5/c9JHkNYv2ekwCDvLwjqswA3MG9g+QV1gz2bmhQf7HB6xi7m3JK8ftjlMDGfG0wGjXBnJDKpYuZAxDcz6dhGQ1ledMnETqn1lQVx9dfU3xj5zgZ0xJqtQ3oEoZKzlS3dQ5FPmFL0DQLmFyqUbM+WvzS03RgBhoB2+TyGAa7thYbr9K1fWwZXOaHbok6G+5bddstantj1DrE5Mtr8DcTBKIUF7Qc5wdAulvHTAntOZdM4+Fexzepe+0UV7Yq/E9kO6Odkn/VdPat/8zdvc8rTFzfWCN/gG9/W+n9pe6Ne/8a2r9SWneTvw1sLhtT48ZgDOQwVwr9B9CwPvPPG870Be3I/b+lGbGMD9slUbXrxX4QwWI+Z1OjiDD1CBGTiBmaCMR8kL57UzYDwl8hiTcXIWra1AR62v2BytvaCNPTRXBmwhbi7eNphnnjgPllye25sCcnWxIKd0UJUGbpAPyIG4tsFZPpgDun6g25xrt7BWJmj3BHAeODldPPz9PZDLM/pgY73Mmf7S2fTUupRX1plsDel2domOa9M6y1vnXXvpzoI6fY3fmbIHbHDr31sbnrh9oG/+fX0y0xEQAzbzCG680AUgnQjiYCksQIE8mAN6sBULniXwssEbkEFbUKYvOPPIF+7aydNHMJcP5gAr5LmDORmNRTYQJjdAk0msnOyVmb/+ZGwtjKG9kIwgzq5xStgzgZPKvimz3kFc3iWWdx3M9QVpdpMNyPvWRhnbYL9cyP0ria8ftnlI4BQHamngDNpieSFjuuDVvnGU9zrc+IyTkMctln8H8cbKmPfsgB20KSOlzDhQ6htS2NpsvkPQAZBvPAp/FV/dHf8eLEY5KCyYn9LaXYOuv+DgZuSlKxcnr3gP+pbXXr3ybVs786tu6+urTJocK2d5Y+8a0Q17Z28pKoWjkJSRZ3mD+m6hC/EuhPZZsO90IL1Qn07YE3tgf0uTKWOmLL2xd09zNp/AHMTNNzA/wVgZiH9qU534CeCeYX3Jbk7OhYPtwDq8vOa8ItDmoXoV61sl0MkH8rxvHjYj3Ct0IAdvkOXtBnEXA2PytBgmRgwsfbftGzRo920XmMBIrN73RK9WGS8y+Exi3+1XZySdsubKOoPa7KWFjnjNzwCSCTz8QMi3Y4aYtxQQgzlZXCi6XIjltwzMF8h50OIgrR7IeeAArk+XFWNJL6wX4NKN2fPJxQu3Ti4dQVwa/KyXfWOInRdrElytS3llnc3OWOsXnK1paW3T+3S8umxE++BMCOyrPbP+dIPe0BcXPHtKz/zJFP0AquCX5x2weyUNfELlwTGQq8sbDubACMoCeFuf4Ns3cGXqgBhAtQXrC+w88fqBekDXx7OaB5kCMpmSTZrc5qTeM4O9NtJdCIxhTKFnOn9gi21BPKc15rm8Ctr0elxcml2UZjftDRspLw3ydIdd8Absxw/bgq8442iDGT+KVpl8BlW9OiEjue3VZ3iDNkNdmrESTKzyeynImDeWZ1F0IYBTRspNoQOqOKMRtOWFzVPyVXjjNK62DoY2yvc5jaWuMRrHgQl84PApMOILx+DZodNXWWNW34Gtnbgycmz76tTXftsm99bvc6TJsXKWN57+GSH7sxCnfBQavHmVfpEr3a/UU1YKTQ/u/qdf9n91dHXPvtiPNXD2RBnZlKcv5Ny1ac7NZ0G+6SAOxnnfxQE6SG/bvoNrW/1eEoI4WZ2Vbu1u5yAeiAFX6FUzkAsMreC1eq/WGREHHBTd1hll3rw8Q+1iICjXpz/lYrxAmTfet/E8SCASeJNibbwaBiWG0jggzihZ63SqtbbO7ZHYGbOHzr0+dMQlA8S9HTA3rwr92+4MJIPqeS4OZCMXz7iLhYtG8ARQQT5YV69M2Lx04A/s8srN11jSG2ofwItvf3nPExvHZSSIOwP2nP52fqwLfZUXrKOQPq+OW1Nt1EkL0gX9GmP3oXp1nu/c0TW6QV+AvDc/IO5NjT3gkdIRgAYvMBTLB2uQy4vNG1e/gMyzDY7GBmiQBe9gGNQDtfaCeqF00NdXkK9M3HiADMDmQHbPJWOym4tA1uStjzm4uNB3uqjeGHnz5pT8zhXgOsv02/oKWEfXNyhz1r0uzxPXtzxgC8rYSvskn214eeIG9zCw7NZgY4NxccZUvjKHsHxgFWtrjDW8eeY7Kc+WL4C7dhly8jDcZDOWMY3tmRnlgPwEWArPYKjL0FPc2qbgHRR5farXt4OxBki6vD4dCuNo33hih+dTCBQL86Ddwdv+wVXZHT9ZKwcmQdvkEpevLHnlq++Z8v8LxHnjlI7BCuC9IqKIjDeFpcgUOh1YXby6pI4+pJPtV7H9aJ/tk/L00/6qb57F5mgP2o9AvPm8akBeOAfx4CzWX7l/LEbbbbPtPNNak9M86Tr9d6CtE6MKbMAsZlzzkLxuBnWeK/ABqZgXpR/v2yVAv6CurG/iyrzW5Wkxogyc753+OUreOM9R4PnygvOAxWAKSAyp162ea1xyO5/W0xqkP2J70tlxbs2VQaMjPAwQZwDNiSfuh22+1zPMjCvZfBt3gfAmwGWCfIEWJEFdXpBWdsublzZdTop3PPBt7MAfyEE5j/zGXRyAXmgMzwCAX3755bVn9J99o5urp+mxuLMpTq+to3xrqrx2u8al03fthdpKtwfOJ4jTD5c9ukGPXKZAHMxAC6zsRdCiM4ER2AK0ODgGTR60McTGo3N51UFcHKQrc5EDcrqmn7yLo2cE7ndxF4HkJ4t+8p5DRvNRbh7J51kgL27e+pljlxLl+pmDOs9yaXAJYtNwjX5zUOg4GyfOA2fvnHVxZdo7Q/oDd4CXZyt54MHcHrlkvTxxirTAZUwyehnKBWiQDq4BVpsMUV5ThjmjbGLKxCbAaD8FdcKCfGVYiKf0QTtDIabI1UtT6Or3YOhb/9p1OMQdCHHpHddYgU/c2EH3XbywYNADr/aN1+GT33rltdlnJkttq1O+faSbo7pbr582ZDHWyle+sa2J9aAb9t4FjcJSPgaakRAooTwDBlIUk1IuxNMV8erh6mg663l5L55vb9uvLVfXhS+QNz/xzjEItzcBeSGeFy5WHpi7CNSnenl1N3iuNSZfZ8d5sG4uPb3izBP3nRLEQU4ATxAHPkG9tgyJQy7kmYMkA50nrg7EQZhRZLRAxit1IA/egBk0AUk5mPo2ynD59TIZvKa35/bMmtKRdFG+faEr2rAfjJe9D+LkNgdyeZ0eyBlKlwZyCbxyeXL1mh0kk1lZFw9lQVpZ86nvttXOHPcCAOABOQ/c6/W+v++3cgDXBuz1M07P8QYBMFyaAJLup+PXptBR+poNs3atX2XWVj/l0mJ1dKlgnNrUv7w+zhFoeEvmwkff7KM3N/bBjwvJC3j2GriCOMgGO/sTBOmRdmAXwJUJ2gkgCrzKjCMdcIN4YPa7CKE2edn61mc9bukCvTb+ytdlQF9yyDcPZYK8+SRzzxKbm/G6ZJBLe3K7YFi7tWl03BqDcmAG69jIVgoxT50zoY++xqIrbKbANrCdzrnPTa9v4g4TA2JDBekMnjTjeUGdQVUf6IvVGZOCEoSAjR3EGSptEvwdyI2hr7bG9Qw3/eRb8KaclLWgTBtBWYqvnPEUU3hGRVy5Om07HMqFDoLxyCBWzkhlwBkveWMw7p9CYGDkA4H+jHsG3jhChrF6+dpJJ6t421anvHGUSbdO6qq/bTzDM81PXJBvbGtg/eyP/QriwbpX6PJBneG4EKcP6YrY+hrXWhs7vUovlLUP2gVxsT3VXzrjpq125m0ezXXnaB8WwhfY7Zk4SO/eWZf6axPAPa/nSGvXHpCrM+WMWBewBXLG1YEFadD2LRzkNgZRYABs3ixPXD+xMmnGOS9crM4Y/jyMd8jwMdBeGYIk6ACQGOh4qaAEikDv9SIjzVv2fJc059ia0yVrLqYj5i3d+bE39pfBAn46QSYQX0/cBcH4ZPMs3niv+8nljcDmvUEI9GL55DcHae0LyszneuB53lueVw/QeeL9SA7IeeS9PrdOLgPG8QyXA7HXr9baPlova0AfrY2Qnbn6mg53HtLrbFJrq5wuFWpXf8/qnOjr+aDgcmft++wiTTe8rvW5BURBCqzyXAEwiEoDm/ogGOyVg19g5LUqq3+wDqBB3J7zwIFYLARkfeXFyvTRTqi/2FsEMfAGZc/xfF41uciTrM1HvUuIuMsJ+cvr51nyzR3ArZUzG6TZQWkctM5CcAZxAahjJBvABirXT503mTk+YmP4dEWHPO/LAWoAQBYYSpvLUDKSBnU4gzMjI8gDqlhbQbq8Nvo1Ec8iVDcQ7RtbG+2vESdHhtrBT0bPpaAB/SrrVW5KXBt1lD4Dqi7jXl2Holh5B2HjhQCjLAQ5hkt+oRCstWHcBOnaVK9vxi85yVIfaTKpS0Zx8lRunE/BmjCs2ten5wSZ6pInecksrZ4s1tD+2HN7TdmAI4+bAgp906GI5d1Q6cbVAWN22aML6SYdow+CNuax+0sm87ZX2mhPNm3by527tuZr/Td4FQ7UlS24N92+WZP2svrqrJWwOiFtXVdOZ8Ht27rxjAAYmIGcdwRyXp3nkYuVVQ6o2utbzLAILk4Cr9yr0ww1b4sxZdCABsh9H++HbqAH7PKlGTlGzyXABcJFzdkGidbTfNNVemau8vbBfmpPV1xa8gaNlQfISDGODKjnkSuZQDGIg7U0mQVpwPbGQOwyskCX1wbA87yBFrRBmjcN2nnUvZIHZaDux3B54cq0rR2IC8bzXIEswGE+1t16WQN6aL06R/Szsyxt3br8aBuIxfJCNkl7eTrPbrKPQVubzrp29oANdvboBn3ZTzD0yA+n0o0LYroCtGJ7E8ABs1frdMnlK1Aq1y5wA+F6tMrIZ4XyAAAgAElEQVQDqTqg9gxlQVQcvMVCfRq3uLGLQTd5zEe/ysgG2MZvDvoZv2cr70KgbRcDe+qy4Hcczpbzy5YJoB185dkwNpK3LSijB/HQ+deHw8NWyutPX7zJVCZuf74ynuBpcMYuQ2lgIdCW9zDpgCpNqB2jMgISoluFWF574wjSDrOgvbJk6TkZbIrpufKU9TuIp/wUeBVe+R6UW0fJOxg37mDp3xgOYIB1IEsz0mu0GXj5DLq2a9ir3zE8I3mN24Hv2clRXhvyBDLtNySbevM2n8atb/n61Uc+2QMQ2YxjT+wNPej2meJROp5HeYBiOII4pdWHLtjz9t9+y9OJQKxOUJehYpCEDJs5tW7K6IlATvIK9rU1a14BGHhBeL9nV5ZnHqTzxtVvUC8oa19XH5RZy/bBXKwdqFkvFyBGNW8awAtAJ7iNK9tv5r6BA3/fmKV7jQ6U1j3PC0wYan+uw6jxSLxSB0tebz90A24QCprKGT0GluHyTHvq/FpX8zI/etNa2xNzlbcXnX2XN3rAE+cJ8gLNyzd/RpyhZXgBgffvNb5X6WQgE4+bfGRz0ahcWd/RtVEvBnVhIQ7kF+KAXQBnaaD2yhzE/Yq9X78rW4gbL0/cRaELhzUzJ9+a7QHdppPWiS5au3RXPgArs25ibfQR1KfzlTkH1tdZpFOdi8ZqP5xX+uayTS/omvX3mcWF0UXRr+hd0uwz/Qh8IAmyPHSAsz/qQE8e3MARvINe8LSfxgu0jStfuRgYPQMc1ekneIa8cu02KA/Ygb7xxclGJvXKyGpfFuLaaeP5xjMXoQtD/Txbmecq83+vO1/gbG3ZLLyzxgJdj4fZPHkh/uknjc3aqHPJ7SJgHHln7vU6vYHWeDpcgsHEFE2QFzKi1SlzeMXaEbz2KyDB5LX1vNpLB3ltekbjUEZKSenWaFNmZSlnCt5BSOmVp+DFygRGxWG5fTsotZMvVGb8G4wlGNfBDNAZ7+/iACkGFmP1DGljKhd7xndBu/roV9/GtR7Gr03ti8mbTPUXV2Yc62EPgji9sI9g1OvzoE3BgRzQ1xOnh3fv7Ttdo0sL7S1LN4J4BstemZf1ka5emszNv3k2f/MFnwC8EL4QD+Y3rm9AN17haf+TkY6bq7PgkFonhr7v2nnb4B203cYX4g72vk7XF8R7Tdr6B3hjAgpvi7HKoPGsQBMsgTJIgqAA8toyYiBOHntqD6219U036Qc9a0/EznE2Rh/zBfEA4nOBcRlyBhIMgngXjN4MdLEgFy99y+W3nkcMqMDKG88TB9xenQfrAF6+7+Fem/dN/EK81+jGElwMPCeIAxnw+UGSPaDLzk7nqHXKxlgn58qaZru0T5+lK7eu0uro0tpKZdlKY2srzxbzGq09PXFhpD/0AsDvn5gBFT2x7wBnf0CMLqgD2QAIetLB3NyBUX97GpD1D4TGVQfQ1imIy29QLmgjuBjJ62984yVr4F55AjJ5yEXfXWDNQ/tkMj/jaSeQ2TPE8p5dW/1ciNm83ipim3TftQGYXXTGBbovaKNcGv/0Kx/E9XU5yBO3T95YfXUzcKAyjg1iIGUphLxNZ2gED+wgqtNPXl3l2gTu4K1tQR/l2pmUtsqMkTxgToZCykgRU+6UfuPgJ05x9RFqlzEvv7F2jDtj1BgdGIdHqHz7ZcD0DXYbB4o17OoXkoHSs41XyDBuvCCqffX1C1LGbU7ViWsvrm0yP8mlzjz0NXdrYX9A1f7ZTwrXDXI9ccYe1IUnTzwdsv8FOmDsLnbph2emD+1N+9v8ko+M6uyZOnHrsXMO4uC8XvSW95o9gMv3S3RlC//2uTiQW0PrTY7Wz/ycB7fwvFMekgML3tcTZ2yV8ZwAnBcraC+vr9ekBd69y0GelzH9QM63Z0aQQWLgMmy8XlAM3sGct66dPn6A5nn22Pm1H+bUOlv/9kSZdBB35hkrhsmljrzmwjj5nul7OOPNuHqmSwV58sA3TUbAXpArI3NhIQ7gQh44kIPwwjsPHMB52/eX6EG8b+FdBowpeL5nSovBAnCsuQsV/c6OWBdpetyaWaf0vjOgrLDr2toaQ1hwB3axPoJ9ChC9mbGPeeEA3kUKEAWADcDy9kYMaGL6I01/hAAKkDxdOrMQ1z9wi0t7hjT9sl7BOmDX7125ZwRcMvRGQJoMQmly2Zc8cXXmYQzPN059KlfWehSTyb4CNq4GZg5KEM/eOd/0Xp12zoGY3YyHvWpX52zpo4z9dOmyT87elwY6MZwZzCBcGUNJaZ4grs+2D961pSSCZyhj4AtPbdQZo3GMT3k9P4MduFN6cUaD8gvlGcmMeWUb67vtt06/gKdcu0DRQan9Ptczg/AFYfDLoAcJ5Z5VqH/55GguxfssfZqvWJ/mVl6bgvqe2/zE2iono3RB++TqIqJOH+tif+yVfaWQlC5YiyliMKeIAshT8JT56or9Z8QE6XSDznmWZ64+2M/d0/ZMG8G+rb60FsXtT153+9N8wTlwb/wO4gG7/RYr8xyBfGRq7czPmbQm1oxxBTYeEig7uMAL3rzwvHLGVxuerDiQ54E3DpgDOYAIvbb2C3XGkuFisBg1ABd6PR3IgdOf5jCCIMvYG5enYI/MqfWkp52RYutvvtrad/0YN/IEE6/5AYQhJ4/n9Qq91/zkWIgDNRkBPpDLA3uhOWgb0HnJIBvE+54N4O8gDujCfhPX1hjG6oKwYwdxgPKDMZ44vU4nxavL2RqwTffTe/3YxO90vfGM3WXX/ugnT9esvf1Lv1wKeeEuUiBhj4M3qIFVkAxmdEE64AE4cNu70kAKggtrYxmzccuLtQvgPGI/CARtbbtIaFcfbQuNKfZMl0CyBG75Lh7kWoAr1645i5tvFxV58pmv8btMgLj1XC+aTbPOdF1ddlDahdpZD944KWgP2PXTLk9cmu6wBf5644cnDp4UpdCtj1GhOELwrY260rVRph1DLlyjHKQbq/p7kWicDHgQzxCn4GJKGdQYCnmxsgAk3jYZFP0z6mtw6muslF67Dk3PaJx93sIu6GW0bxwklOt3A7m3LBmTT52+wOBZQVW9OnFtG2tlAhV58rcOjamu+TWOOu2DU89bENl3SgzivCvGmeKlvNJBhCLzwrqZrjIbh17Ze0FaGd2RpnvKGaP20RzSDekMI73RLqNm/8zJXArtjbmZu71pf7as1+XvgF799m29ekax9bTG5KLr9N4FyOXG2vWNEqS9shYcXoYWxMEcyPPCtZMuALpLADgaq+/jQM4bN4bX6f2AjGFiqEAcNAXQDJYAKc9AM3S8ZYbL+PaQ3TAfa7r6l/6osz9dWpz/vAtykt98QARAGFBGlRfuMhG4xUBNHoAG57ztQK5NYFcGokIgl/aq2/dxsA3ivQqXD+K+d/O2g7e04LW6sn4I1yv0IK6/Ms+xlkACOl67WjP6S0dXV6XTY+fLemlH3+mItaPLq8/1V1cbOpW+G0Pas+h+ewASXv9ae7pl7emEPSWj3yW44NELsBKAK8CCWSHoaWOe4FgMmsoDLrh2aVQmXRlYB2xwDOCVaU+GPGCyNK5xAqr0tvV8fehTEFcmLQTohbi5rXwBXZnniD2fjNLWjH1zhtmo5VtABmMB1J1D689easu+sQF4mCME8myB2FlhR9lPZ9zzvhjNOnqoATYoC8rStRFTFvGCfPtKG7sQuLdNY2uzxtmYxqa8BQqaIlLGlJ9hWCMhX5lDUNg2gZkya7ttArT2HaiNb315YwS5wCAOsmvIM3LrmVWWLGJjk6Oy5uA5xi02jrz65t6z77jJmFzyO+72ay2Lk6UxlFsb+5JhtpcpLG+SAgZxeQoYRCgkYFHqFJke0BH7byx6xmDRiatD6QQZyGK9dq/IJVyjp605NI/WIlhbTwGQwbi9k65MOm98y5TXrnGMb11b254ntrdkNhdzdCZdbKwZDwl4HVgGFryBO0/cj4+UBe0ALwZEQX/jCG7w4G395Y3JYHudzigxSIwZSPv2DJyBXFrgnfdq1A/iXAJAwB7aM3MxJ7rS2Uh/5O1HULKfjJW3Mt4ikMfbAWP60Q7jyGC7VPQjNdDOkw7I4srE2gB80FYG1OAK2srlxeqUgS1wB2B5XvmCHKw39GdlIK9tEOeN5917Dvn8KC+Im58500s2yJqtTbNOyq2hWDv6kc1Tll4rK++suEhZ3+2jjfb1F2t7IU6XrL+3K7w8P9TKE6cX5BfsCegCVyALcMCnHiADpgtf4BcL+usDtvY5YHuesGWBXVn9kkFe6CIgnUxkIYe2niUmf6A2JwBXpl4gq3Jj6J+sO/4+Tz25tA/iYEu32TT6vcH5VuesB/SgDt72j/3Tp3K6krPDZjrD9sqPDv/rvyLNaHqIzTUIZfBAxtTgHuxB+zD9lAvS5bXXb4OxMtC1la+NtHEomEBxC5QyRUwpMxILuQxGYNp4DT3F1199oFMfBKrbPtUVdyi0IUNgKM5oBwcxw61ee0a+smTYuTQ+GSsXGwMojNPYyrRLbuMFl2DROPqpFxpXmXbGU65twfw2VJ7xsTd0xZ7bYzpEgSkepQNvN05xEAH3yikrfaNX9MI49t/tVJzhpx+CZ2j7tD5kS1ZypTfpDpnN2Rxbh+b9f+Td15Jtua2l4f0O8t4+mVzIe+/NkffeexPSU2bHtyL+HUPsuTKr1Lo6fYEACYIgSIIY5Fy5qwJda4CAtHVun/BAWll7a1zfdFbO/o7XnvFTHIrx1s46uNj0xQLYAmPALcEC7sirCYADQKQMwH1O9/LGA3G/o0kGJYFAE6B4UUtgJTV/RNYLHIgDdBwBIyAuEe5L3MvCHMypuVpr8RiZq/2gZ5+77PGJf3w2V/9szidnyVHiDcTP13cgDIiROgKagJy+iwfeiztdr2NluvoE4kBXGxAG4FF/4AawUb+T49quQNyFgD3kUmFdgYQ197ISk5tLxPOuVeAsPuhq25ghK4/p2xmkX916Kxf/7YE8ewXiYot/QNz+BpyBGv8Bo3rAJnbIxA/gUwduXuO9cgEfsp906ejvIgi0A2plMm0Be229xtkJPPlHjz6f2O0iwZ/GWv/NgR94Xwy0I/qIPXaajzbjIOXG0c4vfrj8iGX5DJDLUXKhM62OrLn8Fc5plyedeWX5To5znlB71FdLecFXHJfv53/Y5jDV0aAGIGMID5zVgS0dPD3tDiVOJzr70o/WdvbTZ4s/qBulABSM6skEYwdAuXqBLthLIsqSe4C1PECiEyU7bTUOOZ3GbxyyBdbAoqS9gBBw4CX5kt/6p5w/2Tv7njbYQckDperbrtx4gRreuHjy7U9mHUoW9qs4EB8Cst+AAqT9tK5NHZBLaIG4GOlSx2aXOGUxUtwFBCU3e1NSa7/5qLxJrL2zps3NvALf3aPdN6AcpaMOyP0mHi2wt+54a7e8Neaf+Zibi4skAHC9cIEwYHPz7i+GgZzPn2TKwNync7rkAB+YA0U2kMuAF7jLE8AE4kCeTTf6ABNAA2rAHWgCIGUE3OlIYpKtxCWpLIg3r+K2c1W8tJeSmuQlDvjHJ37zCYgbw1cB4OeTep/RA+aAmH8oQA7cATkiX0pOr5c3kGevz+pAPOBXBtJXQB6A1w/vRY53KeCfuQAA8xP/clp5K96abW5RLvcUy/oW79a1+HdeAu7AXH/9UHr2QJw5f9beBVAc+XsEe9qndHvM54ARB6BkwHTlygAQQNIBeIDU7+K9eAP6QDc7bCF9jOkCoYz7UvSlL33pOYCKVXXxUR+6ytlj35gum43JN3WkrD8dQM5n1KWjiwMdL3U22DYOrj9Z/vK5v3UIrHF5TS4MM3EY6pwDaI+d/QpZ7uwyLzeiXuJ+tnJenPPbb+IGkThKiCXIgLWBA+bAlz4wDcDVsyHRKguS7Jz9yWujH4Anzx5/yIxVcApcQSnYBe9JJXDtJQ9liSXqoCzffulvf+XGOnVXD3BI1BJ34BcY9FrTviBbYg9c9cvX5dnLfv1OvnYq42vXHMnYVzaHHau1IWvcbKkjOvaiC5Y9t9eCVmwBDAGHvMCXyNxaJXGBKaC7IBbo9n5jSTwUk9qMJzHxQVyIEUmqueC1aU+3/WpurWf7g++e9fo++YsB8Ssgbz/43NotiPcydWAl2QBasgXgUa90L3WfpOkCfv2XfE637r166QEUf0QmKUp8EpY/JAPkgXmvcAAO3CVlyU1ylfTZtYf2xHpvTLXWxZi5Os/OvP0WJ+LABQOIm4sXhosFUPAKB+B86VIBzAExkO01HVj3Io8D6mh1gao+2tgB8tqBLmAH6Ei9T+O9yuNe5EBcHY8AfmAeiPMdWEj6Ll6Ssngsp1g31HpZJ21kynTFcHGsHljXtzNQvgzE9d+++ok34AHExUjxJab8Ez+fhsUEcDoBMrAUL8BaLAA25cBQGQE6L97An64yrj/bSwAagBpXe2Vy9rKjT+PSyyc6ATlADpTpauMfG3Rwvol5csCsjLOffi93fZozHf3p8dUXBF8wxLGYtraA+CR5Tn50zunQ7dWtHOg7G2LERQvvJa7s/Dont8/pOjPm8KEF0w6ZpBkI1y5IBIJ6MvwK5NNJL4AWRLUZOzmeL3zrkiEgBWLBHcg8xheUKpdMOizbP51Aio725PVNFjCWjOkpB3aB6wKCcu3pBiIl+uw2zupl84Xwc9zGZi/is3F2rJ3vyuuDpyPRlFACIoEo+LzAvSglCoka71UO0AtSwSu47bfgjcRHcSEmAnFxRh5oS2LisaTVvpX8tJX86JY4m4/13j0IzHtxV8fJepG/WBBvf9u71pGfrZ01sHa9xL1MJf0AWpL1yRP44oAdAVMyZWAIxL20kbIkTe7V7OXl1Q7w+++U+w3aq0eyA9KAHAHQCJB6FXvJSJr++EwysZdyif2yvsVGa10MkVt7+2Q/JTP9xAYbvhjwSTLkj0RpvP5Svtd2AB4AA2HlQDoAD0CBce36AlQXgewB8C4BbGVPH32BekAOnANoYI2AeJ/YcTL6iC3+mAOgcPGxp2LevpeHrBWyVmTlObITwLUhca1t63KzWELKxX3nQ936Oz9izZn0FUd89C8bxJHfw8UDgOpzcRxw2f8ALXAjA2wBXGX1ABcPSNlZ0N6xyNkPoANUtvRnBwXafDhl6vQbn64yUA6YA+8uGzi/2VNuPH2bc2PRIzMPa+UMOrdymRwYF+PONFIOqL2wk5EjwF4urO6CLFf2Indplg9csp7/Z1clx6XAeEFWOR3tDiGA72W0ZW2CCI9KxgVXB5l8b47KZPqVxEvOBWtcwEcljurx5Mtr6wCpa9+kLrFrJ1/QXTvJr/gVKJTE6e9Yq6tce36pr052yE7SFi34KNcv+43V3Btn5Tvfs8y/BXF7JzYEqYDzO7gbpNc2UpawBTowD8Q3sANwvDgqJsRDAE6GxMImOnU+raxERtae4+0B3tytUWDdy7u1Sx54x/uUju/ndPr1bU/i1th6WkM+i3nna0HcqxkAS6p+A8MD62RAXfKlBxwkY2VgjqNeWQAdUAJyry8AzK7Pcm71koIEBaR9Mu8FjAfqPglLbBK6z4dA117ac2fb2hcn7Y05Wl9k3QGK+UpWEpQ48dXG5cIcAnFJ1Nh9CQC2gBUBSLyXM67eixp4AuAFZWB6gnjgXb/s74WADfaN6RN5n8urB+Re4gA+X/Rj34XBegIpn6mtvfgGwNbLmohNZWuFil86C9TW9CTtgXPnQs5UJt+25M6W9QfiXfriLnYuG/0+DVAD2xPIA1FABnABW+CnDUj22sW1kS0ost1rFg/AjcXugib7aIE88K4ND+CN1+taH2VfRFxUF8jJxX3+BfY4W3wA2AE5v7QZy1ysFWCV4+ytCypyLuS3QFy890oX9/KkOt0wtMttevrLlYh9Z1gecNG6/V/MJI2TOBFQB6YSDDld3IDxBsfrtyDuwAbeAksgoWS9lARbN8b01AVpQb4JugMg6EscHYJN1rVv0lams20lmrg2egElubqx1lb66cVL2Mu1pc+GMtmVTuPQ0X6CQuOc/dNdH/PbnFqbfDnH0V9b/Vvbk7MjobRv9gzQlpwFnEBd4N5P7NqAuwDfG2hx9RSIix9jFxPFCE6O868kuEmyvW2O7UlrF2D3Gk/eSzywfuw38fYrzsaS9eQH/5wRZ8f5ctD7aiHhAzaf0CUJr3IvcAAMyJWBtIMtCQNVwN7LyoubvN/M3eJ9jgPkbASY/imRBCohlegCca9hn7URMJIMJVhJhF8uGwvi4qK1b81bX/O1N/bOfCUs++9ixye++5TrZSNJev0DQQRgATMCnAEr4ASo5IHwAnhAjmsPoL3E+6xOFgF0FMDr5zUOvHuJ9xoP1ON80pe/cT9BAAxfF+yf9ZdP5baNWWvVGVOWI62VGFZHrSs5XTJlZ6+cqS6m6l97+RZ3ToGDdRdjXfisv5gA4vYgIA28Fsx7JQO0wDfgDmSBnH08QTLgDczZBYTImGyzGYjTi7Kpzo668SJ15FO6Syfqd3Ag3WWiT+1kyv2RWzr0+M5uYxjPWvC3ccislbMg5znD4hrJhc6G/IZ8gancI8Z5J9evM6GNvAsAu6gvJ/5u4fYfewG6DYhvuVd3PNCmo0weaAsICTcqWNRPAC/Y4gVaiRZHAi9SF7wSQImvgMaTB1Sr8xhQb78FRAknW3gJaGVb1r79A8dN2Ge7eu1XbWSNnW5gEN9+2aoNr3/+N6/1vbWyFumz25yu+tBD1l6C2YuXPRcjghJAA2qJQqL3ydRvRrg6+XkbDcDFlrgSP4jdjbnkYoQPSIzY7xJbYFJsFSvm2t6b/867tbaeAfiuaSDeJ/UXA+LstE94a89v56E5OuQOrJepBAuIkZe0JAt8AXvgTtan0H4vpw/IAXj92QKUCOgDfC/xPqVLTBKS5CXpSX6AG/dywYG4JCe5SvRAyZ7y2Z60D51Ze2CexaB112a+JSwg7qLHDp8lKD5JkvtbOGAGksgn7F7AOFAFtNrSC7yr11cd7Wf1ABxwB+xAmJzugrjxEOAm124suvr7wztfD9j3dwQuQ9a1LxfiX3w7N61XvNgsJnrEiN2IrjW0rvTolE87D8npkWkvLxdrXoG+oogFIC4eXAr56ctMIA5Qe4nad3ESVe/VDuACWwBo3r2kA0P7Wpt2+uywsWOSsad/Numzo7+2rWcfR11GF5zJkBgmB95iHSlXdwYC+xPUjWns1oV/LsHOpTgG3mFpYF59QV2O7JUNnJ155wjoOxP2R3tATianOsfOrUvO7X9FyqiBHChJU3BJpCXMQLy6duV09XN4BQgquSpfgfjqCSYgLggFmoArmAVhAVhglhAEegm6xBzoBEAScweiRB34xJNv4lbWrq32gOxKtuNuX2NL1GRLm8QDCe0luezd6wsIApLTbmCjHTVWfZLHmydfm+vaDHSaf+uWj/bAfpVE7K24ELCC0W1S0AnsfgsH3hEQF7hunOJwAVx54yeAK/7UuwCKj5Idn8xH/MSLI1y8pHPOu/VqDc71bN3iT31OTy878cZpz/ljDuZjDc3dmgA1L+dez0AdkPtUHkCrK/eSwnt19/u4fhFbysBdP5/lfE7v86nkJEFKYJJciU7iK8FJYhKuP4hzafB1pZe4dTefzmVr3FzVxYy5yiP23VzFQYAiGQJyiRsA9ts1EA6ogfj+h1b2ZexVTq9XeWC+XBvABbR4bYH4vsSBs/bAP9Bmo9c20Pbi9tu3iwe/1XEXH6Dny4m9Effypj23XtZKbCL1zpSYvsqN9BHd4qY8mp04W8qPgThQEAsugy5lQLx46CUOUANsHIAFssr0UMAK2MQRTgZUgeECLbl2xNYJ4vZfG/sB5oI2GR02jZXtXs1dFoyLxLDLKAq07U2f1sW8sjjPJrsR2Y5hfHPArZdLkDgW13BQHjwpUMfFvTwJnJ0h512uJEfKgLx6gO/S5ScP63X7z646fAaSPARMyTKglpSRoJNAS6Lq+uVw4Kx/fRbQBVGBRE4vGV5CLpALVEEoUJOXIMhLGABI4pUcAx71QGd5QCyZkAdIJdb6BWr1VdenfiX65WzRy8dtq5yP/PSKk+jJGgenu/6cfQOPfE8/kAg8at8xa6Or3zluNnC66bFFN5v6mqt9Ejf2376KCwEqOAW0l3afhoG3QPU5EZgIUiDfpySxhMQYIGNTXCBlcVVcGqu4qJ0f1n73ahMdfXHDZ3po93PX3DxbN+vQyxtvXdqHe7+Jt9bp79ruWPzlpxg3B/PsE5z1AW4dcgAs6TrIXthe1WTAATD3qRy4q1tn/QEHjrwE9aHj5eWvwQGy/3KbZCpRLYj3cilRAiQvNUDr0mAf7bl9sJ7WDplXVJxptwfm2VwBuUQmTsyrz/wSOBAErAATMC+I+2+X+y+nAXQg3gtZGZDrhwBtlMzFIBAG0tlOhvskDuTpRr3evba1A2o/NwAD5GtF5CsGULB+/t7AvKy7cyH/WYdyhb0vnnHxnsw6WVu8PtYzufypTF+7/mTqxZV650nZ+QEK4kGc+KoDhPxkIx7EQsCMe/Uh5QDV/gBVQBqgBbLJgRwwdRm0LtZCm75sdSEQU17hvcT1Yxfv1d+4+iN92QlwcfJA3FjAGhfPwNke8SVQ7yeigNp+aW+MeL40Z/pkyX05cmkWx/bKvsphMHKBW5lMm9zonJMpO7vOuTPPjrOr7nxpJ3dGnDkXLRfw20t8QbkkKokIskB7OR2J+orqJ0AQG5EAKpDI9MfpFVwFscBDJdpunQW1QC04lbWXjEsWcW1IvcRCV3JhH69Nu/LZtu0lKLLGBGhrW5skjUeNo56NEjmeDW3qEn/tAeoCifK2L0AEHtqTJ6uuLZ/zjQ+14+qPkfWzBtZX4IoNCRkJTC9xwSdRAHABCUwEJepzEf0CG4/EU7GBsy8Wk4unEpt4aK93f8lKbOLrKl7Mvz7tj3mf69satg9bdyGLareGbLBlrVlFlzkAACAASURBVLPZmmZf3bjmYB3NzyG3Lg55t/LWzppaP+tqTU8ib83xkkDrDkTsDTCXvH2a8wdXfmMDNpK1z4MSmNu+RCUJSqIlW30kfBcJ/vDVfogJczWf9qM4scbK7Ud5wJ6apyQF5NiVpPghCQPMPmsD58C6//Sp/3JafxXeZ/U+bQPfgDdQDpjV99+cs+2136u7fl7ZXtj9B3CUS/Z9nehlRw6s/CEggPAq1ybJ+2rhsmUf7PHGo71XF8/JreGu17ZZ29rIUaDNVvayaW/Elrqys+TyLD5cBPll3X0tAOKBKaBsz8VGIC4WkLoYwcVJYAhI1QErwBQ/2sQUeW3ZANbagGRjGrdxKve6ZlebPsrs6avdeMZqTCDeBcv+2DNAjZS110e//MXz1xioeuMakx9d0pxVmGZ/ra9zDOvKXWJdfhPv2uVJMlw+dMady6gvZ+rOLB375fJ9+028xGmAHUg92YI1x5YC6JUpJxcskm/1AHsBPhndDVIHHRWQ+JmAaxfMAZHAXyqRkAVaJex4bSWfTeprV3s6+tR2ytVL3Ku/fqVTQs8GLrkDiJI8MFAPHPAAJB741gdPlk48eb41D740Fr62rsr6WXvJQ4KwzwJSQu8zEcAQmIAmIK8s+QtMLwJBrR8S0GKTPfFTDG1cipuSUnHRXrevfCPTLnmVHMno7H5Ubh+sxa5h63LuQfUAHE/WGrbHj3Hjt5bOQmvZAe93MdzhlyysVclA3QG3ngggAgvrT75tyl0MJIQ+pfb7uFe2BIH3SgfqXuv+mA332RWA20v+2Bvnt3UtNswJtSe4syxm7Kt9lDPMkx2g4mXo1QrIJXQvXS9pr2MA67do/6W0/mkXUAe+2ntJA+Bey8AaAANftpAXPgKy2vTzmdxLXb1P4zgdgIzqD6j7bE4eOADsAJ2u/gDE+lmzQFxeDXTFY6C7OfCM322jr11skzsL7KkjZXJUHsYDceOLHS87QHGCeJc5ALXAqg5wewWrA1h1QNorGAd0JwXgbALJQLC+OPuNcZYXxHtpB9YBd+DbXgDr9kebfur6ITI8e+mT5w8/lXHUvJT56MuFc+RMimvxbH1xa433OKEj1r225Un5jq5z6czKl0i+BN44OX3n2Rc0Z0NM3f4HKN0EDOQg9gnAgAGygxZJLuT0O4RkyeujXsDom46yfuiUCcQCdQNSwEYCV8KTEMlKyAGRNuXq2hG5BE2+CSW9knf96UTpaKs9GV6ZDX7h9CpXX93s4Du2MvAAuPoHJAHwAnhgoQ1gnKAR8Ghf3fTzLx8at3b1x0g/a2uf7Z09tf+CNFARdAWmBI0KzkBGcApqAa2v2BP0xVfxJuYiskC8OGiv299NguIJ0SXfPbPm1uKk1vRqHVtPfAH8BPFzTxrDup7jWk++85Gv5r/rau6dGWVnyTp0bksG1hFJDF2IrKlypG6trb3LlD2RyN3wfabz+6jf3XAEVCUpnwyRF7P9s298ARB8trbNwRqfZ4jMPgEacwtgzINP/JHAfFqUrLwMgYSkCzglWOAI1L2ygS6QBqiBMw5YgSfuVayvV1eJW8JG6mwC9ACbfjbIlQMBfNvZrS3QMA4yvv7sA0Vr66cQZ0J8WwN7HVk/ZwkPjANk8tpqt47K1rGzkI3ipjxbvAT41lt8OI9+wvCJ1iXDRQ5A8NdrHEgHWEAsULMngVpAiwd2+vTyrp1+4F4Z+Pe6p9eloJc3PZRtr2HgGm8/8fbGngTU+wLXL7/o9rre13cXMPtHbj587PKCk5kHvwJxv4mLVzHsXFpbZ1A9AHfeOn/a9wFDt7MYiLtcOQeAnKyLuUuus3n7J2YSLWM9+W20AQNyGy1pCIRInZ7EwVlUYokn3+ROlg18+9XmQBeQgq3gjhf0JeESRglZEtzEEcgIdmVJs3Y80raUPPuBQvL4aU+CLjnTUSajx3794tnNt7h+kn/2FkQAbARAKtMJMBq3NjzQWVl6/EPqta8t8isyjxJyN36xIVi9GCWrPv1K+JX7jVxQun3SFcQBuNgSe+Jh441tcqRsTElLfPADtWd8s775t4mPvLVu3lfrl6w1aQ1P0Fbv34hfgXhruQBOtvubDn/ync/Nq6S+desTCHbmljtL1mip81UbfWvpzMsHkoXXdS804C7Rk9vD9tG+2S97wVYAk398P2O+uj2ixy9922f7ziY/JDh+SGQ+Q0tYvgz452fKvQQDGMmV7AQCANFvub0Y6SJJnP4CRkleMgcMOECQ0OkrA2VJHiggbQsEdPTTFhjw3TzMR7KWZ8trePtr3aKAu7VNHtevHGst07em7au9DUSUixn7Zq2tMRB3geOfS5OfVvgLyK1TaxygkllXawfEArLWlR6Qs364drLWyDpmy9r3OV5590s//REfcGvKLq7eHtkT4N3XEWUExBHQti/6tI/tW5y8sYynbo7FVfPEtZuDdvP2KvbTlNi13vvSts5wFgH18FV+DIPplDPtib8d6u+HfC1DzqI2F2h/v2DcZw6KwRi2wSVHh4kjySTSkgOdbadz6hUocaCt3IFl6wT8AL4+eMHabVRdWQKQiCNJT4IoSSRXL6kob4LUJ6pvPHmAwF6y5ae9knLyBUm2t68y+zj9Jf1K8tlUD0ziZE9RuifXb/0zfuPWpv4YWVtzQPbFvgrQgnZBu+SPBxSSmcAV3Pq4peofiG8yIksuBpGkVTzkB95+4eolSVx913zXt7VsXdR33a5AfP+oLSBPb/srG6t1ZrfxKjducWh9+bqxwwYqfsynGN+5b/vKWxMyvuDWsDVqzZ1PZ7Jz6ozLE/Yobr/tgb5RY/GJ/fW9efFBu3GdaTacd2PZ401yLgviBcj4AuATfp/b+2tqwIO8TvyxHe7VC4zI/darrs0lwE8FXpvAA1ipL/m5IBADZBI0chmQOIENeUAkqZfgJfUICCB9/AsAiVcSdmG1nq25dWgPWkf1gPkqD1oz8i5C+LmW9gk5W8i62jP72n5aWwAByK2vdbJ+1sNLvMtSYBUHttqQ+aHAzro098AuwA1I2SHD14a1Pe0AWfbwXspdlHwV8TOJLx6+uiBfTshRF67AXH928qcLQbIFZmO2t10itJM1x/wXS2LNespncFXs4ur2fB8q9sPlGJDTUadXvANwF2nx4jUOuPG+UNknMfpMEmXY5kqKHVhlm+xA4SXNlQP5aPUESYCtXNCQFXBkbNUWgOP0liSVDWZBLglICHhJTsLYpJFOCY6+dvrbb5OMtuxl/9Rd/bPMfolaW+X167SfXsk5LqFnT/lM+Ork0bYHPGe/wKK++ceH/Mietmze49bW+iBJR/yUNCR7L21BCrgFZC9wN0pBKmDdRAvuAEJciSl7H5BsPBqHXNIyLj+AR9Se4WQly42d5r7r3dzjrSMeMO8rPAB/61vfevd/gFJfa9iY7LN3rit5Ovae/8WA/VHOt/Yr/fYwvfqz0XpkC6fHN/2z1XzJ9DFWoKzeObTeytaeXH+8cvbje+Yqt1fxQMvZLw+IpXKOROfRIWchsdXLpUuhz47iSnyJNWDv5SsRImDlEoCAlnaft3GvKJcCQAvM1P2s4BOzhIn7j6AAN5cDdWXgDPT94Zqk6rNqoA/YJHdfDnym9rnVWTAvuc+cF6CLY1ys1lacrz4QR/ahfanduXFGAIMzhSPnyrjIeXLurFdrYv78dNExjy4tQGtBOuACtkD3BF4ACRQDQJysrxYAkD3AiNcfNyZuDHrsBLSA24sa+cKBvLz7mwdArt4fIKqn61UO3IE5P4zNHtvIOECbn0g7uXKArZ1cvfbmwm+XRLHXo0Ruaw+stXgVx7jcJx7FpVgO7LWpi9/yZJ/V6Ypx8SkWxeXz/+yqDW1zbX6gLZEG0HROCsRLutoDZ/bWlnqHE1dfsL4qnwAumDcRl2A2cSmjwNKBQOmURGpPVz1aG6snKZWY6pfdlSuXXFee3fqwrV2ylNBL4voqZ6f2M+k/Vc/O9ldG2lDzyBcy46Kn7OsjcVtfCcWeioUSh2Qr8e5n9QVyL/Vuq4JdcnOhLJ7sPxIb4qp4NI7EVTwEBMsDFbKSIk7emrcGzbd6axSoBcQngAPvpX2J68MOrh/e2pID8XO83Rdt9iZZsVOfYojv7WFzju96ZIsfxdrV/tbeOIChvuwp02kM49Otrl29NS1Gao/nmzod9UAIt1eRuvjaHCEu7H+xUXwUP3KPZBoFZDiZpFr+Upc4XQbEZ1+QSpqSqTLAA/7Ii0gS9kICgn5TBvz+dqCXv0SrrI2OBCxJ8zX/A2NzsQa7PnJdZA1aH7rIGWCns1CcqzsjnSnnCsnP1kv+VeaLOfjK0d9DuJi4hATQAdiCl3IgG7gHysAwQAzEA70FyOwZx6u+z+he/wAx+2wBWwS0gbHXNnD2ygbUQLt/p++PGf29hH+d4IVOF3D3Stcn0O6nki4XQHqJrvH5H5lTa8If+mQuay52YkdcWW/r2x6IMXXALufRA85iQszJk9qBeTrFnBij298TAXFfkvwx3e0/uyoxCviAdYH3BO1Amg4qqZZ0A3xBigRSh0vfxhFIJec9mGe5AMYLYLxkXNAHQCUOiSQqEahrL6ng6Sgvrbxytpc7cNpLWtkmk3zre/Js1FcyPZOn/vTYVr5KuL0O61ty1uckNtDK2edDiVR5fbsac2Xs6VsyFUP2WwAL2oJRgEqSeKTuVYILXMBfHBVnJaiSUklXXBlTLIiN4gCPNhmW3HB71Jq2Fq1D+9F6W1fUOgfi+wJ/CsT1XRA3Bvtkyrvm+aUdqbenxWf7o65v8uZbXRtZa6OfuexFg30yvhgne/nEB2tcX+vHnrq9MVb+kNsLY+qfDTrtSb7g7cnKOu/a2OETvvucPvv83zlqW11tQFJMyj18DvzEECrGlMtP5UL9xFxfKtWVuwS4pErIxXeXVQkaSb4SdJdZXH95jh/5Egjzv/1rXq2TeaH64XzPf2360+9C7Ux1qZGbzdFY+pgLgAEiXUxcQLzC/VTQaxvw9mIFdghwAbIADoDTJweQ6QDqgBtXR/rRCwD17zIAzLsQNIbxAS5QBcY+kwNzr27g3T8BrA7IyYA7Gf2AP//2szx/+BdQ4/zUhz6Qzj9cuznyB1e3Zi5xLofWWdyIDXX7EIgD6kAcSCPgLBeKIzkz0ldMAXBfjLo0uhj68uNryTOBpoONFsAGjwTyCdI2HpHrg6vriwf66gLVRNgLnAWQYMPpa0uX3CEWYMZe3m1VP2V6gp2OcgdaQimB7AEX2B1+/Tog54GhE9HJ1vL64CWwOL1sG7OxkuH1459+eEm7xM3O6tW+ALrlwCZZ+uQra8zmY64lBuXmoT/wyW6crXyk23ztQUnFntp3gQugS2x4AF7Sk9QC8GKp+GJDPNlj+y5O6OBkKN+NrWzN2zdztYbm1f6r73orn9TamWttKyNvPQJowAjM3/KWt/wb1S+ePby1bh2tpbK2xth+6ZkDap47R/uAzBe1z2uXz/lLbqz22tjbR7mxGk+fKN18aK0bn5xN86C7Ns4+6zs72SIvNzS3lbHJljG3vVxRbGwbe0guqV3/xq2tceiUg+pDpt048lvtclcgXZwWw3TYPsdaG3wwJ6RsDGM1Xn3x5Djb7KB0gXSXY36RNzc+Agn530XDhcMXA3/c5p8Veo37rA3ggBXQA1jqgTjgDtwAHfnqeKkCwV7RysCSDW109WMnkDcmIA84gSm9QNyrGigD5/1ngCeQ9x/18RrXBpD7pJ5PbJH14s433LyM2VwX4PN/LyX89fOLnCaHWXdl4A0rcXgLsOVFe2PdlQG7vaBPB8jX3xefPqf7mgPM/ezh0uCrxbMMGMTAS5KlRIokz15H5BJ1wSpoCiCBUZvAVd72gpiMHTaylx4baHWUIzYEtiAXkMqCXZIoYeASzSYhB1195eqr0+Ghi0pW9Um/PumtfNv4sb6kxx658RpHXbKTVEve6SXXdkWBCr79083e+sO28a2fdVTe8ST2HXdt0Gue1l5CYcMe2fOCVlAKSHF2AjhQ114Al2zE2sZbCZBdMYgn43tUctv1NF9+7r62B/nfHi7XZo7NuXVsna0N2ld45X3p1i875/qrG6f1xMla9+23evnaHMyvfcBR+7nzXftsq/OxLwzK+ZSvjbHrmi949vMJT8aH5kOuXlv1fM/vfE9uX3eP1ZOJufqlU11bIKd8Rdtef3pyjBirfbk2JNblKTmMrv7Gzg7/i1P9yfN9eeOxp9z8cXpk+uPZwJOvb2Tp0eGb85KP67e865wCE+ez38Z9qvUHWj6r+1wboPbZGwe6yCdkYE8P9xl824Fh4AfwAJ12HBACyj6jA29t9dcXgAJcIBv5jA7EgXOf1pX7bwJ4fftvBPh3/4Ac0Gvrj93oAm/1+qsbx2Uh3uWBn11CAvXAvt/Y6XgZ+6LRzxYuR9bVI4XMOsuB/WSjTVl+7MtOL3S5URnI2xcg7hUOxP3s0UvcWv3bH7aVPEugNlkZsAuESOAKHEHmQJYYcIHbARNEG3QFmyAr2bPFboDeocAFHHll/clwY5QEGs/YEoZEK0HlW0kDLzHhjyWi+mySSmbcyNgdOu3ZbJwF1XNMdXbqp17ylkxLsqc8mwFEwBKvr/5PkbFbP74Yq/FOEM+u9uapT3vevtozQSt4kWAOzOOCWaAC8EBckOsn5tgoLkqE6sViMr5Huw/NATdHPqLWmwxZHzpLZK1tvLUNvAM9gH2SNnr1wa/W7hy/Nc2X3btkxaN57Fzah+ZYW/M7+9WfnG98Ng9+52vjG7v1Us7myrOXHrva+VOZjj3Kt/Zkfc5ObfSLz3JJMnK5oDxTbigOcDFZ3ql9Qa6+KyuO5R15Sr8lMvGHyplis7zEJhv8o5u8eeI7J+3s54O2KN/x2tmvT7z+zV3/fMC1r9+Bu/PkkeacegH2G6zXnk/D/sjNq9wndr/BKve/rQXc5Ajg++O+/aM+oB5A4wAHUAN6dZeAwF+//jDQxYBun60BJPBEvaC9qoEzEAboXtr91/WANArM6fnDt/563Qu+/rj+QJx9II6MGVAbUzs9F4ja6HUZwL2MAax8F2jLcYF4L2ufza2zv7PwKqevDdcGuIG7nznsg5e4ywHb6r6WePH740rr+UzHnvsCsle3zbXRqEAsCASEQNzD3ytEMpC0HOBNHAVVQcmWQ4IKKDyZA1LgFYwdXkFsfAmjxMC+9hJjCWh90LZJSFuUrZKI+inTZtylDlv+sGeMaBNisuX5Ga8tv6prZ2uB4V6ZXuNu/8aoHTcO31u79LUtEAVeAVL29bcu1sHe2j+xI4h9HhLAQFqcLQFzQK6d3gngYkEMSI7FRKCeTAy1/iUvvti39qE9q12bObYWO6/WkyyQrn1lC9r6pBMQaj/7t27G5lvxlR+t+8lrx+u7/bfcvMmixq1/48bpadv51SdfGiNde5+O9Y06F+2BMax7vhRnOB1t7cv2UU5Xe6AlvpTbc7w6Lh7kDPJskC+Iac8O29mgt7boZA9HAXecTKz3ADn11Y2d3danOZGX4/D09DE+Il+f+dt8nAtt+UPeOtLTtvrp4XxD5V55v/OKO7POp1dgv8P63A5M+iM+L3bA4j8A5Ld0wOKfpiF/4OW1CGgAfyAP6JUD/y4J/gBQn8DJhaF/DgjcXQiAZK99AAtQAa/P8sAYOPcyDlz7PRygB9Z09Tlf4n36D8SBNQA3BnsuDMp9HVDPD18J+OdfNgBmeQ2eynPlNzKva8AOqANxcvmPHLgDcDasu7XF/asGlyp7YM19KUHW45nNWhDvk7nNtckCS9AhQUImuASLg3yVwMgcdEmgg1xgCiw2NjEH3gWZdqRuLIHYoVQu2DvoJYUOCV1j869+6UgoV8mQ3qm79dYgzg+knm1zLWHFN1k2dskRt04BYol225XJS5zmdEXtQ23ZzRYb2VlbZM2Tf6vHZvaynyz7uH7Wwp7Zy273bpcCdEFcfWXaBDndXuBsFBOVAfcSufHEQvFw7kVrb39qI9t1aH2Wn2tgzoFyAN6l1fqc7enGd83YNpY1y5fGW54/VzJ9T0r/5I3XmNsvGW4f+Zmv+uVjZ0M9veaWDXNJb7l1b8zdBzrazjNEnl5nLNCSO5Tbb+10kbL2gCsbxqAvj4iXbNS3vKQdFU/JG1u+Kv6KPfrs1bfx1eu/9sii5HIc23xrvsoBdD7nGx02yPlRf/p0zNsasq8tP+ini6vnN07mMoLYUmffWYYJQN7FHPkEjzuzsMN5BlY+D3vNIy9KBKi8JL0g/TM+AOQS4POwNq/NLgfKCGhpB2QuEdrrqz8w69+xuxD0ZcDvw17xyCse2OJe9cAY4PqMj5Ph/aatjHz6p0MOxNXZAd6A2mf1BXF15EXsn3vx1/w9WKxR+U2dHHjjAbk1kv+QNvPHyZXN21oAc7+Dtxbm7+Jz+8M2g7gF2KQAvI0UlA5Bh63NFgCCpIOYTgGUvEClX2AUHA5EQYJrjwo4cj6w0xjK/BCc2TduSaSDoC7h7GFOr6RCJyp50EHqzaOx442Br262ltdO1rglPvWzLHnyO3DQvrLkgWv1EnBJmA2kb5Qs+9ngB/+MVR+crau+6WhjQ39rYa/sofgByA77AriyAy9gF8iVJQQx2MtGfLAjXjZ5igl14xSHxUdr3d7hfORfst2H1n/3IFnzbl0DrRPE+0O2QJ3e7kH9rVPrZrzGrGw87emoa8uP6umf/ErPXIpF86+8c9zxlIsJ9ui1bvWnY06txzmvHdN49qTx2HCGsqWtM6W8lFxcOesBpDJZ7dlSD5SUybOXjdqLFzrsiiOkXG4J/BpbvBWHxR5d/XB9xSrSp9yEZ6s5NIa28qE2fvOV/XLf9qHfXIxLR//8MU7rYgxtjZWP2dZXubVkm82zT3PRn752Mv3ytT5sZAeWONOAzHkvDwB7gKbN+e7C3+VAzkBd6OWELg1dHNjr92RA5zLQ78YADwG//r2/z899GfB1AAD2X6YDvMir1ss/8iXAv+13ScC7GABrlwWkDOT9LOBrgcuFi4c5utzw3bz5S6YtkAbiwLyvkfQAt5c4HuC7ACGXF18++k2cv75meP0/k0CBuEXr1oWXKG2ezbWBLTpeENhAZfqnLD0byn46a0dbh6NLRMGyPmywFVgFUm0FsMO7h7vDQb5J/Cyr61ffrZOVFJazveOdNrMlkZXMNtGVjGuTPDdRlpxLsIFCQLH1yiVifbKnfBI9yZgPxqdbUqbL3o5Ptu3q2vW1Bvahw24vHb49wIH4Arh2Ae9Qd3iLP/GUPWWxVqLZZHK1B+1d/lVvf5pza3Vycw+QK6sH4jjgfvOb33wjYK5OTq910jfbrX9rmg842bm+6S2ne9K2K2fXXE864yxfs7G+rp3imF46zbE4OP1SFxe4fp2hfFKP9kx1ntIXV868WAAStbNTGQ9EyI1Ze+e/dvboa1cmZxuVW3AUiIq7jb3q4lKZXvG5fbOb7dri9dNuvnyV/1A68fxXNyadxta/9ubDtnb6tZHpx2+knn3+ayNjD69dXXvnjp+oOWu3lmTKcjcQA7zwpUt6oOyMr+9rX5lPxg4D6CLjkYVVbO8FIDzBtQFJOQaXf4ApkMQBqcsAIusPzsiVXQb6SuBSAESRT9suBkAbuSC4GHgpA2njlMt6kZt/F499iZPxDZEDekCOlPngKwbqZwzju6B4id/+i229ghbElS1CIGzBWnzOKdPBW1BlpB/S3kRMwEKXnGsPzNkgo4PIBRN5gdbBc/gESodQWYAWqA6Cw4nXh059SmIOecBVWV1fPFI/ie2owM2f+rGZ3cqbYPXXpyRf2+qWHLWV4Ok/RSVZfZ4iSZx9fjdGffKNvXtjnmtjnR0+e20vAXRALrgjwe33ITGC6BYv7T871tfhLbl0uGtrX61nax/Pt9Y6ndbTPHeOrRuZdUE772QL5IF5L/F4OtnEW1ecD4iP/M2n9NNN7+TFCV5bdtlj13xrO/WMY24uIebVeMnzV7/ssbl2att2ZZTe+pBPzbn9SO48IPJ0cLJAyH7XZozOOJ3OInlrkU39tKffGHQbg84S3QWpwE7skQfg2cT5yQZOB9HXV3t+qAdW4pu+deNv/bLTuK2BOpt7Jthu/PTxzZ/skQWGxnFO6ZRv5VztfDNGvrGtjpRb7/xwZlE5W5ntzjsMUEfhhDHl/dYoP8yTn7Wz2Zoo64PYWh6G0dEmpwBr48kt7GtTxumXd3A+krUWZPARJ8+OehcDZeAL7BFQpke/vMdH47lUyHkoQPfpvMuDiwTg7m8QAHgvcH+LQN7fIaj7muBvDp4xbLAW2eLnbI7jLVYLVxt5pK32ZBYMNbHk+md3ywWCSUcWv2ASiB3A8/AJLG2oIKuMb3JRLhngqL7L2YnI65Ot+qonq4xvEpUwTkqXnG7JNF5SX36CTG3bJ8ChW/vybJCV8PKNH+QniF3Zqq95WCeHz4Gzj+2rvRdfAD0Sd8WcmGnfHSD97XcJAi+paKNTomlPWr9dbz61l7tPdFur5mpuS+YeELeWAXav7nQAd5/VcXqt3b7OW7/GvuLWnd7aVm6dz/llk/wqltrT1oedHYNt9e2/a5JNnLz+6VtfZaQsBlrf+uDanN3ObzoAIRm99Vc5m/TElgS/+voYM7k6H+vLL3uvD50AiF3y1WWHHNEr5gLb6sWmerHKN2OwEakjtgKmuL7s6HdS44h7+tuH7CT6dIyz45HRZR93xhCf1eP6R3wKxOjmu3Z2GoccsYECSGW6uPPvso6ce3mg/J8fuDxPn0/5ocwXbYG7sv6LJUAUwRjjhUHKZMYO38Ki+uDa+CYfZSe8ahzjtiba6Mtd2vVLn3wvLXzQV3u2XQoAN3LBwPlAh68BeZ/QfQHwAgfaQN1PB4jcTwO+Atz+sK2JtsgN2iQ4Y/FaIGUylOweZwutrfriuzGN38baPHbp2GRBJHD2sBW0aRnFuQAAIABJREFUK3c4O/xxfchLFHj19NPFXygZlw/5xG5jnAmpZHfFJZOodv0rL6cn8T5GC0hXegGFNvbYz9/sS/BLazPw0Ke1tAb2qMNn7+yp/Q/E99B0EIqjDov+HWhlB7tE1uFOZp/ax12v9Uv7qdMc4ztP5YA5EA7A9/N5IE/n1GfDGqWj3j4Y84q068OWcd70pjfdyMVg+7dX5kTeWO0J26tTPJLnUz7XJ/3WkC5/TvnOQRvbzcVeOAv8av21KdemXVk//Ts3uz/aEJn2zrgYQGuDXjrn2PmxdnY88ubAp9rytVguFos9uagYXWAz/vpSTsKLX/ooW9Wb2+qJ8dpPcDM+P/KFnnEai74xuvDi5Wh9tMWVI3YDLHl4x1U+/dSvPj226JEZz3kHdM44u3SUwwSy5sDWjpftfKMnRzQPZTkEscdulwR5J7AOV7oAbC4CpPAP+J65iV4gzTY7ATXdxjaOMoBma79uB+p0wjMyn+x9Qvcq38/pPqP7JI974fevA4C2z+g+qwN4r/4+6d/+nbiJGLiF4GwTb2FauHhAbiFtdvJ4QKx/NlrgON0mZjwTxcnZ1cYObiMFkEPi8Dm8kkMHvANTW0mgw9kBO9vVUXrs72Gu/dRhb0l/OvnFtyXJApXw4iXFODm9+tYvWXV6+px2SsrZUz9l2pLj55jq5AHE8u2n3PqU+OyRA2zP7KGYsq8OgwMQqXdAijV77VDr7zCXwOxta01WMiF7at3tR2RNrV9r19ythzkGuDjgBKJ4gJeMHMiS0629+oJqa2es3a98wFF+0WPHGG94wxtutH6wx465WHv6KP9x9mo3d7Z3jutn49/j+bxx11zyA0f2wv7bL77xobmpd7b2DJ/7116Ro/Y98CgW2KOLo/TjydNZ+coq51t6xjXWxqHYW2DRRr++eP30Rcn4XzzrJ8YD0XOM1VNu7tnY/tmg15j00gkkcecR1Scf8Ehbus7j6uRn9q0F2Y5Fv7r+5f/OtvGd90A8gL7Hs5/NMIG98gtbYVf4Y9zFEnPSVzvd8tGCOAyUn7QB5cA52+wF7Hjj0g/AexDry4fagH55sDFrA9Y+qXuFA2+fzXFgn8xLHGgDcmVgruxz++1/gMJxThm0RcAt1NavyiVrbQvOFngXnK0l7ZG+FgjlQ5tk8QWGIHUgSgyShmTisO4h6vB2sGsvGTh0ZA5vBzjdtdNh1lb7HtjsldyW8zH7yrVJaCW8km/z2DpZyS/9ZNlIn+1Tpi39BZHk9Y3TZSdf2dOmbzrL16fWsLVxwB3IEoFA7zAI2iUx156LHfHQfnd42bPW2ZeoyHCy9ocf/G8OrfnJz7Vq/ZpvoNxL+DEQ37aAUf9d813DXbfWs33KT/7pwx4fAPkb3/jGG6irG9MY+pkr/eaUfba0WRNtxmpe7KrT0b7j1n99osvGru3qrQ/2I9CxL2unONkzpqwP0o7yuzMXKNrz9l0/7dnccvazmZ10moe+jY3Xb3ljd9aLveaong/ZSDfO3vbTN0Aq1uW3BcR06K0dttStQzbypbUxVuOlR5d94zRWdT4A7toC8fK6eu3ssJnd9Vl/fdgj16cc7myX33E5QRu95po/+RFfOdtyxGINvIiM05irQ6Zv/enpw5czH8lVgbP2rZfLcG2NCz8Bc49hdTp84C8bwL0/XgPMyoAdUCv3B24+r3tpA3Kfzfv07nXu9d0fuPknZ34T9+/zb/8DFANyaBfB4CYfcWgpeZu9i5bztWWr/vUlN2ZUv9W38DZU4Dgoko7EItFJTCWYDut5MJN3GLQ7eEt00tv+V7JtVy4J4nxByiWLlUtqfM9/c6B/JS/5x/XZ5Jmd7U83Sv8Elfot32TL3/zRNzs7dvNsrvqUFCUQB8/e22exhQTyFW0s2GuHX38JA7EnebUX9pEMP/fSmrfe6+9ZNqfWKf1kgd2CeGCdrJc4eQQcF8jZiRpreeNkW9vuiTodYwbejY9ra292H5pPe6iNXuPh2qyV9TvX7LRJt/21x+mTrXz33/6os5Vv+qUTGHUm1dtLehH99pvN9j39zi1OF9dWe+Oxnc76TZ7+cmNW3zHzRS5KzsY9O+T1CayKazlNvBfrC8YBJZ4vOw45O2xc2Wcr/3D6ZPngjBl7KaBms3ZnWB3xM3+Mmc38pyNvo+w62+qwpTwQJ+eP/o1h3KWVs6kPm2FNIApQA9UwJh3j0Uu+AJ5f8pIHxVK5CiB7ZfdZvE/u5Ig9HIDTqd24fOWXi4I2Ov3lu5e2P2LzOV0fBMyBdq9xL21lr3S6fUYH5F7lANw/NXv+fzFrcniLb+IWbhePrHbygJps6WxrUS2cMbKzdbbaxECAHRsoaAWPAy6xbEKUKPbAdqjoO7zVcXqbJLZMN6J32qxtuTEceDK2JAn+8HFJQovW93S0lbgl2ohMW3qn7Subaz9gyU76cXK2S7b8VyfnQ3p4Ppy8vtbLetgr+2gP7e9j1IGnX0JwuCWJkoa1ZRu31sY493LXnq/5fzXv2syP7/Rb78AYUO4LOAAl63WcDA+M63+P06ufy8DrX//6f7OXHf7ws/1TV9Y3Um9+7eHOR7t1s6c7R33oWTPtuDobu89kSH966arXl2zPV/tjr9ijm3596NtDABPY7H6uPr0rCmSNg/RfSp6eNjI+nH7Q0Z7v+aQuBvMz4BLfxSjfGiO+fugbeOoXiXUxn+2rOeZHbep8YAPA6a9tZeRs51/jV9fXuSz/dv7qpy/KfnX9jNMcjcu29vyRq9llv/wNE8r3tQe45XY+mAsy7lK+0GEzni1gGeAqZ1vOUSaL6AFUoIsD7epANLDGA2Pt6r20A2oyr2vj0O238GzoZy20Gw9Ae4H3svYJvd/FtbNBBqzpeYX7gzacDPcSJwPivcj9Vn776/QmHrdAbQKuvgCtnE5B8BjPlkm1odlQT8bmbqQyPf1tpsBxACWHEnEJqWTSYe0gdZhxOiUVfOt7uMmrx8lQ9rLPJ4FdgpD0JELEtxdKgcjy5lhCz+7ye/oS+NI9G8Zgr2SN7/qe9nc++tHVB1kr6+Jwd7DtOSp+zlhqv+2vRKOv9Wx9d13tmbq29q6x4/lu7gAx/9fvZHSU8YAxHlj3u7Q6wH3d6153o8B3Ad14S2wB6qXsZuu1r33tv9nUnt/tf3uEN6/GaS7ptCfWAVkza5Mt/dNtz+xbevWL09EWtc762AP19hxvf9ojOp2h+mgLBPb8rK4yCjRwuielk7x4IVfefutTfja+NrriD1gVh4FfcnWxnbxx9WUjO+T6pC++kb5IGVjRQdmpHx9Q8savr3OD6BijcbIf166sPRtydflXuTNYH/z0lyx/zDXKNv3OtnzNbhiBo2SATc5PTp8Puz75QqZN3/V1bQXSeLbDFfXAHLACS6QM1APQwDeQ1g7k2cFrp6+O02UD77dwZZ/GcWPLfWwB8f4pmTJ7bCh3QeifngFzL3Av717iOBD3G3h/ra7uM/v/BeKcblMtlAVGJeF48vPWZNFXZjPUs9XGtiHsbaIn382kzx9B6IBIJpvMJC2yDiWdEkAHWZsyvZKQMtnWN9loR5IZHeVNQh1WNsi10+MP4mOJcxNt8rikurS67AACCTud2nGy2q7k21e7MfMvnqx1wM2ZXJ/AovHjjVe/1qfEWXLZgypmioMzfsSJJCM5sNGa4vnEr/agvVmwUTav/DZ//ubr8uZhfkAWeC4B54A24Aa4r3nNax5e/epXPwS+gTkbrTeOTrtrM1v6LwXi7QuflZuncr7j6ig987c24lKM1ka3WCFjrz1rrdvL1pEt5VNeX2OwZRz7jbOFBz6dvcbAixH7TXd1tLNLpi0KNAI5fRFdbQGMOn9PPza21j57+cAOvQCvsZoLXlzjdMn0y0989cR1ObG8FuCqK59UH+2tw5XN+jd3fqSXjeZDh2909HP+AkecTJ98UY601d46soPoN4azLZ+vbTaSy/OBKxmfyMrxdFtXHIUd4cZiE1n4kV31cg7emIC8lzfgBbB0ASwwjdS7DOSb+gnivb71A+CBOEDuN+/60aXXxaBLAQAH+OnzSxsQB+CBuHYygO0FDsh9avdJHT3r9Z3DFvckC9eGl3zprFxdW3KLb+PxgkG5TcDbmBZd39XXnx5uQwWhxFOilphKNHtoBZeDSrcEdI/TWT0JapMYu7WX0NTZ5w+726ekKanyr8QeGJZItZ2UTiBw9l155QWeffFV1q7M9oKYejZwvpTcW9/8OTn97GvTrzWxLksOuT3dfbWn9tq+lhTaL3asebQ+G6f9bp13Dvm0PF9bp17OW6efHfIFb/XAF/AuAffaAvoAWR3gB/b0dpx8zI/W0Xzz2Z60rgGdeGvudPVr71qbjd+rvaNPd22RRewX68V2NrXV3l7hbOWrc5G/9lfdfmZT2X7TQdXrp06ubxRYBh7qSJ+lxmUDdT6V6bNHRx+xWd+125hyjtxVH/3oNbYyuzsXOunpFxhlS8yjwK/cqB6RpdcZ4adx1cuxyvmnnT/GXJvOXWNpUyZjAwVmzmT9dvzk/G/euLGMufNjm0/6wAJ5vXLYQAZw4U0+4M2Tj8qI7XKHevPgH3vsaGcLjoVl8QCdHkANvOkH/mTa9QG0AFeZDrlxAHQvayCrTldfoA2MtasDajJ2jMGWttXJl2wBaZ/MATU9n9l7ifsnZj6lA3B/7ObfigfmfhO//XV6E+Z0C23hIwtcGW/hlVtgvIU/Ob2Cg556OtnOpna6BYZNQ+qCxuGQKDahlLgc1j1MDtcmoKfK7EQlqpIVuXKAsmOmq00SlDRLwhJ1SXp5CfyKpyfp36OAAg8kAhH8bFdfEMmv7BuTjO/NUTm9fFpeX3PVx/puUrf+Jc720QHdJKNsT9ur1nL3YUHI+hqLXmu9Pinn12OcXmt/lq3VriU7yaw1YF5w3jbt6itrPxqny0IxEjfPYkzZ/KxpMS3+OwPWS7xbp/artTt5+0reusbZV25cY0Z84Js9RYEhff3UyTuT1QMbiT5gMYf8LU6aF50tFw+4+HD28QUO6xCgKLNBn53iLp6cTraUUXaz1RitNa4PeX2U66c9342zpC3/2XAGFhzLa9quqDOTXrayU+5Vzx925NZyc+Uzp5aH5d0eUmTlZTz75Wu2jdNY1sN8myc/1u7m9n2kwZhAlG16ZPq2Dvxlz1qTKfOJPNJXP5w9OAZ0lV1M+pRNB5hqS44DUiBKXjsABr7AmD2k/wniQDkQD3QBt/4okGfXGNoAtFd3tvqcjvcZPe6zO+BGXuOBuM/ngByIA3OvcZ/Wn7/EDdiitIFtCt7GWrTqFrfNtZk2djdVH/ptijrSD7GDtzHKe5CUOxglrhJPiagkVJLSnk4J7jFe0sIXMEpiyRfQlCW4dGq7l/BL+pJ8tEChnDweWMR9wl161ate9YBe+cpXPqdky7Wr58OOlcyY5IDGvJAyMMqfdE6/6VkH69/a4yV1+2cfdy/FCJIAAQF9e3S1F9Y2as133QPN+Onf1unYowC1fVNH2ug35+27+9C6rW6y/MC175itLf+bAxk/WsMAVVwHRNbJ2bKGkqi109Y6W2vlq7NgXbWVcPVVDvCU2bIPuDpiky+1qTfOjmvM9i79Enw29cs3XL2x8seYyvpq45/5ygnNObs43dYDJ9Mnah6BDp6t2vRj5zFancaT85KzZewo2+p0AiZcnpPzkHK5k2/3iE45Es9etowRaWe7R5Hci+TcxspWuTid/Lri5ezGNp75tYfq/NlLQeOuLL/CGnbJwp3m19oYw95YG7pXvukfcHc5CLADaHLlCDgDV0BcH8AeiGsL8F1AgDawJdMWiCsDXkAOnPVnU9llwHh01AG4FzZSBuzpKtNJz6u8P3AD6Pp4rXuVo35bB+63z+kGMpEW0mJZRAvahre4BRTeRjo0DuseUvWCmC2bQL9A6tCQ02uzHICSRglgk1OAWhKMlwhLzlsvQd/jm3S3XAIvGUvsJfISdsBWG5ANWF/xilc8vPzlL3/AowXcp8r1ueLsRi972cseomRxfZXxwHwBXrmLgTmYa+sUoNUebw3obx97IZlL5KhELz7aY3vbwS9u7DNdfQKD9vncR2BHZiycr+1Z+7U8HwNTuuYVkDdXvPnu/OizQdb88faf3W1TJmuMxmM/3/PfHMyzNuXADe8MORPOi7NT0pPMnCdreJ7D+lrn1p6Oc6i/s9x5JN+1d4brZ/zqyux2Fjvr9qu9wMmNieiaU/FAN6LHZnNb4FPWxg/zLqHzVRvbeDmDHJVT8OLt1KFHlo/KzTebdKxP+W9t2IPoHLNx10ey1jqb9qB9KB9qO4l9RCdfzjxsbfgXpV+cyOlipTU0xmmPLsANYOmT6YO2nh/smKe1w41LN0AOS/RlWz0ZHSAOHLWng2c/f82rOeVLl47l7AHYsKwyuVc18vIG3oFzvBd3L3NArBwmLojT1Q7QcQANiHtVVw/01Y2dDnmvbYCtvUsADsxdCPoNfF/5gN8L3Mt8Ad5/+OWZRbUgLZxFOw9EgdkBwjvYDuomVEmpA+3gs0W/w6JMjsgcaAe+BLGJfJPEJtqScyCyyVQijTbx3itfgekCnX4BM90TVNOtDaC+9KUvvdFLXvKS5+WANh7QVr/HA+L08Xu6yVe3ckDefPMbD5iADrBBgEj9ai3JrL11bw/0se/IvrWv9rskY787+MWQuligH5DvvrNr7wO7xhBz+Zmv/I34hqoHrKurPdvk6s23eeFkGz87/+TWkZyNxjJ29vM/EHduUOtmDUpYOCqpSaqSicQjkUhWzi05okffOjurgYeE7Vyn1xkvmQci9PXTXxt7tWW3/erc26tA2tnV3rjs2M9zrs1ZX/MtNnBUntFmHHbyef1Ilz697Bgf6UcmttJdWXJtkfb8D+iMTW7sZNbGGpHRxyP15oCf7WtDWb/2GDferr1xdv7Vd88bm5/5qg/QFCdye/qN1TjqwHPBNzDlH1LXX5/68cNY1s746mzRy142t84XfvX6pVM/tlufxmO7cXHybDgPiKyzEXjjgXAgHqACaO19DVA/yRmrPz0g7WVNDyArswfI2VfOPk4HpRPg44AcOO9LvFc6eSDv87sXOE6G+4TuD9twYN4/OXsm0NqQDmig6jBtYpVc1TvADqmktYlOIit5aWdLvw68MjlS3uRWUt7Eq9wYEmZgGTglqx7IVn+KB3zLn+qjPf3VJVsAB+IL5LXh9X+qvfm8EDBfX5S3r/IJ4NYuELeHwMce2Bv7ErDt/uoTWNmbytu3vbb3JTNxtglzY47expn++cCfiAyI1168BJrx4idOvmCqXkzdk5szncg8UfOvvTVcEG9cfde+cuvbPHBzt04SksQm8UlWkpPkJfFJLCWKkpR2+puoS3YlUTyb2krkjbUJzBioZAgEkHEaQz/J1v4FoPY2u8ryhnk1X+VygL1TvgLxjQlAm13jAQr1QFI7YsuFIXu1l8twMqScz8nYfYyMGUhZP74AF3IUiCbLrrnUN/uBlLUi085me7aA2Zy1sc2ePtbfXrChf+uefjoBWy/gbOMRW8rigz7d9pcdNuvHjx0rn+hE2unxjy0AWFm9ccQUkFTXN9uNyQekbvzas81X/dmh11yL186HMZWRuA7Qxbz+9duYp0uPjA4C2kD5BPEF6s5m50l/pG8v9UAcaKNe4zgAjwB2/54ckAN8+v1G3ovc7+G338Q7XBKkBLNJpyRZUsI3UUpSkldUgpPsSnJs6Ee3vtqQerrqJcmAJXv4gncAiAOnwBMPyJItcD5V1ifKzgJusni6J39snKd0t904C8SN+xTfPgH38l3fyu1HILN7b+/am/aEfvL2dpM2YDpBvARX4iuxSsC9xPeCmL1ikk8AARWvxVR8Y3XjLlvbT3tytpXrY07NK1kxWsxqtx7IOiZPv/75hjeeOQC0QA24lIAlLglIUpLoJAOJoN/iShSSjaRTUiyx0dcmaZRM8E1okk7JSZLYW79xtCHJRJtE04tEX2NJ0CVW/iqbR7FjrigQl2uat9hwqQNE4gBIBYTk6oEDbm0CDu3GYYNNMSN+1MmBe7GG11c/bTtWwBTfMRtXG7AwP7b4vFQ8k7FtTGVyfbKtfNpJZs8jssbONk6WPpt8WZm2yN4AKZxd46LGyA88oBVr+q9d+mTGM1bUmlbH6dDNHhBHgSF/kHgN4OnzQV9zZJcMKdeW/eaVbXVlNtkWh52D5criv7OjTOZckKnrT5ZO56pz4kxtGYg7Y8iZQPp25pQ7h+nq77wh56lz6MwF5gF4L3RyFPjr65O7P3LDn5VwNkmXqJNJUJvsS2ZkvfBKYvrUj50S3bYDFHV2Kqsrsxd4LfAkX5DbcmAbwGm798q9Atls1T8f0tW+bZXr92J4ffG1fzVGgLx9Kl/pa6sP3homa73bY+ve3ogFCRjQSb6Bjz1sT+nWtzjA9V2Aklh7HZXwSqwdVgmvhExXEg7MJfuANV/yLSAmN+5J/I3WN/3Y3f7muHazWf/GNgZbS7su1gRpr69ya5iPAfn6ogyMAIy1krwkp5KOA+xg+4MWt/UOvENdEolLEtr7rS3d6vq46bPln7Egn+je9a533f5bzO94xztu/2ylW75/wuKznT+oods/hWFXAuKjRIX4bB+tmTU1J2VrLh5OEDdfsSAOmnd1vEQeUFgXemKmi9/GTS/ygDugC7D01cY2mzib2Q+EAhb9tFXH8y+f2SRDyuS1tY+B6AJo47OJti2/2exCkB/alPPVmOp8XcDVvgBIZ/s1Bq4fALd/6vT4pJ5NstaKTnorax76AVMkPrpABryAUhv/GoO91jL75q9sDMQ+P7sMsBHwdingr3LjAtIuDYG9NsSPzg0fuwTUnv4C95Z7nRf/Abm6snY22UsH3zHZQ2S4893FWd05dWadXwT46dLr35E/k3Akm5L0JugzSZXwS1j6nLLaskPnMap/PNCJBz544LX8BMHHwPQx3bWpnJ1TftbTW944+MpfaLkxmnNrcK7J+pnt+sbriy+A7z61V/Y7kMEBT7w4CcTUAybl6iVvLyLJFklEJTYHtWRHHogH3pI98kKV/IFAxDZZbYEvzs/T9/UrYAGYgbh+yU9wT56Ne7y4jbeWYt5atUatZXaN11yAmwtMoCaxSSqSgAPstg1AfUZDPqsFwA48kHewcbqAVju9wB/XVrtbvP9k44c+9KGHT3/60w9f+tKXHr7whS88fOITn7jJPvzhDz98/OMff/jUpz514x/72MceyIC93+Qkl/7AxrgSoj22N+1Lc4y39nTstxjZ2NgkLUFbh8BlAUlCDzgDzZI8nk3AQ49d5eIRMLBHl0y7sdTFZnX8JH0DtHzQj2zlxbj+gVWABWjuUfPMF/Mzztrf8dhfoGtu7GQrmfHp57fy+rF9msvOly/WS5xaY3NMD2drQdUeigtgGEAGvAEkH9aGOmr+1ePGyG6v78bINtAE3oHxYxyo9npOz9nrFY0HutqNhdNBQFX84+racX0CeX7qo04XuQQjMu2IDUBNXlndy5sMd+Zcul2snXEX8kdBvIQdCJf4q2vf5FX7JrJ0Xwjf/spsLwgFTMsDr6f4AusVuK5N5eyd8rOe3vIda+UvtNwY5q7cGvynIF6/QPzentnPgBDYBIwACIgVD7h68gCOvgQeKEnSDjqSOBxMvAS3IN4rXHIP0HvJ8WXBb0E8IA4s+ZBfOx96UXOjlwzAkNe3+WVv5a2DmG4t4xv7rVPrwwZ7zWVBrS8XEqVEJRF0Mwe8wBt4ImUH2IH2QtbuZu6zd+CqDYgDa1TfwBsYv+9973v4zGc+cwNq4I2AdsD9kY985Absn/vc5x4+//nP3+iTn/zkw/vf//6Hd77znQ9e7S4CxuSvfbV3uz8BOL7z7dJSfIgNICLZl9QkxMqSPkCnI6FbI6BEH0cBPuBJJz39Agtt2TF+IBdQ7Gsv2+xoX1ALXMka89RJbrzGTB9PHtefn52THWNtZzf9gF09W3Ey1Bzo6m+etaWLa6NjbbJbvTMbiNPlL87+CeL2z94B2PYHV0fGb1/w/FE2Pn/IjN9akLHBbqBqnGwWN9ojMnTWvZgD8kA8LqaBaC9huuaX/zgZwAWyyvpE7LCNuww4z4A4EMfJtKGAGrC7BKjT0YcfvdL7p2ad8RuISzISzgm0Jat47dXxE3g3iaX/Qvlp64WAeIC3AHkFoiv73wrircXyBfATxK3vrrn9DGQCukCsGGnvAzn1ynQl6l5aErWDVyLosJag9mbfZ1F9AnTAFkjzh21gEEio5ycf8iPAFXcBR5w9ftLleyDOjn5kxaty9rNZe+sWeMc3/umi9c3YiF1kfL61ZpKjZOhQSw57cPuPPfRpG3gqO8yAXB15dQN5n9sWvPt/Er/3ve+9va6Bs1c48PbSBt5f/vKXH775zW8+fOtb3/o3Tvad73zn4dvf/vbDV77ylRv4e6l/8IMfvL0MJB776+Jm38zJPBfEK2vvFS5Bl5Ql4r4oSFqoJIYbowRZkvMSkewky4iOxImzeSZe46GAvzoQ2ESvLx37QSfAMs9oY1u7+eBRoHTK61+f2skDLCCmTicf1x5ZdlZv/QU09PSLs2de5lq/2tPhg/PJh84wThZpy2+cTWsIKK25sjVUV24t+YfUjcef1jE/yIyXzvrDZ/0byxjmoo6U7T+OtKsviQ1n7ATxbNW3eBR/9M8xyOiITWV2i8PacOOIUzEdkONk+gbwxbI+ZMV550E+EPPOO+5C/xzES2olqU1kp0xbCapkFq/fC+UlP/wEHPVeob1KF6CUVw7IA+v+MjxwTx5PHj/t3pPf00sfbwx85S+03BjNrTVofarTy2Z94uns+l6tce32z55KvAFngLMA1r4HmOqVgVKA5BUtWTvoyCHsoOIBeZ/TA+57IL5gdwXifESnz/W7B+KBqX76m0/xnb1sd0a0F++tXzx5NvTYT7TXAAAgAElEQVRpffKtMeN8NCdzlyC74TvkXtdA2WEFykC7z+nA20Huj9Lo9dmcDtCmr6+6cr9/+zQOtHEg7qUNnL/+9a8/fPe733342c9+9vDb3/724Sc/+cnDj370oxsp//SnP3343ve+d9N1AQDk/oMTfJVw7ae5mJv5BtzxLiv0StISvuTn0mIuLiAuHy4tcV8QzEHyQuZkLr4GaDPvTW5eT0jSkwwlSonYGIG7xKqthC/5dlGQzCXSAMmeLPioS+iBKNABQIEQcEL6BIy1x/Wpf7xzYm0QOb3s6aveePXDteVjegvi64uyda8/e2TNk3zBev3qTPNvfdFfDLQ2AWogTq59SR82yg38Ntdk2tX5kw902GCfTfNAjWs/7Z19DtDVk9Vu/0/5CeLGYIcuW42nXyALaNXNEwXYzoQ2cYWLv0Bcm9gE2qg6nS4B7G+bs9FZx8W3HHD7wzZJqmRTkl4QLjFdJaraVr9yCbH6Fc8mHkgtD4zwAGr5yhdA/38B8V0L5V0v5V3fqzWu3T7aL4kXqKAScfFRbOABU2X96AfiANynVcm6T28OfQcRV/f7Wn+kpE/kEiDh5wue7drU188FxXxfWbZqC5wDV3xl9HfOV+XWL77ngX72jNn4+Zxv5mFOXqfWREICJg55L2yHFfXaVgZ23dAd6gAOmAXiAA549/k98Hv7299++/8R+zQOxP0mDsC/8Y1v3F7bP/zhD29A/otf/OLh5z//+a2MqwP1r33ta7dLgN/U/fGbhCKB2W/zM2888I6bp/0GEBK1pChxmq858M8f1fHPJ3+f7f03otHb3va22+d746n7CuAi4mcB/wlKn/Zx7WwAeTJr4DLQb4nWDuhbI2VrKHm2huqSZ3LAXzKW0COJm/8oYKoet5faAnI8YAqo9kxclQNo+oEZftIViBubPOBbXwJQdmvnL+Dip1i0T3sJJ4v4ygf9s9H8zJ8d9rKpflI+NO/s4NlvnrUZY9e7MRpTPNkjYK0N+FYPaLuk0bki7UhfoBqIG9cc2CMTG8CWDn22ujAuICcrpgJt/ek56+JPO3sBuLPsbGkTs84xUk72HMRLNpKz5ANwS0h4SSpe2xUwb7K7ar8ny2bcWAtKJ2BtvRfpAvm+hPd1vPL6rS3le/J7eunfG3/bnyo3RheU1qDLTfX04smX1yfe/sVXbt9eLIgH5oG4ZC1Re1VK1vdAvESgHXj1OzgQD6TZCqgDBMB+1R4g0qsPmbjON22RNvKAVn3bsiNWN57PcusYF7vFd7Ybn1/rWz6Tmbe1kKgkGofYgQ60+0weUAMfIOSQ9wJNR13Zy52OcjrqwCyQBIBe45/97GdvIA68vba9upV/+ctf/hv96le/urX7vO5zvP7sSUISngtba2ufAu84mf2WoCVjydBczQvYetW/+93vvgH0Rz/60Rt3UUAuHH4K+MAHPvD854D/+Z//uX3aNwc6cTr0+acPqr+LgQsBAvj899UC8AP96rg1dLGw3tawJCz5IskbmAcSJf94yR3AACwggANN4BR4dR7wwEssVFdOf3UDOJxOIIqrB5LGC+TItEf00gV64o+fbALwfOCXcrL8wdmP2DfWPfAOdIFh/mW3eWS7sYzNR2PkNy7mAltjooCa/QC8fVLXrk97E4jbwygZHRe4QJzv2tQBc2ArFtST6ZMNNum7GALsOHCuv7hSd44APB1EVh9l4O2spIvfQFySiSQ9yUcykphKSAFrPPnJzyR3tj9Wz3bc+AtIgdXypwCx9v/tIL7rpBw4b5kssMGtc3rq9k4cBGa4upjoctf+LngvUErWAEmiBkp7CB3MDmeH1k2f3r7GA+kFPb6wra12dfJAY4F45eZwr605G4s9PHv6nfPe+LV+u56taTpst047fvatG+LrCeJ9fgPAAAQF0g6yeq/rgL32AFu7Qy5BSAxu7gAJUAEyYOlFC/i8xH0m99r+9a9//fCb3/zmOf3ud797QORA3Kd2v41/8YtfvAEnsJNwJDj76aJlLe0pvmSevr6IAwlXEuMjsAzAATAA94XAH9Ih5eouHH67B+A+/fsq4C/rI5cLOkhfPJk/5OvvAAJ8YyGXAGN74Vd+z3vec1ujgD/Q379P6EVvX6y9dY7Ue5EBDgACXABQAB44BpbWJsBKpt7ZcaY6V0AtOX6CXCCpTXmBlS/8qL++fCMH4sY8fWxscv12TPaRvmwAMfZOsu90UOOLG2S++VO5cfDWpXlaU+MA5+x2SVAPQMVZwEo3INbuEoYCejLtAT25ujmR9QIH3GyyHXW5C/T1MR77dLTjAXQyMeKcAnFce5cCtoxDRo8N5fSfBPGSdokp/pT8Xnv942cSDFTiC04L3pUD58D6Hk8vfuplL1579Xs8veWNga/8hZYby9yVW4NzTVYvHTw9/JQHNF2U0iW3Z/8JiOsTUErYXtUStUPp0C11QCWDDq3XG9Dvd3GJHhAsiAeyJ4gvIObDArj2BdBtA6DNOfs4O4F3QFtd3F6Bd3GsrdjuDOibb+tvNskWxCUhicNhDbABBQq4F9gDDGAekCgD9W7tDjyw1M+L16sTIAEnn6QBOHD2qdwL3GfzP/7xjw+///3vH/70pz/dyG/kXuZe6f7wrX+SxpaEI2lKvO2jy9kCuPLOU3KXnCQun/zzB3B6NQPSwDcgdnEA2sYH4D/4wQ9uZYDu5wD01a9+9fabPY5cOOj6etDPBThb/haAPf2NZS0AfRcA5Qj4d6Hwh4B9KeArn33+9xt9r3zcWltz62+ukrmkDsACp4ByATuQCiw7Q+r0InrasqEMGKPG0U4mtgIxMUamzXnkjz2kox9b62Nn1rnVJ5/YoB/Z1wBwATyQBfT53fhs9rNbczHH+tBrPH27LDQfYEkXBZza8sPam682PuHAmgxIRurk+lknZ1BfIF6/+tCrn32tDmCRfvzhh7Ze6Ti74n7BPyAXK+RssoHo90LXn66zjp6VcJZv8qn8n/JNgiWtxgpISoD4FfAENNsGwIBiQPb/wgGdsdcfsmwGhPlRvfblJ1A/BejbVzl95cZ5jOfTyetzynetW286zd8eARUJF2AqB3b2TRzQaS9rUweQgSEgdygdRInAwevglhhwCb9P715uyoF4PuBso2R0kDoyLl8RwIzq0+tQPT28Ov1idXnzNPfi4ym+67TgnW/ZZ1s737v4SJQSliTi8PbiBuBe0cBOGUB75cUDckDd720OeK9z5YCdDcALZLzGgRRQBOQ//vGPb3/Q9uc///kG3H/4wx8e/vKXvzz89a9/vYE6IPdapwv4gKDXvPElOXveTyP2sniwV/28IklLwiU3/rqceN16jfsEDiQBJlDF+dg/cwO2wJkPwBhwA2J/mEfOL4BtTvvTAP3+wh5H3//+9292gDxKh0329nKw43QB4BN/XGgaX5u6rxvmAeDNzRpJwPY2kAwM7bnz4bxYQwTY9tzQDey2PXDD03e26LN7Apu68QNCfehG+rKlb+eXzJid1QBW3+ywKwYCVsC3ZaCoPWBTV9af/S4JbDc+n3ZO5HzXb8dmFzBHxiWz1gA0kA2cyYAxeW1kiN8RnYA8X7UFrvWP01/SBxkXMAPfCFgHxs6psktBAA/kydTrS+bcO89ygzP9/K/TJefA9b/JN2FtQmyME1TOBHmCEHAK+P6bIG6cxlbecU5ArJ4fy18siDeHtXnKanuxnF/n+p3rXfsViAM+wGMPi48TxGsPjPQB/hK2Q4kcxBIM7sBGJa39XbxXeAAc0BoLKGiPFsTT40tEFpDQTYetLdM3TzG6ZL7Nvfh4igfi+uXH8sbRrhyIS5LWRQKSJBzyx0A8UO4Tbly/DjvZksMfiPtdfD+le4F7ZfuU3ivcSxyg/+1vf7uBuVc5mZc6fWAFdF0sJC/+A2xzat3tFRkA8IXGngfikpOLhwuKz/K+DHiB99IFkgAcmC+gA22vcEAMyAEo8ESAvEtJoK0O2CN1L/RAHHiz11/ik+tLrmyu2lxy+lpBX10bqs1loL64NQLk1l1SBhQAxhpYC2sGkJwNdUCNnJ3OCe4cBXR4fdPRH/B2IVA3BhAJ1ABg7cYkp0O3/gEPH+nQ12ZM+4f4oh+dqH5sAi3AhkcL4gGxvsrss2lOzSsZHxB5a1KbvmwYk30EyNUDT6DLF7z2/AtwA+ETxJ1DwEqv+bDPTqAf1569OD+QsQNioIy6bLvcOa8ueNmg6zWvjZ66djLnBeg7c87zs01eks9TCepsD4zv8RJWibGEmH6gkl1yOlEgE7ACsgXN/0aZTfbzpbGyHXjmS/Xal/8nIM5eIHpv7MY8+Y59Vc7neHM8ufW39vZJTJSAAZ16+4HvXi6IA0kJ+wTxktQmmJKDw0Tu06sXXJ/L2Qpo+YD4FHjj1ekqLyjrGzWX1ctm4FqcnvOsbm2K0XgxvG3J6tdasR+R1U7GPwAHxCUnCcIh77ACcgcWCCBlMge4lzigBuq4hADI9VfGJQNEhw2frn3+BZZAL0DycgXiXuDo73//+8M///nPh3/9618P//jHP56/yIG4Pl6bPiv7q3Bj8908gHZ7iavbX5c1idieS75ATT8++a3elwEXC/+hGb9P+6wdePebOFAH4gAWEANxc/A7OdIGrAFoL2k6ZPTJe3WzsUDtEoMCZ3pAHHBbG/P2k4K/DUDWqrK/GdBGDymT6W8eLii+OEjGErs1AEzAKyAOqAJpvPYrkNv+nanOGR5YAjSgS6excHJ6bKMFZn216aPNxQKA97cu+tvDtU2XDfNztgO//8Pefe5IdlxRFuY7CJh5eEGCvKO89957716mBl8Bq2czdLOyuklKlMAfgRPex1lx4mZ1g5gwAAZuefNrx95Xp7bqI7+0+mi80rRxAlz9nD2ofXVrH4hBkARJ0CULF3cCXF3ydAlwJoXrs/TGRSqvvYW+fnD6JN7al64uZ9IZ4FdWHeolxQE4cCsnrA/OtHPc+X/8Jp5SSQGlpN4KmRKrjZRXbQWv2io+KT0AAdgVqN5snHprI7ltBc5N2/Rt/2Uhrqx6zUtzZC7E1e5TctvOv/nrc/IK3jv3+gBsIBf0hOtb/SwMQsVVBmBByaF34DrYDju3isXhcrDl7Rk2mINbTl/AQFrp4rRVP29BvH5tPnHqNjZjaDztz5XtxeaJLE6+/Cu3PL/6c6XJr339MKasVHPkoDvADipg95RO9l0cwIN4gHa4HXJlgTyr/IS4Z2vWIWCyFIGNNRnEWdye0cH79ddff3Qf//jHHyEO7vIBIsvXRYBVr58UIsWbsgfvdV1W7AnjpJhcMvywzcXC0zx4c35RzioHdH+P7ps0GLLOWd49bwN1kAZqfnFg3vO6ONa3cQZtcAXpgC7sYsLxd0lQRjiQ96d2IM3vtwQcwAsHcD8GFDav+mEcXhusDRCYJ1AKxMJnXGlBjZSHBL2FvPC6zp3zdgJcPunSSO2oi1/frI08wVWbzijXBUOcdHWTynL86nCugxPI5UBK/fLVN/7q2DHUB/nKo6w6nBH+IBlUtQOatZ9VG4QDrb7Jl9vyIBpI82vP/lavNrWjTE6+6g7I5akuMJamHvXZ+/ohn3hOffokDz8pj3EAfpd0cHcBfm0VypUSWsV15d8yV/4U1y0lqczWe0Km8BU0r+IC2cvIhd76q6O4QFi49JUvC3F1GT+QZNVaE3HGXlvPlfWRVH7DxTWn5M69tbBOJ8S3X+d6tq76HyyBtef0exDvILrdp+wBjT/ogpw6xYEAB+hBPJBrn8sCTyovL1d6ee9BvD19zpP44Hx1hs64ws2XsDqaN+PJSqWYzEsQB22W6v65UwAH+SxuoM4SVzaQX1nivod7BvejLHAEOaBihbIePaGzwoEbyFnjLHHP6gAPWCDne7Bfc/vG7sJAeVtLawTkZOvZJUw65SwvZUUp9T2ctepy0a/E+5MyAGSJs8J7MgdpDrDBG6R7NhcHnH2nXtC7fOQqA9S5K7D3XA7QgA3OXFa7eGFp/KxznySkuxRo32XHPFHExr7AvoL5wjpABnFplScDX3HBH/gWsvKpS5x9FkTFKysNoKSJC6zbLj931mVMOXWAHQAFMkDKL191B/4gvfGNW5w+1291OSP6r6/aEhdwtcMJy5clW39K00/OPqw8kIImpyypHn2WV3oWdeOpbOWCce2SoLtWNSg7o8FaWXGFtak9bTQGe8c5d6bVpfzNH7alrFd5XflTTq8qTyUZYIKPNsWBGFj2vZi/uIXoy/qD41lu4/PXp8JnGeE3A/GAYi533LV3T9a/5pAsLrlp69eetbDuWYcLvqzV9kUwqs+k/KuoHXS3dnIP6h5MB5DyAH1lObAGZvANtgvyTZc/iG/+Ladf5QniAV6/G0Njai8Lm5Nz34vbPJVrL296cfLLl9vy+mIcIG4uKCRWAyCDtOdzAOf4AbynNJY3eHZDd8CzxBfi6soaV4fn7yxdYARxsAlAQA3an/70px8dazyQAzyIgx4rHnD1jRKy1kHbmgbx1snagbg9kALVXxYqax7E+ztxrwTBnEUuDOQgzgoP3KQwUHL8xiOezJU/gJPSstAX3uaib98k54kdlAN5wC4c1OXl78/ypOuTMbiMmSdAACTzlRWchSvOPuACaQALtkGf7HyVVj3KLxiDI+ncmX/rEMirp3W5Knv2rf4FOGX5c/Yyl7VLCmu//qQPbknjaJzaq011BHV1BlLwC64LcSAFV3EcWOrvlg2Wzh9IBmz5tWVcQOvMybOXgvJK5zdW9clTWvAXtg+0QRZWtrBynDDHr7xz3AscmL/hP0BJ4SQpmvy3ZErplkxZnbL8Z72nwlyYLSAD2hVIXyZOPbfyl1ZbgbDwVbntI3+/Nr/152bqAFPzYE7IhW9t3ZLaqB/y1McAXThZfHLjzbU+gErgAz/gA7rWLGlNAyApLyVNiVPUDjyFkjJySB1A8TlpnugALIUfpPUBmHPVv+nBobzBO7nj4G8s+sstzK8uKlf70Rq1n7eMuPZz6ZvXvMm/ZfTB+IyJ5Wo+KBWHG6AdVk/o/RvoAAzgfRNzoAG8mz7lwgF4Lku8ZzjlWYRg6Xs2axrIQAqc/QLdr9E/9alPPXz2s599dCfEAUwZT9ssZ3VSota7dQzi53oZp71gnJz++lMsFwt/oqVfXggAHPj0MefVgHUdmIFYP4SvIO6iUR75OGHxoM1P9nzudYEDcfPBL40L7Avy/KDNKSMv6UXDN3Px+ufFwvpR2AAEns5DZ8A5CFbi+ANWoDVvgVR6eQAGFEsjg3AXgMJk8OMPfsE7oIAGGAqDEZDJo6z+AJr1A6ugGaRbW7L6ledXR+Ov36duMH5jEG9P0Sfiymde+NVTP9R99iMIOk9cEDUeYKz/9bGxyweoQbh61QfezlwAFmds8koL7upuzOqXT/3iyt8Z1ZZ0Tr/qZ+e6dGEXcnrB2X+EeEolBXQqrZTRLZlCvyWvym1e7aX4UnhnOuAA1AIyYAWwV5XqqWz1Fy6NrD3QK1y+ldWRvAdx6eozRnPRWKuztm7JvRxsmeB8yuCdLL32zX0QD5AgAza7LvzWNmkfyRdoA1JKyYHrADqcub6zkX4Q1RNsbasvJ84FIUgIl+8WxJUt30K8fQ/qxmt8xa08z0P7tbGXt3loL7fvd0+Xd6U50z9jMnbzRSk5yKDrOzPrDeSA3NM6gDvIpINMaVAgDnpKgQTHLHSHXRzFo4zna1avJ14gBjNgBh7PwKzuz33uc4/WOIuc87zek7p8oKa8b9nqpZCNAbQ5Y+L4Wx/rIQ94UPiUmz6CG2u8P3tzMeifVtVG38NZ4cHaj9iyuoMzyeKWx3N61nhlSGWyyo3BUznrmR/QAzwYn9Y5OJsnlx1P5lnh/dhNmrpIlyES6LXnk4AXC2sFgp2JpyAeyAKneesirBzACauvOoXlt48CtjDXGSQDuPm3P6whZ2/Zd0Bhj9lzXR7lDTLytt/E24fSjI8DnC4B/NLAC9y6MARzfTFW+9+YcuLphowCY+Iar3oWxPaTsDzqFgZO7Tsf+iDM6WP9qA791ccFavvU+Iy3sQjzqyf4mhPxwuourfTK6od8XbDNX33Xt+2rOqUryx+85RH3hh+2UTwpnZTQKrFTQZ1KvXD1KFtcSq56k8GjdmtDfsqucuqSN5gFrFMGz2TplUsWf0+Wf2XgI8/ytZs808/w1stfeuXP9DOsD1tOeWHx5mv7Wpz43K6VORYGNWABzMBnLcpL7vpIUyaIU9wOnYN4KpEUSQrIoe2QKsOxyrWvvizqYKdPHDAEZ2Con+UnlTndCe3g3T4zth3f7n9++7OxK7th8cLNo3m5KiOek78LU3NmPhx+B5wCBXDw7imdcqVUe06jcB1sSoEM3MoLO+guA/KRlAElwBL3TZylyxIP4sDjuZzzA7b9Vbofuon3TAxmwASwLGjtWVNrY12sT+tkfVpLfmtsH1BaxqrvLHn/9CmIg3f/2AvrlRXeN3FWeIBeazzY6pPv5PJxgM3xuwBIA2kW9lrkgC0uy700sguCNoDe2MF7HVhzWeSkMNC7JGjbC4P1o6RBKGsymDsruYC20O3s2COc8pwy6it94yq/500caK01aK/pm71mPf3lgnXwA0h+ffe5w+XP/uPak16K+Ln94WV71V8duATYe/ah/WcOAnr9Bl79EjZ+fTa2wM0vLUjLE9BJ+wmEgy5wArk4sHMWajdQKiddXuXsx60HhPcsqcO5AnPj4Q/UpHbUrU6uMYp3NpVXjl+b/MqpT179lUebnDTx6pS31zTlzaPwXYin1Cin/CmxFJHwOvnkT8GVVvmVYLJ1l1Yb1UUZXgEr6CWDX7L4E37Fv4w86zjhqa7aTd6rf+vcvJXf9Cv/1ZzIF7DJdcE7ufNrjs070FHEwBIcrXV5W9fWn7wF8fMgUjYpqg5rIGeJZ40DQMofAPRDn8QHh7cC4vreOIx995+wOVnXXm1/nnMhXB715ldvZWqTXIivJe7QO6TgltIEbk6YgqR4HWKHfiGegknJCHMUDqfeLHHfmYM4KHn+9T0crFnkWeDiAD7rE0B9S/fkzYLWvnXscmWN7B/OOlnD9kiWOGVJQeknJe9iARSgwRJ3yeiiAeZA7tXAn7WBIku7f3410JKgneWd1a2//NL7kRoJzD2VAzSQdyHoKZ3kFuBB25yxtIH9/G4eyNXXZweXMmvrHDgbQTagdzaESwerwCz/CXFxypHBj9y6la8e5y5YgYG95AIVvM21y5m/CHCB6h/b8ad+wvYM6fcJXbbkFyaVt27A73cX1s0+8amEs8b9S3b2sr0JVgEOvADO/gjIgZsMjtI4IDaeYEwq2/6SJk97zZmxX6tTW8FXHk6cepyVLsD6pY/6K875k1c7C1lnTPn6Jo/21FUZ+e1388evf8rIR6pTO8rqhzzqtV7inRn+F8/pq7xW6aR4Nj1FxApxKDePtPKmzIorPiWZpCDlLV/xwtoQli7fFbAWfE9B9ATgWe5WOJiSZx51nnGb/6rMmX/7daYJb/qV/2pO5BMP1Avw4gI42TrtOtyCeOtAWpfWLBhR1MCbVckSp3AoGAeJo0BSSG6dKasFOSWvDkBQ5wnx0p6CeOVOeVriOwbjKNw+bH5W7tjPuShfeaonqf4gbn/rjznz/ZiFah7Mi8PcUxuQgzfJUbpZ4g50EKdkhNc56A68NIqKpID6Bs0S92dbIAdqnon9Yy79Yy+sbgAX58lYOglMygEuMFE8XlS6YAVx42odg7g4gKFEKSd9VEf/7CoLkPIHAsp/weGHdMAN5EBN9mzOauZY41np0vjBO9AvtPMDMGcOwJrkpHNBPFCDdhY5qUx5lQN2oCf1CcQpbLA0XmfBWgNrLhg7Lwvd4Fu8cpz8W4a/cpUR3jzqcIHQPsjoC+vZC4g5N9cudV4uzF1zau7MoznvLwKEuxj1CUL+zWePqM+6+SQC6C4B1paFbk5cHvSB69XJ/gZbe7U9bu9y9jsp3jkJ2vaSPe5CIM74SHtTnDRlyUBpHpSrXn7gDJ7OjnYAVB3KabO+gK122sf1V1i8+Va2MsalbuXscxcl9dKLpP5Js0ba0H9OferRF32qX8J3LfEUW0qIFLcQF5fyI8tLoV3Fl06eSrC0lJ10gAlIAHUFu+JuQfQEYPnvybO+e2A+89+r/1762e8z/FZA3PwGcWsLfBQvWK4l3lrIa51aW2VS0CfEKRMbGZg4fnGsjBQNSSn1rL4/ctM+p94s8SAuLqfPgJgTVu4exBuHMeTaw+3N9qRwcY298FWe6t604jo/zbWLi/GbF7dyhz4l5uADN4C7yZOUhXSHOAVEdsBJh14eipo/5cci8PQJmpQoS4vSpoBBCqRZ5L57gzaQs8JZln0LBizK2XOrvlE0Lm3WBsCDeWvVWpAgbs3tBwpLv1ni+uNSACb9qM0lg6LLMmSBgzgHFkADLAHaGE7ggHrWdekkF7CDMhmoATion/kCfvlPiIsP5ABnrsw168vlzAXGnrfeexacDw54Ox+lF1e5E86VTQLDVZ4gbu7tH/BkHZtze8Gc6rMxeWkwVpcYceaMzPXasHMlv/hebdTThcaatVYAbx1Z+Fnv5sj6+72G/eBy4cKpjz3XOwP2f2eiM2Cf29v2vL0OitKENx4QwZiUx/5T1plx7qSVDsTBtQuCMBBbQ3FBX5v1Rd3BuP6oyznktONc2/cBXhl1Vrczxa8v9UFflW9c+nwX4quAUlgBliIqLuWUcqtcYbK4lZUv36ZRqifA32qIn9B9Tvgp8J7ln8r7nLQT2mf4zUJ8AW7urSlFewviLlMBX37r9hTEU0gpEwoka5zSp6AoJX5P6QtwfQjSZH0KDKUFiABOvlUQv7Vvd7/aw7n2b+Etv3s9iOs74GWFs5xYB5SDw09hUVY9oTv4nHjplI8D7WA74OsolQ58ykW9/D1fU5gAyVJiVVHWFHdWN0Xcn2ialkoAACAASURBVEoBE4W8z8OsKf2hbKwjQBuPC1frs9IaurBYd3ujsRpfEGelUeosNnIhzqIFcg68AWctw6zwLMYsReNy8dD3QJR1DdTGlluIB+vymJue0DdNOicupz6XHsDz6cHzMkvT/Bt3+99ccNY+AGdRk5sO7JWTVzrnfHHOljOWE+4MdikQByjgAIY+rbg8LcTNDTC35kG7OWuMxscF834H4OWmzzIuhF52/MZCnfKKU4f9pE5g77cM1talJ8vdHmW12hc+s7g42nckyHvd8JID9j7tGA/o21OsfGkgzomz9/mdFeeoS4Hz5Lw4I50d+zo4W7cux+JAl5QHsMFYunqDOCgDsLLyAnP5yC4M2laPtVGWX9kuE+LKq5x+dvbvQjxllHJKeWW1bHppyZT8hqsnmWLb8EKip99bsDpBeAuiJ/wqd+Z/KlyZ5NWF4ixf3peRZ1+fCt+aF/G9XvDnms+Vzbd1YlFTuhQxhQwyoGi9rVXltsw9iFMeKW0bkwJhhVE+AZwVus/olD0XDMjnQjyAG8c9S7y92X4u3H68kvKUX7p5MR9c+YsrnNyyQK5/T0Gc1cbyDuIpIWDv6a7DTHmkgCgMh70bvEMvrjDFBSiUN1iyino+pVwDFYXLCYMUCFK2nl1ZbxSouigna+wSZjzmvkvVroc062xPUFiUn75Run2T7Xs4q4wlzjpkrVHqns+5IN7TujivCQE9iAd5MA/epHEYD7ADSVASJ0xywUt+ecUFn8LFdQkgq8+8AZQx+B5s/awRyAZj8xZgg3FnpjPinBRXOfNXXHUE8i4D8oiTTx3yiXMGgUF/vA6ApPn23G0vmD9jNw7jNGcuSFnRzYs0eewRFz6vN6fr9YaU1/zID+jCSXPcJcx6WUuXS/3h+AvbD5wLnsuHC1L7JugbE4vePnVBBH6OvzDgg3qvXPYywPcpC3z5uQDuvAkDr7UEXPvf+ROvDODSdfa3C5u82jHndJ+zWDvyVUfrolyWuDOrnDjp8mq3M30X4ikmyifrgaTExFFWHCUl/JRLka1Uf+VTfEBRPH+gOqF5hoHyFkRPEAbVM/8ZLh951vEy7W8966+9jbtq51Zcc3OWF9/cBfDiAnGyubamFO9zIa6c9Vbu1nM6JUSBkJSHDc31tE4hcUGckgdsbv2FWeFribtknJb4QuMexINx+7a9eYY3XhlngBNvHswlWT57WVx7W3xzVZvNm7EBm3kwV57Tu7076CxdypbLKqd0KIy9kQduyiSgO/zqcuhzlJELgPqAk9LzoyQKkuKkoFlHlCqX4gY3ShssQZzSBF8KinIBCRB32TLv5ieQ2x/tLa8OwGIf6J/yLhSsqpSxPnEg3p+Xsc60DdxBPGs8uAdy4wjogV7eQGRcxkMaEz+34+YHk56AKwPa5QUh4XWBKitWecABcevncgXi1nqdM2JeSLBtP5jXAEyKD8ZZ49Wj/FrexcvPCQdxoLEHAM1ce/UAcfNtzoy9+bAHhF2KcubXfJqXwAzUPZ2LE2Z1A3wXwqAtXP3qaW2r3xpb19bP/hQunV+cC5L9mDMGr0viu6Saf3H2LLC7sNjz9psz4DJqHuzBLH1WvSd8oGflg7D162mfhe8cOk/OmDMH8CQAO8fOxZ5l5zUQuzAoTxcuyLsAgHXAVqezol7p9lDn+S7EU0IdSIfTYRSmlAJASirldyVTcCtTfgvwYKPuAHQFzKu4oJgMbicEiy/fLXmWE65PZPUkz3qKvyXLv+lXbd6K0wdpZ3nx5nb7Wpz405l/UEnRAuhpiQer6hEOTLcgTmlQLBRHLkUlLQVFMQFZ4M7qzhonpV1BvD0ZMISB/TmWuH1s3Max+7JxmZdcezz4GrO45oUsjzK7t6uv9mpTvP6aa58TKFqH2oGlHBx0irbnQUBfgAO3mz/nUDvcDryyQZ0SCeTiXQzUoS4KClzAkqILjsADeiRlScFS1pwn7awfdVBMFJY1XIgbY2vDX9g62wsUkn6BOCWpH1lTnk77Psra0rf+yVXts8z0C4ABRl/1kYIP4PyBmN9YsiDFg62wMalHnDCrM6u9C4w0oGZZg1QvFUClnsrLB/Di5VE3+PWcbh2tiwvMCeCnIB64g3gwNu8uBGt5m9suAi7HXQA6i/KDhvkHJtCy/qDWa0dzZV71n+MvDLo7d3txWb+58GnGXJg/c2eO1CfN/KjLWnZZ4+fMGRAnvRh1yRBnX9ivyvXJBajBXDmXPmNq79gz1VU+ceq0n8UpU93a63LTpx37kgN/lwFz53w6c84e5+wCtbUxz8Av3bkGefudVV1++fiDN6m8PPzOrDLOmXzBm199//K/mK3CSqmtAqKEUkTiy0+B8afESOEOr7zrqnvl1pViXAgFsgXW6Q+KyTP9DJcveaZvuDz35FP/wMvWd8vfOMkd/5X/hPEZXuA2pwsXc966WAtgWoBSwtZbmvKtc2tVWXlAM9hS5hRP4CYpDxvWZhYGc9CiZCgbFhqYATVg1w/+AC5982jztMSz+kA9oJdHWns4vz16js+4xO945Wm87Wvz0LxerU/zpGzlla0P+mWcwGYOKFpz5KCCLbi58VP+JKXbkx/pEAdxBz14B/cATonIJ50yUFbdLBDPjlniWT+UNZBRpuJyAEphKuMZFsS1ZU3139p1gbJmXayaa+tlX8hPwemfMbGCKEXKlKM8QTyFTLFSsBzrKyjrV9Yg8LDawBwkxMtnLEEHQAB3HbgAD6DIq4zyAR3I5Wc5siwBGoz6e3mWpTj1AFMQzyI1j/pvfMZqLUDcWmcdg24Q75IrXB5zZn5d9Ehh52bPVBZ4Z+6ss3qVAXAQYGn2nB7I9RXcrLU5NZ/mmeTMcftDunkLyMZqjs2neTFn/OZGmJPXfIqTX12BuzassX6QwdhesPfEc/YsB7D6XjoJyFno8vCXH/Q5cdrtUkgam/Uv3vjsHRdDfeHaT+LVqS3WvPPn3LKe03H2OBA7I9Y9Z9+DtPz88oC/sDzFWyfn1dnNErdu4tSp7AuIUzApHHKVTgotxUMJiStPioxMyZWestv40iqfrJ5gATarGIPbLfiJPwH7VN7n5K/NW/JsT/jfCfGdn1v+oB1sCpvvXTPrQNkuPO9BvDqsMwUdbAGZgqJYAriNzVEi4qSdEAf/IF5dZC5LXNgz9FsJ8fYfaS7ap+3dha954krbPZyfbH6qT/6tR/+NiXKmlClat/BA2y9yKf+scU/hntJBvuc7h14ZkKYEHPB14hf4LHEQD56eUikkypEyo8Qo1KC2T5qUH8h6elwrA1ysiz3DtT7GaK6MG+AByEUlJWZcvlX6dsnKAXEATzlTkin0LhNJ/QsigEDZUsJZ48GHMgbl4A00ygEM2PYMDDA9HWd9CssvTX5WZU/DlQNxDqTUV7q8QdzTrnW0LsYfoAO58II86AbjpHyVdY46V/Jzna3yVG9h5y5LcCFuvlmtAA5W5s66Z52S9kawM6fmpnkxt+aUNE9ddoK4ML+5tBak8tZQO9rTrvqtt30GtvoUhIWl66P9mhXdfgFwcWRlgjeZxS6dU3eWuvG1X+yf9j6/s9B86LMxNm5jVpdLNpA7f0AOwOAMtAFYPAjbAyvl4ZxjTlrl1OdsqyPrvLLSngVxhy/FQ6bcKKj1p6g2T2VTdslVdPlTou9EiC8gQTD3n4b4rctF8fodtO9B3NqwnChi1m4K2eXNGrUugWnXyzoHcWVBKYW0iiaAi+OuIJ6lvcDOwtcnbgGRlb1WX/57lvju1R1Xe7n92j7uIhvEK18+cvNWZ/VtmroW4l16HFTQBdrADZYAQAZvIAdmBzrl4LBzKYIUgJv8CXEKHDjBBZQpcYqPgqTQONZGyixFS+lRmsr2lGhdrbl1Mvfmx9wLWytx5kYciLNE9dk49cNlQn3qZVXpS8pXn7pc6EPWmosG0Gb9AYP+ggvFG4AoX2HKl8LllBEmhVPIrMNgJM2FIPiT8vm+y4GSH3EBdgDnl9av+wFdOf33emE9rQ3wBlXrnhMHxF1+9wx1dqSJl5dfPBf0xXFnXUFe24Bg7v0WwQXK83BP1SBpzrJGgdNaWAd++0OafWGOzJd5WzibJ86lBrj5m1vzoRxpvayhedamPaeNBXCgJbWtf/IAp33iAuriZ99wwuJd/kh7ShyAq1c5aeowZvH81ojTB3vMPtr9xm8f2S9dUoxPWPvOI2g7vy5pXBa2vd4TOTh3wQ7eK53nYN45Lmzd1Kk8PcC9FMRTQCl0cHAwhXPyUE7kKjT+deVfuVAIOAvPwPSUdX1C9am8z7HEK6/t+rJQPNv7d1vizckt+SoQB88sYkr3KYgHqYDUBeCEeJuasqFgAJz/FsQX5OoEg0BOgp++kW8XxHdv8u/+bW83/pWbV3z1VMZccQu6fblYiAfuIA6aDq4bP6VBEVMAQRy0HXCHPkUhTj4O4AHdc7q6fYcGF0ooxUaJUZQcBUtxUbIUG+VNEfp27QlRv7RlTY3B2lgX0CYBnGsfnZa4vngRYNW7TFDC+lFfUthBJAULIClZfdNPUA4Q0sTLz7pLAcvHKd+4pGVlia8edQkDDehwQMT6BmuKHKz5WdxZ4dLFl6YcSARxSrq9H7y9wnDCWdOBHoyDeaAWt3mdJ3k4ayHfLYg7i/pg//hNhHW0nlmmgfK0ioO4NQly5sf49mLED+ik+eKCeqA3t9KtE6ce62C9zFXgrk1wLU468PZ6ZK+cQJdmL4F4n2aqK4hry75Srzqlq1ec9ozTHlrX/jCOxmS/aMNedg5BNmmus8gB2FkNzPJII8uvbHk6y10EuqAHcJ/C/PjuLsRXIQVmiinIUkwpKfJ/DeILaUAPlgF90/O/lc/pWfy3ZP14Su6lo3qsX4AJLtaOsgVQ32iBPOVrba8s8fYEIFHWgOsSEJRWIVFKlFdW+FrirDNltLsAV9fbCXFjP/fw7ud7/s7BzuvObeVrp/ORJQ92wOfSQ+maHweaQvC9OUsccPs23jdxMF+rO3hT0PzqoDCyxlMCLgDqVicFDi4skhRXQKOoKS0O+Chb4KPwWG4UiNcCSgc8rJ216mLVRWsvWcYKVvYCa1yfWIOs8KzBlDKlCihkilcfXST0Q5+yGClasAWGtfDk5eRbJw40lBNPoVPawV58oOLXnrqBOyjxg3fQBnMgFwfgvpmLo+SBIohT5kAbwMl7ED/zBHbz3nlaiKtfHudKWX5tCEvTB/vAGrpAgZA5DnTW2FybF2sgbAzNvz1hP5gj62CM5p8EuF4zgp05EydsHsujLKc+dbk41CZZf7Td5Q5kwRagpUsjpYvjelLX9/YTv/5L7wJgzXd86lF/Tp/sifZKZ8E47TPj4Gftm0/z6vw5E+Brn7uUB/DOpvTgHszlC+rld3YDvEu4M026zPeD1LsQT9FTRim7K4iXT54UuzL8hVNk1ZOCS1ZvsKAYF04BNOv4SgbS5FWejStfctP4r4C8eSq38qpM6Vv2lr9xksHhVaX5U3bntHBr1hqRFC54B9R7EGdRKgdGC3EKnfJIwZAAZVNzwmtVUC5AthDvQhDEyZy2QCJg6Kc+cACZX7wxBRJpawnvnjz3pfk508/wuWeb5+a2va2cedq29UW/XFRSrsDmgAM0yIJ4Euw8PQOw7+KcA92NnQRt5UHc87kwUGaFi+uZfr+HUnSUJrhRXEGSoj4VFsVH6ftBlLooHJCwdsYC1NaHa4zGaa1c0MCGheJHP/qsH37lC3KsJwqYotUn8OAo2iALqrmULAkGQJJlt3AAauWNkRQ2VtDg+CloY2VZdmEBnOrtG28Q74drIO5ZHbhBnPOk7h84AXTlQadv4pS7OXA+TmcenQug3TMiX6DfPFcQ78xJs6/k55T3uwV1g4nL4P4WAcTBKzCCYzAnxYOguetiA27mLYADWxYqwBV24QFx4SAuXVl7zfpZA3Vbj9bKHgjagVk/6s/2WV55yPpu3zQm/sLWQx21U1rSOKXXF1Ifg7jxBnH7xUsWwAZhe7sLufNhzYN059PZdE6lS+u5XR2csPNRef5ATi/4oaR+3oX4lVJKcYEBJVWYXCUnLUBsPH/KbWX11Kb6/9MQD74vI/+dEN/5ueUP2uaVv7D53jUCGMoWxAEVyO9B3PpaT8qa0qbEKeosS8CmNFI2INUGTxlJo2CC+Frf+YO3cHGBPEAHbn3Jfw/ixn+1N81N8yNP4VuyPXvKrT+I61991D/jMX7K18F1uAHaQV2Ie3YGPE/Y0ilht3+Hm1JWjsvvwKcwgFw+EHeLdyFQ31rAFBjlDGAp5RQuBUw5U1wULaXVc7r2rGEXMGsVxK1NftLesh8oLYpNf/Y5nYWUNUX5gm6QpeRT9EEYRKRzWUyldRE5IVF6ZQM4ZWycQXqhY+wgzgESeT6hB3UQzxKXz5yCDaVr7iloe38BHmjNI4jnil8pz+YL2pUBD05YG6Q5r01n0t6wt/wWgUXHkgS/AAlgnDXIX1pzbd6CeHvG/jBvAG0+hc2nebCX2lfSOGvTOnTBIsEJiIO0fuhf8LVX5ekzkHQA73NMEJdfWhcQ5WrHOIoHc2FpgXwBz28dXcg44zW29oO+OZPOwoK5M8maTveBsrPYy5gwncg5E+oI7Opyhjl1KeOC7yndJxD9ugvxU+Gn0FJWlNr6U1rl+2+H+FrLzwX5vxPia7Vf+Z9riWchspYo4+dC3DpzylPSgERRu/FTHjZuCoS0UYGKkqFgxKVslFlrjkUXsIGB3wWh53Zxb9YSb78uyNu79naXnpV7WWr/S9/4/FvvFcTB3DizkMyPA5slzgqn+CncLPEgTmnI56A7/AFbOOUBGEFdHGtBfcDJ9ffYwEkpsjQCNyUFXpRyjuIFQbD1DKtf2rOGLn3WftfF2IJ6e8vaU1LKZQ0CCUtVvRQ3pag/lBRHsVK44jlKOoUMMsLyc/yUMaVrPFl7wqdjeecCTCACH9aX+TAPxi6vuehCQ4nngjuIe0YHcnEgZX6N0dq5wNwDeKC2L1jT8hcXjF38zHvQdpa4Xrv45akcv7pAHwwW4mC4gGxui2tezXWXoGDeZakXC/NnroT5mxf+hSC/9VCP+tXdGlpr++BsX3z5rHMQlw/AXUbMtTAnf1CunL3BCSujHmPixHVx0a/ATjbO9lSvNqR2XYzA2jlz5vILB2Vr75yCOOcMOKPWjK5UTj3WR75cZ9j5pRNcvo3T/nwtyyJlnNIJvgBdnlNu2i1leNanXnHbXv5TIZ7PySnGYLWAzX+C9imgyiu9MtWRFJ//lqzsyue0WZ5b9RZvzAGky9LK5qK5OfOe4cq2lsLykAtiypcVBTLiW7PWqPLWTh4KGsSVo8gpDk+mWQkUTcpFXPBOsVBW3Frj1afOYAAI69YK14/TqYM7YW9M9mLP7/zG0viat8aZbL7Mt7lvPskzjzra/0nt6iMLXJ+MxcXFPJgTBxmQHWSABlzfwgGco3g9p4Mfx5KVl6LowK+kJFIYFAMlUL2semDpR02UGIUEUBRvDpSASjygUWZASpG4CKjT+lo7Fy1rRRpX69YaAr19oI/65Tnes7w+BHCKNEWbFUVSytpNyQb3AEAZr6KmeI1Hn4EXWCg95aTxg4jxAHjW4yppeVLeC3l5zUdzZY6yzPlzPafrt08G1oxyD7zBHJiDLZnl3d4Aa3H2CekMmUdSWnvH/ul8SZdXeuWFxdsv+tJfBfg8oo+AZ244axBUzWtz23wDpLk0P+a5+THfgM1aNT/m3nyJk088gJvn5p+0/6wheAMU1xqLt+7tA3lY3vYMEMsrvM/p+mkc6jUWdYjrRcdYxXVhkWf9wvolv3pcxrLA7SV+YzYvflvgfAVrYBYO4C7n1hzExXP2gTMgjzPfhduZ5sQzeDgQ9+om3ro5L+bSp5wXEKeAgimZ0klJpaCSZ/yWqezGdSk4IV6b6q1Oyu+EUnFBiwx0Kxem/MFyYX3mEd468t+KL528qus5bZZn67ryn/Owc2ROmo97+SqXvFpHgAkswAc0gBPEd40qb62ly6tMUErRLLxBnQJJ+VA2lBjr4B7EF9zrfy7EF+SBO6CSJ8Sbp5WNWZy55870DUvvLLT/a9N8BXIvC0HcYacIgNFhBfB+0AbgbuEgDsTyONQpCwf9dJSEdKCXN4CDL3j6MRlrhkIGrCwn8OE8EbMoWZYsU8qY8qJMWeILcYC2NvYQB9zmPcl/QpxlWj9YMxQyWFOuXOCgXHOUK0fBU9AUbMo+6JDyU8BBmsIFDso4Z8z88hiX9JQ2qX55xAcpc2QewIkipdALi+PAy3xxQAAyvj/7RThFHmidk6fcWuJdeJ0XoO8c8YN4Z6sLsjbUHcS7HDiHXaC8ftgD5h4Yg5r5M/fmkNz1aB1I82NuzENzsRA3L1xx5ko+c9l6KG/+rYN1rS3Svuzy5pLBnxPuJcm+CeBZ3/ZF+6BxkO0X9WtPOGcftb/ktQdy+telQ59dRIxBfp+W+rTl/PbiCMTOJGC7YAG1uXe5tg+cS06eBbazaq/I2ytbF3A6wKXLnLlcv0bppJySgZVMKZWWPOMX2CmujUuJvRMhfgXP4HyVtnHlWxmg710clNm6bvmBeiGdn3yzEG89SYDpGyYJdgHOmspzrrv1lEdeSrrv4T3/USyUxrqUDcDLRzllhVPyPakHgKDNuuMKg0MQB8TgvNa4OnLAUv7y7vjs150P/oX1mbbz0byc0rw1R/VL2zn9Np6eObt1O8SsVH8CxGIG8BzwdcApAAc9ZUFSEDkWLwUhLK9yrHv1ssIob8qPsqOgKFuKAbzd8jn/9jUJTtIpYgpQefVQXtbXGlqf5rj5Nv+B3dpa/yxxY1JPIGFZ6Q9F7aJAuQIFRQqm+shRqOIpXW7zSSsvP4Wrz8HVGIAkJUzmB3L1qzvFXh0LqaB9FQfg5tAlSFvqMs/miiKmzE+wgu1a5cKgK64LLr99Yg5J5ydgk8LAHaxJThrHr12AsRfsAxcxrzGgYN4Bu/k0fvvCWlsLcJQOWuUxz+aueXDBaY+YS/6cNM5a5AK4ObfG6gXP2gjgLhhc+2ItcjA/nXT95gJ5dRoXv/FY2yBNtqf0IeC39+SVzvHrs3FIN4/W1vmzt3sR4S/O2QbuzijYdw6CurNhfeRxrlzk+bPafUKjD1jixuCcPkJ8Fc+pqEq7F7/Afgrim6bMKs7aSnGCVH5yofVWWeKBMxhWb1Au/ZYs38qF+Po3T/5b9Z7x9S+AF04W33ydc1k42Xq2BiTYgMsCMci1Tmd56eCkHKj2/Jd1sfDOfw/inuPBQH0BO4AHcWlBPGjoQ6CsTwE8CSY7vnM/mpedk3O8zRtZ2ik3jznl6k/wFjZ3T0HcAab4Wbs9p7PKKV+HGegd/pQEWKcggrhbPGUhDewpBpcA9bIeTohTSqzHIN5/I0mKz8KkCD2n+4EN656CAhnrb13Mc/BOirO2QKNf+mpc+tFzOouVQg4YFCVQcCyPgJvlRqFSoilVUAAPLsvZmEDX5wFg9dRtHMWTIBSIlAsq6taWuAAVlJIBPSvcPGnDHKobmIzPWL2KOAcBFlT5zZ3LLMcfxKVljcsr3kVXnHlcd0JcPcoHceX5gcQ+sJe8DgCQ/oEkcAUqa2wdADEoSjee8qxF2vwZs/myVlnh5uoK4tbV2mlL3S4JXODl14es7/oS3KUFa2n2TsDnV74+a6N+d1nQfnHWmpMPIDlp7S/95DZszML2MCA7B6xtknP2nEVp4Mw5iy5R9oK1EO41rbKdDxd550Q+dbiEg7hLr7H9y3P6cxXT5kthUXwpxOTGpcw2LTBUR8owEJ3y7YB4EFwJoM+FbPlWLrjXv3lOSN8KK1Pa9vH0v1mIWxdrFJSDjDhpu+bWqTWTjwtGvoumPCgNCmuhTdGso5SyxLPCg/gCvB+09aM2oAgOC/EgmcwCTJ55z/0YwG/FNw/tzcLt3eamvb9zqk97gTBv+tVzOoXskDusbvVAzVIFcd/cgFfYwZYG8hSA/N3qF+L8wJ2jKLLEPWGDcD8MotQoZIoW7Dyf+7Mpfyb1kY985PH/hqYwxHPyKgvi6tRv6w7i1s3adNEqHMSBhLLSbyDpOT2AU9AUVH0CUVAlg0YwB4sccIsvPwVNyZYOJMbGSgbawCLPgl9+7VDO2lWnPFmRWydgBafSSUDXxkKc8rUWzkRANRfB+Qrizgerm+zcmGd5lRW358seEt/F4Ari5t7Fy76yB/xpnxcQQAxewBg4SWnAugAHO/PUupjD5qZ1MA+BvPkpj3k2xwFcm9oJ1F0cxG1fxBf2erAWunjpyqgPwDnj0vd12gXlxqwvQV0+6cLiwVze9p8xB3Xz4jJkPzsHgVwYwAHbObXu1gugncXi95zyO8tdvJ0tZa0Z6fLlMugzgj7aY6+ltFLKK0/FdJVWXEor5UduXBAPCme72xZ/SnLl2wXxAFj9byXE3/Oe9/zLd/mg/DIyaNfXwsnim6/m8wwXv+t2tU5gzrWO8leWFFbOeoIROFLWWeIUkw37FMQpH0qGQurX8MpfQVxcLit9IX7COYiLP92CtP3aflxZWlJa82BezXnzeM6NMu35Lkb1Sfs5YzAuipry9QznAIM4SLOaHdog3lM6JQzmQZzC4Kc0gnYKhMLg59SrDuD0J0/ASdlRVoBDKbAgWd7ve9/7HuH9oQ996BHmoA7krExKjKXjYkGx6LcxuJC0LqQ9setlrEDjeVCf9QVMfJulkFPgFCPFqR1ACLL5gyoZFDaPfJy04o2PBd6PzsAcWBbm8ssXyGt/21EvZc7Jq46cMKdOACPBwHP1QtxaB9wgDs7rgFuYlEf+QM6fc46cs+oj5d+ywgHd3LsEuoCxws39CXGXqGAIiFwQN56cuei1pPneuQPwhfi5VkCorqzwBXlWtX1hn5Li2iOADeBnnHCQNw516nuw5tdeYOYXB9bW+4R2IDdOY7O+xtoFQB/MLHw/WwAAIABJREFUZVDOmra/nTcvZs6mdbI20rtsO5vyWZN1QK9MddIJzq9zry2/AdC+fffaKqgUWIophZXSfipe2epKblwK7YT4Kr8rfxBKaQYt8gqCa+3y37KEyxf8ktVb+lUbG1e+ldsmiC/I5dvyz/E35vqYLJ4srvlqLs9w8buWrfuuV+AprXLq41deGmlNQYnSprABmdKgWCh3bq2F/NIX4gGcogcDAOD4xZUeFLKuySuIB8pTgqmLhzGe+7FxNe4rKU/z0RwINzfi1Kv+ddrMGtdf/TZnxud51FyYEwe2Z++1xMGup3Q3dAfawaYQVik4+JQDmFMg/NJTCsDZd2iKkQKjlAAOwP1DJQD+wQ9+8OHDH/7wA4h/4AMfeHj/+9//+CM3SpkCoRxZIIDAAgFxa9OlqfFlkRvr+cM2P9JzSQESijelS7FmGVGcwYDSCpJZuoFTWvCUBtKVA1Tj61u1cXIL9aBbGfW5AKS4tROExAV8+ZRRPqdefRB/BXHnA8iDq7UH68ANwFnm5RXHb649rzpHwlnj1ZdUXhl1V7/8YOGC2L/W5jLHsgMje4GFB3jWgLQmJ8h7ZjY/IGc/8Jsjc2M/ca1Nc7fzJ79yQVx7AVV79gMgnxAP0KV32SA3P/DXb/Xqs7aMkeMH5sZqHPoctAt3YWsvGJ846aT+eVECbM75tUaB1znkt16db+fWeXQurYf1DOL5wb2y0uS1bs6utTJ39teL/098wZtiWmXFvy4lVpwy1ZHcOEotJ10aVz23ZBAigWrBdQXAhSn/AvVMEw5+SfWrt7xXbWxc+VZum09BvLa2vtPfeOtf81H4VnrzWf7CydYt2Xq0ZgtxeZTbusTJqx8kOFHeFDXgUhrg7WnJhua3gdvIwV2+LPEgHcQBgQM5abmXgXjW78oAHsQX5M1H4zPu4naO1i+9+SGlqXPbCebiXCoCHGk84Ebhmh+HF6AB3K2bss0Spyz6dTpAZ3WTYN3NP5ADrAtBUOdnEYImJcdRaBRUz+h9Bwfw119//eETn/jEw8c//vGHj33sY48gByjKD2RZci4FFI91NBZjai8k7QvOBc/aU0j62o/sfJN1KQAQCpekJCkqih98+5YN1MG3b9zS9b/n8n5ZD6TFKb/5xEsH8359r+4gzg8+XQ6Ec0HbvOmf+BPg6j8hTnkHX7ANsMkgbi5dirgsa3tE2FyDgnmUXzpXHdUrrz21l4MT4v2626cRMAJG68ABoDUGuaAKlAHR+hi7vRDEzZU5W+CB3umU44C1NVdvQO0loAtEwA7gYA1kftPBKuVfC3zBru/a0E99rg0QB21SHCtcP9vbJEiL6xJiXPJJ4+wzffIq5gw6k84vnUcGZJL+ow/tAefTGZCHE6esMwHu1le6eABXTj7t+P5urfTZ/n2NcqNYKJ1VTPxgmwK7JSsTuJMB+6ru8qxUT8owhQga4siglQS7Bef6F6Ibnz9QAqC2ak/d4sqnnvLekrVVmVOWTp5pwkH4Vv3Fly/ZPJwy0D4lGzO569qat3bk1ZpUXpo1lI+ypsCBlqKmOGxajrKxqU+YsyAoHoqGwqGkAjhwcxR/1niQ1454bZ7uyuoWF8QDqz7r+47vnA/h5kRefnHmtrxJ9Wze5jB4b1hfFm4pWwrWYXWAQdefknj25ljhoC6Oc5gdehZ5T24pA4ogS91lIIDLLwy64Ev5ZJFQZhQCK5zF7Vs4B95A/ulPf/oR5qzzvolTlJ5hWdKeCIHHGgVy885v/awXuFtje6K+siz8/TRlTAlT6pQjKAQJcATgrGdP+l00+k4vjUI9HYhKMy5pwd+nAa8Nyku/grt2g3WXAVI8WAUiAC8fcPe7AX2Wh7L1nO7TgzVwDtr35sxZsfbgG4DFe51ZSzq/S4AzRaqnOoC8MyVeWH1JcdLBwR5i0Zl3FygyQIOpfaHf/FwwFQ/sHDCS1qnPDvYR8FlD8eYmAJLC5k4+awygQdTFIUhrT/sAHaSl62OXT34w6/IB5C4j6lAWvMUpp76kNE7Yfqv/229xxeun/gZ4YxOWLk7/XEbtaeeAA21OHLhbB/temvPtDLpQV8a5z9qWH8iFnW31dClwgbderYtLxQtLnAKiiFYZUTzF3ZLKrfIKzCktcuOyfpRZBXjWL630txPiwS6AgyRwBtwgekuW75Z8MxCvL9oO3skT3oUbz1OyuW1+m/urtZRW/uosLE0Za5zCpsQp6iBu89mguUBOAaVwnoK4p1gg6Dld/eC+YAjkAXyBnT95Qlz/G39y4/jt3/bxzsfpL2/5lWm/8xcO4qDGGVPP6Q5uN3qKIYizyMGSFc0aTwkAttu6Q88pK65bfQCnDICdcwHwgyaKjRKjvIDJ34N7Nv/oRz/6CG8WOHh/9rOffXSf+tSnHn/kBoCUFyVIgemT9XV527UB7n1KF5bHHgASffNSwLLoT5wo9CwdCioovve9732Erv9UJL9LBj+g6xNQG8MJdukuJqQ0efg33N/CA682s/zlrwzpIpCFDUouBcI56frByQ9YgOHHY9bN+lDmoM3Z+wtxccJBvAtecfIH5s0rPYhXd/B2zrhAYt7tJXuAJe6XzqRLFEjnAqF9khMH3NZJPlI4iFuzHNAFcfvFhabLjz0HjkALSPZhF4PgC9agzPGDsz4G9ixvoAZ0YXkbh/yVs1fVS+q38Sij/9rWl8ZAitOvxipOn8VzQE4qD6rg6vwFXHuc31w7j/SddXe+nVdnxvl2DkAd3H0Hl6aM+MLSlFO/S7h1Mw79M8ePP2xbZURBp4wonRTbLSlv+YP1KrFNp9BSouJBISCQ20blxMkXpJIL2hOg98AZkAGx+oIjWfrLyO3Dtr/+zZO/ds+2zvjCyfp9ykD7lLw15zv/6y9/dRaWp7UHUGAFWxCnbGxcG5nrdkrZ2+A2dJYEBURZUfCAtta4Ok+Il57FtxAHyPaY/Ra8k6XZ2/Zp++yWbC8HY/kaN//VXFQmcAfv9r++dOHQd+AzJvPgZu6G7rCylvY5nTXu8HMgDsig4MA74CRYUxqkNPEUQ1Z4EPe3wSkpChZ8ANITOusbsD/zmc88fO5zn3t0QA7on/zkJx9BD14ssSBuTa0daAdva7cvDtKssz2gT/rIEvddHUgoXEqRsgSCrGiABmyvAC4ZLGh97Yd34jh5xAG7MgEdrIsP3qXL06VAGis6q79LASltLwxBnxWvTC8B/OVVDtyBwPi8pFgj+x5oQdWas5ALk11qnYescfmAXVqQ5udOS1y9gT7rG8SVc+7sD68C9oB+BXEWLTgEbPtjoQeC0gIfoGeNg5w1C9aA7ZLTq4X40kn5gVMdOXDVBgjn7C/7IlADL39hUnr5vQwF8eoKeMZTnxubNE48MOszxy8Pa1s/67u15OzR8oC4s2o/O7+AC8DW2j7nrHmfkVyizT0nLYgrp7w451YdXPHqs3bOi3nQP/16A8RXSaeoVplf+VN+FNe6FNgZt8pwFeBV3cXp1wkr0AuEp7wHzoAJiPlXBspb6WfewvpR2+e3cPFnP4UrS264PpReOHnOR+HW8CnZvJPNcXLTSi+uOgtXxhoDUxCnzCmXhXgwp8BtZsokSzwFtRAHNS6IA3awK02476+gqA8npIN38ky3f/U/qPNvXACuXOnl2bkorvo6A1tH/Ujqv/E0Zw4t4IJb0KZws8RZc2DQc3q39hPiDntplAIF43IA4iwAP2aivCgo1hEorRW+EAdwQM/5Ng5alBjLR5+sq8ub9QJxjt+69OIgHMQpJJcMlxFKqf/BLIhTpGAKtoCtb35gB+RgzbLmXDo4fwbH9SO8oK184A7WypUuTlj9pLzgq5y09SsjT+X1q3TzZ05Y3+qQpg5Qp/DNk8tXCh1cg3dQJsU5O11qSedDGplfPvCWHsTlCeBJafnVyzq3L1jiPmP4bYS59xICmKxX+wKsQSJLVBzIg6Z4a29c0gM4cIN1ID8hzmpUJgDaey4B6ssyDsb6AVQAXbviuM0D2l4RAr0xKKdeYAZylwP+Lh+ksHhO+6xq/dJn4zA+dRgbJ57T56AOoPzmzply5rpU29/mGaBBmC7khJ1de94LlHzOPP3oDMkrT+WEuc433WDdrId+O7uPv06nfCjklHQyJZ6yvpLKrvKiwFaJLbTPfJVNqj+lWB/qV5BKBr0rMAbSe+AExMoHy2SwLHxLyleaumr7ZSF+9kO9xlrd9SfZPJyyeXtKNsdX67tppRdXnYWtTWt6yxK3Mdex2Pqel3XwFMR7jg3mwM2B+lribwbiQZYM0qS9m/V8Qrw9fjUXpQXxrSN4J40vi4vCNVcUfQcdIE+I900clFMcHXKKw0GXRgZzygXIWfhgAuIUMsXlOy/ogDNLG8B7Rv/CF77w8PnPf/7xOf2EOOXmW6r6KBr9tyYAzgLvghXEjZVlaf1ZHBSYCwllBiQUMWXaMywwZoEDtWd+feS8FnjuL044J05+wAf2wE8u8EsTvy6gg7b21wG4uQJqkJanC0FAD/byeeEwTyBuHa2BC6w9D6oL8EAdxM1VEAfthTi/NHmCuLi9GAR64Obk04a9YM2AhDVo7oEQEO2JwAcSLFGgBjtpAAqA9g1YJ8EE5IBNnDWUzhL3pM4fxM0HSKpbnaCrftDkujCYs5y+5YCaK40lXN+7iFSXuo3HJUG/g7ewdvSlvtZH/bIP1VE/1xIP4o3HRcg5A2Pn0N7m58AYoO15a0Da9854wJenl8qFeOV7ale3y73x6pv1MbcvvokH0BQ1mRKXdssFYIprXQqM8uOXb5X+5uUvXZv1AaCUET5hBW6B75SB9GUgro6A+Spy+7Dtr3/z5D/HIRzAjbm+BO/kOR+Fm7unZOB5zvqa//JXZ2Fp1s76UtoUOIsSlCgUysqmBe4FuThpbqaUSsqGQmLNqSNru6dZdS/AQR0UAoX2T5CDZ7BMBmN91ndj4Jd396m04oIw2V4luZ2LLjTi1VW9ldd2rv5knVKwlLe5cshBHNxY476LU7ggAOog7huc78lAncWt3EIcyDngSHGwxNVJcbNwKFxP46xOcOxHbMmvfOUrD1/+8pcfwLwndSD0zZiyozz1i+Ky5r2OGF9WeJb5CXGKLIvQky6Frk6WUBcLlnXgBWmXDH3rQuHCIVx/SXHygbw+8wd/Mqu9ywDon5eBW4AHe5DnwF3fOP0UFl/98ppbSt9lx2uK9bLGQXkhXpx9YD8EaeGgHbAD/Ql5dXSmKuesdXEAEsCxZn7Y1j/2AuKg6CIFegAR9Pr2K44TBjcAtH+sV9++gS0wivdJRBp/gJeeC6aAyl/YZUFfArZ9Zg71UZywPtvDpDhlSPsoK7v6yMYjTdhYrE39re87NuOTh9R/+5PfhQX0ORch5wusnYPATecBsfUm6b0u6b1MOgPgrAynfBdykgN2IOf3cmVe9Mk49ONfIL5KiYK75+5BnCJbxZdyE6fuym879YEU/3ZCPEgmg2uy+FuyfLfkPYif5bQTxI27doN3MmifMtA+Jc/5be5bC2uTk1b+6iwsLVCBKQUOwmBMmdi0C/E2ro1sY0tL4VBOC3Eg5yh+oFN3cOcXBw4nxAM5iABmsEyeEDcWYw3YjddcFEfmb45I5XYuihPfPq8f1UHWL301vixxc+bAgi5IgzdlC+AULviyXD3dBXHQpgiCtLJAwfFT2GR5xAOn2zwrhQKjZFmRQAaOvoMH7C996UuPECdZ5CAJWCxMSo/i1D/167/LVmvQ+IyxyxjoWH9WiL7pi8sKiHsqpSD1R/3aCa79yE7f9CPngqFv3Be/+MXHy4a0vuXzG5OXBVL/XQYAvFcHcV0K5NtLACDXB+X0g1O2y4GwtPJVXhue2M0TxWs9XaqMv31vznJAzYEvF8iLM3cL7fL1/bsLAVCLC+KdQ+24OLvI6Yu/UODM/QISxAGPtQcUPUMHQRAHMw5MjA9MgJrfGi7ArSdLfdPlkRcw1a9N8OXsqZ7T84M1cAdp8xnEPWdLC+LygrS+N4b8hQFcu6Rx8Z9A1z/OS4R+8jsvjS2Ie9VyDgHYOQji9B34ukA5n4HYa1iwDtTJzrF6OrMuANwJcRcffXjDv9i2CilFlIK/JVNq8q9LiW16CowUDwq1Sd5qQ74TVuB2ArDwPXAuGPPfqm/Tr/y1VdunLJ08067C2vhPQrx1b/2CmvW5BXFQAlPWc0CiUAI12Ya2kTlhyoyyoVwonCuIL8DV7ZKgnSDOAl8HHOuCd/IexBun/WmfNh/85kS8OWlft3+L6ww0fwGt8uL59Uda82Zc5sEhZmG7cQM4R+FynkDFs9I9q1EG8jvcZGAM4JSAOAqmpzt+1jwFSIGxLrLEQQkUv/a1rz2wwLO+SYAERJADNk/dlDNFAgTqBxvANsecdREO4tYMmFxU9NE49cUFxcsARV5/1A+CAVYf9Okb3/jGo9NHff3Wt7718M1vfvPh61//+ot+L9iV02+Q/+pXv/pYpkuKMQGucBcBlxdtGmcXgfJ3CQjS5qvXgfUr22WBdW5+zZNvmdbsuRAPwgHf3IkTBurifZYC5759C0uXV5m1xOUz7+acBWntXOh6mgZJ6wB2HMD1tGwMAT6LVB5+6wYoQMdvb/hRH3gH8azX4ChfVr527EewdbkM0sDMCbtocPyg7fKRFF8+FwF16Rupz+oEdq4ndm0CNIDLG6y7WMjLr47yAr1+GwugSzePLqSB1/5O5/Gbf2n0HsC7yNF/0sD5tMCd5ZyzDficOJd3YzZvnZc3QHwhmpLauCt/+VJ2Ka9TmRVOVi6Qb90pUuAOHPxZoQvcwAqIC8ygWfqryivQbjulbxz/y34T3/41TrL4jeM/LzWFm69kkLknm//W5Vwn8a2LuuUvLyhR2JQ0a5m1AEgUCSuA0mrDtsGlyRPEKRsQB2p1sOgCACncD8CCOABmiQfLLN+gHSz1T54grs8L1gW0sRl/41IHv/HuPMljToojC0vrLNRW7ZH1i4XqZcH4KVgHmuUM0izuAO4fe2GJe0qXxpqiDAJ0sKZMAJLjD95BXhnWL0XIGqJ4WeGs3hPiwAhu+6QOZCxOP9hSlkJ00aBkQNw8B3BjtCesX3sDeCgz/dIXFxNjdKmgSFk5nup9V876BuEADtjA/e1vf/vRffe73334zne+8+gP5mCdZQ72wo0B4PnFSQNooA/iyfKBeuldZMRVTt+Es+T5xXV5MAbfhQEBaFxaKGZK3nqbDy4Ak8JZ30AczDsvnRnxzhGnjHTl1gG6/NXnPJp3a9YLSJY4CAI1l+UawEGMEwZtALN/AA2o+/adtVq853TpwvKDHhBWr3bUC6TiyEAOxkBlr/bUz8p20RCnv4Amjp/1niVvXzYO9XHWoPYCtj2nTWH9MjZ9NL7GKE66sP3JyaMsmJtH56vLtDOcngNwfnH2vXPSuQRyewDIO6fy2BvFyaNeOsEF0Nn18mAs5kuf3vDDtlVG/Ku0zrTCKfJVWpSX8MYVTlYuuFQfGSzehfg7F+LWyBpaT1ACSMoakMCYUrFBbUoOyG1OSiTLgEwh3YI45Z9TN4D3nP5WQLw9SrbfSXu4cb0MxNvH1Vs96uIKA505Az1jooDNjQPvQAM1hc8BHecpnSWeFQ7kQTyruyd0ioJfXZx84pRRF2hSApSvH2CxrlmY4AVuHCiyfLN2gS/r1Td0ZSlL33opMWNwKTEua3MFcettjPqSJe6CQjGxeFwMQNwPyFwqtKkPQP3973//hfve97736P/BD37wKIUBHdyDuTEE+8aSJU+KC9aNObi7wMizsvGDdKDuslCc+RGnXs68miegMufWz/iB1543Z1wgD+DSXIafgjgwg3SWt7lVfl1pgd0ZtAdA3MuAp2BO34AQHDhrkYXKHwDFgVrP4aANaqxtjt8agpswyYlfkKsDNINt1q550lZA5tcv0AZrkOYP4vodyKXJE9TVzbkIBHTt2PcgrO/6kQNEcfrZZcQ4xW+adGHl1ONzUucQcNN36brVgeBcXvHWgwT5QF/Yme4CoF7l7B+/YzB+YzOHLyCeAksJPVcqx63SelmIn20F8axJ8l1L/P++eIl4J1jiQdxaB6SsShCnUEDaTZJbiNvcuXsQZ4FzQE4CeGHtvVlLvL17BfHGRbanOyfte/Ng/xbfXlbfQvsWxAHPy4N56EA7vJ7MWd6Ubc4tHNT7YZs8AC1/EHfQwZvjB8uURmGXgSDuyRMwWddZ4gEOGAGcE8eCZWHKtxAHYf0AJuvkYmJtFuIueI2TIvNSoP8uFJSg/lDgFD4r34/FWLXaBWIA/9GPfvTofvjDHz7kfvzjHz/kpAf1LHRhLsi7DKwL8smsfOX30iAM+mBvHrLme8YH+L0AiOfMqz87AzZwsXasMWcDqEH6hLi4Pi0F8fLZJ2t5Cz/lgrg2gNweW0vcc7rnYJco4GSpAh0rM8vYumTNgjhwARkwg1kWufBCuzCYZ5EHzqxecO3SUDugG6y1C1bCuQV138OlgX15jEU9Ox5j0sZa3wtkY7FOXTgCvTw5/c+JMx9eksypPe0ym67rPNvvwEzn0YXycOKESbDm5AVze6QLQTpUGWfX5w/zZhzcG/4DlBTQy8iUGaW1IL8VLr5yV21RjLlA/i7E35kQt54ARXFT4D2nswYoENa4zWuj2qCcTUmJSaeAKJhblvhCO5C/FRDPIm4fJu1HfmMCIe4K4u3bhbhylW9eaucWxMHOnJkD82R+wNa3LxD3VOf7JUXRkzqQe2pfiDvgQK5sAAdWykUchUAxiKMIPElSRqxe320X4mAFdKAIbsAGSCxMz8i+A/vzKoqZsmSJB3FrYy9kiQsDONeLA2WVJZ5F6LmUQlSnl4FeBbSrD0D8k5/85OGnP/3pw89+9rOHn//8529w4jjpoK7vQJ/kD+gLZ3Glic/CV057pYk3J8Ee1DfOHHUB2Hye012S/NreXJl76+Q8OCPBmd9ZKO6EOABLA3Cuc5OF3UVAnnXyBX157TFz70JoXwVxT/2gd0IOyDwlBwx+0AZrcAYy+4gEvwU2IAr7TYDLorVVtsuB9V6nDdA1TyxNewKshAN3kO75XB5pQC+vMXD8C3Bt1m5j0ba+s6iNy1h7RSheuDGKa6ziOeVcQp0zzjmwv60vZ62dTeca3MU5i1z5pAXtzmmWeeVcCNRDJzi7+t7avPh1egqIEgqgKaqnZMovOFNaWS3iznD5KpfcNmqffBfi/+fxu/g77Zu4tWnPABQYUdKUD8VEkVAgVxC3kSmT50B8n88X4qDwZizx4Nr+S9qH/EEcwPnb041ZPnNQ/rN89SdvQdwlpYuP+XCYPXeCNCsVuIGO0hUO4J7UUxoURQ6wcxQK60CYAuAAXh0UAYXar9JB03fdnqBBCgwDHzAFcj/a8s2aYqZMQVz71tsa9ZnA3HXhCuJAQpnJr2/KAoknUYqJwvdnWqxwlq129QGcf/nLXz78+te/fnS/+c1vHjhxuV/84hePYA/mAT1LHZS7CEjjilvwA7d49XQJWPBLF69M4Af0LgD6y28OvVqAuCd1sHHxoqDNgTNiPgDY3HHFdakN0qS0E+LOWnV05qpHuLqr1+XZfrAHwMdTuh8Vmn/gW6iylgGMhQpWIAh4QBbEjQuoffcGaZcV+0J8P2qzpuLlC+JAum3xi+spPYiDtnmzXzl+UAdtLoArB9pklr365DUufmPQ/309CNbSQLGLCEDLZwzlCfLi5BMvzgXbWeMCNviCdHHWXNj5Nv/OoTQGDXC7WDkPzkVl5VefPPSlfNaNJW5cxms+HyFO0aScFqApqQXs6U95LbBTeBsXvJNbrrZXMdbOuxD/74U4hdNTEKV15Sgciialdf6wLYiDwTpQeCu+idt7uyftO3H2cAC/gnjnpPzqaE9v+XsQB3DOuM2XgwrQLDbQdvMmhT3FkgAfxCmEFAiZgiiesuAoCdD3HdqFgOVFKbPC/Zq6H2+xJsGHA6scKLHQPSPLD+JZl30Tt5bWpW/iQVxcrzSAw6owTn00viBO0arTj+xY/L4pAyJYsrx/9atf/YsL6qR0QD9hDsbKi5e+9QTzgB7whSvHH+RL3zCg50o3b/ruMgLiAAdIXlgoaXPQ3l8rmt8cgbMzIZyTP4gH5cqW5iJYnuon8wdx+wh8+hfbgrg1ANSADWZAAehBUFg8kAdx/kAO2sYrHOyF+QNiz+nBF5CCMDi7HAI0mHMAro/80rO6waxnc+XFcz4JGIf6vS40ngCuH40hS1vYRaMLSGF59TfIn2NxyQbp4EvnATBXHL889rxLuh+pkXSiswDgXcqVYehUxl4BcefbeQFx82O8+vTaKqggmoL6d0GcAty2+VOO70L8nQ3xYAeoIOtPpSgfSoPCsBmfAnnK5RbEWaqn0w4rPFh4vuXf5+/8ZJYhuWC29+29Lp3g275b+PKfeZwNe7P8exF4GYi7pKwl7kD3gy/KoSf0rPCADgaUADhTDLmgLezQUwwURDd9yqMnOQrA0zXL2g+yABq8AZsFnPUJRuJ9nwZWVrt/sYwyo0D1MUscsPsmbr6Fg7i9AT72wwlxSprSZcX5MZgfinm+v4J4ljf529/+9oVjmQdzwA7mC+/SA/7COgs+a11YPhcA+corXh7g5q8cKe+me9lwKTEuYLGmrDFKGWwBO2gDd65458OccfzKdGbkDeLiATyIb7mN1649wqLznO5HUr6J+00CIPY9HLABD+BAmwWbFRv8QDorHKBPkAfz8vStWX3qtv8Ad0HOLw6o9QfIAzqIC9tz8u2zeRcAcVwQD77Bu3YLA7Z9rI9kLmvbmJoDUnjH49LjPFlTkLa3zTHZZU0YrOUx985k55J+VI7F7QyR8i38q89593rSpw/nxZr8xyGecqQMuzykGCnDdyH+zob4QhJYAdevaikOG7cN3K3Shn2Z5/Ssb/UCHieub67km4F4gCaDuP0Hyl1wyyOuPO1LYW40g52BAAAgAElEQVQhzq+MCwOpnlxhaSDXxYfSdukxPw44JctS8k0cJM/ndDDOwiYX4oBdHIu9ZzrgFE/pUHSUrH+MBDQ9pYNm8AZtAM0BOisd6EEfxCkzypRicWEADsC2JixvkrMvjNOnFvvCXqCw9AXUQIRypnD9Iy++ufcrb+0DZsD+/e9//8D94Q9/eHSFyd/97nePT+xALX8QXyt844Nv6fIXF7DlD8ykcHH1S7kuCqUHcnPmR3ogDozmipIGXQDO4nZmci609oP0oG1uucKVVV7eIB+8Sxe2r5xDn7acSfvDfrK3OL9S92dm1sB69vQMtgEs6AF4FjcAejnh7CWO379578eJPtXwi7NXAFB5lq36AEhb68A3QAfyLHNWuD4GfvHys7S5ykkXNt8s8EBuPNxa4daFawwgHsD1lXP50HdOGhf0XR7sYefPngZv89xFNSvavDvbvZbJ6zxmdcvvXNgbC3J5ivcpxv7x+cOl1/j17e6v0ymo4JplniITTnmluFJSKa1Nv/JTmOvUSUH2d88r+y7c306T/Z32/p34xm3eV/FvXfnPvwl/KlyblSU3v7A8O7aN2/HnL+/K0oLLrtlTfnO/6cLWt3Xk3/U+87bOYE5ZsyopIUqFwrF5exqyGW1WcTY3RwGlyJSjyDwtB+uFeH6AAAvtBQpyYQ6SgXKtcn7x9qKxticbIynOuMpXHrL5SG6aOcvtvNSXZBefhbj5Mk8OMYXA0gZxwCU5itdTuj8zke5QL6ApCGBMUUiTxw1ePOeCQOmAOMXVn5d5vmY19qM20GZp9v1XWBq4+rGWX6crrx5903drb22sk/Uxvqzx1g7I7QEgcRHxsgAklBLLzD/y0q/kfYMPnKzs4P2nP/3p4S9/+cvD3/72t0dwZ42DeDAP5KWtXItdvLwgDNxZ4bULxkE6CdTKKCtf8ZVRPwteXX4I55IEcObKJxH7Pxi71ACtc2D/c6eFLW8uSHduSMC+gri02pHeBcp+sK/A26cM1jjrDpBYdySwAh5wgR4/oAUyAAfo/ntWfhcwQJRGWsvCwKesOgAcYLUFsIALvOZH24EcpFjf4gFamF85Tpn6CtaBXJyw/dQlhL/xAHUW+Alpfczpc+V27AtxfbKHXZadO+eAc2kCaOeZn5Nu7p1v8QEb0DmQdzY4fnHqAvUuAS70Xk28TphHY3kWxFfRp+SLu6XEUmabfuVXz+mA4grkQSswksFxwchf/OZ9FX/1rDzbeipcm7fKi5dnx7ZxwXlleVeW/ioQby3NO38gs4bBavMEcnHyANYtiAO1TQngNiR/t1Mbm3JJgQE4Jb8QDwr7pL4QB+7gHTRWBvfNE8h3jxqn8TT+xrV7trm4JTdvdddWACdPiIOfeTA3C/Ge0kHSDZzi7Zt4fy9+BXFKAiQpDMqFFA6c6qMoKV4/IgNNFnZWeE/YoBbESelAz2rfb+KeZVkM1s7a7PpYC+E+G1hr+0AfXSiMx9hAnJL1q3eWvh+1sWIBEhABk/X9xz/+8SGI//Wvf330iyuNnwvmwH46dQVyacLa0FZQBmpxIF7cmR78s763rwtxv/wHMyDywmKdwTXwdgbAO8s6MJcHvHObn788C3rlOWXyS3cOXZ5c5HpK9xKyEM+KBUDwCuKsPgADDuNhbXPgzXnVyfIms8TldYnJGlcvAAEkiLswmBsuyxqIARskiyssDcBZ5vqaK1+XA5a+PhtDY9F/AA/i+uYyWlwvCklA12/pWeuVNQ/6YA87Y84u3ZZ1LQy+9Jw1B2V7nutSvSDntz4cf5cCZyuYO7vWCsSN75UgngJLqaeskqvInuOvvpXVfYI8aAVGMjieIC1+876Kv3pWnm09Fd5y+Te/OP3asW1ccF5Z3pWl/6chTllnibv528A2sk3Mtak98XEpGWUCOKiBdhYdeT6nZ4UHbGDMiVsLPZCfeQOrvWv/dTnhF+dy0h7e/ckf8FeWpzLkPYizWI2XoqUA3MCzxP1gzC0fzB3ehThLnDKmPCiEvqk5+FwgpzCAPqWhDGgGcT+6Yln71g3S+wvrAN6PuFjjLEvWuB/EUWqUmPooKGvYc7r14YK47+EuadabktI//fKyYHwsLorW5cCrgO/v+gKGWeEBHMT//Oc/P1rjQM4qF5eTxh/cA/w+wQdvsOcW7OCc0zZ3potTh/7JS66FvhD3eQDUzLnXFOMH1KxoMhdwk8UHa1KaeMA3n8HbeeMXV77yyi8NYPzmwpyDd87fWwMmIIIquAIgB+LWJgBad9AGadLYgjjpzxZJVjpIBnFAVI/LGoiT2gFdcwPOATlQL8QDvf7JJ43FLax8/a5u9YMcCPf8Dc7BWJpLiP4HbWn1VzonrXFIB3FjcTmwb4M40NJpAGyenWX6jh+IOefU3ndeykeKl65M+eWpvD3jDDtrQdx4XYReyhKnsFJUJKUXvMlVXuXbuCu/fBsvHMTVH5zIoLUwvgIjSBa/eV/FXz0rF8L3/Fvu9NfPdwLEb8Goddw1CXbirB3YUdYUOIhT1pQIpWJTZ43bkPzifDfi5JEXAFjglL06QDuLbi05aaAOEKzrAL2w1JfSAjdZHv0N4OKEjfNqXI1/5c7V+uVpL3cuarP2TkvcOIyJkjUvDrDDytJmLbHcSEAHgCzxvnVTyGAI3CkCkqMEAjopLC8FzpKhjDyLsxSBuV+mg3luf20NqiDu27n/oYtiY0GrjyJyCQvi5t/YSevnomKNrbcxehXQd8/LyquHYvQy4Jfy+uJFIFgCMjivA28QFxewAz2Zf8uccAf2QJ71vsAG6tL5F+qFy9+FI7h7yTAOEAc1YHIpo5CB1nxkfYOtc5AL4uWxP4pbMKtnQR7Ey6O+/NK07SJnPwG453TOd1YXMvsCILNiQcy6ADiYATTo9f+mB++s8ixzeTh7RBnwUw+wci4GXM/qwTsZxIEbrIJ1VrZy8roESOv5vAuHtrKgs6Lru37xc8bhBaE04+GM1ZiDujLiSXHSQNycOZfOo33NaHH2zDN9xzl79rsz0iXdGRdm2MjLX7o8/KCeEaRuF/Ig7i8drJXx3oU4pXSlqCgs8SmrlBe5Cm/jr/yr+Cqr3hTq/zLEg/o7BeK7bqd/16S1EWfNQJCypsDBlzKnPEA6iLehbcqFOMVCyQRxyj5QPwfiQWMhDZSBPLmwD+IBVtg4GmPjsrd3HsRfufKoQ5nqD9gL8OL0iwvilLn5clizUFneFASFywmDAJD71u1Qs8Tl73YP1PyURHFkfspEXawYVpZv4iDTL9NZ22CdO61wz+ksZbCl0CgT9VFELmEuWNbNfJsHsn3hcgfilJS+97fwFJMfLAGGH4GBuMuCb/IACbRADNhZ3gDed/Es8QV3sC7fSnWVHqAX5kE5azwJ0p7MuZ7b10pfiCsD4l4U/EcuIGHOjZnidj6ckyDtDIhbKxq4zdnmkS8oB/bKBXRhafaU8yWsTBC3Z+ylvod7VvenZn1/Bk3WrP2RVQpc1jtY+97tAsga9wkkJywtCxcg+25ufdUJsBwIgi8wa5NbiAM4WLM2Of6ALS/QC5dHfRywgaw5z5LmB2H90h995PS3MRhPYwrkO97GqJy5APog7jwGb9B2Hhgs9rv4oA3MLlEu6SS9yIJ37p0Ljj9HV3a5d+n1ItdfEthPLlvPgjgllfKiqLjiCidTaMnib8nyrdQWUPwvPKevpR60T/lOgPjOP3/rXXxrEsBJcdJPZU2ZUxxtQJs5iJ+WeAqHslpLPBgAwFPP6dKzykExMJPcQiS4lEbqO/Dan42VFF6INx/J5qE5qMwJcG3cg7iLC6UbxClZoA7gDi7HIg/sYEAJUA7AHLT5xTvw6qFQQB405REHmm7xFCmlBTI9py/E+XtS5/fDNla4b9ae4Sky3ynVR+mAkguY8ZhrY299XO7AKEtcf1jhLgB+2OYbH6XYq4CXABBk1YIzeP/9739/dH7QFtD/8Y9/PP7ALbgXfxUuDdADeU/sVxAHaDDO+gZp8A7iwb18VxD34zxjSuFbF2cAcO15oF0YOw9BV3wQL88J8eIrd14CzHdx/OASxP2wDbw5f3sMSMDJuu353Br3lByQg6C9Yx/4tEK6EPocwvnrBfnKC4osY3su695FAYBzAR3I93kd5IP35gXyIM66V7dLQn5tamsvIAAMxvqun/onrO/GIE64S4j8jaFyjc3cuHzax501kHZhXgizql2uzT3XOXRWAVxc+Ulh8S57XQTA3UXBq5V/pc4FxtkjXwriKaoU3iqwUwHegvYZn1JceQXw/9bn9FsQ72kf0N8pEG9trKX1sA6ta+HgRYqTHsQpbsp6Id5zkA3ZpgzuJCVEkVFWIKAsCAA3AKgziKubExccvADksm6DOYiAuPJZ+IAfvMG18TX2U+6+zL9z0DxIU/ZVLHGfEMwDiDusFD2LG7AdWgAHO1AXzwXxnuooBMoDsJUHcnGUB2AKS/PsxwKjKCk4Voi/Y/Z32f075axgEPVnZlwg73s4y50io9wpEhCmvKxha2TOzbV14vaTASWlr5SSsYEJi56ydaFwUfASAJgLccDmgjn5z3/+80Vc6Qt24Ab9XHDviT3rnQzk2uRY5NyGF9zigVtcgAd08eL8KM6cgri59i3TGjgTrGL7Piif0n7obJQvUMu76fzSwFq9ZOBOKpMlbi+4ENoH/rSM800cxEGB1cuiBUVr0nM0KC6YryAOhD61ALs9AoIcS5h1zKkPbMGZJclpk+x5PMvc/nLhBHXALm/fvUlxwG2O1d1FwaXD5UnbXUCCOFh7TTIe/dRvzpjAmhPfy4J8/NI59ZgPfXMWgdlZdA44uo4EZRLIxTFmxAlvmvBa4kHcWaEX1KGdPj25zDjDxv3KEKewUmpkypA8FeFT4VWC6hE+LfCe1P8bv4n/r0PcmoEhWAbcpyBuE/ekDuIUFAstiAM5qIEB5Q8GQTz/QhyQOeAO5smgrp4grp8uHe3J9rBwAM4yF1f6yoX4/pBQnq1HO/r2lCWub8ZLyTqsDjPQAjaIU7YccLvx5wAQEMAQrDlKpDBJKTj88gVx5XwLpRApvCDuibx/pzyIA6lvuiDuz6WEARZoKTkKngUN4i4L1tB4wLu9INwYAYVlQUHpl8vFFcT7l9oAEUQBFoQBO2gH8wU3f+nys7iDd/KEeBb5QrwndjJIL6j7AZv+9axOFr8Q93phvlihQEnZ2//WOiiTC/EAHcRJ6eXnL88CHqRZ2znhzSsMHPaCS6F94Ft4EPe7BJY4KLLEOWAMvCzPfV4GM6BjxQY/fhAHyIAnD4jab6CqHnWCOHgDkSdwUjiQ26PBfAGuf8FcPZW3H4G1lwN95a/fXUDsXRDXT/3VV59xhMUX508DA3vjFHZBCeRg6kw6e57NzS9Y0232uDgySJNXn7zKUz7wVo+wupTxOue8uPD2iuGy9QjxFBq5MOZf5cV/plf2VjyFuErxzF/aVVvaC+C3LPEs2uTVU3VpryLP+oQXzC/jv6rrqk9dVk65c5F/8xS3EmSCTmtZWJq4wsld58psvo2zbtYQrLJ6QZySobQpFJuQ4qLAOWHxlArFJC94B9q1tvmDN3/fy3tC1yYnTAbuoC6+NHAXD6oAy+Xffbh7WXzzya+M8YvbOTnnzj6XX3uBfNvc/hm3eTA3lEBWqh+1nSAXx/VNDaCzAiiMFIR4T3xASQZ8FwT/XjYFSqlSaBSTJ3IQZ4GDOAvcN2ng9gMzklUpD5BTfMBEoVAslA2IWysAN+fGCODtC+tsjBSUvrp4UEwsQvWwoChTP7LTPkj6dg204JvlHcwDdiBfCz2/ck+5fU7PEj8hDuQ5oPac7s/OOJcM0iVHPIArz2/+/IYAxAHGMyhlb62dDe4K3sCcc8HdsxSYxTtnwpzzpL5Az1/e2hM29/aAPwsEcM/o/UMvIO47KyiChPUAQX0PhkBozwRo+yBog59LYRYr2IEiSziLuG/T6tRGEN9frfPbm8CvL4AN7MGazA/+vRq4cKi3NpTXTwDO6aN+eX2y15L8hY2nMWWxGyd/9WWJ+1fl7OEg7Py6pHL2un3ubJh3zsVaXBdu51NZTrzy8vOrw9nOenext4e06XLjNcMF5Q2W+CqvVdTr3zz8J5RLL54i4wonNx//KsQFTwqUDFhX4CvuBGXxryrP+v7XIB58yF3n07/5Nq+1s763IB68bUQ3S87mXmvkzUAcmAN5kNaXheRVetZxYG2Pti+TjU198hZvfroE7VxJt8eVk78+dVkQx7/9A3HK3JwEcYq2X6Z7QmM5scZPiAOhgw78OeGscwDnhKX70zRKm2KkmCklCsq/h54lzvoGct/B+y7eN3F/v+3pnSKkNFluIEzpgDiA91ISvIHcBSyIGyMlpl8uKSxCFj1osH5Y4i4NIA6sQJ5VDc4L7fzJ4J1cC/wK5uruR25BHIjBWftgzAVvftD2VO6bfZJfHuU40JfPDwYBgcIFTZcsMAXZ4Bx4yYU6f5a2Mqx3jl9ZIF9AdymQpqw0fnWQQN/nGhcv/fE64IdSnq2tgefhIMnKZdlyPUeDoUufPZOzF8SBHAeUQZ4E1S4BSbAFYJZsVnVP6iSQax+gs84DPvgra07lI+1FdddX/c0Bbvs8aJPrFtyNiwR2n0M4+ctnnOp1+XShDtz0G13HWSt73ZwDc7DmLxys5ZMubxfxgK8u+YN4ryXmx9y+tkpplRH/KuvSyp88oXzGU2YpyPKS5SNri1I83bsQ////BenORf4uNmRxK/dC1BoG5Oa6db5ak7NMZYtXBphAifXFEssSp2zebogHQ7DksnoD+QI8oCojndP33aM7B/xeWqTLa+zmuTGbgzP/Ahysa1P5Lg784nsluPpeDOJu+H0TJ/8fe3eSZElynFsYayD3vwaOKELhkEtgDwJsdoInX1BOvb8UfiMyMlENwByYqLl1bm6NHlN1vxG9E19LfIEduBfsTvqscNCkHECc4qYIKQDKiKLqP5gBOBewwCoHbxYla3w/bKMUg7h32pSMeQfsXOlknpSe0QFOWX3yjD6KA5MscVarg0I/L+PmfgVx4P7d7373Izf7hXcQT16Q927cPUAcwMG7d99AfEPgZn3rpy/4pQG8eurXBq+FsQIr40RpB+IgvBC/IH8F8QW8Oh0MSs+SB2/z4oCVizd3unHnlXGoY4GDOJiDpQASwChYK6DICgfp3MpAF8CzcIFOGZBTnrUoqF97JPgaF4GlLSzQ9cHBzlotT9whI8iTyrDcc5tzo7sXoJcWxBfKDoz+RoJvPKy7YE26Ll1cWXVJ+Z6Vx8GhhzsdxLO0rW8hoAO0eW8PylNWvry8U0FeOftaOSBX1t61/31X4fsAY+OA8wbxlHEyJZ0sPfmktC6UlQnYqyBLeyqvffcMLMkFUsB6z6q+lvN7Zb8k77b3l2aJG19jbfybH/PnuvTmpjVBSqvOQpzSXog7/VNaudRB/TPu9Fzp5JM7HRBBuRAsS78QD6qVD+L77K3x1mnSWFmDnr/yjQPZurfmtfsE8e0X4AkAR+kaKxuWxRzEQY7r80K8D9vAULgApwQKlEKKRbtcqJQARUrZBnHw5DIHazAH8SDlvbh0VjglRoGBuK9zeQkoMR4Fz2OuPFPzlQQt809ZscIdKIANRECcUqcweQSCOMhmhYM2FzpwF37/+98/gjxoP0F9Qa79tcQX4lnTC/EAzvIO4g454vLUWSvez+WAjPvTXFLKAdd4gOx7IYjnHs/aVtcrKHWDuHbFpckXQN03F8qChbVgDZgz4278fZ0O3ty0QRwogbGQO7wPwawbB0AQBzQBvLNW5bHarRMwBVZ1WeCCteeQAMrWIngLrlnZgj5YE6QyZHnBe13p2uywEMQdJAT9yIugj9aZv1TIA+VVkjigC+LS5AVy8BZcK+NZtQuoDtvWf7C2f42zuWZFyxPPwiaDt70g3/5UJ9iL16Yy9jivFa+Jjw871Bjb36wSEl9Fvcq6cim4ZMqs62TpH0G8curd+7v+DvGf1hL/KSBOYVAelIqwIL8AT+m8eif+EcSBMjBmYW9aECcBvBDEd322dsnWJaUJTNKUlQ7kDoDSdr+0R5Sp3Q4Ne7iQxgrXLmsV8CjcIA6+PkCjHC7Ec6eDeD8jY22rY+MLlAio2/gplCCuDguMwqRMKTZKjcLixgbQAO69NJiCVBD3rzWVpyS9E/eOjnJx+HB4C9ieqYNXaaxBBzqKijW4EHcYCOLeI7+CePBOgviCHOiBO4ivm720hThLfz9qW1c6azqA50Z3HciBuz+GY4zEudT7IM6YOfSAuG8QuLApZnvDugfo9wAeoAP4QtpYGm9tybd2hCCvrvbdx96yvkDceuD+ta4c5qwF1p0vncGBBEhwDLbguJY4QIN2bueFt/S10sHTWgmm2nQg0Kb14z7AHMiBOjCDvL5IE6wPVrf8+qgNwYGygwawOTAEb30wB9a6vusvIAN5lriDaaAWD9b+Y58Q4MFdUFZ7Dj72Kr1mfME5i5qlbV8AeXntTWXkA3qAt2fl28ukuh0M7Fvrx3cLDoTGy4HHoeUXd6enGCnElODK7xD/aSHO2u6wZg4K5qD04q+AlcUJShR2EF9451a3mC34XIofQVx7gTwYuAZBMFxgB/GgHiyVDebShIV4wO7Zu7Y2KU7tgbZ09xPnZld+x6Txkh7I65N6BWn603ixYIO4TWszAxxgU7ZC78SBXXoQB/A2Pzh2kpcmL6VBAjwrjOXFhUnpUXCUGoj7oAxAvQ/3TrqP2gC1d+L7h14oVfDtwzbQ8CxZ4Z5PXBprMIhTXCBO+fEysAi5ciltyjOIs2hZyaxl4AXnrPE+bgvgoL4fumWB3zQgD+IsfC70fRf+CuLB/EI8ixywBbDXBsmTYbzABBzNIcUdnEkQ3mA/bOgQfCFtrI1nbSknBPHadK2MYN9ZA9y/flEQwIFB/7iGgRwcBPMB3kJuaTBciFs7uZnFc60DfKBjhQdx8O5woP0g7n650kEdrIE5iEtTXlogV1dbhSxx97OuudCL8xzok74KeQyAfAGuz66lW4uschDPUk96VvfwszyApc/ouKxn+xi8s8bLs/btTfMgD8zB2r6VDuD2rVCeA7h964/y8JSwwj27w4tn/1V92PYEi+8Q/2khvhDaw9ONb7lgpQzQgRMwBqWFOMVhAVvQFFin0kD+rRBfYC+cxbN29SuQbxl1Aza5EM+SBlyW91//9V+/AVu6g491qc4dpwU4l7p7GB/xXOxBXJ8CXBC3sW1g1pIP2bjRBT8zA3AKmARxG7tTO6VAQQji0oO79vq4jcLpd+KUAEWUJc71y6UexFni4A3m4rnTKUMKk2IFX4cMigZUOmiRvAyez3qQBzzWgv7ph/47AIA4gHDdUpK8ASxbcL0QD97JLPIgvtBe4K+FvhBfVzoL2sGhn5NxjbO6NwTttcJLA3Fx9cE+iLMMWWwOX/ZAwDUewTa5AAdg12R1SGnKA7M2Avmmy9/6ruVbX/phDYCC7yME78QdyHKnA6pDmnkueA4wZoHmTr9QtDYAzpqSB/gBnHQgqD3tW0NAHaxZmIJr0N4yrq1ZEJdOdiDQZq50Vrh1rZ/11+FCnwA6aOtfFrZ1V8j6JnO7Z40DO9BrT9sg7jBqXhfgxtk1QBeCdvuUtG/UJe3ZIO6Qa5/UhmuHLocsB3Dj5hAu/OI/MaP0KEJgoBxv+A7xnxbijf1CWlpAC1Kb/x7EWV6/BMSvpe0aJIFECORBHFwX4j3vQhiwe/7Sg33rdetVRr2AHcA7FAT2+sdC5RaljJ3mgzhIgzjrTeCyBnDpC3En+JSCTc/i3iAfxCkBUAdz4KSsneZZVpSZD9tA3NfU3Omg3Ydt4sAO4spQ0pQnF+fTO3EAB+89oAQsnhiKCsAFBxRuXcqJIqYsvZfnmu59eFY4QIN1LnQymH8kX0GcNe4+XOogzoUO3ixpAayBuRC8HTIEhxyQB+1c6upJc/jx+sFYee3QV8wdYB3cjEshizmgk5VZUAfrm187jTWIK8OKV0c6KFhXAM4ad4ACB/PYX2yzLoQ+FssS5xbPwgVnAdDAMXhnyUrrXflCHGi1Z0zcA4wAOas8i5yULx3Qtxx4C+tGX4j3/h3M6yepP/oVmHsXDt7WXa7ylfLMIY+KPeJafc/rkOBP1VrHwTZgs8SlBWh70z61v+Wxsu3TIC49b5l9as/au9rThmvz5Mt07+GB/EeWeNZICinFRa67tXIpMvkprs1LYa3MEiGlb/m9b7AI5ilLMO/DtpUffXhW/v2I7VX6q3LKy6sedyrr7KPfiVf+lbz3c73PJ74HmY2X1xyRjRPZdfHGtPLBuDFPNq/NC7lr4uYDVe7hrC8K47rTWeECa4xFkWJKGYFZ71KDrvb23SpAuC4flAuBfKVylZWu7LWOW6et633u1mpp99nVqX5lpQVrY3NB7lo/9Muz9MdeAM7m9i47dzqFW2BBATkYUBzADMrKA2PwTgnIk0YB9H6c1UBxs3YoUwoWlCkxisp7cbAGbhBiXQYyFjJLhAKjKLn1HAZ84azfniNXunlymHMNRIJrYKHMgjh3uo91WH4OFBQodzqI505/9WFbUH+yxoM6eAfw3pU/WeJ90Abg3muTwoW38QDuDjkON9L0N0tcPVA3fpQ+EHlG80YhA6q1b71nWbu2Z8gN9obyxi2Xujrtmaxt1+pVPtBv++qbJ2vIz/ocLMAcHACcNwQgvL8H0IDLhe0ZgNe8WzPmirs6i3zfg1tPBfAEf22x5LPCHRCA2joM4gtr8dzG+pLlrR/gFcC1xxol61sQB1lrFbgdVEn9ygJfKFvX1p60QuD2XUMfudkn8h0IjAuI24e5y0HZGAO1NBAG8yxt+9D6D/LiYN01mAd8aeqp7x72Gc+XP3xjPIyB5/5NCiiorrKisN5T7JUlq5/cdosnK7P1FxLdMxmMLtxcP/UQavYAACAASURBVMFxwVr+heWr9FfllJdXvZ8T4sH6Arz0oLzj9ATuyjWu5M5x6RdU5mnn5+YH8YBLmVMoKR0WJusDpHKny6NoUmiU/BPEQW4hLn4t6/cgzhovBHHu7MDaodLatC53Te66vul7rd7W79o9NrT+pT1B3Ka3aW30J3e6n5hQwEBsU4MzYL8K2gnoQZwbmwLvj73kTqfAKKsgzgoXvA8XAArE+zJXPYqE4r8QD+SgzRrPMiStBQcOhxTPyCvAnUthX4gD65e604N2MngnA3jvxB0MBPcQ+qIcgFnSvfsG5wJLO4j3ioHXANB77SCfFa6swxDLFJB4G3hRKHVrH3yNR5AVX6vb/pHWHiHVUT6Iy5cWwBf+xe27yqgHEg5Qxt06cKDTNzDiUucR6cMp8wu2C8xgzMoFcVAEyqxu8UCZ2xlUAXwh7kDAugbxPlwDdWMVqFnbykgD8qxvfQJubYBY19rXL8FBA8T1MSt8gc6azpVeHKhZ3fYCWLtuXwC6A5k68jyvPli7DssOZ8YWkAX7mK4jwThL235ciAds4K++Mg7f0tSXbu34ANF+A3FjYn6M7W+ykFMwF7BXea8Cv0qvuh/JFOBT2zcNWBZOF+RBdeV3iP+v9f4K2k9jHMADe3OUvHVKN9egBJDgmgVG6VAgFAelFcQtdou7vPcgzlLV3oYgDsxB+Wshrt9fCvG71nt+4yJefuPkWtsL8fbaQhzwHF4oXWNiwwZx0Gap9mHbQhyMKY9c6MBo8wfuLPPSSWXvO3EKj3KjmEA8dzpICWBUHJSUUx5wKVHuvQtx4PZc3oN3oAtAuQa9EuBhyJ3+BHFg7XfiudSDcjJok6Vd2UduF+Dc6Nzn7rMgZ4kDMQ+E5y8AtANNAHfI8eoBwEtXhvVOAjwLFahYuw4unt9YWPfGx/5oD4CydbBQrmwWtuvSlC1eHW1scGjqHvah9eUA6PUMdzoIATlPgZ/5BXHuWlANqOYaJLPOwYMVzqoFbc+Z6zq3NYiLW2NBPPCCLwgBuHs5VPLGrNscnOVLy7UuTd0OE9rVJqCK5yUAcP2zTgVxfdHffS/OAhesa6AWxKUBNnB7heSjz03XFk+Wte8w7XAG3lnWWeNgHMjtP/vTXpSmjvJCwNaGfayMuAOAPHu/1x0+QrRfrKsfQfwqM0qoQElRTin6q7hSaCmz6pHl3bSUXW0Gj9KT0r9D/I9d6h1msrjvOG3609g2L8ZZ/gZp5Sebj2Tp5nUhnvKmXECJEnmyxIN4yodCW0s8axvAtSmIgzi4X4ADubQbssIX+izxdalnRe963ee7a1de47BjJd44KtPYGJ/uV1w/PYfnCuLGyaa1iVmpNi6LCego3dzpYMAaZ1FRDAtym38DBbFl1MsSp/woQwqOwqLAfNiWBQ5EQAZaIMXiZJ1Q1hQzxcn96mt3igawew9OLsQ7yHk+hw/P4mM9BxQAoZAoXpYPd7p7+0Csj9tyqQMySAfmBXZpT/IJ4CDuPXgByPedOJA/WeHGgRsdwMk8FWAexKXxXDjwgBBY8qJQ3IHX+ARZ+6AA6oLrANw+ITdfWwV5AJ5FLy5PumDPmSdrwJrycRsICfoH4g5la4kvxAHDvJPAmAudZPGaP+kB1DqRp7x1JmQ1W3ssaxYlyxKYgniWOchniSvLfd2a5aKvP9oFdhAP2O4rbJ9cgzjLW3DICNZc5EDtIAvWlREHcUE8sIO4e/qdvf3K5R2IATo4y3NwKh/EBflZ2Ul7Q9x+3XzX5svHkfZbY+WQZdx/sMS/FuIps5ReMsV3r1OU1UvpkaWtlP4d4r9eiAPgWpaUNyVCeVAaXOjcxELudHHKKwVD2TxBPMv+WyB+oQ72QRxYW/d3vbZuk+Xf9WutVka89Vx60HavQE5+BuJ92AZ83GoBnFUN2E77bXxSGkXBQpBXkOZwQGlTnCwJYSF+LfHgzRoVB3rKkBKlVFlQrEwKzNwLDiVBnGQxmu/ciyxBz0IxUYJcuRS3fjgkOEgAIrc2wAI54LLGwXjDAnvTb3zfg2uLm74v092DNe7QwAoX3FtgVfcxG0DrVxZ4fxgH1B10pJPGSpqxBAogZEU5tBinXf+51o2RfZAlDrriQfzmL+S18dSOMlvPHLDuHAJzpxt/68H7ce50EAcJ8+GQxpWeGztIBmnrAEQW4CAqeN3SR3DqWWeg16HA2gFw97EWhaxwaQ51Xbu/emuFB3Eg1z6Qkyxx60jf8gzob31xqDInWeMgztrmRvfX9YJ1cJcujcyVDvjaMT68GfaXtQ3CDmlZ5dLBmPeFLpQuzf6Ubi0EbvAWB3xzJIgr5yDAI8eVbr/1rYAx8Z7/B4i/cqentCiqhetTPGW2cpVf8fKf2rhp3yH+v1+n7/tw8c9a4guXpzEun5TfHCVvndKDODCyLCltEKdAKBaLG7w3pMQoqJRMVtta3EH8W9zpryAeyIN41njPdaW12x6RZzyMVeXkl7ZjGMTdr3uS+sU7sJa4jW7jBluWOEuVwu0/mYE4C5w12ztxiuFCXF7vzbUnuO6jJtZWVg1lR0GlyFiQrEzucxKcWKQApgwFxiKj4CkU71QpJJa4EMR7J26OzTklRilliQcSX0Zzl1K8FCSIgyFLmHW81nggD8oL69JWyu+aNX8Brm33APB9F+6deO/FAzk4GwOAbnxY4tIccPJYgL5rHgWuZs/moOL1gfkFU2EBbc/YA1nRpLBlLuSBXr59VnvBv7z2F6kcWFg/1hOA88qYP3MAEn39zMoL4vrPKgbhfdcMlgAZyIN51i9wAnoAt960IwCze4ASgIO2dGAiu2cAt9YW4oAN5NomBWl5CeqTtV1/9EU6K9q89KW6tW/dgbVDau++eYVcS5evnDR7QH39CeL0WwAn7Yfc4dZ+urB00lwI9oT9q7x014K8rs0XT4kDltcPvRM3Bx9+2JaSWnmV1Sr4LSe+yi8leGGu3LaxQBH/bol/vSVu7Dbcsd25LE/ancedn80HQYF1GZQoI0qEpR28LeTiJGBRPCmZVxDnPhcCee/EHRjcr/fhr9zpN73yAfUjiPesu44X2K1l0pjdMWxsgngyiHse4DNexsjGDeKUPtAJWePeJbOkeieeJQ7knfLVB3GwFJzkpamjPsVNGVCqFDXlxjKhqLgUL8RBCsjAnIKjBEGcsqWIucMpoIV4hxNA92wOcxSSPmaJO6CwAvuTqw4HlCb4uSeIAixL2btxAAbihXLxpPwNm65+ENeeoP2s8PtRW/DOEgfxrHEgz/J2wFFGPukwQAJ8EPdRkgMUq6y9sRKgA7h4IW+VfSKoU3DtsBzIlW0/KbMHAOkLcesJxHlRQNwffPFLA+/ErQ1QBVQWMwmigAmSgdyhC0QCJlgWSlNWPcF6A2cAEhwA3RPEWd8sb0EZ8BYC/oV4lrh26w+pf1nd+lYA8/pK6ntWOdc5V7n1D9JZ567bE8FdOd4i8+p5gnheJmvcQc0+zso251nq8oUAbd/Yw/boHsSDeG3xXDlomRvjZrzsPfvwR78TT3E/KexVVvKD61PZ2iEDd8q+622v8rVb2+BTfK3PrFByP2gr/v3Dtv//YVsW/IK8cTW2O+auS2tOkq/muXnNRQy2LLAUDjABtiBuMQtA7jql8wTxgL0Q3/fiXwrxBflPAfFd040naY0vxN0bxOuP/i/EjYkNDrhAbeM6gQuULsk6B2JucW51G//CG8ALFIQyZPAEThYQFyQlSSFSShQYl2I/MctNDGbA1NfWlKA6KV6uWErnQtx1PyvzTlAZyqp+cBE6UFBO+kGpeifJTQ2W3Np9dJZLfQG9QAfrmwfYF+LrRgfx2g/m3om7rwOE5wbmG/SNpe2gAeSulZEG6OqSrHVKn7L30yBzZxyANzhnQUsDXvIG6fZJe6rrLHNtATbZYSCIdx/X7gUa1o6x9y1DvxN3ENPHfoNsbkFU3wWwNOcFBz9rBhwB2zWIClm88lyr23tr8xyswdsBLoiDkzg4BfsscgeJLPEsbgDTrvtbO9YlgDtIgLTDpjSyn5dJ1y+hdO/Jgbt33g60rG7gticcbO0LcYdYwf3c2zjaf+a1vWiMwZeekxa0rX/X8qW5bk/Y89opTRmg79r+d+BxuHIAMi7myHO8/e10iprCWWUkjSJKFg++KauU/Cup3IZbDmRAZduvjLSFT0D6COLBnAR08v507Euva+MeDKq/6U/x7cuX9mOfb5//Ka6s9ABcGdfGsests/NRXPnK1lZp5M5PayBIBSrWcZZXLj4LGawpECGYB/csDhLI1WfFcaWDnCAuLUiIuxdrNiC6zjrPha5uaeLSQZSLW5+t9+Q+k7ixa2xaj09lylt5yzU+WeH1uWfz3MYLxJ3ebWigBm3vjbPEQZ07XcgaD4rACNQ2PakNYdOV1QbLizudQuUipfgoOUosl3o/nQImkMqdDrKUJIXKSmO5AQElZu5yoe9csjC5GCkmrtwOIT6s6l2fflCw+uCwwJXOMubmBtpc6kE4q5zkMvduPCsbuHOjB/bygFtbAgsftPtCnXS/Vxa5MXgCunT9LU9915Q/0IEOBcwSN8eAKix8g7h08fLsmfKkibdnxK2bAF652ifVD+TKgYvDHy8IiO/vxM0liGaF57LmrRFAc4Etbi2QN2SRs4xBPIvewSAAZYl3Xx+2AXiHQ7Dqvbj6DhPWSYcC/RP0y2GBdIAAbqGDBdCZB9AO3K6tt96NJ1nlvQ8Ha/sBzFnf4kFcOw491jJv14IZoI2zvdy6B+gg74BtL9qr4qQ60rSlnP1ER2axmy8ftpkbY2Ks7EH9+OFvp6/iSSGluFeZVU4a5V7ZV7K6yVsuQMgvr7aDSvJa4/u77QvLroG1eOBdWd578sJZ2dq4eff6tlu99+RnId5BqHEiG9ebVnrz4bpQ2a6bh+o0PysBqg/bwBZoKRkKA7CzuNcaD+AUTArpCeIArM0scfAWWOPS5S8QA3Wu6gV4eV8D8dZmaz+547Dx8pNBnLdC0Ad97PkAz3gZFxvfxqbw+zrdBgZz7nXpfdymHGDb/IW1ygFcegqEgnAwYDl7r8a6oRApOxBPaYFPEO99L0B558u9SFnm7qT0tUdpAbhn6bsI19YDC9JzUU4OH57Lc7DCQZwyTCFp373dj0ULiOCaSz03ONmHaVnkXQd4108QX5CDdiAP4n3Y5v77njy3OmgXpLHYlS1fO6592MbKY72CuHkL4oAbqIPzwnfzS6+cveJgJF1a6a6z2JMBXhnrCzBY4taU8eeVcahjEbPCzSdAdMCzPoATLLOys3bBEQg3SAvu1pVnVx+Ec4+DEIDzBhkXEBd3X5ACcmVAXD+40vMGsH61mVtffCGeK10fxPU5a1w/Qc+HbWAN3MniF+IOlVngQJ6rXXl9Npb2F1jbA8ZXAN9ADvDWvnTSnrRvpZMALi7dHtWeukBeGQcuB28HIMH+NZ6e7Qd3+iqhG0/hS08xpeBv2S+9rs0UZPVqF1AWTtcKD4IXmq+uF7zVvYB9dX3b3LZu3r2+bXbv9+RnIK4d5RufZCAPzF0H5MZ/828Zc1K5O0/NF2u29+FgC7IUOaWR1b0Ap8QEaawIyialpB6lrw1tgVzvwpPSN4BzARhBXZAG9JuXJa6/WeDJnqf17XrH6im/tCtrg8zad9ApgHj981yem9I2JjYv+IIcqxm8KVzWeK50MGDRsrQpgRRH1jclIA6YlVFOu36q5udE3q1RkpQgqwnEuRApKh/yBPFc6izy3olTypQsZULxep9KaXkO4G4NsMyFhTil13MAiPeyvtymrFlHLH3vxN0XFEE0axzICyxpMOYGB2vgzroO9MpKzwoP8gvxBXgQzxJ3b0DPvc663vfk+gfWgjLla0ddzwEKIPMK4lnS14p2XXgFceMapG/9rWMvOjCDAlBYW9YTTwg45EoHCXAAWGsjbwuAB8SsXbAGRG7lAkiCivWkvLLqAnAQt2ZA2mEBvIXuG8BZ4gtw/bDmAFx7AdwhoXfg3a/+ZYWDeYcNcf3TX4erYG6OgjdIZ4nnUs8SB/Pq2S8gbk+BMI9j0LUfpQXyIA3I8uxFMJdurwb39q88dR18lZFujjpcGR8HLlK/375Op2goolcKu3RlUlDSKLmrwD66rq1XUpvCwiUwBbcF4IXmq+tgWt2uv0TeNtWpnZt3r2/71XtP9pzkjsNTXPsL8eoaszuOje2O/W1TGflP87j1ils7oASYgESBU9yUShY3OImDd+/DKRUKaCGe5RbEa7N2pYsH8azxLG7w1peF5EK8/CAO4II13fPe9f3eeFTnytogtR+8i9c/z+HQwqoyXsbJps3lnEudwhX2t+JcojY3a1wdQTx3HGUNmK5TDn2VzHKmqClWSpByo5z6+jaQgrb3uj7QYoW7VoZrtfeWlLGPtigczyKYo+bSWnBIS8GtJc6VCyIOAQ4FlKt7909YgiSo7rvrPnYDbcAkARq05bkWxAP6k1RGu4WAnkvdfYM4KAtBu+uAv6BXX35/4Y41COLmwz4AWPMNrh9BPOu6Ol0bU8E+qo2Arl3xvVbGHACIQ2A/7wviXLWgZF2ARRBnBWeFWysgGcCD41riIAmgyjkgAm8Q5/lxWAOfIO6eDg7uua505ZS3RkH8WuKg7bBgbHPdu2eAD+p5D5TRL0EfHUAcGp8AHshJALcm+8gNvK1Tz+wgbDwdvH28ZnztA9cgDNpkwR4N2PKUA3Ft2K+Ca+VY9tpUV7pXVg47xsmY+TmgQ4+DyA8Qp3BSzMmU016noKSl4Mp/krWRvGWeILLtBnAyQAVAALvQvNf7980vUL/0+rapXn24eff63qN678mec+G847Bx7W+56ipjHHd8Xe/YmovNFy+/+TLf4s1b+a6lfwRxSiaIA7iFCebSKZsgzoqj8LPEF9biXLSbD9y5pJ8gXh5ZWIgDK6jqf8/YM/e8jVfPvPmVuWmu2yNk4O5+5EIc7ChjY0HB29wAzQoXuND7sI0FWzogsAIEikG9hThloB35QC7PtcMA9zUFSbFRfCBOOVFavRfv9+LeT7PKAVyQD+IUCEXPkqJgzGtzlDvdnArmmIKjnEDcYcQBhTuXhcGVqy2K0XtHf/rVvVi2AkACbLAN6KAtnQzamycub0OAT8oDe6H2gzkZrJP6Aty54dXpWpp8acobN68ojDGl69mtfQAvBFvXAF0I8sautCvlgfOFeG0ma6v1pR8g7hBlDrjTrQlwAAlzC6LAaa5BHJCDeZa39QPkQR0YzaH1BKIACuKsaCB2ILDuzLXDAiiBeda/ewdzZfQBxPVBG1z7WeJBnHQ/wf0W4q6rYw4AXLkgbs33m/FridsLpZnD9gU3unqe03hlUYNtMDfHIGxfWvPSs6qVr4408UBOVkdeEFeGx8oc2W9+Bmg9GSOH7x9BPMWUwk5Rd70KSlrKrfwnmUJL2VUmBQkcC6ULkvKCU/ALjhea9xrEA3l1krfs07WyN11a/bh597p7Jav3nuxZF86Nw5XaeSrXOJKFxrw5IMtLbpnmu3XxlAeC77nTPwtxAGBxr9UtDu6AB+SugRuUyQJYZ4mLs8IDOPkRxI3HrlNjcp9587d86WRrnjQ+C/KFOE+C50kZ2/w2fT8FA3DQBj0g71oalygoK9vmzzJ3shfAm8Lu52iArg3gZPWkECk2ionSorC41L0X5w5miSe5uFkklDslTNmz4LjFHdDMUS51wAlAIJJSywp0IMkKZKVS2JSr+/sSGMRzXbN+F5QLUHEABmNx5cA3KIsHZzJgL9hL23KVBeUN9aN2tdP9xKsH4g5AYACAFLD5CuKNj8ObsBAPuiBcnDSeQmnaEBcW8KWRtSHfXuwg5RWNeVuIZ+lZG2ALgLmwd62AOGBbN2CWVWsNCa6BXT6oagOIAVm7vYYBwacA6voAUkE8GBtLQA7ie5CQFsSzuoFcCOD6VJ71xhrX51zr5iuAtx94n6xLVrk0z+deQGqfgSz4AjnwOiw5tJZm7bf+19oGanUcwJUVtKVNcfA3X+Lma//sKpgbyzdLnJIpUDqUEOVEeVFiXaewUlCVId8LlU/JVTbl2H3cK0ClPJWVtlADrYBIBumPJLhuvQvbV9fq3DxpQfjm3eu959ar/pPc521MXskAbsw2GFfjd9NKf28emhtlmv/mqfoXUAAJShQ5y5LyYIEXLGwK7Mmdzp2c+3UhHsylaTdLnGXuXrnKg7jrQE0G7hsHejAVrP2esefturHrmctv7LpubSdb80kQd9ApuL++6bdnNF6sKeNjY4Mx2IE12AG44JoFKwRxoE4xgLk4qzsXeqBXTtAuxe2dmg9jKGdKLdcihcXqoLCyiEEckEBcOohzJWqDYmElmF9zZC6BHDQ8F5CAVEqs97EOJn6jDOT+yAhlTcFSkg4QXPi+ihdyq2cNk2sRAyeQgj3LPZBLE1/wBt/AvbB3CChUroNB7SQr595Z30FcXQcQrwUoWRDzM7ogbjx2fC6E5ds/1oR40ngKpSmz8A7y0gJ595JmLwKGNdBPzIy/byQcMvoNchDXb8AMnEE7N3oWubXTu2LSNbiDpLUFrCxpc2zNeXUC1O5HssbB3CFCWIgDlXrqW6v6EqizwjtIuFeA11f3J5UT5AP6fR7PAeT7cZt16Np69y7cvuAlkqZdY+M1koOxfQe2WePWeoAGYkCXplz7VXllAjgp2L/atH9rkwRxc2Ss8mIYS8/3wx97WZBTThQXcKTQUlgppsqQ74XKk7Wl7UJpFOYFVWlBLeAtGD+Cd/nBtbpdfySVv2UWxjfvXne/ZM/wnux5A/Qdl72uTOO54DG2XZOVeZoveU9lm5/ySWnWCzgVAAqUgJbCoHic/Cn3C3KwkqYMxfMexIFBAPIAv+/Egdt9ez8euIESvJ+CPP19D+I9b+P2NGbSjMUNu+bFg7j71i/91Hf99vzGohO8zc6CBm3w5voM4iAoUMTecdv0QdyJ3SmeEhCkuyaBXXnwpHxY0RSR8ARxCssHbt6Fg3gfulFqrCrgZYVri4Ix1w4kHcaa0yDDQqGMvAbwPDwCLEF/LENbDgYUEui5Lw+AQ4Ov4wN57nWyd9MBGkjB3lfj8oJswF/oB+jgH6iVeSqn/C1TWRKwSe3pj3v6ENBhBBwAyGEHxB1igbV13/gsgIO0MQVqUpoxFTogWzPBuoNA18oLtS/dvrO2HAKNu0OUVyE8M0EcQK0NgLA2QA8YWbxrgQM50Em7EJcGdOqQ2mBJc6f3YRtosybdiwsdmAAqSAE97wxrXF+sufUMALFgzbCM3dP9grj76qM66gp5E/RHXkB2CPAMWeOeK4jzSombR4dbZZR3b3NqnxrTwB2MAR2kc7HLtxd5xQBaOfnt36x5efYpqa562uqnmL4nEByASP1+g3iATWGvUrrKa/PEU1ilb/kUvrSrFKu74CiubAGwgAr0AiFQbjxwBuzPyOq+kttWZbo3WX55ycp0TZa28j2Yy3sP6MZrQSIuzZg1lgG/68a1eZJeGrnlzJG07lEdcuEElEDKQgZx1gJFA0oUUBZ4QA/iWRIpNHUvqHsfHsyBImBniQfuBXaQ3LTiQRzIO7ySreVka5rcZ9/xUrZyjZPr2gDwjeuXsRLEjRXFTFLKNi7gUg5gzcr1hx4oXuAmc6fnKrfhgzVJIVAs0nOl904cQPuJGaUqpKApBK5Eyory4tYWwIhVCeTc6SwhipcSBnF9AifP0XvwvCbm03OBOMUFZLwL3s2zAoHEYYBCYi3lCfAxERD22+t+0kVmmQOn68qAadY60Cu3EC+vtMDcQSDwr3SP6mXpd4AgAV59ABfUJfXFYQRMvA9miZsvax9QATZAu27s7IXy5AvyrY9eVSirnHSH4WCvXm3XhkOVoK62rA3j78t078QFEOcaBlbzCpz6DOJg5ZAXKAEs6IFg4MsFnSVuLQnmVBusae2Cc5a41ygsb0Byb0AXAF2ZLHAA7uM2IAZqQbsBucOC++kfuCt7wa+eOgX99RwdUHomz6v/rHAHWutSWe0L+uQg1H5baIsHcxB2eA3OLHF7U7Ant6xyDuLKCsp0bc87NDjQCObJnvGsfxKIp8SelF1pq/jEqxM0XslfGuIL4af4LwlxYxM4gomxbSzFgzgpfedB3dLEt65rbUoTv0Ee8O07XsAF24V4FmZAp3CywikcyigFpS5Is7SBurAgf8oPiCC91m7QvvIJ4oG2dZm8z32vbznXtZW3ooMCoLt3BwyHkABO6QIhJeskDuA2bn+pjQVdYMX2YVvuOcqkzR/QWeOgSVIYgK4NSpvSTCFQSilpSiyQghAFllXumrKmHFlMwATE4GROg0wSPMDcnPeOUL/1gfXOCuTK5ZbnNnWYyJXv8MAK39+pB2vgBslAHeClBVhx5SuXFe+6csEchF+FC+6tA9jvQdzhh8VH4VPA5tU4sY6DLbDaA42Z9VC+Mu2RIK+c/SJdXfuLDOBbV1r7izQPwLAQ7+NCB6nc6WCrzyDpwAbiWbaeJ4iDGgtVEAd0EhCVUSfrmKfFemOJ907cB1osf9DuHTgwuQZz/VBPX4Rc6gviDqDWr3UMztL0OcvbM3iWnkcZ+UDfs1W3faDvnsN6dHD1TpxFLl1wwOFJsq+MKRhb4w6rZFY4S1telrj9aB3Y59Ic2uWTudfbq/atcvaXA0OHXWNj3Iyn/frNEE+JJZ+UXGkBpGt1SluAAMvC55e0xJ/AvWk/J8Rzne/Y7FiKN3bBectKK33HXT1zQZbu+gni8it/Ib4/maJAgjWAs0AokSBOUkQUEgVF4bPaADuIZ7G6lpeVXhnplQXEIL7vni/At4wDSMAl7xpuTTYmPXvP35i5LjRuAdw9bgDyXOmeybNTvkEcbMEOyLnRgZwFTQIgy/da4cAN6AFbnLII4gAvzwEAPFnRFCZFSSmmnClioAby3geyygWKjMKmHB0CAJibj9IB3FUZNQAAIABJREFUEsAWgKbDCWnuKSl91HfPQSmpL2iLpUWRurf7AiDL37txbvX+clzvyckgzeIuBGlgzw0fyMnKgXpAZm2/ClnhSeUAH7wF79SD+QJd+74pAAUA8g9QzAnoWvPBNtAuxAE3gMtXtoNu4ypf3gW4shuUKdiH5sAaYokDuEMYbwpAOEyBgzUBmMEOFAEPvMAZ3AI3mdUdyKVZTwBJqm/NsKwd1sAHtB0a3JM1DkzgngtdnJdIP1jT6hfAOJAHcX1yP+nWUXH5rqUvxD1PffRcQbznIz2PNd/atzY7nOiT8VuIA7g9TAIyOMsP8GAfxFnq9gVLWzzQZ7XTAUKeEwdve9b8GDN7xrpysPhZIP6k7FJ6yRRlEAKfoPVLQnxd38E7cK8sL1m9rsnSVn7kTr8u9cbkwjngNG6VI4vLuyA3/sFr50kciIL+nafysy5BKdhSNBQHiAstbIs2oJMUEIWlPJBdSxzEWePXEg/iWepZ4mthiwugzfIVAnrvwxfijYHnfFqLdxy2fGMjzWHgAry+uJ/xIo2X5xA8t3EwPjY0ZQ/iLHEWqwDiLCgQ5FYXQN5Jn3IgQdrGV18QB/LA7hrEKW5KmyIAcsotpUZxUQwUFguEO5HsfSAosWxY4lzhgAAM5jsXeiAHHnPMMum5PINnAXHwELgGWVwUqXtzpYM4CAby/kMYmAtZ6UE5GcRdAzlLOgCTWeri1/p+AnmwBupb3nVfpyunjDa400Hcz/QAjrL1CsNByjhZ7+ZbcA3I4saLBGHpxs5hl9wDbyBvfOXXjnJPEFcmiJuDfqNvDs2Bd+IsY/MK4iAFhKAFdgHc8zjosQAF68S1dPAuHVSrY21ZYw5qC3Hw9j0EmFsDXOiBHMCNWy59BwogBvLSArn+6af+WpvWUYeOhbi8IC9dGfX0XV/VzxInPVdeKc+ZJa4vnsMrIXsPaK3vrGky13hx+9NetAez3OWBvHWhDSBXT749VbsOvbxe9qv5MWbi9syfxBJPgSVTbu/Jyq5l86Q4gw8JZsFvgbiQXKh+aXzrP8W7J1n+U9vlJavXNVnaZ+RCPiAnQTnIB+/GqfQtuxBfKO1cNTfSLsSbI1I+YAESSAVxQKJkKI1XEAd1CoVVQuFQXCwRyn+t8SxtLnTtBnnwzkp33wCtHwB94b0Qr0xA9YxZ457J83u+Djs7fnfM1Gu8yMZEm9oX6k/3vRB3eDFelLBxcTIPtmAXxCmM+3EboFMAFMRCnGIQtCMEdwcDbXADcu9SBpRnCpsio4gpLwqLBQLiAiWWYqZIKWDt6AOlYy49hzkUei4HE8pJGVZIXgUQBzbwoLgpefd3L/DzDr4P6ljjfeDGul6IA3UAJ4M4iAbwrGcyoK81Db6FC2pAviCvLBnEK6e+uHv3Z1cpW6A0RyC7EHYdeO2D9yAuD7i3vnEX7LfCBbr2pdmPwOAgx4oEcL8R5yUI4uAQxIEOzAJ5wFuIO9wBCRAKa42ra061E8RZ4axtlnhQ6v2uNBa5g6U1oayxA23wFXKNB2NA7QAaxDeteqT0AtAHe/3UR3n6W+hQYi/0zD2LMbKXrG0AN65BV1qBnhO3Dx26c6WDtfIduK2NrHJSfh+1LcSzxMHcIYen4Jst8VViKTLKrJCCTJau7EJhFSdlCTgFijQ4BdNAuJB8gutHaVv/a+K1f+s+9a+0z0jPvSGoJLW1wK7tTats4xmgLpR2TgJSZZqrrssHKRYuqLIqKfAsBAuYJUGRA1RQly5OsQTxAHBd5tqUpt2FOHg/ATxorgX+HsRBNZB7ph0Dz7pj17M/rfPWtXWuvWCtPzc0Xg4pwc5YBDwbmxUO3CxdmxjMua5LY4mDorJALgRtacCd6y63OiXiYMAS91fSfMyUMqDAKMF1lVIQ4E1JB3DlWEk+SmLNcetTRuY0QHkmwTow75QYy8IhQv89C3duBwkKm6KmPB0cWOAA6GdtfaUO3L0TX5f6gnsBnqW9IM8SJwEdhAN0lrS0C/K9rk4/UVuIg7d8eQtxypY7lKI2z8YlIBfvOkBnjQf49kmQD8xBfCWYu48yW95eBBxry9z1Zbq1wDPDEgdWFrGDHWAFtKxdwNs1AnDALa284rmrwdLBjzs9dzlYu5cA4gBOCu4P4NbZWuQAbv1pT9/A25oliwf6IO/wIGSFq79BOXW1Kd7zkp6r4IBiHyirLc9hHfce2/p2UA2+1r393PvxDrH2rb3p2ly0d9V/grj27H97pW8WGjPryqH3myFOuVNqhZRZSj54U2yrLC+0KcinADwUKSgFKMDceAANqJ+R1f1a2b1u/af+lfYZuQAvHlgaFzJA37QLc+XuODeHOyfm09xVXt5TPgsTJFnHLGbKm+KgVCzihXjwTlI0Ka8scW0Ad++6yWuJl+fgEMizdAOma7Bc2Otn5UA20L4H8h3bIN54NUat8WQQ167+ZPWL64N+9yqgMaNwg7iNbbMDuNO+kFUO5OIsYJAGblY3cAdr6bnjtSMOtiBOIYA49xyl7T0b1yAlS4lRvCljSosSW2UMthQw682X8xQS5eM9oLn2HEAkmFvPRNEBvb7oPyucFd97WAqcq5WCBHEf0PUb9X5mBuBrcRdfixs4gVwaUANqEHcdxEsD5yCurCAN4LPaiwdyZdQB7EDueuPArg+ewfgFcfNqXwCyAOBBPEjv2NkflTWWgusAHqyzwLVdmjK3rIMzcFg7DlEgzkMAEA501kIQ9y4a2EAS0KwJgTUuBHJSALngLV8doLWmBOsGkB3YWLHm3AHSPX3IxvqWRgK49SCoA/4scjAO4NrWN9cbANr9gFYI4klpHQTUV7a+urbWXVuLeaXM4UJcWyBuLVvb1n8Qd2AFbhDvAKsMGNun9qg9o7w9EcTF1eViN0fKq6ec+9ivzY9xc9CxZ3lC/iQQX6UWxFNoyc9CPGj80hAP0mSgXgiXX16yMl2TpX1WBu8ksGwItCAj3rUxvHU2P5g31uSmmctta/MDGCgCJbDuR1oUukUM2H2x2ek0SelQYhQX+LO0F+C5zGs7S7wy0gM5YAfMdWW/B3FrsjoLcs/WmDRejcMF+a7ru9bvIcG9GqteCRgzY0DBBjubnKIFbxsYeL3HBHUAF1znngNwIXiDZV+2c50qB+Jgrg0Q96dOnexZ1BQrpU05ZX1RZpQXRZayo/yU40r3QRqIU0IUDsUF2EEKcIDEOjD/FJN+AXgA6etkCgnoQML7cF+mc6VzledGvxY3SAogG2BBWhqQi0sP3kF5rwP3E7yVA/uFfPdJqpcbHbgF10Hcc1yId9AB2AAelMlgLW4sgTyrOqCvrK4yC3DtaF+aewr2onmwHswdd7pXGgBhHQQJ8wGawc5asA4EoF63eoD3nFzOYKe8dQSuoPkK4lzDAclBMiudBPLWpb5Yd6BVn7TpekEtL7DLLyijrGCNK6d/+qkMmTUuXb46nm3f+Xs+7euLw4Z9aM8a0yAefHsXDswCSPPEKAf6LHFQt9dJ+dzn9pG66ri2r3lNet1hzzpoGRvj69D7IcSD8tdKCvGGFOSVAWRlliUYgR8YBs5fk1xYL7A3/bPwVj4If0Yu4De+QFoo7XjfOdlr5aoXxFmWwASmoLqWJcVBEQEUBSJQ9JS6OAWT4urr3EAdoEnQ1i7gySdB0H3BO+saJG/QP2W2XJAnA+9Kaz2QN2ae3Vj03MovwHd/SA/ge7gQz2PhGXoeCjcr3CYHY7DNYiVdU75ASII8UKcESHkC6xy0t450dSgeVnDudF+6sqxZO6wlCozyyrqi3KRRXBQtK4oSYcE5XOQWpHDMaXOeFSmdYtM/Bw+HEkrJIQA8HAjc2z25Zv2cDcD92VVWeO+8g3YSZIE5yxtwF+iBdiEctLOks6YDcflkZaqfrA5Q9/faSdfKkIJ+s8QdTFiUxsuBx5oH4eBKXki7tm+MpbURqNsreTlcC7Vln6njekOAd3gGEgc7Bynvw3u1AqjWAUiwiLnTAzBYtCYuzIMheC/krRtBG9oyBtYP+Gi/j9rAkCUO5vrgGsSVzaWeJW59gq7+uK8gDViDr7Xqvq5BOwteOoAH8gCvXG16xurpN7jnVejZpLunvtpf1n9WdGvdGAdl82FfgH3wznK3J+wNAbRJBwJBeToBxO1XEOe5ctAyT8bTc/vw7s8C4oE8iP8aQb6w/nOBeEBeiAer4L3X4kEtmOW2DuIgS8lQIhYvZUQKwZwyEaeAWAsBvI+iAnkW94U4oC/EF9BBXL+E9yAOtAtv8WAcxBubxkO6MtUD7K0nLs0BQV/0TdAPffZsvTMW98yU+kKcyw3wvHMDygIAZ5WDMthTBII6wC0NxEmwB3rwDvzqB3HWF+VJcVIKFBTFQAlSYEDumtKkAClTZYHfO179Y0VQZJSQw5nnaK4pMIqJQtOnIO7+LEAuXAqdFU55ct+zxL0H9zU6iOdGD9Ygvu7w4gE8AC90i68E44DMFS7vQvym1Xb1Arf60uTnVtdvljgwgBHXtXECVGC2P+wNQTyQ2xNBV/oTxNeC33a0pW71jf+C3r7TB+uBJb7vxMEBwHlHQDWIAjDItSasC88Ebg4o4GiNlBb0pKkHotoQuMYByCFQAELrr2vxPnJzWBRAP/d6FjmIWqvuDcruI05KJ63XrPfypQn1V5+t7dryjPICvXyHE88UxLXlWYyVcQRkwfrPKm8/2Af2BLgDs0Oc/eKgDvT2rXgudWniwC2dRa5NBy57FcQdfO0b3hJ95yn4ySG+SpECLKQUV6YwV2ZJZokH8l+TFa4vfw4QN5ZB+Modc/HmZdPVqQ355hYIwZJVDLagRPEEb4qEYheCuLh08AriC/AgzgrPEs9qJd0niINjoA7cyQAa5KUDK8DqtxCEg/Jdr40D2doN5Avz6pPadR/3C+AOOQ4fnhPEyYBO0VKwgGcjAzBrCbSd9rnVfRDGIs+9DsqBmzIBa2DnMiflk+qCZzB37ctklnhfpwMzkFIKFBlJmVFe4gBLSSoDuhQ9iAOBvlJMFBmFwx1IcQnilJF8/fI8rHAWYO58CpqydQ+WOPCBtw/ZgNxHbKzaC3HQBk0W94VrIE0G7CDetXwgJqUttCubRZ+895Je3eKu9duzgJ5n5Lp2mDHX9kegBeENQThpjwR20rX6pb86CEjvoKx98ebD2jB3vCHmYd3pDmjmGMSBIg9Na8I6EKyTIO66dRLkXQMm8AoOiSxsEA/epLUEiADu8CAAuXLWpaCefmiDFKyZoAy6wRxkQR5oyfJc64c0fdN/Qd8vxLUrDcS9JnCY7TWCfaEtUHVoDuIgbf+6Ns/2gjEH8Cx0cBcqq9zCXZ79b1/bM9oAdF4c4+OgxSI3Zw4+vYL62SBO4a0SLL5KcoFRfCEeyAPmrwnk9SmZ67xrsrTPyM+40SvbmJHS9lr8ArzrxnxleQG8tpQxh6AFigtxYKaEAnhKPZgvxC/IQXotbRB3DXiCfGm9C3ffIB6sF97FF+AX4oH8Arw1+p5ceItnhS/A9VF/HTwcQDYAujEwJpRAwANe4HYKB29Wr2shaxyYwVFZAbQF8Vzpa707GIA4kII4BZqypCCBlOKiCAUKWZrgWpkscYoFCPSB0gFrCon1kOIS9zzy9cl9wb+v0ilxsKBYHRh8aeunZSDuXfgTxLO8g2mwBc6gnEt7ZaBWrrKVJ8uvPe0LwZssbesHbvWKy88SZ8mxQIM4oAZle2TjC/Pi8jdYKxuUA2yy9pR3bf8lHRJZiyw968BBrvfh+2EboLKAASJr3LwvJK2FoP0EQmsI7JRTz/M7GAgs617JsCxZlQ4O1kJfpwdy5a23LHH90CcBkIM4oANrBwxxoftbXx0kKqf/QF1wrd+tdW25zgK3PjugaANIW/dgHMwDdZ6pLHRAFhfsD9f2u4OV+vaPa3EWOpibM3s9aBsn8wPgxsg46uPPCvEnJfkRxBceF+LA+GsB+cJ6gb3pn4F3ZQPzZ2SgJbfeposvoDf+GYiDFqsTSMEVZLnHKRoKxEK0UAXxQlaCcqCfdXotbeDLgmW9BvjPQBxQF+Jrha81fg+a9zqY75q9EM8Kd3joYNOhI68Bqf/SPTfLiuvNJnbyZlmDL3j33hLMA7mNDcZAzU2d5c0qZh0s1Bf86mQNB3GKkjKgCClkyipws7QoLgqZIqSMlWUVqK9/+uL+YE0RUWbgLYjrH8tPWdCguHkAvBN1gKCgKWMfDT39lbas8OCd2xw0A28wBu3+T3jvqf/xH//xLS2gB+yts3kArO2AvVJ6AO9e2w9lax/EvRNnwbEkHWAccuyJwEquaxyEpWVdk4C80C5uzQjy1auO+q43yHNIBBDry/rolYbDmF8asCwd6kiAMNdgmTs7izyrG/zAzFop7locEAVlrStzbK6DODCzKu/v0913rfQscn3Y/hjPDhbuB9ALdQcQ+dZsVrXDhOv6p2+u9Vmea8+i3+Dftf0gZLnbE+pY//abNQ+89q75FRfEpdkX5bsWzIO9AdRgDvwdgsVB3GEL7O0dHhPzIoC4cbEPPadD4k8O8ZRcAE8+KcSFR/HgskACuOD4HeI//h05aC+sF+I3b8s1zsnGf6W84A9k5jJoARPgfhbi+2V6lvaCvDaDPIhfgLt3VnjAzhLu2kHjyZUexC+w7zptvZKvIL5WeNZ3zwTY0vSzsfIsnp8iDuK9OwY91hKIs+IoXSBg/QIzgLOCQTsXOphKA+usdVJ5BwCBO7534mBKoVKQlF0Qp6jAp/eBuRBT6pQIF6yDhfbck0JjmfSejzICjA4VPqACcPB2CKDUKWfKluL0m3QftPnDLgIrfAEevLOIwTT4Bm7A3iD9n/7pn97SKlOdlQFfGggHcfcS33AhXj/UA3HXQu50YPCs5oBSBlcWsvkmQTyQA3RQDubSwHrLdd0HbkFce4DtWjtC0Jfu/ubE+rC2wAGMuGjNi8AyJs0NWJKA0VxZJyAHZMAOgACam1scHAvqagfIxXOhWwssTPcGp97J1w9rJKBbb9ZpQTvWrAOC+5OBPGvd/azXIB2wXXsG18Fe/Z4L5MVJILf2O9jaH/aF8jxK9p11DswOrWTwFgdq+0GZrPDKSAP4yikrgHkHYnXsH4cd1rcxMlYscvOhfw6/PxvEwTzFuHIV4gKjeFAJOED0HeJ/DO6FdWNFbnrxzd94Y73SPDRH4uWBmTnlmgZKgAIq0KJwOv1TVlnf4sK60/uoLdgBOLj13juIV056ECevuzxYB+9kAM+VDrjChbhn9WzWqOdbeD/FO6SSeSX0KUvbs+zzGKfGyrOmgHOngzhAgzXwAThJ6QZxMA7irCqndUFalnfgLk17oKsNbVLeFALriAKkEMAUdCgqbkQwp7ikU3oUJwXKYqJ89Uub7sF7wE3bwYLyERf0BTBYeuoGcIrffVn7QRy8udJZslnfgTuYBtIgDdT//M///Eeh9CeQB/UrF+K9d3/PGg/i5ELfM/hIj7vT8zpM8UYBK9jyRAF1kA7MF+jSwdr6F4J5h9+Fflb4ptWu+3itBSrmw0GubxOsg4DpYMfaA8y8NOLej4OxObNeAFA8QAOm9RHMk9pQ17oBYyACcMF93Y90eBAHKMAK4q6B3XVrJ4jrg1B/3F8/3FscyMUDfOnqBH7lxIO2A4p41rj12T6wFxxsHRTsIYdmMA7cLG4gBt+gLl/c3OdCVz5ggzaQq6M+61wd+a55zoyNZ7d/jBtpDPTNdyQ/K8QpugW4eIAgA/fKoEEGpVzNrPHvlvgfA33BbKyCd3LzN75jXfzOj3Tz8wriXN4UBlg7+YN58Ka8BNcUTgorhQTkAQ8Es1iz7lnjIB4IgzhQB2+QLk5eiIN24M5yJq1Fz3Qhvs//BPFgb21r1z3rd9a3g4h+u9bnBTxlbjwoWJs7iINjEKdwQRi8KeDec+dSp0xYBa7lk8X7QE572hF8lQzilAPFSolRCKwaCozSoqxyL4K4dMqLQqZkQRyYHS6y+t27Awaws9L1g1eB5UKBU0agQNm6rwOD4Kcy3of7oI0F7it0UAzgILmB1QzA//Iv//IW/vVf//UPG0onAf6C/MK7a+26D3Cv9b99cZhQBvCT0oK+st7r+7mcD6NYTcYiS9yeEOyTrOaFtf3Q3pDeAdb6L0+avWYfLby1WbvuAei1BSQ8JubDGgBx64BFDJYCSDRP5jnrNxnMwQ8MHVCCqvWRJZwVTyoDxNoVctu7lwODa2sRzF07UFiXQv2Svh4cQHZ/7Xffa33Ll2edCepYd9Jb6/LFrXFWd1Lc+gdz67P34faFNqx7+w50wRZ4ucBdgzJgB3LzbuwDtfLVsd/F1VF/PVkscuvGNwvGijRG9pBn1e+334lfy2Qti4XuVWDB+FV6+RTkbXPb3fhty3UwCeCBiJT2Cui52z+Sf/VXf/WHQgeCrVPaK7lln+LqSa+f+l38ldx29nm/NL5gLn7rbrp447zWdsBekHXAMjfmmNUJqiAFwpQMxQFOLHCykLtvlQ5lpI6QslqYB0QgLx0Upbu3OCjqg2sQbU0H1aAuffOCeWuw9RfI93rHoGf3/KVL04721xLXr8BdP4O4ZzIWxsVY2eQ2LqsWDFnNJKUrTnGAMVhm/bLAWbsscsBWV7z6IOowQGFnjXOFU44UKkVNqbEYuQ0BnBUuUFwFCoPipjTVofy9T3UooGgcLOqr6+2z+3sfTlmzzCjTLByQ8zMZ/2SFO50F2x9r6Q+z9Jvw3NXgGXSfwC3t3/7t397CWuhAfkOQ54YPyntYEAfoC3Fpa6EXD+Yg3r8iNV7mwSENWANxMAfyC3HXYGwvkfaG9QLk0gRpHQaUL724vA7OPD3u77BnfliSDlbWhQMZSArWBOACL2CbL/CU1gFMuuBwAu6kcsoAr/kVpAVxbRgH9wAiUAJuayJrXLoQ0KUL6umPtsW15f7uoX1AE8QdKASgBej6EuhZ5YDOs9SalsbNLv0CHdTtgQDPGte28fP6yL4N2GAtnhUNzPJJaUAP8va5sl0HfuWyzOWbL/u+/Wqs7FvjzeWfZ+A3V5EF3ytTaMnyu06WngTxJ5CXnwJ1XRsrg8pCJyBJC4SBL9h2/ZG8AA+61au9V7Jyr2Tt1U99L/5Kbls962dkY7Xy1i9PuvjXQhxMQQnEKRnWgZM/xZTVDeIL8KwHksJRPoirr521XMWlU2DysnADOWiuNR60b9pPDXFr2H5y3+CdDORdN14pZZa4DUzJsmxBELCD97rTs7YDN6CDhCCuPmCDp/oUtSAOuikFCpXVQ4lRVFnF3rOBK6hTXpQFS5ySA3zKlFUAAiw6bW4/3VvQZ7APEpR6CpaydE/uQH860p9a9R/LQNxfZ8uVDo7AmMUL3oALxgC9Frd4AP/3f//3P/z2t7/9kXUub8tXn9Rm78SDeFDXhyeIb7+qQ7LI/bGa3OmeGzhZZlneSfvCPgDg9kIQDu4g3h6RxnNjT6mjbrBvX7kWlJVGug94sMStnw52vCnND0AAhXUB2PptrsFZHni6lmfdJCsHsNLNMaiSYCtNG9rVvvtZP4K1uIFXoHflQA/q6rl3BwHS4SFwB3Fwcz959SGQO4DeEOCt6yAO7qxvASgdNh1wydzsntf+DLhgC8DB3LXQ9VregG0d5HljfTu4A7py8tVVRtz+Mg7Gv0OOObAP9eflO/GFaLDdNPGn9NJWBvEnkAN4QZ2ne2T5gQzYLIy6BsPAFzS7/kheOH9U/rP59Sdg63/xV3Lvsc/7pfEAvfLWLU+6+NdCHDCzPIGJtcxCoGBYAq8AnhWiXEoK0LK2g3htytOufGmgCOLrLs8KD+JXfi3ErcssbvK99W+du49+6R9oB+5AznvgtYFnCeJO3lnhlCyAgyD42siUrmtwZPGuSz0rWLq6FAywqstapqi1IbimJFlcKUNABXAKwR9c2X96AuBgS6ml6ChJ1hLl66MbbQI66Z7uLbgfRU1xq0PxZAVRjFzoArczVzrw5U4HceAE1lznC+8FcPEF+H/8x3/8QQDyArCz0JXbAOwOBQ4IgRzAhSzuIB64g3Z923o8Bz7O81zGD1zMpzm21vNMgXUQB1p5QnC2R5QpTbryrGptLKQDtfz2VFJ9+e7PfWu9WEtZ40HCmmD55qEJvuZPOhBLA2vxwgJWmuss+Q4B2hSAyJpozTjkBfTiC3XrrD4B2bZvTXUfYwzc0kCWdG3NfQTytcStcftBsFaB0kHW+i/dGNhnwGvPgi1LO4sb3OU5NAngDMzKyAPotdDVVz4LHvwFgLeHHHqMnbEwVw5Pnskh44e/nR5gL0gXxk+A3fJbVjw4L8S7T3krq999uqY037PGQSgYLvzES39P3jp/6uu/dIibQ9YnYO2HbSyA3n2vW4+SEaRlRVBULPGs8D4GSwa7IL+WeNY4aIJnnqXW3YL8WyDeuky2xlun0kvThwvyAE7qf14LypVCpmDXEqf0KdmUHThmWYM0JUIZC+IsvXVjqwveICuuLpc2gFMElAJlwIqhoLjPwRtU++9ludW9B1SGQhQoxxR5VhUFLARyUM/Sony5OilEUGPhuxdLNSvcX2nrgzaWOGsWRIG7kCsctAsL44U4cIP47373uzcZ0C/IAVxbF+JB+gniAZ7MM9ABAMz1PYh7rwoq5qgP28y3vRGE7QPALZRuj4gHY7I8cftGW+oL7avKKwvgrHhp7g/i+hLEzVfrAayDpjljAYOuOQ70ARtMWwMBWh1BO2RlS6t968TaFABb+0Lwzhq3fspzf33RlvvWtnu7BvMAbrxz92elW3+53rnDBZa5fEAEcmubZI2DuWvxrHDQBHL3dmD2pT+IgzQwAzYYg29Wun0tD5Tll24usrjVEVw7CMhT3vtx82RcPKfDjDH0nPrF1f8G8VV8C9Xiq6RSYCms8lZWL3mVasq1/AX7tlPcvS7Ir1UZyBfA74F787bOTxH/vwBxawhMWcjTrgADAAAgAElEQVRATLlQQCwGSoSCoWxcrxWRggFwgFYXsAuutRnwpK8VzgPwBPFdc98Kcetw131rv/VLtlZJ19a0MXHv+hjE+8itgwlF+x7EwVCg8AI5wFMi3ObCgjw3NnArL1AEIE4ZUAQCZchKosjAlSXOtQ3gQZxlLo11DkYUm0ABqitQrJRuEHdoEKRROJQ9BUtRasOBgKs+N7oPc/qPZb5I7304iL7nMg/ea2UHaLKwFnn51V2AX4iDdyF3OqlfC/FADuKBnNXOq/A3f/M3b4cWMPStAoUemEkgB9egaz8Irq2LgN0+AWN7S6gci642la8tMqtcedfuz53eO3Frw1wFcesCxM2puRNAtMOYdM8SlIFFGXOtTO2UTpp/ZdTVPqlsh9P+4ExraMFtTVmz3V9fWrv6oH39FWcdW4/WmhDIu269lgeEAtgDea5267R1noXuABvAWefuZ8/1ERo4c48bXyAGdTB2DcYgLi4N4OVLD9os8bXGy/NqjUfLcxtH9zX++q1vDhReQ/0miKf4VjmtgnpSZKu8UmC3vnYLAfxJ7r1qt7RA/pFLHZyBeCH92fgF+Uf1b/l7/ZcO8dzGuYiBl7KhUFIiIE5hUTgCaMmnXLjIhSCu/gZWayBnmWeFg6MQpK3jwClNvzZfWmVaj7vmrbnWeC7zgL15pbXO7yFU+hPEc6nvOHV4ScE+udO504IxmTVOEbOoeh8O5q5Z6d5PKwfklIBr7QRxSpX1QtHlluMyB+1c3CxloBXEQR6EuRYpEMqQ4kyJgwFlSxlT5pQthaNMSsc9cte7j7/QxhrnSvfTsixw8AREFnIfqAVlMnCTWdrilVGneGW7Xnd6EM+qX5CDtX4kAfwJ4vJzqQfxtcR5HowFeLKwABeArf8Oua6D88pA3ftwUpqwe6o2tx3t5wmT7hpMfFFtPTgUOhwCJRAG2ixx1/ptLpXpYCYfVKwlQV5AFl/Qqx9o1VFXe9aJ9gQHTH3RRlK71hHAa1NobWnDPYT62jrrHT1LOahb4wtyZTbI51nKUndA7ZUPCegOuYDJ+vUeXd98UMqqzhIH8j5eIxfcWdzgzRMC5PLVIVnh8pQTFuLmyFx4Hs9ZXH8dPLyWevuw7SqzILoyBZfcPPGUWjJQr8LsPuWtVG/brB1p7kmxvgfxrPGPoHvzs+o3fUG86U/xLfsU/0uHOFACFLj2nhecgImioWDAHLgpFTLLgXIJ4oE8mLO+BdCrbTB37X4scCGIrwzgN/9bIN46bI1an3f9lmadd5DokBPEexbPSSmTxurVh21AnDsckCk9ljiLG7B93Cb4qI11EMSVLahPGVCElCnFSpF5j0g5cRdycWcdgysLWWCVuwZ4ZSgNio3yo1hYB9qkaGtbmnsI4qwgCtGX7+6hTV+j+9viAP73f//3b650PysDTlDs/fcTkLOu112+sC6+MoiTHQwW6KzzoO7e+447kAf1LHHp1xJ37Z24j/S4Oh18jAF4Wv8B1d4QXBcCuHVRkGc/ubZOhNpoP3Ug3naUs++6RxAHH2sINAVrAgyDODiKCwtxQA2kJACbc+ANyNoDYHXNPWC3Nqpf3QBtjaqnDWtU0IZyte0+gV17G/TR+AZuh9Pc7da4A6S1ujDPGi+dNQ7kueCzxq3ZLF5r3jV46qu/g5DrPAiDc5Y2QLO81xIHd4c54AdvIWAH9OqQ7mGcjKXnIz2v5wJwfXIYfvudOGUURIN0MqXVdbJ0MuAmV7l9BuL14bbpOpe6j7ACL7nXF7Jb7kvi1V8Yl/ZKbtmn+F86xM0vUIEUyHITUzqUBiVC0aRswDvlJV9QdgOoacOBIGgHPtfiXNPuV1iX+sL8xr8V4nfNW+f3YOrafTpIPEHc4SSIGw/jxENhI2eNc5ezmAL4whvAgVy+n5UJLPKFuPIUpPopScqHcqRkKTBWh/dqrEXvv8HVx1isY246kBXnFgZx5VjilBmFR0GyDihrSpaCoWxSOIBA8SjHmnEPljiQOyD87d/+7dt/LOuDNh+zASOLFkhJYM39/QT0BXXx4M5KL23lBXrXQZ1l3v2DOYAvxAN7B47Kg7jDiJ/L8WAYL0rXQcv6d1g138KCOThfkAOzctKtld0z6gRp+a5rh2y/acM1aHDrB87A+gTxgJElbg2BKSu0AKa8Q6Ryygiutam8AMzKke5ZOXnWpLKVd20tybN266N7apeUH9Td13ruHf0C3BpvPZJZ5yBuTbaGA7jy4qztAF68a653fXQoC8Zc5fYumAsAbKzJjBc6UBk/S/MuPYgrkxW+ce24h4OMsbHP7C/Pqo9c/A7V9uWPIL5KKXCmuAJ0svSAXTpZOxfgXadMyaf62qj9Dg0gHsj7krovrJNPoH4F319L+oL/qU9Pz7Rp6uy1eOPxJbK6T2WNc+NPNv4+NHRtnswpUAEr8IJTCscCpmQokxSXOEVEsaR4SMoteAM1izsrHLy1vWBfcLv/q9CaI1trZOu1tK6tu57Z85ZOtiafpHxtWdNZ4bwU+il04OiZPAuYGwdjxLVqE3vPxlrKugbjvkgH9gCeNe6aFc69HsQpTIqaAkhRkhRep3qKwIc73vWBK7AKoA2uwJ27m9XsxN/Pzlju6rLkWUEUTK4+9xACOOXJegFxSqd7gbjfUbPCQby/0AaU4A3cC97A/Pvf//4PhVzpa5nfuDKVT0rbuu5zrfPrWn/vvXggVwfE/bEaHgbjx1oyFhRy7nPrP8CCq/lvf8izH4T2SNelBWVlg/XW33z36RpEHPiCI5iKgwPAAUTAAEX9Nr/AaS0JDoFgaj25BmZQA1vrrjLBVv6G6iivjYDtWjn5ldE/bQZy5d2/tt1XH603/fYcXVvnPEBADdoOUkKudcAGcvuAlGcMpAO1A648QZxFDujK6ac9Cr4BHJS9LnHNJZ51zvp23Ttx4JfH81b5hbc5UocesGbMjznwLOZEH+0nHjSeLQfFP/qLbSktioyyTmGVnix9FWJ50lZ5vhe/SrQ2an8VahDJrX7BE5A+I5/AuWkftbVlvyb+rRB/6t8dl/euq3/LdFBq/FsP0lsXzfNC/L4TD+CALlA2lBblQ7nkRg/gWdtAXvw9iF9r+17vgbF1uGv2rj/rbp+5dfhKVr+2g3j9+AjintsYUMg2du/N+qMtrO2+RvfOG6yBW5AugLhrecpTfKT34ilGipDypdxSBKwLQGYdgzRLnPX9d3/3dz9Y4aD+BHEuRxDXHoCzgLQL2uIUjnRKkAJkkXqv3h93YfH7oK2/k+59uA/CQJBVC+Is5ED+tRAP3Cu/BuL9xKz34izxDfoN5g4hDiTG0Zg6JFHC4EmRW/9ZZ6Q9ENT3gBvc5T8F+ZVR7+4tbXaArhxY6MeuC+sDvM2duRTPegVFgARP5awhAJUGptIWxKC7Zay30khBHaF07WgDkCuT1Ja4MmBPCvpAytffLPRALs2YeyZQBu4+bCMDtnXqOqADPmA7oHJXg3vQB05rXl3jB7DebzuYgTH4CmBOAjWLO4grw3XuA7aFf3CXpmwQVzdL3Lzoa1J/7d0+Rn2DeIoLJFNgATPlFVyTr9Llr2J7UqIUXmWStZus/e1PffpLhPg9ALyC64Vt5ZI3/2uuAzi5a6Of+gXxwBXEwRaUuMdTHFkI162eFbHu87XAv9QS3/X1FM9CB1X5u/Zaq605sudt3SVbj+SWf7pnACc/grgxc/ChqClim9qG5nYDctY3C5u7vI/YXAO6AOAUc2BngVOSLHineErQNSWZlUVxUVZO81zkTvPe3wrACuKscYG1DLgAz3Xn9H8tccpFAG2Kc5UkZeg+PmpjhWvD/YJ4rvTeh7PCubMX4lnX71nVgfnKhfd//ud//mCVK1e7Dgr7rty91xIHZhD3wRrpekN5Wet+6+7w48Di8GJMzBmI7qulQBxwyULWeXmuN0hvj3VQ7hCwbZRmH4IEDw8IsXZ97Gh9sF7NHWibR/0FDeslSzlYSxOAM6iS1ldWtLh6AtA+hUCtrrYL6m5YiFdm76fP7qMOuPcMIO6ZcqO3LoO451PGWgXq3Ov2BVhbt6DOKpdHAqf6Ds4gK3gNBtCsbYA2xvawa5C3l8X7ej0LHezlAXuWuLriyrPYfZ3u2dpbPY8+OGhYX/bU24dtlBJltRC/ymsVV8puFVpKrnLgTGGm0FJ2T0pU2eola69+6NtfIsQvvF0HZPIjCL9XdmH8Kn7bv+XMQ2ujPBA3T0HxQpxlyfVHmaRgAKqQYgEu7/typQNa77uDXxb5K3d66+uV5NIW9FEZff7o4Ngz99ytQemtz9poXZP1oYMD2XOQXOrXnQ7gxsqYUPCUgg1OIfgIBqDBnPvOyZz0Z1alU8iubfasdPCm+AI4xUYRsJ6yTignSsB7NVAGb65foY/NwJxLmPR+nPsbfP1ErPfiFBuFol1KXQgC0gVlfNUL4pROVj/r3gGh34eDOMuWFe49eO+/AfbJCg/OF9r3unIAXpC25YJ4IAfx3otnXQN4f/41q5wEbu/y9V++4PfuDinG1rMbHwcwCprlZh+Yb+ufFAA6+L7aNx0AALk6F+zbRnnS1LWm/IoBvB3sQBcYQdy8CeCWezlLPHc1eCtbcN36Auogbv1pF2ylB2xxsJUXqBfMyi/UldHmU53ul1WuTOs8kPdM4MczlDvaugRvzwrgLNsOnq5Z3WBOcqEnQVy+gzJ3d9ANyKDde3Jp4lnYfeDmi3b1XCdZ38DtWlwwV0Hc8/Au1H8HEv1jib9BPKWW4kpRkRtSXsnyXBdPSkvJpdhSdr82iC8Evyb+BOGvTXu6/4XsvVbnpgXbL5HVfSoL1gFsD1Di5ticms/3IE6RUDhZ5CkfCqx3fSx3MANq0A7koPcRxBeYT/GvhXhr2bM2BtJa/63vpHEwHvqw78I/grgDTMqccqdsnextaEqARV4AdcFXqwGdlMYi7904JQ3iFFtKliKmzFJS4OLLaZYxoHoHnnXMAs8iZ5WLy88a94W6+qwV7nLWDsVOqa91Q1lSkA4M6gRwhwb3AnFfcfs7434fzrpdiAfwhXggXqs6UL+SW2frBXLt93FbIA/iPAMOF0G8PwcL1v1VOQD3OoAUPI9Dj2f2/OaBQqbYexfaTy0Dc/sCcIMv2cE3ufuofVXd9lrpytaW+1pPDnuBEVwdvAIEqOmvg1fzaj7BUJnm2DwHFnnSg+lCWZp7dGBYuC+st86mGzd9BexNB2vXpbuP9V3QH/2y3vW/VzulAba1ad0G8a7lOeR6VUTKNxbGBMyV018HayAG5SBsn9qLwC0tq5sE6Vzs8u1x60HQTm2UBuIO6MbM87W38pLoEy+a71jefidOEQXjlFTXKbNNv3mVSVZWu8E7hU/ZLchTgtVJ1lYKlDJdkASflV8Lwad6pW37T/GvBfat1/2S3esJrptWueTmfW0cvDc09o0/aZ6aywvxdaenRFIsJEWVFa7sutRZ4xs+gniQfiUDe1b4rj3P0Dp7JVt/m98aXdlad58niL/6sM3Bpe8IuEeND2vNZrbZbXwbmuvOSV9IWYC5jU6yynuPnms9yyilTRFTUhSSd7U+NGNdc/0Cau/DfVnNCmclgyyoK8NSB2JWNRc5K4VSoyS1TUkCAUVTmvuBfQcG74kBjnWvXR+2+Y14EO+LdDAN4sEWpF8B+UsA/l//9V8/1Fe+dkH8WuNB3KHC+25WdxY3UOtv4CZ9zJb0TA48lKzxARsQp6gpb0AFb3vDXItnXZt/QZ59Unr7aCGvnMNA9ZUFe21KJ5WR7r7WEIj3sVgQBIjmDsTBCiTMHdCZS/lPEAfJLHYHAoAFX6ATdw8Q76O37rlQVr4gf4O6taW9gO1e2nDt/vWjAwaAW4utR7KDh7jn8kyezXN6boEXwrMDuLmzll0HcHWA1eHZ+Nqj9iovi/EF8SxweYL92x6WD/zmA7zVUz+Ik661wXvjXg4nHbQcKvTR3nNI5N360Ydtq5QoL8o65bV54qWvVKdrZSi2FP0r+X8d4kF7ZUAmPwLxZ8p+1Jb8hbe49slgljTPzW8QXyClgCifFAkFQ6FIAyyW+LdCPEi/kk+HSP1uPbder/wov/Kt88bC/YC8/mSJv4K4A0vj1uHHGFEQlL0Q0PsdKmmTUxrgAOpc7FnnFLV3sN599lMzIKcMKC8KKYiDMisbxFncAMT6BnIWZRBXhgXNcl9LnJKjMIO4uEDZUajyHRr6Op3SAXKHAgcFAPchGMuWJd47ce70hfgTwC/Q37sG8AvxQP4EcS5978XBnEs9iIM3YOvzP/zDP7xJ8QJXusOJcfXaASAo4iBuPgHWnvAqKQDvHrFPXNtDu2dcC/Kkq5tFL630hXjlvKe1ZnhreiduTWTpmT9wAwlWKHCBmusOZc0tmYUuvnAHV0DWLgm84nmHQHmBDdCVz2LXL3FB3SAO2oGcVC/AdcjQF31rDYp3EJEH5MAtX92uzRNoe14AF4K68bBnlHFo8E6cOx2EAzDPGVAbY9I1QIN4+9UB3DqQH8Ad0pUT1GGxC2DvQ1XPb24ac/3jSrd/udMdFH+TMkpSSuIATqlveoqtMuWRq9xdV/YVvFOu3yH+4/8HvlD+VohfID9dX7DfMg4XyuwBrXk3x+Z3IX5/YkaxZCFQOqugcqlTZur5yVXu9FzqH1niva55JXf9tdY+gnhrd2XPfGVt7n3EW98fQdwzC32lbkxS1qTDjnGjLGzyTvdk7jlKIoucBHDBu7tCEKeoKWjucArAO24WNqiyxEEbwAWAzZ3O/c26BGFWtZ9OUSaUHeVGyQRySpLiLLif8v1bRwcB7YHd/u9wbuufGuKBfC33IJ417gARxEl96t03axuwfbwG2II4oAs+1ONl8K7S8wIFzwjlDqQsMDKQ2xv2iINthzcQtk+kKRfoOxDLk64teepbJ3ly5Bfka889rRMeGz9PBHKvXADSYWsBznPC0iNZfcAR5Bbs5twcB3QSFAE28Hp+sAVx92SRA5MA0sqtta6ckOWujPrKkcXVUUbfwdl91u0M6g4U0sX1LYh7Vn2XL618UrrnzfoWF4wDyDtI+K6A9wuQjWsAtx+DcF6XJ4hbC6CtvDkJ3sq2xx3I+zi1Z/R8nsOBgieMJ81B8c2dTlmtqzQgkympVXzKp8xK75qULz1lloJLsbnunlvv1lWu/PpUP4PPWrDfGufiro0AeqF6r69b3PX+bGzjT2W7H1nbPRu5zwuwrjetOq9k47ayNmrngrvrm+9aO+Yui5OFCeKuAQuM+qgtAFEiq5ikgxWpLIizQrmVAY116gOwfnvOUs3FLh7oua2zeJMX5volr7KtvR2PXXe7nntWz9uabl23prtuPOpH0pgYoz5o6zlIz+GZjRmZJR68GxvKnQXXOKY4KIGUBMuAZZ5Lj6LxMzNWOWUA4pQApUtBO8kLgArOWcYscT/72gDoudO9g6M81NUOZUfB55ak7Ch6Cq90ab74pXh82c6C4FLvoADkLN1+b8365U7P3Z281njW9YKZNe76v//7v//wP//zP29BvDLXWg/m7hHMg3gg51J3wOBOB/DgTQbu/vua8fONgTHyzJSu8ae4QdccAmvBvIqb8/ZEQDfv0kFaqAypHQc7ZV4FIN/7WCvA4xcPAN7BDiQAzJw5mPmAy88C9Z8VGsjNq/nOUneAC/AOcIDoebUH5IAOeoDtfsYhL0CQB+OgvWkAHchJbWSFB35At+7cL8gHcoCWFvg8n74I4vqrfpDPOu9gYp90sDEuxkBwL3vKPusQHbhZ2r0TNzfSuc7tTbAGdsFa4D3ThjlRR9CefIA3T+1ZfTZOpD6ZF54tH6baUz9AnMIKEqvgUmCv5Cq9gJvCo+goVQoupZdUZpXk1q2+tuvLAgXcgtZC8Fvjf44QX+A/xRu/lcayELCvLD9ZvuugZy6DI1gBUx9qUTSUUeAhKRVp4F0IVOo9QXyhVxz8gLF7B0zyQty19Mrqs/XlGRqTnkd6ofybF7Rbx8lXEHdfY+NAov8OIVnfJA+E5xZ27DrgAHuKnBQobZYYAAB6CoMSoCAoBO/H+0ka9x8FmuVC+bLE+6tPwMxdzhLnUhcAFpC41Mn9uI31DsYUPcUG1pReFgtlL6T8WQ4scXV6j8cS507XfhBn8XJhgyeIg2oAJ39KiGs7kPdx236lHsT1da1wIDc+LHDPYpy8LuCt8BoByFjiXKjmLLDaD1nTpQfjLPPmuvT2jnRwdigob+Xeo7iy1gcLD4RY49YEyAUyc+ZgZq6A3AeJoJ1VyjKXBiLm1Pya9w5s1oE1EDCBFHzBCKiB3BrMTS4PaEkBpFwrD/ZCedK1p7/iAAzq+i5dXBCXBrYOFa15cJaunjZyUV9L3CHEMwnADpqey9iQ6joEATZAgzMQi/e9ingWtXywNv+grmwH7ix4QFcOvEFcOkvfIVx/AbzxuRAH8y/+idlVZim7L4W4cgWKr3qlpVjdZ+91IRLAvxXYT/X/HCEeXF/JxjNgJRvXj6T66ijXPcSlyQOvAA5ErGoWRdZEyoqioniyKECKMsoKfw/ioC0Ewfcg/gTyhbj+7lrrOVrPyZ678Su99brwfgVw9xWCuH6DOMs769tzB3Lxxm8POcZJcOARxFPojW/WeZY4JQDm3Kdc6xSPd2wUKbD0cRslwDLOpQ7mAld31jgXOzixxr0XX4hT2t6ZBnEHhAJFLwADi4Hrz70cGlir3M7gB4zc1X2Z3m/EvxTi17rOEs8a/xJL/MkiB3MHCv3yvp4lrq+sbyAXeuXQdwSeyysH40rxg4qxp7ytf7AFVvO23pXmcfeJNSBd+fZNcx+cpQd9a0LcPdxL3fah9QEkDnf9USAQBz7AAwdz1eFO/8Ud1IBbAHaAlwbo4G7+WeaCNSXdegimAATaYArkAA1I0jeAVRancgBurVZWXgDXnrrdA4itac8hTTnStfrioK2MPM8sbs1KF7ShvLixEADdtedxUHEQ0E/jZ385FAnG1b4D8axuaWAuXZpra4BUjvReXNw+dQ3g2lPeNy4g7jnds0OMPudJM0cOxj+CeAo+BdZ1ik56yoxMoYmn7Cojj6KjxFKcW6e6KUPXt536EWhAJIh/t8T/dywam1dy52Xn8yn+1IZy0gM46bo1Yf5ACpyyJoGIMlnFtMopKJEsTQHIgE07YJ07PeubzIJVhmXrvizdrOygSa5F7royrcUdl+LW39MavPm7drtP9779ca2fudQ7iHgWzxvEPb9gLIA6iKeUg7Yxo6SlK7NQoBSc4ikPSkFgefWbckDnZqdQKSkKl0JgkQMzCxKkgaj342AuDuDSfc2+7nRKnMVC4bFUKHMwSLG7B8sNELwjDuJc+A4ODgpc1E8Q9476I0v8CeAgHsi51N+DeBZ+EE9mlXOt8w4sxPU3kLO+AVzgWfCaAMQdWihcCtjHZKwwYAVfoXm74LVP2ivBmDTv5ptsTUgXXGtHnhC43afyLHHWnjUADlnEoAZU5hGcHbT8+oDHRJxHwfoA72BOWjdc76UBuGttgLv1wCLXPhAFZtI1kLKM9QNoA5W4tPqXBDEhK53sAALAngGYxbWbNZ67XT/k6VNllHdNKq+MeBCvTRC3ttXTH4cyELfXzKtxBeMsbtfCWufyXAvywNp+lb4Ql++6DxCNi+d0EHF/fTHO9pM1Zk+9QZxSSlGRKbKr6CuTsiOf4Fs6BU/JkdVRfsFNqbp+aqf7kRcmuY6fLOqvTftztMSfwLtpO4bFd15La4zL2zaeAL5zDFJZmeAETBRLlgaldC2KFBJoBbIgrq0L8aDnoCC+1njgDNQBNZgHUtJ62/XuOXYMNi7PeJS2a1gbwkK8fuzhArwLDh77btxhxLPfkDWeAqaoF+KBQH4fwl0YUNrc7EDuZE/peM/mwzdKiGVDIYAtyOZa7+txwAbuAvf3/sTMO3EKnNXNQqH8QCvLm5SnbeWeIA7kfsYGiN6JX0v8sxAP3is/A/EOBAtyffCOPoj3M7JAzhLnTu/neMaLp8H4GBewAU4Kf/dBc/cKvgHfPqpsc70Qr9zC/P+xdy851ixFuob3HJjfmSNtRLu4U4WQoAsMpI6ePOfd+jDFyvyvVYBouMzv7uEXe908YmW2FuQrr/VgLTjQscD7YAwgwMpcgQKAO9A5bPEHcfOXJb7X7Z4zcAO5OgAeCAFS/aANflniCybx0rsi1y9jRgL6llFOmo81lbOGF9jWoMNDBwhhtyGeL2vcnIBhUJRXPuEOBcDPKecZANxekUfbDsKuwAGc9WxcAzg4B2t++boVA2/rgGOVc/KAttdg9mv1uTFx2PK8xsZztseMszkw9n8H8RRUkuLK4lpFlkJLPsFXHeLBOUhXbwAP3IWf6qkNcuESVID8S4H9VO5fEeKN+47ljmfp5MYb7wV5/tZC82v+wAuggJWlyaKkSPpoB8CDuHgA7yOeAA7OF+IXePJksb+CuL4sxPnFBVbQba29enbjUFrrrvErXh2c9a3ObSdok8Zl3X0mz2MMupFIZo0njRk/l5Km3PlzwvIJG29XqMGcsqAoWAwURO9DWU19zEQhsLJ97MbiBlkwz/UTM8od9Cl25SlsCo+io2AocRIYKHjKn8IBBF9tV6+DAQC6lvYTMx+29U68n5h9ZIkDLvgG7qzuwp8D8eBNbruu1EF8fx/etbp34m4TvBYAcj/VM07GBzBcCbsapfA71GYhm0sQBtrdEzuv/M2rPKWBtnraW6S6grq08ojb63TfSOgXQAAjOARxFjiAc/7iHFiY54DhFw3mUdi8SnNQcxh06+K5xVsLAAi02gDkwAzanDhSHgAtX3kX5kBWHvHyCHcLpC0ugLsaZ1mXbi4CeLB26FTG2i0/qQ55xSvvWaxxELdvHMpAe4G84N54gHYbxjlMA7e10H4E9n4eKh7I1eWwDeJ9F9BNgv4Ya+NurB8hnoKjtCjulFcypZbc/OWh6ED1tWEAACAASURBVMRfQKf0FuzBPOVYHStrS38APCvclfoTjL807l8Z4sZ3xzS/OWkOy9N4kzsvxYtrfkkQAywAB2IgCiSUScqFUqGEAJwCI0GMy8JmnWaJZ42TXacHemAMzgFaOLcgLx/5pRD37Mas8WgMrGVOe/qx4Nbv67pO9xyemQNx1rcxCeJZ46Qxo+gbN8o8K6vDUWFjDRbgTXELy9NVO+VBcQC5D64oLYqBEgdfStt7NqAGXFZljpUO8hQHi0teCsVVLGvFh07gvY4VLp/3dwCgTpBjsXrP7n07axYggTKQfwnEATwH4uD+KRC/V+pdpXsnD+gg7ro/iPeHXljjDiCu1EHclbr3/J7PGBlXsDTWLKz2gT1hvuyR/BfigVu+YEwq03pQ36YHdPFBXBlh8+8QB0DmvXfOQdxhzJwG8axxsDZ3rtbNvXhwF5ZfOqAAuLmWF8TV1wHPIQGowZcFTYK3toOz9ODOL758gZ41CqTSOWAD4pzxDsjlDezALE35BaK+yUMqYz9UhgzgymeJm09jCbascPD1URp/YfMN5iDeLRh/1+ryqQPYXZ0DufpA3kFbXLcQDh3616HCuLZPzcOP1+kppZQ6hQWa4lP4ZIpcGhcANk91LaBT+ik9aeV7VYf02iED+Pd4Hw78/4wQ71bilTSG63ae+JvvnYPmmNwD15bdOoERVLtKBxvKJuVDoayyAqtcAAc15S/EgRcYwVCaPEAoTrvAmQvgyUAuHOgvxJ+e23N6Pmk7Fj1/zy7dOl6IG4fAvYeRbin0H7jBGqA9N4h3qBFXmjjK3di5iqWwhVP+QYFSl5eUj8IGcUo9648Uz3XNzjroj8JQUKwPME5JsLjAnPLmQNjpnwKhsEFfXgcAMAdv1+ji+MtDqQdxEGCJs1h9AR/EgREo97+Yfcp1+lriATxr/EsgHsC1zanjPYgDOYizwn0/4HYhiLPeQJxVZdwXuObO/JhLc5oTlo9sns1p81h+eZS3Vpr7gB3A5bEmhEHF1W7zHUzBEKzMnzky3+bIYYsDbHMvnj8L3Vpw2COBxJpgkbc2zL10sg/8HBxYl+CkXdfawZxkXYM3kAIqyG98kAVhYCM5gAPwrOdg53AJwgE4C9zzaluYFC5O28orw9kP1av95hOAgzCAt6fEZVEHcfDmvM4CdOB2kO4Q4FAgTX6HbH6vvBxitKkfDiqekbS/7Cl70R79gVILqBRWiop8UmCll1Y4xZak4FKQN660leVJVm/tBPNA/uoDtwUxMAf8V1Z76dd6f4p/irvltL/uc34nXn+7afCstcnfGOyYBO/SkuWRzm9cm4/GduP4i68sWRwpXP3C6gtgC1pQopQoFZIiSTlRLOLkCWhZpIEc8MAQeEnQ5sBRWvnK8wriHQAW4PrbOHjm+4w9Z8/auAiXd5+7A4M2ssIX4p6x5wnk0j2P5+4Q0xhklRsjYwbqpLE0dlwAICnolHZKPHgDOQcAHD9lQ1lQIBQJxQ4y3pX62RHlCugUIyVIWYB1HzEJU9Z9vAbWlDRlKT8Y9D5cmBJnsVH2LHl/yYwDcl/BgzgQeieeJQ6a/cwrKxlMu+buq3Xhrs3JhXj+TX/yqyOnrev0wxX//v10Frl3497lu0Vwte5a3aGkr/g9r+d3hUxp75zxmw9w5sxXrrC5NO/C/PZQa0K4eZdH2t1jwg7T8nLmnhUYHAATyM2zuTOP5gmsvU4xR1ndZH4QB3fSM8oPJqxxzlrx3GDji25hIARGwA3U4ASixocDa2Eu61we/VPGAUCeAB10A5v2wA6Erd/g7CAlXj3inpy02lprXlntqJuTxyHEXgFeP+EM2muJ22Nct172WVZ6UlwgB22QV8a6YIm7tjcOnOcxRp7DPjRXXlM5MDlg/cBaCeKrsFeZpbw2fZWaeMpuHUW3yrLwK7llU5zbh+ABShfgQHdhGhCD4Ed5bvnKFV84WfyVC3D+bwFxz7sQbyzIbwnxxr25vfMuXNvmxlyCIpABE2CB0loGCxjKBIQoHnlYEYCcUz5LHBCD+MKPv3zaDOBXBtfqEbbW9dd6b23ums7f83vWxqS12HM7/Kqvdl5B3PME9Q4jPY/nDt4BPYhTwCliY2YcG7uUuHBjyl9YXlAIEhS4q/UcqwzEKXWWAYhzrvAoD84HPCwhioMiY41QzqwA0KbUKDwA4A/irHJ5cpQOhcNa66M5lmo/YwPxPmzrL7b1E7Ou1LvWDuKB/QnKwTv5lGfjAnjyQpw17sO2hbj394HcNXowd53OGveqAOCMEwBR0N2CUNIL9OavOZXGCdsn/ObVWgBx/sqbY3NdmfZa68Ye49SjfYeJLPHgCXpg5fAFCh22gDyLvIOX+QNwMoi7fvfqgBUP4g54rRHPz2/9ABFAA3EHxYAuLnDLY91x/KArf5AXDsikvgfZhXgWtQOEdOtXPxwCKi8PMJMOGGQQF68+7Skr3jPYG/YJgPu9PeCCdQdj1+H2mT0H7A7JnHyAD+L2Xk6c9WFuQFw5fq88jIF+6Ye2PWuH5159eJ3xBnGKbZXVVWZXmafQNl75da9g/Sp+y25fVqEGrU+BeLBdeYErXPpNu/GFkzd/4W8N8QB+IR68k8E12bhJ5zemgaux3rko7s594ea8+oUrD2ZABUpd72U1UDQppUBDqUgHqgvwLO7gy9oOetrgB8bNJ2/uwrzwE8T1f5/vrjvPesdF2CFgIV4b+qC/QXv7LU6/O6Tof88eyAF8r9KNj3FKwRs3CppsDKVxjS1/Sj6rjlKhIChyECEpEcqFAnGt3ns7yilLg8J3fej6k5KlTMA6C4VCpOAoSu/DgYBjKfTzta5YQRwAer/ee/H+fjowBnHQBHJuQR5gAZdlDtQkt2Dm/1SIVz6IJ2vLAcLNQP8ExX8z2/9oxgoHdNIHbkDugAJsxgp8WFq9NzX+zVlzaI7bL6WZz+Y5KFsP4gJ3ECfVe632ylkPIGOO+0t+rHB9Awlz6PDlsOV6thuT5sutifnysSOgAzyIywvinPkFFnWYc4c3ADcGgAjEXHDWruviLG/x0q0zBwxpIK8sB6ZBmN/aW4ADddAtvzzaB2BpwsoGbe0BOqcMGfRb2+L5OX3zG3EHXnPKGgdne6kvzY1zBzZz7l23fPaY/cb6Bn35OfuvOuxRrhuTDjmezTP0zYlxBW9z4BXHD5Rb7wlXoaW0g8GrtOJTdskUPIWXK+5JVi5ZvbUfPEDpI4gH2psv0K4s78bxb3z+K28Z4W8Bce0svD1zz08G7s2z6fw7bkG8sSXNQRZp81H6jj1/8eqpHfHKSXMIBDBgAiQgypIMMKuQKKy1xLOsA/Neky/EQXFdsJQn9wrmQdxaX2u8Z+0ZSXGN38bzGzPls8IX4BfiHTr0LYh7Vs/J8QdyNxgLcdfoxsg4UujGMaXfWBrHDkkU+yp3St2pPpl1IC5L3ImfAqHcSS6rnNLJ2vA1M6XPGqDMsmRIAHBtSrGwEgI4iFPkFDrF7srV1WtXs0Dgd+l+g+59sutpV+pg2V9uA3MQd6UNprm1xIPwygv098JbLn8gJ4O4A4b+rQNzAM8y95EbkHumrtPByViyyih3cxSwm09hrgNaBzLp5t86sB649pU0+ZRRZ7cu1ok4aa0Jc88CNLeu0/uJFlhm6S3EzY3DVjAHcL9/B3PxQbzrdHPqWreP2nov7kAHPkBo7Wgrqzs/kIoDLGPFb611eBQHngtT6w6UAVf9YB6opXHWqTzirdEOANIW4gE6iLtt4pRVTj8Dvz6yvgEckO2bAA7egZkUD9g+JOTAXH6W90Lc2gBt5QHcOpHHYctBxlh4BocR42lf2WtuPRr/HyihIJ4CS7GlyMjikqUVvsouMKQwPwL5LV+9tRM8PoJ4oA1whckn6JZ+04pfqU5u4265f0SIG8s7vubDvC/Iy9PY33LCzYe8zal6rKNABUjBZxVUykkc0AN+EFvrGvQAUZ0BMPBpI2C/B/QL8wvx1uV9Rs/V87fuGxdr+gK8dupT/dXPXHGecSHes5NPEE9xp5TJ/B2OQDyQd62aZQbYWd/iKHqKgpLp3VxX6gAO6hR91gNFAuQscu8CKX1KlaN8U3yUDJC7PgVy70EpG2AAcn7v0lmnlD0LgkUHDj5wY726kgZFsOxvqLOA1xIH1D44C+QL3CC8Mov8lVzAb7n8DhBdp/vwjvPungR07/P77bhn6N24Z/TsxoglZtwdqAJ3kCXFNbfBubj2j/0U0Mmg3z5rDVS/+qwRa8I6AA7A6EAGEJz+mT9gyBIP4iRAs8DNlUOXees6vS/Zg3ofPQKMbyFAB3wAlANPIATqoL6Wt3hryzoDL/3LKpcGqOrgAjnY5mqHBGBwD/DC6zqMen6QdiOg/qx79YvXzyCuD8bP/rBPzKsDMfB20wLG9hYQg7i8braCuLhgD/TqsQf7GG4hbgy0qU/67nDhkGyPufVw+/H2F9soIVYFhZyyWmWd0k6xJW98ZZMLcYovpbnQKA9ZueRt51MgHlwDuDLFkRe4wqXftOKTATxZ/C33LSBeGx1YsrwbA7K45KbxNz8XRMZ3YRSIm4s7/oXJXRfCygI4QFpHQZxFSYlkdQSeLAOKhnUBXByIBbcgvXAUB+IgyA/u0kE8+EsXrjxwyiMvF8StdX1uTe7z7TrsWUl5GrOet3oX3sFaH3L6pB/SFuL8XaMnF+RdqxtLCjulThpHyjmZn9IubqEN3vKACGURwCkTyiZLnL9rQgrKuz+WB8Xlw6IUKuVC2VKAFCoIsIpAHLgocdYYePcTJEoHxCl+V4BAAAp9pQ5+LFqABHJ/+AXAs8SDdxLQu/J+D+iv4H3jF+b8F+IOFvrlpoCf1Neu17tS9xw+bnPrQNkaGwchEDcnzaP5EO4w9gRxeTmgf8onTjrZGlBPljvZPgQb8xzEm0uAcl27EM8CJx26gNtcZZ0Du0OKZ3TlzskHKOa+jyE9f3+uFISAMVAvxLM4OxwCO9hzwCqeU0YduaxtEL8AN+7gV1oWt3wb5/nFWcva0k/lyi/v9t1+yKK2X9xyBHFzbJwdmADaXpPX4YljvYvParcPxTtAK+PArbzDtHbsM/0yhvqjH67UjasDU68yfqBgKLgniC8MgmoySBReZZjSo/govVWa/4b433+9fg8BDgcL8cJgfUEt/KUQD0ZBvHnZeVyAiRdu3oUrC4zWEZACMgABT1bGKqKUEQuCpQlSILYQXxAHSXXLI017IFocIAbzC/Jga40H8l2TPe+rQ8yOwZMVXv+C9pX6Ux7++ulZPDtwB/Gk+CBOdghKqQeAlR2QLsRZYV21UjgUS0omi7wPaygVfgBnOYCPD2xcv1L6lCslTOlSqllElAzFwrHCgZuSAW7K3rUfgLMc+AM5C85HYF2pe68M5MAIlN6Js8b70A3AWcZk4F6QF7fW+YX1R+ELc+3pgy/UHSxY5Rw/kJP6yioHcta4j9tAzYGG9eQmg4I2X81hABY2v2td2zc56fI2v8ULOwQIS29fyW/vAbi1o17tmmvA+D///zrddw4gAQ6sZRBnPZsncwbMpANXEM/iFsd5RkAHc+/HlTXnvRP3/AEILLksXkDOKtcX1+fC1pi1Zb1x8rn12ZsfEAfeQA1ugTnoiuPktU7BUF1kfREvv+cnpSnTh3Dq58QpY93bE+BtHwGu/WVs7Skw5+wjsAZ1QO7bExa3vMopL4/91qHAGuHk77BlvByQ9U9f+vbEqwtj/qMlTrlRUFkiKevvDXEK9CrPlKo+1A/gCGCgBXJZwldKW+Bt+gWmcOk3rXhyoVr79eGW+9aWeP3QXmMQSD8H4o1nY/4K4q0B+ZRpfsjmg5QO4vpCBlUQB6He31EyKSrKKpeiCWTKrTUdDANgwA7i1mxxgBgcPwfixqD1ts/Zs++YecbGzLM6tHD185XUR88gr74J12/Pvs9vDIAc2ClgiphLkafAgzdFzroGaQo9Jyyek1cYwCkVSoYlEMhJSoOCSakAuPd44EOZgDgFS5GSlC6ZZUSxgHdXff2sjFVG2YM3pUPhUDxZcKw7fw3Oh2B94Abk/WYcLMGTXIucFQ7UgHshfkH+EbSf0hfkDgza7jDR7YA+eXe/FrkDiH+S4nfjrp89t7ExjsY/cNsD1r85bh/YL1nOgdn8gnDzH6ilN6+7t/hbIx0MhM07a8+1bnPqK2vzCIZBHHwdvsAZwJMscHMF4sFbGicM3sqRDnBuYKwF9anbOgEjkOzgx+q1roCRrD/WFXgHdn55SIBXTn0OH2Cr/q6bs7IBjxPmFuTaD+Jkzy9/67myoFmftevQ0ztxcLZnzKs91DU5f2lALT6Q84sDavsQ0KVljavLoQDYvb7y3A43ns+z9rrKawq3HQ5M3NuHbRQiBbUgT7mlyF7JBUvKPYVI8eVfWd2rLPnLoxynP7V7wRVYg9wrCarBujIrX5V7iq9c1i8pXyC/AH8Kl/dJ1mbtkNtW/sac3ANO8eIaN2XKJ84YN7bmvDEnm5eN2znc+ap+6SxjoAKnIJ7yoVgoIwqIwiqekqG4ACsrPBADXqAEvlwwDJ7iKwuiAX+BWp3i1GmtrxOn//ucPb/nNXZkY5bs9kFfuG27/pL1hT+A61POGFDmwXyv1DsIGTNjlzJPgYO0cQXpLG4gFy8cxIujPACcMqHUWQAcRSKuq3XWhq9wWeG9C6eEKbmUIOUmjnJhKbA4+/DGu1XX6Ry4gzmAU/KscNabq1oSIIK4n5sBIIizbLPIu8YGzrXOr2Ue0AO8v9bWtTi5cH6Ct7j+wpv86gvaK+uD/ng3Xv/49d2fkvUe2TMDAnhS0OZhQd7ckwDePHfQDcTiN611UF3C1od6SPEcv71nLZjf/lpbwHSr0nyCoflywAJmsutafvPEOYR1IAMQIJfPsypv7h3iWOEOMByIBiRtWjesbaB2MJQGkFx9Ey+P1zji+YG0/oI4AFt3LGXx1qTxth7dAJBAbd1y/MAc9Bfu6ua6mVBWPmF90Za+G0OQdeBlcYNy+weYjbN0cSDvgGxfiefsP2tBXnmki1dPV/HekxsHz6x9ffY8xtIes6eMvf3EvUGcQqLQU2Qp8yelnfJOXnAokxKsvsLJrX/9pSeVr52FFTAFusD3Si7E5akc+arMq/gtG1DlDchP0L5x5X2StfvUTu0F5R33/MmFuDjh4oytceU6tInbeXg1h+Kbj6R63oM4ZUJ5AU9KiXKhtLI6A3HABUWgJReIC3F+aZV9grj06uRXJpDrM9cB1nO07hqPfUb7Y51ygTsZsMn6La0wiOtPFrfn588Jg3nwbpyugmddUc7GlKOkARq0A3pQpzA46SwyyoIFQAFRLn3QlkLpXXgQp0wor6wWCpNSIVMwlB2l50qWgmElcBQ6ZQPia+FR+n1Z69rWP1Zxpe6Ppfi6e6/VgzlA7nU2y9hVN7h2xc5C7105CIPyE8QX4EE7gAsHfxBX93XaDOSu0vWLA3NX6gtxitcVtrE3V4BrH9gX5jFgm2suYJtzrvik/OrI4m4NCMsjrbjyWROg44bFvDqYdX0NfuYRDM0ZKLhB6NVHMO/dt/S1ugMJsC/EWeLqtC7UD0hgzdJmUef2Zsc6A2z5+EE+f5Z8lrH1yFl7wK0NoF1Ii+PAmitdnsqUR13GQh4HmiBOKquMvjj02juAC8icPQO8rHBwXivbNybtMdI82IvKg3dx1od9qg71BXFt66s+WUvG1SHJjUdj//Y7ccqJQk+RrUJPkb2SFxyVXYV4/eUh30uTrt0gpK1gFugC3yv5BPFXeT8lvnaTygTkC+yncHmfZO1XN9nzrmzMSWOz4eKar+At3Lg35s23cGnJV3mqNxnEAffJEg84oJPSomyACrS4QEuCX6C9EAdDcdJJYQBUrjTxgTNoVv+CvIMruWu/MWntCdsfAT+pD7Wj7VduAa8/Dh3BmgXeGGSBB3DKOsWcAievEqegAzQlAOSBm5+yoCA4fgqG4qEsKBQOzFkEFE7vwvugjdJ3lUnJUSZBPJBn8exHbZQ8JUOpU+7gINw71j5+Chgscj9f8idLwRwE/SU0P9nqy2/X1CDpCjuXZR7Igy0LPWs8iGeFB/BgfeVf/vKXN4jLr44OBsms/yzz/mEL6Wo9iLNajUMQN/YOs+aUA9oOYndv7Hw/+VsDIK1s5VsfWeLycdpycAMa8+qGpQ8Vsz4B1/W3uXHw0ndWd1Y2v4OX+cwSL6+5VcahTR2u0x3oANCasXZA2DoK0iDOOg7i0oC7n5YBZn10AFA+izqQg66bICDnWpNAHLz5Of1o/eYXr8yWs76DuLo5dcnjUAG6vfO2Z0DdmLLQxdtnC2npysjLQgfu9mGHaHuxmzPzZA96xeC5O1joRxA3zkHcIevtz66uEkt5paQ/kgE2WFwIBIOV5SEpyVWct/2tH6DALMgtQJ+guHEBMlla4a+R1fUE7RtX3idZH3q+bwFx87fjff3Ny6v49+ZG3UEu4IIUa5JFQYEkU14Uj3hWRhALsk8QB8es2kANoIFce5W7gBcvvTwgWh1BfA+wrUWydbgA7xp+269v5BPIF/Ty6NNCPItrr0uNVYo4q4qiLm7lhXhWOUXCH9ADPUuc0qBMKBFKI4uAwvF+jhLx8zLvwzkKtetICjnlR3H6GRnlQmlT4BQ8OJMgTrlTOCDg6lWafMAOEPIABj+Y+4iKZe6K3Zfr/Yew/tNZP+8iQZNF3vtq1jEH5qzoQLwgvxAP2mDOX7iyXdGvBPRg7iChfXIt8SAOAMazAxaQm0vzujDntzeyns2xfPbKK5BL45SRx37irCnriV/8exB3VRwMXdWy8syJOTMvnLkCbHMauM0rWBdWpu8i1GNNgKH1Yu0AEoADMxj2jlv74sVJs972fTCoSwd44AdzBw8gV3cQB2bP0bW4NHGkOQjm/IU7kAZroLamHUwdakhp6nEg0eeuyoGZxewbAxC3dxyO7SeuGy/57DNX6/z2WntQXco5SLc+7E2vX4K459F3/bHHjK1xN/7tqR++BuCUeJBd2C8QgsTKTU9xSk9xbr3VH8CDeMB7guGruFsGYIv7Gll7F9hP4fI+yfrwLSG+Y/3kb15uWvHmp7nZ+Wm+pQHdQpxVSZFQMJTJBTnFIj1rPAiDLNCBJGCS70FcurKcsoAZYJUrLbkQ7xp9LfHW4u6JYE9y9at2FuL5F+bFJfXBoSLLOwVNEVPcFC5FD84s6U72bXLx0tdJk4/M77QP3MVlHVA0LIZVKr27o1BY45QIxUSZUqCUJ6VJGZOUCgVNsYA4R7mAM+USwAMCa8E7cKDunSkF5L2xvIBBusIFejD3ERWgs857Z+7nW945s3a9LwdyVrmr7D6AA1RWMtCCN/iyqDlhcL5X52uNX4hv2fzqDOQODdrTrqt1NwYOHj5s84wgwgI2lwG8Q5j90eHM/AtbD4EZ2FsfZHupPOVfiPc6pv0lTbvgADqu9v2N/K7TzWnWHmh5l90cgQW/OHNpbsGaE2/e+YFc2K8TwNutTAD0/MDrILhWtjBwW1ukNOBy86N/4vrgDdytQ1b7wnwPlp5BOw4LWflgndXelTopHphBmwRq/bWmOf0HzKDpOY2B+u0PIAZq8HVAs1/sIXvO/uKAWnrgtueUMw/ykfabtaGsGzJ7tDp7jeWQ47BRXzowG3f7ySHr7/6LWYr5a+UCIRisfJUeJAL3yiAe4ALeEwxfxSlTGsD6u+bV86my8slb5xO4N65yT7I+9IzfwhLfsX7yNy83rfggLtz87PoQD+KgBlQBKohTRKuUKBXwpmw41+HBO8gCJWCq8wni0nPaDNL8WeOArr5cEBUvT+W1oa0ATnqenLT1K6uO6qneV7IDRv0Q9swpW4qZUqbYKVvQtckpgU72KYULZnkDPSUQ8Pk5+fOTWQdB3HtwSinHCqfoWeEUKeXZVSYFRjlmGbBMQJzipuAAnGIBY4qFpPRZccAMyuKzJCggoPOuFezkZ6UHcSDv+p3f19Gu2gESzPe9uffl/dyr623WeFfgZDBfkGeVrwR04Q4A5DogD+KBnARyhwnv8L0K8BfOHF4AwoeC5snab77tC868B+vAm0WdJR28kwtxdXYQEN++E8+pX9vmHGz2nTjLEvyyVlmhYAHe5jWoi2Nlm18w5+Qx/+KFSbCzLoDQc4OPugP1WtTatr6S0oAdvDhprv0X/PJekFuPHUIAGaADNr/2c+IdQAO45xXWZ33vAOJ5rWnPRBoL69uhAXTB2F5z02VPAXUgticdtKWLvxC3l8FaOfvPniNBXZx5sgcdoDuwGEf9068Ozg5OPkC0b35IOaegA+cq6i/xB4VgsLI0ctuvD9qrHySAL8SD3RMIPyUugH8uxLfuwPyPDvHmbse8cX81J5v+KRBnuQZxkMoSD05rMfBTTkHsI4iDJUCCIBmAwZWTLq0rc2F9qZwyDgLCynLSc+IB3TMYjyAuTh6ytvjvoSKreyEesOtXfVuAU8jGgpJlfVMIoOuEbyN3BWeDUxAUh3ibXR7KgKtMSiBYUwjSykdmPahLnRQMxU5pUE5kX6ZTIhQpeAdwypjCpKApEy5rjTXdF+igDNKAnHVN4YB4P0OTF5hdnYMdpUQhBfG+kO69ubD8rHIw91feAN3vsr03Z5m7zu5Ds96Xg7mrb+6CnFV+HYB3lQ7OC3D+C/EOCNpxK+BnZmuJP0Hc3AdZa6D9sRC3P9pH4nPKBnF1KAviHP+uK2tLvLVlzoN4BzTQdEgDJ8BjmZpTB62AHDg6fAnnwBrohaWzYMWBI/CApjWTFQ7U2mNdgrH1te/EiwNuecE8uEtTtvLdIARmfTfWHSD0IacvwVucPB02lPOsYG1tepY+HnNo4fdsgK5NY+j9tv3V6yr7krP3ALpXXPaucWddk8L8AC9v78TtRfHtT2A3R57V3jM3+mxujLE+2Sv9DPBHiKfsg2fhr5ULivwXPoXc1gAAIABJREFUKIW3rfoRwF9BPJi+kgve/F8L8W3rnwXixrZxbh5WlpYs7XMgDmgX4hRLCoj/hr8G4ixkUAZL9YClPoCv+ABLBu/gLMyBr/wLcdAW14EgkJc/KGt321BXADcOQVt+Th9TzKwvCrYNHbyDax/C2NAsZe/PQJcisPk5igG8C/MH7SBOcuKlUzba6KOcIK6dfRdOiXCgzaU0KcEUHclKYYn1DhWcAzcr2wdrZApHPgpRPgB3Xe6Dqd6T8wO2Q4B6OCAXrx7vmoM/oGeZ97O0BTmrnIUMsFnmTyAP1AFdWD7gB+3SX0FcPtfq2nagcMDwKoCiNXbGlmI33+b97gPgDc4AXZhs7yTFKQ/g6nKrVVgeB2SyNjogmnfz6zqdhRsgSbAAQ7ADt6AMbsDRoY2lGijBGwADTFas8tYIaLrK7prc1Tggsy61x6qWZl0BtHDgFi+fONfqDgHC4L+Wt/b1eS1w7YoL1vqlT/KK028g9FyBvDVsXQKkg6kbJDdJXhOIJ82lQ679aD+54WhfgbJDc3swf/vP+Ntz9l57lF+8fUwGcfXbe918addzGXtzYr/ZF/aUG65HiD/BNKhuWv4UfzIAkMV9iqy+lbV7IR6Qr1zA8t/0G86qfyVv/hv+COKs/e3Tllf2Jz/5yVs6v+vzpHf/nnnH4slfPuNUOn/jVZzxf5qXjeMHbQ7UcoFcXc0HvzqlBVMQAyqKhBJhCYBW14JZHxSROGk+8gK4gAiUQRNMs3CDpXSAlaZdfQRb7apLPeUJ5sJZ4ls3v7R1yojvCv3WUT9W6iNgB2tSWF8CuzjPS0lT5l2bO813vdZGZxX72tWfPWUR+9jHBzQUCOhSxqxmcAD1HKUQ3NXldE+pUA6kNHk4hwJ1UOraUT/FwTqicClSypPSpKgpEI7io0goO9bLwpul3ZV4V+HA6304ZcNRPpQmBcmiBvHe7amLspSnd+j8rPP+apj36A4G/kjMT3/607e/jtZP01jl94/FsMhz+74cnEH7b3/724+gFs5yl87fISCLG9xz5SE57Xhf7w/X9PqA8jXW1r65B90OcvYIizvwSuPn7BFl7CH5hJUHbo5fvtaVsvLkgJy/VzTWg3XjW4fei4NmQAVIkDO3IBegA2SWOggGcNfUC3rw5Dwz8ARc68g6BuRudoBb++I4fvmAmxRnLeqXMoFMPzpw6Ie2ArS2+VmtXNDmb+16NoeUHMgDOtmtkgNlljmAW6/C+gKwoAvSWd2gbG/ZY+K54A3uDury2HcO4uZCujQS3MVXj/3e+PT8ntve0299si8caB1uvwnEU+gL6uCwcR/5A87KoBGUAt3CcP0LzH8EiH/Un/rY+28yv2fu+a9sjN7LI618xr45IZuLjeMP4lfKry79ILc84IEdYFEqFFMKJ+VCEVFKJAUjTz+vAmDQUz7Yqq86xQfNAL0QFweY2u4wIH9+5atbnSCd0962KV7d1U+K04Z86q2+pHZeQVyfOM/YuLCOQNwm5kCWEqAg9jobTFkglBqFBrLeaYIuAMu/UAd/cT6YAQ7KIaiTFEUKo7IdDtRJeSzAuz6nGCnMrvNcL1JqQRy4XaF39e16HHiTAMwBO+Xj6pzy8SdXvTsWryzLFcgDtzo59Xgv3mGA8vI+3QEAyB0G+kMx3pdzLGLvyl1ve0/dR3D3mh2oxQGzj9rAuPfbyvJzrG0g5/iVY307GAhzLH8ftumL53WoYY0ad+BdkAflpP3CH8j5g7e4YF9+cQ4D1pZ91EHA3lqnTQdFAHEw9L0DxxoHTusLMMw1IAY/0ABOljKIgolnAUpAtCYCqDiwz4GscupU1oHQ2iUdGsRr07oWrg/iOOGNk199Dg360MES1DjrkrNGwRh0u94vrtsF0sGjsMNokGbhZnlb21nkoAnsnsXeAmEAZ4kDdofkgB2cSeMuP8BzoK2sch2yyyO/A4I93tj1vKQx13d9cZNl39gT3wziq9hT8J8rA87K4PW/BXGW8UeuQ8QFdoAunbx5xIG25+sZWddZ2MnSG49XYyTfUx5zscBubhbWm55fOr/82+bWxxoGR4ADM8qFsgnaZH7KKojLRwEF8aAbWINmAH+Crf6BbNAGVvWoU/1kTt/ky/JWn/zFLcAvyD1f+YO2+vgLB+yk9A4qZBBnHXU6t6ltcsohyzvlRnFehdYVYxY6ZQy+LCzlux4HeVBXL3CDOnAHeWkODMpk9VMerldZQZQrxZniDuJZLZQJhQnIoAu0LGpwJvMLgy6o8YM1Jz+rWhprXRyA9z49WV0dCMBcXSDuAADi/RMVV+s///nP3/61qb/85j+M9TU7uHpv3kdwfdUOxN6jgzGQC/e1uzziOfHAHcSBXXxx4oXVrx/66LbBOFLSLGoOzANxB932RvvCOunwG8CtH+tZWL4gHtzFqQ/414kHcWug+SatmSxxaww0zDUABw7QkmY9lhfYwRpQyNaIcqDOgW1lQRm8u04P4iRnjWt7oV2erFBtqF97WeKsbCBuPVqL1iQggy4It0aBGpxBmn8BLi8n3Vp2jQ6S8po/BzHvxjnPZB+BrzF1GLd/Oft5b9WAnWXtlsz8g7O4PkYFcXEO1+rrACDOXvbsnrexFPbsnlNf7RcHZXvnm0Kckg8OXyIXEvkDUoADPFBdMK7/CZKbfv0fAfpT0qvzti18+7p5+rBuLW/+XDBfkDcejU9wFb+gby4234K3+XmCeGnlJ6uneoE9wF+IUziUB2XS9V+KigJLCbEeABb0AC+ggmUugJPissQDrj4A7gI26yQFpx1+/Qrk1QvA2lVvdQbwwmSWeIeEwK0+LnBf2UFF2/phTHqXBt42vxM65cBCYnFTYhQXhUnBcTYxC0Q8JywfBUtJgjoIq4OSBmaua3dX7/yFe/9dPjCnPBwK9IFS1R4lQmFSHpzryH2nSKGwCkA2kOcP6BSN99xgT/lQjKxugO5DNmEKVJzy8gG2dHFBXRz4AzhLnBXuv4Z5Dw3gQRxI+4MxfmPOOicDexY6K90VuK/bgVpYHnGADPBc0A/oJAsexLPMWeLK+2M1rCSWnEMXRR3E7YMgTloP92BrzbR22y/WDmfv7P4RF9iDuDbab/IG8Q5rWeLWjXWUA6nWlfkP4F15A7I1AajBVJnWqnjOIUA9ynv+rsqFxe865s/VfnWqp3ZIBwe3AG4LrEHAJlndWdRZ1SDOLx6krS1rNcBLz0+CNGiT8jlQWnfWrLUpTb8chhbioJwzzvzXOgdve105YM9St+8B3iFAObrAWjE/xgrEjYF2uSCuj/aWvaB/Xw3xC5WU/YLgU/2VXVn9/6oQD/SBew8N4gIz2VgkAyoprrz8m5Y/KGdZCwfxLO+dK+XKy5+rniDedTowAhpgUSyUyioU4ZRSyugJ4FnKgTPgBva9Eg/i8gJsQHU40A/KMCcOfDsMkPIXF7QX4trafmhj3YW2cJa/9tdP4TrU2LA2tFN6EGcxu9pOsQK4Tds7RspRXFZS1guQZ+0EcvVQBNxa5vyFKXTQFgb98ovr6tMBgSJhhVOIHIXJkgF0VhBQUXBBluIDbC6oZ4GT4ihISlUZYcBTBwsIvCkmoBevTPCXX1wQ92Gb/xjG9bV6EP/Zz372BnRX2/xZ6aWL7106wIPyX//61zeYgzDXH5hhwYMzqLuW7+O5wA7mAO4gwPJ3qNBvlqD5ZF2Zd8AOwO2DpLURvAO4PWT/BPn2THVIV671Lay+Dgb5Xd9aa+a6g5q1wjoOqOQCfN9NewYgF2fdAUp5+asDzKunw6c11BW5OOnWscMhqQy/tc6Kt86FSXGBTD7pXZ+DtzVoLbKaWdEkOAfoLGoSqAuDdM76zeoG66xx66+DJ7/1qf+90zambtT65gCYOXvbIV16Frp48AZt+x7QgV06aEt3ACDNk/1ozBubxoMu8Mwddl2l2xPfDOKBI0WfXCh85K/MyoD1vwXx4PpKrqW9Vnb+rPRk8UnWuDT1aKP6Cu9Y5G9MSGN64wtvGn+gDsyv4sTnArVw9ZKVXYgGccqIoqFMcgE8pZUiuhAHTOAM1IF7ZXlA1y2AQwS/PIE8iANpMAVsfax+MoiLV+8Fee1KX3jnD9LkBbhxKE4fKFkWmQ0exG1uSp6l7IMjypJitHEpLVawzUuhietkHrwpSWUoZFY0Jc2qzhqnuFndnLjiQduVKphrt2t51jw/Je9qXXssIEqz60mSE9d7Q2BmkYMX0LISUoLiKUJWNcWTdSO9fNIpJ8oyl9WuPD+FpYyPxvq4zVV6/84UyMGXDN5A7IM3jmXuozNX8fqiTbcE6lPGR3Gu5x0s9FPd6nE13wdz3rUDdT9pA/WsdZDXjv7oL4VrjM1xIA64rf8kGHPCu0cC8s1nLYmTXn5tOCz4cLKre35wYEGaa/Pbdw9uXICigyEwA5W1BdjS5eX4rTPrbQEv/5ZjQXLFyyusTnELptYyuRAP8kBu7Vv34qzDwN0adLAEZPAFaZY3iPOLt6ZAOojvGgvYJIBbZ9YeS9fasA46UIr3HL2/Zm37xQH49n7bnnYod80e3IEbsM2BNFIcB+L2frC3TsyT/WvMHX7oAGNAD7iF8Nz657Bs73ht800h/gTyYPApciGRP2D9s0I8WCeDeTKI30NCV+iBt/G741KYvHluWnUtxCvzSoI0J119zXH5L0BB6wniVxlRZvKB24IcNINsYA6kySAuH6sZyPWxa32Wtbqzbvg5oJUGyNUVxEG5trXrubph0J40eZRft4eEBbb2PGOHCX7KllIFcRvbBraZnca9qwZW4OzakuJaR5ml0ICeUqRYndqVA19AVk+wprgBnBSfld77b5BRBwVF4br6zKmXn/XEIuoL31WkWTeUI2VI6VEu4AiUvecGd2HABHlADupdl1OiFFRKNQmI8sgP4uru4zZfqfupGgm6IM2xsgEdVEFY2BW88up1o9B7fgBxRUtBelbjaCzEeS7KXNmu7ln+rHsHhIAO6q7hpXl+MAEhY0/RZzW3LgHYmlg4Z0mDMX/pm8eaLp89BdZZ6ySAgAuIWGvC1phvIMDB+gCIYOx5gTXrmuSkd5hzoMtyb00YH26tbKDOqUO91mh1ktaztWTMtc2JEzZe/KDOD2DADWLmgtVtXBfU4AzS1mEWeGuRDOStK3MPyNYlVxi0rV1rENCtOeutOGU8qz0L1sBtjEEZhI0xCxuIzTdrHLTX8rbvWerlb+/LI05Zr9XMkXE2B8bFeHFA7tCij9axfeTnlv+G+Acfrl243nCWMygH6pUf/cRMXmX3/XcAB8wABVLBN5h2wAngQfoC96ZXT/mkl0dc9ZC1X95tU5mFOLgBWcCiZO51esoreFNq+QPsQjqABl1y0wFXH/Wl8QJbyk77FJ42OXG1Bd76GpCVWWvcc6lX/Q4L2pUuf2WVr/9riWsjiJOctilnitUmbyPbuDaxazoK3wZm9VAYWS6UGnjb0BxFJ40SBd8FsLIULgUM1ODdlTmAq5+TTlEAOEVKYVKc2kqpU8gOB6Q0ChX4AJAFzlGSKVF+yg/EOPCjPCkb4AViflYuf3kpJZAXR6lSrpQnJUy5ilefcurhWCCscQAnWdcsYFfZXa8DrTiKzqGBwnd7AAhcV7MLE2NDQVPArjaNpbEHiQ4iKU91u54Hc1fy2tY37RhHryXUYc7tCWuAa01aJ8LSuOKtVWvG+iq/tJzDYBa3Nd6ekm6/aa/rexAHHuvA/Lup6aDIggZWz5813VgAiLGQ1xh4FtL6su7kl1c+66+6qi8Qk4GZ3zpzGAQl6yxQA5T1JVwer2v4pTlgWW9ADWT81pa1QhpzDmzNEwfG5s2asta4Bbd0a0x5fmuEs/Zac8LWp3o9N1CDbxa3/Wu92M8BW5ywg7p8AR7wgTxrXH4HePMjbxC3N40rZ8xyDjOeu8OwPWEt/kA5p6BThJThvl9Ncb8ns5RJ+RYKtw1pr9yrNqp/r5yzZlcuQAPkxsnbVbW6qndhzB9Iq0PclgvmW3f++rN1FvdKVnftNg5AmjXM3xyRwp86tuVbqXxu26hebci/YePF1b5yWaxAGNhSPpTMK5hTOpRVYAXIYLrQzg/eHLD23joZdOuPfOrSNqWXstQmpUdSnFnia52DtvqqS3vqkycXzIO3ejhh9Woji0pbnpF0emcpUa42uI1rk4M4RcsyzlICTwABbI4y5MSDPIUJwhQohSg+yzyY98GaermuyzsoKNcBIYUJ1BzlSYF0WKB4xQMgpUoBUpKUIMcP5JReyo/STEGyHiggylRc1k9KV7nqVA/FqR51y5vSorhAHJxZ9qxylrgP3cTxAznLWRn98ozGpnFww+DZObDQJzA2huYKBElrh1VlfpQ17g40vZvUF1a6WwDv6gHDuFHAbj4oc2BVV6DuYNe6tDZz8nDti25yhCuvnHWtj/lba9ad9qQFdNaf/pt7IPYc1ljrCoytJTD2fKT+A7h8uaxD64GTxzpqbVor6iKzIK0pcDb+1q6Dk7VDWkeAbPyBPZDLXz7xDl6sb5AGsZxwELdu+ANw60+8uRVvHRWW3tq0Fjn5rEWHTw7Iha1bZa0N1+nG094FXiBeaPN3CARreawBfm7fmcsL4qQ0BwQHbuNubI2x9dk8GUvPrF/Wnb1k7X81xINK0HkFcDCQ9yO39aw/2H4PiN86A6o2g25xwVuYC9wrt0z+j2T1X4gH0UDamBjHgPw0pqUlg3XyQrv42lGuNooT/gjiQQywUjCfC/GFdv4kmHaNvlfpnqd+8kuTN2VIifKnLPkDMCAH8ep/grg+XIhnlV9lq50OCvyNS18p927cBncS7zqdwqREKUMbmOKziSkQ8HAat5kDLuVI+VGI0lKWylLMyqqPQqCEKV0wEycdmClNdVCY4AR6lB1HwdamPNrVN0o660g+8GKR8wdoik88GFOQFCOlCMji5KOQKNiUcZa9unIUuHo6BGSJADYrPJCDKeuYU6fx8oyUosMMC8e4uEnQnr6wnF23+0iNQgQ7IOydcuAExL0i9ZW/+gDLGLEQSe2JN58OZw5t1oH5b01Ye9wriJce+AN75fVPWeAWJ8zxc+I5cdpn/bkRcKgAchZ2ELeuHAI5a4JrzVgn1ks3NsAS5JULLtacdWS8W7PWh7ViTbU2rR9jD9zWTtK4dSvC76AI3PImgdu6XJDzt8ZaZ4HZGuOEAdtcOyRywVm6NSjOepHH2uqq2gFQmNO2PWQcjScXyIE6F6izwIVBnQzwbuKUD+LKLsTNjXE2xsaww7tx9JzWrANjB9mvhnjQTuEHjSf5BJsbF6Su/F4QB81XEJcWrIP3zQvOC3B+cZX7CN6lv4L4jit/EN1xF994lX+hnD9wr3yapwC+dRVX+9LUq64scTCkeAI4RQLgnwPxhSmgBu9kkM0a1/a1xutP0GWRg+0qRX63BtwriHs+V+odCKpPH7PEg7j6KN8ULpkyplhLT8EaExvZBvYezDtsCpbipAgpRJuXEgNZStImpuTI9feOmsyKJinG4ihQMA7Y1SGd0466KVaKYq0XgPI+Up36xIqlwNUpPugHXYCmXCleUOenLClK9ZauHQqSMqWQtaMuICeF+Ul1ZF1RuspRshQuZcb6BmF1eQYK0EdClK6xBSfxruRZ6d6Xe08O4N5n+2AN7FmwDlakuQJvwOxABsacOFCnfDuAeR3iEMA6o8Rda6ujtRBsha0JayDwkq2d1g2pXW7z8Rff4VBc5UpTXwcPFuReqQdxhw6HsoW4sQMRa9GYgDiALcCVc4DhgMa66lVPUN/1xm/9mIPWmzm2foSDunR+DsS5rHD5OevMurC2uA6EHQSLsxasFZKz9gI6vzVJLrytJ87acjgkHT6tQeNhHO1bIHajFpzNedfsjTnL2lri7HPp/Mpy1ogDfHBXhzVkzK1Xc2JsG2f72Z7RJ2sdyB1ivxrilHpAWSAElhsn/j0XjK78XhAPziB6gRqwy1O4vAFbuUC+dZSvuPfkK4g3Do2ngwXXmJeelM+YB9gAvnIhLr45epqX6iKlfwRxioSySgEuwClEYQowywHcKCIwvDAN4lm/IHohDrC9tyZzvccWVkYd2tBWbX4E8cZpDwWBPIhXR/WmSJMUqWctzE/JGh+b2Eb30VE//QFImxbEKVdKLKUHtBQheIKweOBdBUgJUnoACoyUHslRbikuSi2rJeUnL+VYHgpQGqWpXu3rF2UO4h0sKGJKTp7Aqx79COyBXH36IV0cBSlOOc9K6of+Ky8tK4wCU1a5FHMKWz5jYxwpQ8rS+IIqC1IdriApva7eWe78pPExN8BrTsyPdeq1hziSs36DrTzmFfD7mIyC1z7H3yFA3fKTylsD0sgALb51knyVVh+s5cpZi9ZhkCc7aBgHhxnjs5a4+bTeQBk4wNp4ATfQexfOGg/ipHzWZmuUBBsygFufoAPewdx6NafmiTN35sW64fhbB9aUOPnFtQasJ+WsBfA279aCtWrdirc+pIkH6OLlAXGHyeAu3IEwYLPUgZzFa81Yo/phHKyNAN4tB0sbiEEa1KV3QAd9oOaCujmxXlytg7vy/OpwIHSTY5xB3KGZND9uNTy7/nb7BORfDXFAWZAHAlARHyCCQOmvZDC68ntBHDxzQbZw8lMgXllyy238e35ltLPj2Rg2Fo3B50DcOO8c8F+gB/Kdky2z6frAySv+WuKUTwqLkrouiKe8AirA9j4cdHMBnARQDqCDde0/WePFLegDehDedrd+ZVjhnhHEOwxciNd/ClRdZIo1ZQoG/JRtBxjj0EkcxClW7ysBkiLMqqEAbV6w5gCc1QOowEO5rKKj7MQHZLAU5ig4Coo1ynqlCFxJc8IUFuXV+zYKThlKVHuUMnBTKCBOkVMy+kNp188UrnI5/aFcKSF+yliYQqVw9S/LK+XtueTNUlOXOOmUvLEAIGPnNoMSBVxjS4lSmqwn/TSe8uq3mw79VRcF7126dPNGMYMtR9GaL36gluaaXZz127w2p9a9OXXVDphuAiqzAG99iFMPF4iDNylOXg6cOygKl94aE7b+uNaZfnkGcPB3CLpOBwmQZnEDr/HgBw6HyAAO4takMcwKJ+VVBrhJY2ddCHewa86sGcC2fqwL67F5Blnz27y2VsyLvNaI/KR8rRtx1pH1E5RZ1MAcnDvkAbM8HUxBfV2gt+7Bsav2wA7g4vQNxK0xhznzCsbWGQfEgGysrQFQFm8NBHIHO5BXTjq/cqAvjl9+69k8GOcgbpztf4cWfWWJO5B+U4hT7MFm5cJgIfHKv2XXH8Cyhl8BMYs4KV9+Ujhgqqt6Am/yxl+Qb3r+5FP9pb2SlXmCeGPbGBQ2to1jYyW8oC69+J0PfqACwgV15cXnJ9WhbY7/CeIUTAqOkgJxCpDjX4inpCinYAqSARysF+KBXHog77pbWDzYLrwBeJ38C+UODgG89tUjn2dU5gniATuAdzDwPJ7NOHSgoWy5xoC02YHGxqX0XaOBDMUK3iBFUoJdOwZLShL4KBdKsStIksKULj44CoMfKFNQlIAvuv3BFL+N9h4ZzLJMgZ0lQilSqFlV+ka5UGgUPGUD6pSNwweg66sy2qtf+iKuPpNZVJQxBU15y6+v6lCGdDjgPLv2jZGxAktKMxhShiwesAJu+dVrHIHJdTKYOTT1kZrx8GU569I8mheyNRugSWs3GAvLI04Zc21+zam59CW4gwWIBn5rYmEsbH0sxAN0kNaX3JYtvTWmrvKJ008ObLLw9MlzB+YgYTwBnAUexI0XP5f1LT+XhRi0zY31kWztmT9r0RxaC+bCeJt7a8HaAmT+wC1NPmsiEAOXsPUiPyePvA6B6xbqylvroB3cSXnKl8UuDNYccDvIWv8BX/8caoAaxLOku/EBYOOcZQ3g7W/gD/DySQNwe1+eIC6OLnBb4uDUjYcxB3F7wzOBuEO3/WuffrUlHjyufIKGuI/cradwAPteEAfXC/AFbpAN5uVNvsq78e/5q/8J4o0BeSEaXO+4in9yoLQOqAJ5+YOzeHHCpDZu+1nCIAqIC7AUXQoxgImn8FJqlM+FuPq4jyAO2OXTPggLg25AFw78Pa9nUzZ4S8+/dXhuzyhvefQJsOt3FhDp+Sliz+YZKWmO0hXugylj4jRuI3P+2AvlasNmOVKMTt+Uog2cJd71JDgBPHCmUFlCLCNh6coq10GAIqSYssJBu38isr+DFufnW6x2Vox61K1vFDwg9JM4Yf0Gc22nuEnPAKba9wyBmVJcC2uhr5w+c4GbFQ0mPlADYl/1UoiUKSWpP/pgLCh9Cs6hhLLTDvizIsEfyADL87DUQFy95jXgWqNgaJ4CImB3CCV7501a2+ZXfyhiAKfg1SdvoLYu+OW1Jhbi1k1OPq7wygCujupTZ/Hq7LChP+BizLpOd0Xu+cHYwQvEhRfiIGK8jVkOVJpn89GhrXVqvsydOe62RJy5DtJgHIQB3VxZk1ndgVoaYIGu9Qe24pLyAblwYLauuyoX13vvgK0e7ckjrbL8QRz0u40CclCXbu3an9Ya6GZpOzQupIEYmEmWtzUqTFoPQZzMMpfOqcd1um9jHJ7Mi/E2D/adw5AxcchwwADwb2KJp9wXNJT9Kn/+8l3Y3PDWs/7vBfGsc4C9QM6C37Qg3mHililcvvfAvWkfQdw47Xjc8b3jWHiBHZxBKQdOwCYcrEmQE7/tqPMjiANbwEoJfgrEQTEIB1zwFZd7ssQvYJXxTPrPqUt5gNUGQN/02iM7NBTn+WtD3covxPmrH8BTpClhY8B1uKHwOWPiCo0ScEr3zrJ3YTYtIIIwKIE2OFKaHKvXprbBwdopXf4UqzzyKwtULCRKiKKkkCin3qmxxMG7P5DSXzrzF8zEAyGlBrL6oU0QYNVSOH4SI6zPlA5YptS3//wp+Sy1LDIKntIP8EAA3vrvmUCEFeTQkJI0bq4pAVmblDpFDNp+H+66ZTOlAAAgAElEQVSDNSB340BZe37jYKw8gzaMg8OK33p7HrClnLPGATCYk+K5wFsaa5d1Jl46Zc2ZY3WKB1zrQLiDgTVSXRfYwsoEamFra9eXNOuKrB5t6JewMkHcwaJr/taZNdTBzBibQ/Bwy+JgBurAXXxh82y9Vd64OqRx5tZcBnHhrGZraMEN6OYMmMCVk561zb8Al37Bbg2JB3DAlW6+lQNrdWRZB3j5tCvN2gbunDDXNbp4BwLPZtysu8Bsrdi3XZfbx6xskOd3cJKHW4h3CLCWHbCsFdLB1Bq3n8yHMQ7i9oF94hn0z+G6X2b8QNFR2hcSQTNwsBDXFX9l8Hglb/6ncKAgwZCsf8JBNb9wwE0uIK8/0JJBvLjqIot7T+pD9fjDLv4/eH+FTfxt+1VYXnXtGD/5y2M8zFvgbbyDbmnG96aBUpDLMq2eoCU92C3gqyupnHygxwEaRUORrAVDuaXUpFE88lFCwA+wgBg8s6RJ4FTv5snK1jbXc+g3v/Qs8OoU3nLySQvM2qgP8knfMVC3/Pqhz9cSF2YxeS7PR6EaA4o7ZxxYZ5Srze303XW6kz6l2dU0JQnSwuDDiWNBkeJzQAayWb2AyQEqgFF2lBYlAF4UAED7UjsXyPvzpWAI5MBIMaqPYmEpuDmgwCg1cKD49Q8U9IPkehb+DhWeieJnWegXRQ/y+hrMPQ9rkHO9mPVNYboOp+jABIz1LaVLwblB0O/+gpuDCwWoDw43XkFQ9hShL9Q9P0XqcGX+zBsom7tdx63nIAmU4qxr86occJJBtbzirInWhXRp18K+kL7rST05dannuk13wACQPmxzY9GvIKwhcNh1Zf2BtXEH8muFg4r1p4y5NZ7mzjxYZ+bUWDswmpcsb2B20MoBL5CaG858LLCV49ShjPLWr3LiArr1bO7Blly/NBZrBwVhsK89cFavdsUrW5/kzQoXZ406MIJzB3EQdojl7GHh3pXz29tdsZPiQN6+70pdnix1N3IgbvyNr8OTmyN7y34wrvqr39a5fWxv/kBBU9wXpgvxoBpUCt8yC4yU/JVPZW5c9ZOgRcpTOMBKC4rBO1n8k1wof2uIA/i3gnjANu6evfEnjWug5m/sF+L8jT9/aeY8kAfABbV6Sy9vkK++pHjAC4QsXspl4RW4ukpe6+RLIP4E4yeI6xfoBnFhrmf+COLyLcTLn+UdtFPEC++Uv2ftAEPZGwMbvdM55WrjUqysTRs3K4eytHkpWo7SJMVnDdns4p4g3hU2aFGINj9FxQoHOu/BWaJg118668+WJqW5tqPQKBDwpeCBG1ApIVfHfYyjX/rUbYC+FQZxhwwOsCl+1jcLjfIXBwjyswi1Q0GqX1vGSrssIgDqwMLS81zBW989j75Tcq7MKe4OESCQ0vb31F1JmqOgTUmDuHm9gBReSPJXLms5uErjF1/ahXT13zoLy18ZdRWffBVXm54FJIxdPzEDI+vMmjHW1pt5A2zjDt7WIoCIC9ytO3k7ADgYmQeQM4fmM9gALbcQDsDWojkgAziYcsLmC0gBVFxAV37rkFce61N9ZEAX34dt2tl86ubUq35+5asDJB0A1CXNuvStBWvZgS8QgzfnMAvMDuekfVFe4OdAXDmWuINVYFdGnDIOqObAvDhQmQfzYa4ccB2OPHP9cxB/+7OrQSBY3rD4hUjhC99AkoJ/JZ/KbVz1k08QXwgH6eCdLP5JbvnvAfHqfGr7VdyTJX4hvnNgvAJz81VccC99ZWnJoMbKFFfe0oN7aXdOxaujK2ZQpmAotkD+NRDvChs4OYeFIF7fF+BZ4uArPYBXZgGeZd0BxDOsJR7Eq59UT8/qwJJF7rm5FK4xoKB3DECcUnWNTrFSBgDlXSXFSmlm/VCUlCYFS1KaXaendIvPIgqS4J0lDuA2PkVFwXUNZ/ODHIuVJcoiZYFzWadACPIgDpIsIaClZMCU4qKYWBCu1r1X9hyegeKniIIDyQLXL/BWT8qf4qckAUHfgZ/13YdofuvN1QbFpu7Kg4e+OZzor+cBcq8GPJ++q5/1rg/y+VmZVwn+sYmxCdjWqjkii1twLzwDqAMbB5zKtAYCcOHAukB3yOsQUN1J7VZm66hd+fhz5U0q41myxB2IrDUHLnB2Y2I8rCvrCzQ6PJnD1qJ1ZrzlMY9BXdwriGeJg7jDn7A5AiBABWlQJQN5acEWQK1Z8Vnw1SUc0AN0IFaOA2RzL748wV4bXOAunAzmyivrOa1Hax58s56917b+QRqgAdl4i3PwbJ9XRjonPiu8D+WE7StzYE8ba3PgMAvi9kmvD1jh9rK1/PZhG8UcOIEgRc1f/Cspz7rKJoNC4eSWuf5tK+uzOGFwC8RBMXgni3+SlSUDbnHyb9xT+Y1TrjLKscI/pQ9bB796Fto9Z4eYfX5pxsxYGl/+0osTv/7m4coAFaylB3By46uzOawusAtsC/Ena5TSEk/xUDLyA+FelQdcEOYH2U+BuL5eiCtffRfg8koD+gBOdlB4grg+1R99BvJclrnnWkUbzDvM9HMSGzuIA4xrMxvY5rWJbVzKltUUFMWnUMFuAQ6MC3CwBPGu4Gx8Vud+zAZ2e30OfOIAvr9+RlFQxq5Lte3WgPVB6YA4RcbSY0X0l9F6Ds8CDg4eDhmA2zvTlBJrSD85il4+sNGGa/SsHVf4FKmDgnFxlevZKHNKl9UNzAHcs3he6dp1gAAE+cT796QgbpzM2d4QASS4XoAHzKT0QAyeIJ6zHsS1FuStPnHS7IVgLKwfW4a/eGmlK6Ou+lF95U+69TFH3WK49WFRWlO9fiGDhnhzx7nW5cyheecA3Vo0n9ZfdWSJN79uR8ylse+deLdBwH0d0HKBFWwDbpa48uDtQMAJW5cgq2wHA+DlrAn11ZY8Qbv8tSHMyV+atdLBwoHR2gNfEAZs4F6Is8Czsu0NaUHcgV06YDtYKW//c/SBsAOCg5YxNx/GGsCFrXVj2x5hiduXb9fpKeYgEBwo6oVD6VfKsy4Fn0zRJ4tPbtn8t41AngziC8LAmdy06w/YpPxBdIFc3C17w5URX9srb/5XYfW8B/EdG+NgjMQZR/LGNb6N+yuZhS09eINhQCxOenWS1adtB4HARnFRKCmsa4l+LsQBVt1BNss6wGt7DyL1G4DlyV0g94xBfNvgX/Av/Pml7aHFQWQtsBRshxVjYRyy8mx0m9pGByZWpxM3BUphsoyyqm1kEExxsobEkTY6S0peAM/6ztqlWG16io9isukBnHUKdFnfYOcvmC3AWer9MRQKg9JkzeojRbMKitXhMMKKWGscaPXRYURZ0KbQ9YdiplCFKc4sHoCnuEAnC9y1JKsG0Hv1YDwABIApae/49dfhw3O4RQBqzyhdmxR2lrrbBXn9FzJjbg7NkbVrLkHQfC0cAbR5DqbymefmeuP5lW89tCfIwC0PF/irX721ven80pSv3uoSn1OWc/tjvZkvc2S9OSABA+uyG5AniAdzY229gTh4c/zWqdcr1pu5dY1u/qw56yVLmd88A26gDKxBUrz1sPAO6CBtvZCceh0QOPHqUl4af/XUVuAunpSmbXV1ENBeVnyHAHnU6Tmtva7M28MLccCW7tDUFbp9np+F7gDQ6zRp9g6AK2u92z/G3Xgb9yBurhpbhxf9ZIlb4x9epweHoEFpB1lpwutW0a+yT+lfGGzZ/NWf1M4F3MLzCaCvYCle2dzXQvy2swCv7pvnKfy5EG9ejJlxEm4+mgNp+ZM7DzsX/FnegZClupC/dUgTB6JZs6xTiiSFBdpZoF/yTvwVxIGUuwCv7+ID+SuA63+HgY8gviBXRv7ejb9niRsHCr4x6CrNxnbyXoiDtc3r1A1QnM1LwVKcWUHgmHULkPJRMl1Rk+Dm5N4HbZQj0AF40AZuH69xC/Gu0VniylAYIEhZAx6LhAXhWSgzSgtog6yPp9wsOJg4ZOgbBaSOFKaDgbrdDlCY2qBYHTwcFNThsOAKHXzUbawo0q6D1e35KWJQ9k5c3/vf4Q4iDi7euWuXX5ybB/kcZPz7UM9jnQVF8xUsA2g3Rr1C6eAmHFQDaHOuPuWrq3Sy+OpZeEsPwuVbuel7INj6le95gBxcAMOthucFBxC21oyhNWbtWWPmGEA460w4iHf7U1lrwjozxtZaEmgA1rjzAy4YZvkCJmfuAnGQtR44eZVRR+smiFtLu57Eqwd0g7ey/Oqy3qyx6tW2vEFaW/KUr34qox7jZC1a9/YuILOggzQJxOLlcUBPAj0nLN1ckMqIt4eUtc6texA3D/a5PeTA5aDucGSMjaf+ed/vvf2HH7YFC6C4kA0axT9Bg6JcEASRgLBl8wfv2tQOiHOlgd5C8nPgGcC3juIAtnrFPQH3o7j60gduH+WXrq17UNln3vEyHjljZkwq25gVv2F1NP7NS/VeiGeplp+8easD4ECNC+KsmrXCAfxLIH7hStkGXv6PIH4B7mDi2ep7dT2145CgvDwcf9f12u4dfWWFPb/biJQzJbtWeBC3yYGPYnC96SqdsqRQbVgOpFzjkZRnp3Ob2ka3yW12aZSMfFlXWUcsIIqS8vKTK++Lg/Z9Bw7wvSfnBzpwpMgoYYB1mGDJUUCuBbsa9DxdqVNE3u/rI4C7hqd4KGlKkvIBcFax/xwGvpz+acchBCS8+wZs9Rkj7YI4uPdxlnwUm3rVqc9+MgbQfl4GWMpR2v4+es/k+YT1wbO4WQHvAGz+uIALsuZ15xZYQZwEzfIGYOEs7OpLbvwCvHrEbV5tLKTzB/HavnV5Jgdp1p/ndKPhtYePA60fay7LOkADOj9nfEmWt3jrzBrjrDeHRVZ48E4GWGuPA8sgbS7AVRggc8EXoKxX6045a0J9pHXEsjfnnPjakM4P6OoiwV97wbs+SAf94G1NWkPC9YcM9sbBQRLAgdfBtW9b+LngDNacuPxXmgtOvLkBcYdU69rBqVcX9pH9bh/Zy57dGOiX8bHGP/yJ2cIiyJKv4lP0yZQluUAICltn/kAdgLS1QBO/AAbBwJl8D5wBe+sorroCa/W9J29b5f2fgvgdn1fjaE6Me3MCZhsu/tVcNadbRh1gF8goNYooC3xBziL43Ov06t131YH3Qly/9SfQBnDywr5nra7bjrrfg7g00M71fpySX0WaNeS5Pb8Na7PbvCwjChWobFRKEsBYNoAJ4DYvZSmtjd17S1K5LPiUMAUL4qxfG59yC+IgxhJ3zczvHbIrdgAFQa6PvgBOmLLw7tn7dtYZiFJA3u+tJd6HZ/1UTn/0QVnK0YGAJczC1zbr39fh2negAFZQYCWyQABYXax6yg3MXdlrR5o4MAIh7VBsLBPK2yGoL3uBTD0OMMDtN+QcK9y4OIhYs54HLMHTOjZ3ypJBMpjKL95cN8eVVd46sDbEBeSnQ0CHgurVjvzaV/6mB/n6s317gr41x3k21l/WuIONsduPKY1jayiQG0fgFgayDoni+a0JhzRX6SxF88DfugMc6y+Ig6j5CbRuYqwvcweaxVsvxYOtejjQVjeAB3PrSzwpT9a1uuQFctAOztqSBvjiaiuAKy+/taFO5d12gay9G6xBGnzJLGxphbOwt4xDgAOv/aMMZ/2pxwHVmnVYt+eNt3Vrj9MF+tIz6p/+vlniKWbyKn9wWKA++cujbJCg5HNb/5N/66z96pJf/bVRXkAH3QvPABxEn+Qt0+GgOl/Ve8sVfmoDvHPlS978xZMdJLZPPXPjkNz4/Mk7jje8EA7Yxrp8/OXJf+dTuaxagAQ1oM0yofwoD9fIfcwB6JRQjuKSHwC5BXXgBdfrAiwAB2d9yYkL4PrFlffml6Y+befElU+56iKDfuX0jbL1HClcSpiS9ZyekaIF8X5eZsOmTFmYYMRqBWnKsWtxAM8St7FZTV13sqKUATvxlC8lbMODO6VbWQqIoqVMbXzKaR0LxPu1PvgK5OAKvPJShupxY8AioXxYIlni3us5kHAgrE/aZ5lRmg4JvY8GbLcBPixzmGA5O1hQSKDguSgzz9I7Qc/p2wEQ1773h8bQ2hInzXWkfCDPWnJ17DAj7NCkT9pwSNEf78ONd6C2Ps0d69a8mjcucErjFrj8XPH5rQXrwjoIuMUFZ3lbM/ztC/nVF5SlbV759LH8r/pYvr0JAhYgMTZ9w+BwBOjGztgbd2PVwbHXNWTr09oEGbAxz6zxwBpogiTgBFGADJLWIoiTpQda4FaeDNDCyoJqcUDOb20DuDBX2/IDdmXk6aBQX4Q7QIjTpnCwV8betL4A2UG8GzXhtcjtC2vP2pSWtW3Mc9ai+Cz1DsIOx8bfPja2xltY28bb4d7Y6mPjZX/+QEnnKPFAQF54btr1K1s9nyO3niCy8kJL/oC7AMx/IXnD5UsuMINoaZ8ib/3CAfzJEr/5t43a3z41Po1D8sYXTjaG5iI/KRygA7jw5itP8eUvXHpWL7gBYcqJEqI4FuKULZBdxQh+nLIguoBW7wW48OYJtgGcXIiDbk59m79bhCCuD5w2LryVzS3IwVz+vUZPIVO0xoLcd+I2uvfhlAKLCMSB18b1odGFOMXZe8tgzSKmbCleEtSz0G186b3HpARYUwDJSqL0KIHeqYE3cLvS7mM2FjMrHexAnIKmsME1KDqMUGgAThF5Hk4e7VM8FCAlrf4+OnOF7qtwzvtrVjGIs5RZ6a4IWWwUM8tcPZ6FVcICZxGBOIvG+FGIDkO+mqdc+Y0TZeq5WYfKukpmeVLalJ/+GDewsy7NE3CS1mLwJAN4YC28Uj7zvRAOtKS8oG2988sXxKv3SVanNOXqqzql1QZ/fSVrs34J25f2orkDFXMJ5sbMjYe546whIGdtg8muS34OvLmu1FniDm0OfOYdOANxoARHc+vg6EDF2l7rPIgDVWWtV2C2HtSp7qzxDgzSyhfYKx+Y5QFocO7gIFzfyPz6pG/qUK+9yVI2ZtZ734MAdRZ3Frh1ae3JF7hXgnggJ5WnE8yDQ3LfuzhEmQP7ro9UPbv+27sO3t8E4hcQFPznuC2fPxCRF1riviXEA+fKBetH/gvlC/HSP6pHen24EG8Mii+84yNuxy1/Y5psbhbMC+dNF1++gC9dXcWDIqgFMoomZdE7cEqDAzIKkqOIUmJBXB2gGHSrV3wugJdvoRzIF+LAu/UFcgD3TNKCeDcCgVwbgVudW+/WqbwynsPzU5qeby08BxpWq1O7zd77cKdvVhDo2ayABeI5SlIcpUmhgnlWOQApZ9MDeGEbX7wwgFMGyqZwgZxio0QDeFfowL0O2EGcgtY2CFL8XQl6HkqI9EwsPM+jD9qjcLSjHlfors9/8Ytf/Pevf/3r//7lL3/5dqUN4OANqqx01rnDA0XrYzQKldJmVXeg8Xz6QrmKd3iwxgAdhNxYKE95UtQsPhLcjYk6Xa1TnMBoroI40AXaJ8gG4vIozwVOc28PBFUyv3yBujLFVW9tFq+s+oKx+ts/xUl/1aY8OXV5zq7YrUVj5HsGaxHM1zK3boxxFrd1aB0Au9sdB6Q+uHLQA/GAu1DMcszCNTdAbh7EmZsLVOEsaPMPpiCmfm1ax8LiOUCXJm9OHUEckLnCQV04p8/WLIAD5RPEgRvEQdphaCHe4cj+sCfAnBM2zsHbOuXEZbG7xbJ27Vvr1zrljDkrvNcUnkn/QNzh+Kst8ZR+yj1YJDf9PX/5yQC0kNq47wXxTwHtzROkV64lvvH8t/yGnyAesAN4svgrd5z4d1zzm4cgHKhfSaDLydM8VwewBVsQDOKUIminLII4BclRJBSK/EEcDBeOICougJPCAVxe7Qfv5MI2f/UG8Q4l238g9gxBXFsX4tUnvjrlC+IUMOVLoXpG49BVujGwsW1eliSLkiXJSrRpKcosHGCiJFnPHKgDGMvSxgZy124ATYIax18akKpXGdYSBZvyo/QCLMsXZFnfnGt0UO/amaKlrBfilBHl09UihdbX9p5HHz0DRZ3V6x04yxu8QfxXv/rVm3StzRr3MRqY1y4FRVHpp/6mmPXFWDm4gDLnNsLzO0D4mQ5lSKmrL2XsnTunHopQ//TbGjRH5gvs+Enx5vNCVdiatVbMdbAlAy6pji1bvupUR/nkra6V+iBP0G5dCddHUry4QK5M5cRvmjyty9YmEAGK2woHMUB3s2GM++bC/HfFbvyNXwBvbrpSB0hgtHbMH4gD5MISvMWZC7AEbOk33jyqn+S0oV3Oulhw57fWQS9wV7+2uCz6wknt66uDq7XL71k8t9c4IG0Pc6znhbiwPWFvGEugD+DBO2ud7AClDuksfTdr7evG29635j0P6RkbW+P71RBfxR6AFxbvgXvTKlMdwShIFSa/JcQXol/iv5AW/p+E+CuoN153PIUD8Ctwb3wAD3rKbh0sWkADWEqNgqJUKESwzgJlhYI6pcFRIimhjyAOkuuCeEAO3skFbf6Aq4x8PY/+y6NOV6hgTHZg2HK1R3LS9Et+z+45UtopVmPQVTqIU5Yg3h/f8C43yzELhwUL4JSUd4196GYzs4Ao0K45wdKmzxoHM37wBvOUgoNACpak/CgCJ3qWst+bdp0OovyceIpMP1hkrN+UmecxrySFBAAsOW3qnzIsLlY1C5sV7mOy//iP/3gDOIhzv/nNb96k/ybWlXpf0WufQqV0U8gUujHy7BSbcWNpAzTLDMzFkZ7TWOqHG4Y+5vvDH/7wphCBDijNU2C0NsU3l9KB1Zy2ZqWZb+HgvPmKe6pDWuW3TOC9dQbj0gNy9ZDA/OTUVbnqlV+c/AHe8/fNhoMNy9HtBpg7lHXTY20Zd2vQWnTNCyzWVCAHGfNgvgJmcyccqMGaX5r8WcbBPtCqt7UbxLu2L014+8Bv/6i3vqgX9KwFktN+fdQev3zWvMOHvOKsJ4duoF6ICz9Z4iAuHwnQ9gdYgzzHzy343Qr5BsShtP1tnI1xY+u5rOme5ZtY4gvxBUegWFA/+QHhuuohvzfEF8LfA+IBvXZqI6u7MFlcYCY9f+GbvmnlbbySO5b8Abj5CdgL6wB303au+eV7BXHKgTIMYBREECdBPiUUxIEzQAfPhTe/9PIE1eCdDNylB93CC3HPIKw97QPyQnzbk6e6tn8L8UCeorwQt7EX4ixH78EAByQpRsBNMVKINi5YBXNQ4gdJm5yCsfFZ3l2pU7Qs8H23KT8lSFlRUsDH2mDtgiXYZoGTLHLX2RSdNlkjQZwiMqcAzlH6Diaex0HCgUO/KUKKJivcFbbrdOD+7W9/+wZ1caxx78iB3AdvffgG+g4AANx7en3TX30DbocD79ldx6vb4aPDCTB4Xu1zru7l+f3vf//2WsChDdys12AHbuKAlrzO3HIALK11HLA3PT8pr7q1U5lucKqrNGFriQy41VUd0rQpvjxJz9PNQnGV04/irE/5yk9yDt/BHFxY5RygW6vWm0OimyO3PNYn0FhfoGnML4wDdUAP2kG8ckFV+hO0AZuzN4C6cCC37oKeumpPfzo46N/to7zWev0Wtk9I+9INjw/WwNc+Nj4gnLSvhe0FFji4Z3GLD+Ly5+Qpn9dUDvQdkuxtzo2HZ/NMnlm/HUCsce6rLXEwAIaAGyhS8k/g3riFzIW58BOMAAvQFoD5g+UrWb7kzVc8+aqNzXPLCwfuleWrbEAuXHvig/bK8ic3bf2NV3LHN38gD9LNFSBzC/FgX1xzp4y8ARDIKJ0UCkXQlR1oB3BWeBBPUQVxdQTqgAmiC/IF+EI5gJML8aArjpPeM3YIEa9e7VOqXJZ48sK8MCmPMlnjniuF3fMCHqvVFdtCvD+3GsS9/wZMStHGpdhs3BRVijK4gz2g2+jKUjYcv8MAJVtYnRQA6wLAQRDAey8O4lngQVy6MuqnXHon7hl6L0ihUW5eEWS1sR5YDK6yHQaCOCscwH/3u9+9Odfq61jm8gA6MPfePFCDOgf80kjh3rP/53/+51t9ygO2L98dAuQR58pe/Z6LYgXBCzKA44IdyQXRleKD6QJ165BfnvZGhwRxrZk9ANy26os8XP2pXfUWJ6/6uwnjby/aj+LFFd+tmDROefWqz7iYY/ABpb09sg7cuLjxcfi03tYqD9CAaP1Yx9YDmR+gs8SlccqBLincOg/Q3U51yBUO2vIIF1f96tJmMO9gYC9liQdwkAdu8fotXnkHYh9VGof3IA7a8ni1dC3uQL4wlwfQlXPzQR8YU4ck+80rNHvPAbyDkj7Zww7g9td3gThFn4JM6b+SgYVciJf/CUagBWYLwPzB8pUsXzLQlr948lUbm6dyK6vzSnmqNxhvXcUtlPOXliz+ysYrueOb/0sgHvCbF/MbMIEMxNr8KRFKIUuUsuAPahQLhQTgFBkHooCovgDN/zUQ7zDwBHDPIF6eBfH2pT51uNCfdfopLF8KOWXtGXv+XitQijZsCnEhTlEAbxvWpqVwKBsKikKjUFKK4vNnrSvLAbvDgPKBXnkKyvU0RxHsz8pAPAfmQA70lB/L2rU9SPsAh6KilDwLJURpcZ6H9a99fQVwV9gsa1AG2wV478VJ1niQ5gdpEqiBN9irQ5p6/vjHP/4I7T//+c9v1/KB/7/+679+BD6YK8/KV45yzAJ1k9DaNE/mLfAF0EC8sBV348FPWXVz0lvnpLA8xQfirVeb1SGfMGmvdFBWh7KcNE4cZ//Ze/Za4fojrWeSVnz567P69MG4VJ95Nu8+YHS17FUQ67yPsbIgrRVr0JpcELd+AyZQBvHAbs1wlQu4wdladljYg656yyc9wKujeH1Rr7btGW4tbvEA3jU7vzhOHW4dfCsAug6tWc/2QBDuvbcDrTGSFsjbK/YLfyAX5ly7e03lJsuB3l4jPWv6wHN18LB/HcQdRt8gTqlT8Cl+MqjmL1ze8qfUkyn7JEXJX/qV6sktxPOXVt+CVjBbCPIvTJ/8N//Xhp/a2LgF+cbnf2q/ZyN77ldSPeUzNib6c/EAACAASURBVJXlv2NoLMWZgw5Z782NtKf5Kz6LFghBDsgpI0qCUmBxUwKBLGtcGgVBOVAkWeJZwAEcXIPoWsTic2tZ69f2TVqW+FM+eRfC2t/2+D2XtjyjvPx7qNjnTiGvAkwZe2aAsPl73+hDlq6fKUAQZzln0WSNp7BSPBQexSJMUb3nALh0Csnm9w7cCd5VnI/aXE37+Izjd/0Nvn0UBvyUqOt0P4ejzCgsisiHbZSSuP25HOtBOQcBV94scR+vsYZ7Dx6IXauzznNgC9QBPCtbvLKcMq7ESVDmLxzs1efg4ACgDn6Wuj44iLhNoEApZXPDeR4OAIOpNWpuSXPbwXMBKp6TZ539EKDlv05e+6D9oI7q1T6oLni1bV2qU5nakjcnf65nsP7ad+UrTRubpk517761dzlj5NBjHZt/1qN1DOgOeA5wLEnvdB1IHeasHWuZDNLWr7W5FnLwlmbNBnYHWADLGldXh1V+YFMGzLPGxamj9qx969HrHfAWJh1kxXeg2DxZ7tayWwdr3Fr37NaMA3lwJjkwdpglwb10YQ7UjZ+y1l/gdzhyMHII7kNCBwc3HJ7d2Hk2/e4qHcB/vE6n2Cn4BUUKX1wgvVCQVtzKBXWKNblptVtbW0f+2q5v/4b4//vjN43HK4g3N43fjrE5CHZP81L65tl5K/4jiFOEWd4pAWFKgwJJAVFIAJoFDJQLVwB/grg8+lA/epYOKEEcgLlALj9/6UBMMb4HcW09QTwLnnJNWacEKUbPmpIM4jYzhQAkfs5D8XUl6f2iDbvWBYXEiaPYwNtmTgmKW0d5pdTyk8pQWgAO5BxLHLy7SgdwYVKcKzvlHCQcNCiZtcQpJYrIzYLrRocSSpxyVdZ7bB+psYC97wbmrtPBFlTBF4gDMiktSzzLWxjApcmvbGUW4h0GpHFdvYP3n/70p7eDDAvSO8h+bw5IlDO3EAfDwBv0xJlTazp4l+dzpXWjTHtBfbuOrBnrSJvaD/L89lLlkuK5IF5f1dF67MCQbI3K2/OoQ/zuX34ukHerBECt5w5yPtBiSfpew8HUzQcLHYisY+sZYK1b0loG0gArXj7r1n4I4sqxqtWzwLbeudLaK8pz2lA3Z/9oLyD2nlwayAd6eaQ5MPjWxIHF+vBazBoBaesGqMkscuPhoO6AGKTtefHALV/7JktdOkvcuuzjVDA3fnSCw5Ax2OcA87c/u0o5B9PAQKb08xcur/CmCW+eIJzyT/GT22b5XsnqrW//hvjfQ5wlz/puXJLNTePW3Bj7YLdz0rxsOhh+qSWeArDhc5Se030WRMqL0gLwhXgW7wIcbF1dB/kniC/As56D+MoL5YU4f0772rz5s8YDv/z6TwlShp6RS3l6buPgBG9jgweIsGAoCErOZs3qDtpgSDkJS2sjU0QpKhs7R/kFcAot5SY+pQXirskBHMgpAsBmfbOc+bPKWe6UoK/BXfH5CM8HPvrfVaDncX3oAygQZ7FrVxv99rs/c5r1ndXsK3HX3kGYXLADOEsa/Lms8gAN6PyV7zAgjt91uzJALqwu3wh4DtaVr+l9gb1Ap5Qp6dZt6zU4AmaQ4w98nwtw+a0fIFdHIK4+0p6xnqq7tNovTFY+KU99bh3al61NUlia9cnf8yj3f9m7sxxLciONwrkFVTUa6P1L0PBUeito2IJeBAnQatT4onESf7Hd496IHKQS8oEgnZOTdDM7NLrHDeVBvLVoM+4azJTzLEEMuMiFTZ51JQuO2vuynfyQIydNoJR8km2BnJFrQRqkk/M8UW2COl1wHey1ka4vOkHu5YvztvUZxAN4GwieeEfp2rh2H3OwUe3Vi5icBGQwBngxUFsLAZzzuLumN9rKt26uee9ONHxrAN791oMNsU2Q0wBr1jzosrHR4U8+Tg+yQWJhHKwDw0JBvas25W+/0sEoSHVsfB5Hd0x9F5/1P/X67j7lf+nj9NahdRG3Vtata+mewwJ7n8kJ9y3TthD884IBbo+VGYIgvkovTemVMRIZnoU4oxao9bkQL/8O4o3XuAJ48A3gvO/S4jYLQXyhLB3Eu6cxBPDmrK166ptTRpLxZRwL5t8xGujZ2QOinTewOH6krGDNgAGhmGFirCgxryCjlAFTrzyxa4ZMOaV3LTBePHHg7qO23quBNoDv34n3lbe2DAkjbKyO1I09YyTmZfAkeOq+qGUk3cP78P68DEh50mAKuuK//vWvP4E4gIN6gVcdhHnSINyRug0BiOfZ12f915d8GwD3MnfejdOPYjBnPP2GPUPKq/Rek9FlZBns9WIXdOS46xOoyfjmB+PiPHF1yYtQO3XoitgGUdy9pLffq3R19Rewxd1Hmmymo3RTXvWDu/I+zBQXgrgYwIDJho4skG/QA3QyLpAb3rlNnldHgE6myXtgt2klt+SX3AOxayAFb2mxeuIAvptYMk/+yLugzDVPe6EtHdDFgVysDbkHS3pJPoCWLLRxMd/ATU4APO88cFsP9YK1ayHdac1sfqwRWQRwuiaAeB+3WSvj6sjfSRf9/WSIB+0MfHFAUC4vw8/QSgfr6tdP+d8g/n//LjUg38UgvSBXb9cuL11ez2LXvOfhmZTfswuKW7bP8hHEgxehX0PBOGQsGB+GDADzxIP1Ahwwy18wN4bGKg7U6oGvANjyq18cxLu/OC+8tHvXzxXEjTOgm09GkjE099bBGvDwKC6DwMjxAnmFDJv3iGDJoDFODMhCOFDLE1yD/Bo9hkdbgSHcPhgq79ACOCMgvUfqQM4jL6jjXgyuL2Z5CUAdxBkuBgnwQNx7UUbHfYN4v4++78PzpMEabIFXkOadb5AP2GAeuIG89EI8j1ysL2XuwSP3QzPWCjRAxPEukAvNjbHmRYI5AHlOnpfnBlaC5+i5Cp5xsAysruWTA+nKA616G+RXvzbK6YW2NrmCMroj1kads+/uUaxcfZuB3YjQP3lBnGdtPvLUr0118rzNP6BL25QCGXiJXQOdOtpYO7Ih+B0BoCI/V39WSe49GxtVskvuyLdrAGtjmx4AszpBesFN/tbzJvsL8Y7OtRGqL1+7+pZPJx1zkwXzND+hedMB86QHwVyedMDuGtx558HdyZx6No1OsqyNjbLNDpiTzTb21iGItxn/Kh+2LRgChrxgXfnmBaEFUhDL4wxcpyedB3wXn/U/9fruPuV/aU/cugRycbAWVya/tTxBfgJ6n4eyfWaVlQ+EvVcGMhBmbBiOdvnt5hmIjF8QZygYouAdNAMmMBbA8xmI75j0s22C+AJfeV60cRjDGZTXj7gxifPC68N81iAzkuYrWAPKT+EpLYj3u+kgTmF5seDCy8hYATI4Z6QYLtdBPJCfMFfOeKkvME6Bm0cK6I7Oz/fgPPDyGQuGw1G/8Tn6Z9B4q4wW48QwmU+eOIi7l82Bj9r64RYQB14BhAH29J4Bl8dc8A4bgOVv3TYB53F6EM8LD/D/+Mc/XsZjTQIEo5gXaM2tPc+HN+S5eNXhHa+5MrzNF9DJsmcb9Mi8Zy8AqGtyIEgXgm91Nw688tKJZBLQ6Qu90pdr4exfWf2Ig3EbSXJozIUtV+a6sUrrP5CbcwGgA7v1ACNQE7sG8daoNOhbR14nWbG2jtzJVHIPWGDO007uyTd9IPNkkSynG8l2ICfvC2Tp2igryOfRnvWDuHJlvPUgbtxk3Tybc9AWKxPoRIC3eTFnOi9/NzVArh8bA/W80qFbTokAvL/DJ6dOIgTzNUZjp8s+RP1snvgJhzX4jH6hfPHZJrAHoMCz198g/j8fj8utT6Bej7u1rSyIt56tu2dS3V176eo8A3GwvIJ44ArglFp6jQXoB8LiPO0FZhB1L+UdiYP2Qtl1x+Ta1K42QL5BeQDOYN5BvP4W4tLbnmFlhDN+5loI4u28GQU7b+/bKOweM1JchguYGazgw7BllPJM8rrBSQjw6imj+IySD2Eo/n7Ytu+/+zId1KVBmMFw77xXXgJP1dgZIXNhpEBcng/1GGQQ1weIO1L3dXp/z82jFvpAbb1w8AZtQfpvf/vbS3DNOwfnvGxgD9LlBfGu69ufmHWUan0cQ5qX9bHGoAEeDLbnwBMyV88G0HnmwMObZKh5nOCU1wmSARA8AyE5WNAG2IU3HSA34sqlAzm9kK4sgLt2z2C799n753WDsXT1G688Mqq8PO2lKyO7QpsB6SAN5nmm5EEAMWtUPf0YnzWTD/bWkXfrq2yvMmyeOm73HGwcPR96sBD3/Mh5upG8k/M2uuQ9EHvO6ihPdwK06zzx6gf6AO9VF7jadJN5cxOCdqcQAC0vYFuHTiFsALddcNdWffpjHdyHzDkZokfu7RQCwMmosZJjEO9U7ZMhDrAbAkDxCYHgEMwDSTCprwB1Xn+D+E8hbn2sSRBvfcWt4Qnz6lh7aaF1Li7/fH6ek3by83pfgzhFb9ee0jMWFJoRYpBAMBiKAy5oBsyFceVg/Qjixhb4tSuUf0J8QS6dIQ3gOyZjq716GVcG2PyCt/kKDCBjR7mDHji0+/YOzJE6YDJSjA9DBYgMDEMG3JRYkKbUjFOGLYhnsGwG9OOLW0rvQzUxTxxkHXkXfOAG4EFcvn4YUobEETRD6xUAmIG3uTBsjJJ3oebjK3bj0t9CnCcO3v3JV1400IIuSIP23//+94/g7nh9Ia5++X3A5jrAB3LXym0GbEbMvfUCcXmMeDC3nowlb5Dx9BcDjCmjarPlOfHOzZFB76i9I1bACoSevxAwpYExEAdx1wtxdbauMkE9+dVXr42De+x9aq+O+9Rn7eXVrzKADc7BNoAHYTrcJlzdzQdmHmWQaoOjDlgL2rhXuqB//amrXTrhFYa1diKSd+7PrDwTzye5LiabZF4cqD3jAhCrW5m0EMTle/7lS3dNNvRNDmxOyTzgGrPxuib3nr/5dyoF5KAtpht54urQf/XkC0G8b0rIF3lzTydaYnMnl2wBmXU6RpbbjH/IgAfHvLUMf8Y8414cILoWq5uRZ+gDdOnigF191+XV39l/143zrcfp57F5x91n/luv62fjPULXn7LNk5Z3d6/mJm7exc2/uPy7uPXs+Zxrrl1l53NQFsR7dhsry6sFR1ADM8oKYCm9uJDhYYxAb73eYB4oXZe+g3n3L14vPMgC9pYba2Dn5ZwhIDN0xrDj2vFUlqekfsY5Q8koFhgw68BoUX4gsPt2rOhdMi+E4eKBMFiMScaIkQJkQRrY7cYzOvIouXZixokREitjpE4DwNP2Tk0A7DzxjtN97GbzoB9eALDxTr3XZMAYKgYqg8UTNxfvzd3XT6WCuODX03jifZTWcTrI8qbzqDtOzxMPyHnWwbpYu9J53TYDwK2Ncu/3nUIwfoHbJsipRBsk62ye1sl62TBZax6h7wFsrjpq96wA3TqADg/dpoxBBjuyD1JkoI1dcTJC/gvq5gnTHe3EgRR8ty/taiNdXXnCwlq6sOX6I+fKyKX7k1N9CdJkVRmdlW4zLgbu3o8HdXADKNAGq8r1rc/Gre/G2P3V1dbGqJ959d687xXyTNMN8pWMpyN50GTWc/aMQdhzVZauqK+OWLmgTJ3y6JA8cgCkjv3pq2dMf8XGbC3M1ZyNvwDygE8/ABqwtWsDkBevHrir2193+KKfLaBvZK8fgCKr9NQGlDz3gepHTzwIZNDF8p6FePUCQcbedenigK3N3rd714dYXmNRN3gFuhOEC9NN39U78996vfcovcAuT1z+5l3dr7l9Dohbr6s17nkV75rv86m8WJnnCOAFgARFQGYcGIuUPwW/gniQBMFAGVyBFjAXmgvlPOrgXHwFcXWvyvXtvkGYoTUmIaNrTju+NhO1K17w14c4w8lwnRAHPUfTjmu9B+OJgzjFdbQLIgwVsIgBumNFxobRkR/AgTbQq8c4idsQdATHE2cIwJshEKR5zv2NeH9iBnwMnn4ZMx9+2XgANyPG+ORJ+SLZ34p7x8kI8ugdpfeFej+80gdpAA60wVcaxPuorffgQXpjdYU2A8rU12dH9a5///vfv5w8MOi8F2tg3cyJUWTsxfIy4m1+rJ9TEYEhBRTPiIH1vKyFZ2fj4kM/Bpsx54F67sC1slCajgTwwEY2yIjryvUR8OQlk/rRNwAGx/qrbdfdUyyvdt2na/cKrMpcg69gPoEbvAM4eEkHMnIgBLfihbj7tTbG6p7myE7oC+TIFPDZKPLKAbQfknHK00+8kknPKB1JT+hDeUCcrigXXIvVK7j2/MVkN4h79t5Pe8aerzkZI/kHbBAO3M0/7xq42+hKq5eumKO2rtUHdTLktQLZ8nqNvHWUzhM3F/rYiVob7w8M8sIyYy0OqqUD6kK1vNoFgwV26eKFxBVg6mPHVb2fG8TzuhfcpZV9DYi3Zq1hz0y8z2TXvfzaiNX3nJUBuKNsaYAEN0aGkgYshokCB3LGQFq5egwLQAZKfQAuEIsBPWgWA6/8YB+ci2vbBkC8EJcO3gAsuL+xZwAzmMBsjGLjbAzi4N347yDOSGWMrQWDR3EZBNBzNOsIzY9jMFB2347PGChQpsRAzKiIS3dNsRkioNYG/AXttG8zoA6QMQCF3o93LJdR4JEDOk8d9LRlOBkzRhXEjd88GB/GSOwDMEaIAdJGHz5q44n7Qt3vn/tTryAeiIsDMfhKd2y++VuWF1+5WF/aAblNA6PHOIM172WBbe3kA3oAFxcYezAAio7ZbbCshc0W7xDUeU68ch65dQEjMp6cB1RyVdi8ZESsPOBuvvryF+TVW3lNDuXVpnbVp3tCYxB3X3Wklbs/fbUBD9wgJgA4mAW1gGYTQ8YDe968/uq3e7tujqfN6J5AbrNrbW0QyZ+THq92PIeATh88K880IHu2+yxtzjxTz1uajGon1kbwrOkNfdIfPbIpJfPmyIbxnEF5A/kH7KAO0l0rC+iVA7e1okPq2bSAuBMeJz4A7tuMTh7SffJLf+lum+8XiAfpNdQZ+uDcdXHGvfLiBUHpgFAs/6q+vLP/8zog5a2eEAyQZ3xX78x/6/V5H9d53OLvv//+5Vp+fVdHWXkbN7fP5Ym/5o3fPZPyW39xz0xZEO9DMmBjQBgE0ArgxYEcyDJulDijFCgX0tILztLVCfgL8CAO8uoJQTwvPQC3eQjiGbCMnjGVDuL1Gci1FTKe5qNNYY2UNWAMKS6ldnRIce3yHR3mZdj9MyIMCiUGENcUmYEpZmAYGkZIuXp5joCuXkDXFwMAZIXeqy3EgTeA884ZQvdkNBkzRtQ7cYbVKwHBXBghhk454+N+vH0/9iL4xyN+sc378L5OB+G8cDEAg7QQjIE5SG9ZANeuo3P9quNLdH9O5v79+pbNiPlbLwZcmtEWM/TyCgx9QZk2rbm4tfZsfNUO5P1pmo2M58vYC3SBDASugEn2g6iyypObgFcd15WlM+LyN0+9+qdre3/3Oa/VrX3tGs9rEAczIDdfcAIucOrdrxjM9ZH3vXM1N9fZC7Yie2HttK3/vHP64vSKvvSjKGTTsyCnwdzzs2n1TD0/+WQywCsH/NrQIaHn7Bn33J28kG1ztLkwr8AsT5r8e6VCH0DZOrQuroO8jUBllSuzoadXvjmxOTQnJ182i/S6cdmAkGsBzMUvx+kMdHAM5GJ5Ge415tLfIP7fLwD+d4d4z6nn1/Nsg9WGqvJi9ZQF861fHpAHTXADOgaEkaCMlJcRyRt3LU1pKbC6GY/XIJ7HLAZP98obd/8zgHbleezl6SPwvhYbT2BWT7u9r7Sx1MfWz9gyiNbCfFsHhskOnOJS+jxxR2jg5x0sTxyMQRqM8xbEjItYCCjypCm7NkKKr0xgoBgAMAM2IG8335E6T5z3LUjLV097RqUvtRk0YzeHAuPFW+KJ8ySMHyD796E8cWAN4MXeWfvArY/cwHs96q6DeXDXTgBzQXvXIK5v78EZYXNtzubPkDPsNifF8hl1Bj6Qi7vWhrG3DvqUDwDWVL735dbGsa935NaEh+pZe+6e/4KTXBSCtFjeyo48+lHeVVy5tuoH3/qjh+4fPJNHcUHZjqd8MX0NqDagBfMDMyASgAnQAGthrn7eeOug38ZjnK6zF90rT9+19nn87pHXSndsnqw98PU7C05LQJ3u9IzIY7qUt+45LsQ9Z3ol9pzV08Z3IP78y3NtXOZoLIHYCQwdEFuDjs5bj+oHcOXyqmtD79VMf1rWNwBO5shdMkhO6W0Qp6eXH7Zl+N8D8StIZPSLA4e63euER9Aov3ptNvJW14OVvoLqesHVr17X743rZ+P1xKW3bNPKru7b3D6HJ976ia+eTXlbb+v23rtnt7EycAyQoAZmFJPxAu121tInxBmgjqPzdPXVxgCAF+AL8YB6Ary2jSmYqx/AA657btp14cw/760/IYgXZ1StgcBwCdbDWjBIvAsGIYj3HoziUlreHSPUUTglFoCZUWF42pkv7MHbdXnqBxsxWPFOgG29cJ543jjvW3DNWACxfm0wGDNj5W12PMgIMVw8CXBXzhAZO4PTr8DxxEG8D9scd/fuWt5Cfb3z0sE6eBeDu/bq+ZtyafcM3ubMmzZv4Ga4jStPXH7euHwhgFuzvDFr6RmAgvz6YVy9L+eNO4XwcRLIeMbkPXCdcA2aAe0K4OSHPCVTQby24srU1dfd/ZQbg3JyKLTB2Db6EJLX1yAOaB0JB3LyQDYATnmbGWuhz+bbfcyhcSnvfm0SxDYC4u6nb/cATevtJMsxNO/caVHvk0GdrtAH8ijt+fXs2tTJ85wr62RGHn0EV8f6dNZzFYK0eANIB2j1BbCuThA3B3ojtoZsgfs4XTAHG2H3pu/k0VikxWSbF57OfvTEg+Qac3l3Rr76wba4+sXy1/BLy6u8frqv/PoSl1+9nxvET2ifUP/SEG/dxK1la7/PYdf8tXxlnmFwd5QNnAE3iGcIKKUQxBkPZQySuuAInEFyPefAq2zDeuNB/4R5EC/Oa3Zfhi/vOlifcVDuvsF9x2p8m6+NfjJMrUHGUsyz6DiO4trhe5/KAAEBwwMKDA+l5ZWDqDRD5FqsHOjVFQfuDFabgLx3sAlewMXDtpsH6t6xtcNvl+99svY8G4bRaYH3977SXc+DgeOBmocPkAAf8NwjiHs37h01cAN2MRgDr+v+9Mx1kO7YnKctX8jrVsYzz1tX5j7mA9g2KubKCDLMgZsRd10cuNUL4IylNWPY2zCZk/UQ5Gsn9mzMmRH2PHlVDHOgWq9zASwNoMqlyaYYcIOuuDZBvHp3bbqvePsKkm2m6aL7yy9tLNq5TmdtPAMpmAZUMJM21+AkBiYx6GrXkbr76L+5Nb7u6dp42AtttNeP/ulM8ATFPFswF+iSkyBH7XnngOi5OJZ2wuU5eV42YZ4zeZAW5Avlkw3Qt7G2SbBhcE9jMQ6bFrHxFeS1FuoaV552YLc20vKNOU+eDhm77ytslr1a8ydmNo/GYmzGQy5tPpwu0VM69skftt0Z/wXFaxDf9toEmuBzXv/cIA7SQA7e3oFfvSM/Qf45PfHWS3yuqbVt07Rg3o1WbdoEqF/dPmwTgy+gMTApKeVcgDMKjIN89QJlcSAHR9ANoGd8QvwK5PIKbTDAO8NnrHnSwHsaRmNSp3EEaHWlG+uOTf0gnkEyX8aLcRKsQRBn7MGvd3wg3tfpgXmBDt7BOaAH8UAvrqxjeWBnDBgA8MojB2mgE5cGQHmMA0MRxBkzx5YgnlcC5AwVqHufp4wRcvTuXoyMY21H6r5Q909Q+icmQA7GPGgxgPtt9S0H5Y7KAz/Yywd5Zdp5Jy7Pn8bxUmxGzMcYvBIw34Atj0G0DoLr8sQMuhjAQVvaGgC5WJ61lGbw9aXMh0hOIbyzdSrBwJM3si4sjIOyPLJBVpJL8eqPstqTUX0K0kL9dl3eyh8ZpIcdTYtdd+/KF7LS4K0uoAZuYA2ogKVcDE6AVJlYG231Q+7Jf+M952i8gvuqq22w1JfNQFDfe3VPdcCRTjkRIo8+hKNbNlfea/sIzrPzvDzf3bD1bMlJHjrdIvf6IetBvDkaT2M0pjYWed3lgby8PHP50kG8V1FOFcgQTzw7YAMN3m0gbRyTXTpqk/qBRwWkDHoGe417xjsPLANf/WDd9bZV9wwL7U1XT97CvLRxBCSQK30CcD3f4HnmdQ2sG8oX1+/mvSe9/b+W7p47N3NeoDfnjXtmd3H9Kd9ns2vfmqujb7F1Tzb2GWwfnhmA88YXlBSUwqaQlJKyC9Ly1cnwAF9Q1Y9wBc+gGrSDdNd54671kacMumv4up97BOeMozhQu99VWHDXb0a4ftaYZqAYTsaJUnfsmPcAfnkOvAZH6hTYkZoYkAG8mFdBsYO3fDt3hke+EPQZLXDKQFF+sAY6eQwDzzWQB3AQZ+jcA6R8dOM9JKOToWKIbEQYH8fJDJAxMC4+kANwf+a1P70KvuAdyEEcvH341ntzdYA6rxuk+yiuI3Z5fhxGHV/AGz/vSiwwduZlfs1TOlhnDAO3uVbOyKvHgFq/DQy+siBwro+NDePuWZMLEG4TF5CDtXx55EVe8BWnI+lTefVJj2q//cmvz3Tu3EymnwBbfXnuUV/yg2ceJtmVBjBlgOZaaM4BmIzkhTfO1mI3Dsoaj3sq0wfY6SOIiwNg+d27cSgHdvoF5h23OyFymkSvPFPPUAB118WeKxmwObP5pZPk2zMFaXM09+ZrPdwvnXbfvHAbCvkCaHvNop/y1DVPOtQpVv/C1QmCzXBjpc/GSC5tMsiu8RvnR0/8ylDLW+MfaLduaca9IC9I1EZc3sZbt3x59VscYEAmMEkH2+ITtIHzLr9y8da562/rPJPe/u/S9eOeQTtQd71zrkxsXV4Ltdvn2Dpv3DrXp2vPTFzZ2YfyK4ivoqas4C24zlAEwIUq8BaCbKBdiAdwsL6CuD52I+BejJPAYAbqoCuWd4a3QryNCcNrHRilAogzagxBiu74tSNAnKOw4wAAIABJREFUx2jehTn+o8DAGdCBkQFyDdaBHahBBOCV9Sc3oG4DoK50RooRYKTAreNlMJLmxQJ475OBGPz07ZSAIQRxRocRZch4KIwlb8crAR6PsTE03q37Mr0ffPFxG1CDbx62NAjzsP0YDIiDdfCuHuAL6gsA7xjd35T7IRkf+LQxMTdGzpzMdSFtrkFc2V25dcrLDuAMqsCgKtOvetaXx2YjBhoMNkPvWQdEsiCQi+RQOjAnN8XJozbqBDrprsmVtP6Sb9fl6z/ZO9s3HjKpTfIqrUx9GwCgDsoBM5DJB09Bnti8hfLU0U9janzu24ZenpCtSE/cTz82GvLEARoAAZseCfIFcun+xuNExCmR0xFyS0ZtMj0r+iV4fUVnPEPQ9nzJR88eTPu1NrJuTPVvbNanjU73Nwbj64t1+eqAN7Abl77UM055juz7W3g2wH3pv/GQv4BNrullukvWXz5sy1BnrIOx+DTcDH/1gkf1t5/SQXyBUR/1U92tU1513Ct4BSbXwbY4IBYHzq6Ly9+4ss8Zb/9X6e7V+BfkC/Cdc+sQcHsOV3HtlHlOu66lex49b3WVBfGeb/277lktxAGPMWEEKC2lTDHvIJ6x0rYj6iAuln9CPHCDtzqu88J7Py9ff7VnHDOoYtcZvtKNRSzId29BPxvyxkG/ftY4ZwhbB0ZIYNAYNgpMke3yHUP3UQ5YUt4gDtwAzshIgzI4AzZYAixA88yrI0+bIC6tnDEAHSADWQGIumYQ+pJbzFgod18eia+vHVMyQhlLcX8fHsQZRfB3rO0YHcR544DuN9R53b3zBu/S4A3k/TwrkHfcvl57aWU2BX7/3XgFHrhxB2jjMAdBWmCgg/ReB3dleWqdalg7BrXNUCCX7zkwvIywDQ0DzmiT+Su5Ky+QBjHXQT6o0p9AnCyVB7TaBHH9uq6+fl2Lg7h470cm5XU/9euDrNqIBCnQCs6lxYE7eIu1qa116B7u4/7NRdwYA7X77r2DvXJ9kzlrDN4dUefdKqNf7s/rrZyueQ1kkwXKgE6e+712OtdJVh4vOaFDTphsBJxAgW7r4T7NXb57d3pgbOrTFeA3B2sF7DYW8vPKjStP3HcnC/F0m5zRU7JNzumqYMP9IQOdQRevMb8z/tUJJK61XSDIy9hvvPc6+7+qt/dyv8AkvfCTDorFgbPr4vLF5X2JeO9zlT7Hf14vyM33DIH1Lq7+uc77DEq3zurKW4hv//usT4gzJCkppSO8FNIuWkghKS7jk0ccKHnPQRycg/CWX0F8vXHlATwYu1eGSuzaWDOorgvyAnkQ7/4L8sYWxPXbPRgtBkrcRsZ6CIwAZafQjtMpMC+Ol+CDFt5BsBbnYeeFywNKcAUQ3jgvIm8dxHsvrlwZ6ATsACcGriBudx8Iey+uXL/90EueOO+CERObB+PIKOaJgyOgAjeA//DDDy+BNw7SAM3LBu68ah62Mt54/3s8j1wM3up2FO/HYxzZ88KdILinjYmxm0cbFvkFayDferSpCdTAHcCDdmWuGdReX+SRiz0L62P+TlYYcLLu+a98JVdickJPyFzQJCfkJZmhN/TlzCdDwa842dVXsqcseZRODuvP/Y1Tf9pomww3BiAukFvPPJDnKQcy+fICXbrvfvpdXXSv7ERjVN89GpN27pfdsB7K9U/uhODdvemVtACiyqvruZBVv3EAykLfcrQB7SM4OuRZ89q9KgJeGwLjsR5tVOofwPXv/o2r6+rIV64f42gzrG/38EGeTUWv1dgBMkeXbcLJMB3tNRAZFz5CPMMszpgDQMa//I2VbZ1gIK6PKyhvveCg/uZvur4C0ueE+JcA9/Z5Be7NO6F9Xn8OiO8zPNe1dfeclLnevK6vnrU2dxCngCnxQlxaGSVmeB5BPBgHUZAH6cLpiYN5x/CMRgbC/TJS7ptBdf81qgxLBmcBvukT5PrIGGecMqT6yiCadxCn4I7RGBRgBIB24bwCCtyvgvWFLQOTl64sTxtEAN71Hg8yREAP4gAF1h0f8zI6opPHOLSz50H78xXH0yCuH8aMoTPWjhUZyoySefBwwEx9hkY/PmzzG+oCkP/4448v3vYJcX8qBurgzbvmkYM2yIO2Mh68do7QlfPAeSYdo7unufQ6gNEz/gU4iMsL5HncxfIX5ME8gFtLoZMN7WyUFuLWhJwnS2RASO5W3pJRkBXISnAjKwFbXvnkSD19bnkyrp5yoXtJJ3/dR/0AKS/9EKsvT3khzxrAgDRgB03XQCUGW/ov6MdYjUWwDgX3Ueae6rqHtWuM+ikAqHu7n/sL3Vud5NH9hV77BPpklQfccTyQkt1ea9lM+4DT83QqRuadlumLzhqDoH/3E7epAHL3akzWQlmAF7vWRl82GerYTNB/9wZydoC+0Wnyl7yRW/JNnsWXEGewg2rxGvHyxOUH8c2rTBzEFx4Li223deqjuup9LYgvZBfI70lvX1fp+lx4L7g33fw3ti7PBOt5tb7lnxDv2Ynrv/u61pc2Pn7rwzZwo5wUk3GhjOKFuesUl0IzYiCoLWCvJ34eiatzQjyvvF9tA3H9ZBwzfuKM1N73hLg65tCYxMJCvA1FY1aujbaFDGkGypwZUWvBEFHi9cR7H8Z4BG1xgVILlQX0vHHeOYALlF8+D9oRO48CbCi+wBgELTDnvYKhwKMFcIFHq5wnYPPgoxueS8aHMeJVMIqOBEHcUSCjY0PAQ/YnZgGcR96PvvRe23E6MHu/Haj3Azfgll9Z3rh+wFpoA8LzZ9iCtjKetDmYs1ioPJhXBt7KA701AmvBGppXpx5BXBsQ5z35W2UnK54t8HnmyUHpZFBcWXClGwFaWeXirb991Qb0qrcySDbJuzztaksuyax27imu3Y6HDhfMCWQXpgtV8hC41FFf2+ZU/+Lub8zpiLlkMxqXPP3sPQNhHq7rxrUQtdns2B3APRcBTI1bv8GcHAM6mDtV6uv2Xh+RcW3dyxylxQHb3N1DkG8c3UtaedBf2CvzOorssAGO7unZQrxTH3KZDqez9Ozjj70wzBlpsWsGfI14xrz4UZnyBUfp+t24MvH2u9eN73N64sEzmIoXtpv/nvT2dZeuX2MJ2jvXM6+ynlPP47V4n8WuuzbWeDdblV+tffesv7dC/GpnztAE6I7SxYAtKAucC3F1OkYP4qCuLsPAYF0ZDkYtkJc+Y5uANhjGJ5wgd23DIGYQ3XND92aoBMaM4aDMeQXeoYJfO3DH0b6idazOEwBr4L6CuDJeL4iA+HnMLh98BDt6RgDAglpAZwj6Ih34eNC8W/kgZTNgPLwSH+A4QTD+DBcDlyHqOJ1XDOK8b0fqHav7Sh2kgzcoA3qg5nn7e/K+UldPeQHU//jHP778xzXwttEQCyfEbUqAOHh3NA7aAXzLpc03iKsP2gVrLYA5z9yaqmPdeU8+ULQOjDfPMMCKyb042CYT8grqVI/sBjd1F8Dkqrz6KV75kybDZHv70p68yteOXAr12XiNtTGBK9nNGwdVIXiCm0C2K9s10JfQJsL9jc1YjG3HoY7xtAEQ60u/YgAOpMG0cZHJ6i3AgVMgt8AZxKX1pawNqXZkuo/Q5NeXuvpwLR3Edzz6FIwtkKtn7GL3Ut+1vhyne6UWyL1Wo/NO1sheuttrL3opADkd/sl/MVtYMO4Z8+AQPLre8spOIw8EZ6hd8ZaX5x76ugLJfxrEwR3Ig3hraQ16Jjvnylvrnsdd3Jq2zl2LtZH/OSAezCgh5ad8q/wUjSHIYFBehgQgwRCUOyYH6zxzEC/Ir57Yh2wAvsf6xsE4uI97MBh3oXIGRTvBeIxLmwBeXJ1i45HOUNafttIZrYyUNWDsKDllpsCOqCnwgpxHzrvj2UoL0gE+qPO6Ha13BA/cgnxeOeAEnnb0wANiwAdYYBcAebLACOaMBrA5rgdn4wtUjFjehTQPxsdCvrA3FuD0N9o+bANuH7cBuvjPf/7zxy/QeeEALfa+G7QBvON0ecAt37G6d+a8e5sO4zZOGw7XeSnmwMi1WTEP8zX/4Msw8qblmaPQ+mgH5uo6yQjexUHcOmpj/dvgeJ4MN5CQ/fSA3LsO5MnFygsZCXbkl0wq33xpZdrrKzlVr5Csd62+dtp0X3nK3S89DbL0Rlp5QF89Bp+C/OAUwAOqNajP7i1ubnS6MTbHyo1Bv3vf1lD/ZI/cBdM2GHRLO3UCvLryA3Agl58e6ge46WSbBJ48gKujjf60Uce1eoJ5ptPuUZ71COZi9YxLvnr60r9TLEf2NvOO1Ol5J210j4z1KozOknmyL89m+ePX6WvYM+4MfOmAUT1l8rouDiSBJnAE4+o9G9ffxvUtzpPeOM82MG7Zmb7zjsvfvq7S1XsU71ikq3/++MtC+0zvvEuf69pzqfxqna+eyZnXesuXbizS8oI+gPKGATWYUUhKyABkIIrlUVTKywAJjBVIUmr9CEE8kJ5AD/ru3xfp2usvo2Ucp/HSX/cNtK7dPzAbjzL9BO+NlWujzraRZ157T9f6MWdzzwBRXu/ZGP28cSAA7qANnLxxXrCdubgyMAdLMOcJSqvDaxZAvCNgsBLWK+eRAx3w2dGDIHiDuT8N60dSAE1boOrvxHs/yJgJjBuvxY9iMELGpA1Dwxv37jqP3DG4D9LA+OrjNbDmjQO3AOLq+k10aR+yMWROC4zX2Bk1Qb45mYs0yNqkFIJzHneQB2yGErS1qV6QNhceEaAL0tZSfX1bf2vDm+KJAwJDDiyeO5AJdCJABjcx+Uiekt1kq+vgVj0yRp5OeZMvT/tkeOVRP43JWJJPda6C8dmIkFtwNCdBOlgFzcqKtWlu9KRNyeaZT7qvjjE3PvfOhrhH99GvewMnmAZEsSA/2AKnvGRVfc8HVPWnXv14TdSzkwfqgT0YB3L3B+O9V5uGxqlce/dQXx/BvHEZW8f4NvN94Eb36XCby7xx0Ka7NqVkj75+Vohn+De+gsij8m2zdaWDU/EJ5SvQvpYXTO/i19oujO/ay7/rY9uoc87FdfAUN+eNAfVcry0vfa7jtpG+g7h27t3YXKvbnw4G0SBOCRkDBmK9EIoN5AtxdYMjBQbmPPFArlxZnri4euBtA7GbiO6fsVoDJq2c4cgYdt1Gwv2CNAMnvWWVV8d4jE8oT58ZxwyS9TB360DxKTyjAeLewfFivQsDcQocrO3Kgzg45omDNngAN8D2d68U3+6dN85jzBPPowQfhoEhAHDw47kCX2nvw8EXhAFNG/dwZOw4ndHJmOWhADsjxFs3Xm0A1q+2Aa9fU9tfbgNqHjhQSztWF0A8gIv3S3UfxRkrQwbgxmcernklHYUDuDzzzPMO3OqYEwOoTcDOWKpfG4bT+oE2LzyAg7oybYDe2pi3TYznaYPGgDPmyeFdnEwmO0E72XNdIFfJlnYg57o28rQryE/+yN4Z6Kfybbd9dY/kNjiLzQ2IikFKKI+u139zMcfmQI/osWv56Y+65kVf0hl9AbeQHZF2b3IIjIFamn5Z/+CprDpiMqtMH8HdM/ONSs9OH9I2p8CuD0G74K0v7SvTr+B64d69y3Mt6EvfNn50xybQO3F6RofIG1lswwjcdHYhTsc+GeInHFyfgDjrBBbxWXZ3vW2kg1twEd/B8rX8BelV+rW2yq7abN62L3/zSu88di7N870Qr/25fq1zz+oO4srVrR9pdfPEHWOD6UKcYaD4lC/FTwEpNiVlLChwcKbQvO8+VNOfPEGdYO5anY7RtRHUYQzWcLnPGs+M1UK8tLYbyhfLd/8zyA/gylyrb16MkbFkiKyHuVsPRoDy26X7MjaIU96O0HnggO39WB45oAf5PPE8cCDxDs21OGjzykFdnphBCHaMARDyXgO4tONpAeQAy4aAUeFtOk73Na2jxgwYg2Qu8nkSxuvDOvcBXZ59AAdix+m8cT/DGqTBO4ivJ+79Odh7T64fYzbGIA7WAigDqnt2rA7QHZHLFwKvutLBuLT16bhcXvAWg3lltbc+1txHSZ6jDQ5DDmiedZAkCwtXsqhMHpkhP+LkV0yOrmRWWSFZq+/kTt9kj8wFQYDdAIL0kmzqT9vATXeCaXKrbkE/bVTMFZCCnDL3TPaNxTgbqzjdaf6u5RuH+xqT0ByyI/o1nkL3FAO6sHnA6XrzpI3dXAIqmOaJB2l5NqdB3ByFYEz+K5PXdRsLfeuLPCizTurZHAjS6raRp1udxjlOJ28Fckae6WQQD+qfDPHgEBTEgSEAVFbdjSu7i7duINl4gRcQxa8B86pe9c94616lz/rndeOTf/Xb6fo8Ab5tdq67FqUB9VzvysS13zzp1ru2QbzrynncgF3+Alz+CXFKSQmvFJ/SpNwZpyuIg3RgLmbk1A3geeELUUYgI0T5jYMBEQvdM9BmTBa+ygR5GVbprrufWHmx8oyQ+3TfjFFGJ4hTbODzPqyfXqXAPHDAFIDan7sEbkDnrYNpfwYDIIAP4jzz4A464Ou9uLLK5QMXA5AxYBjAFsgDOm8W0ICft2+D4bSAJ+74H6yM3zwygDwKhsh78d7H2yQ4mvceu3fi/qMZmDta9+6bx917ce/GwXxBLu3Ldl6HMXdyoG/BWOWDrmBuDJ55nhAH347OGUbpgvrr+egrIxrArYl26mkn7RSEJ25dgIChJ+dkgCwAE9lItlZOyic/yoNwbbRXh6ypE2grd30G9yV3C1xj6lkBCHgAS3ChL+5FT5JZecFTX+t1B7rABIygJQ7i+iL3YuPduUk338avjrG7rzHU1nX2xHisbcGYhIBobkFzYdrYgrnxa2f80spbk/KsTX2VVkde/ZTWnh6kE8qF+lZujPLqQ5lr3r5vSnji9JsNAHEbcHJH5tLZIG7T+m8D8RMu53UQ2nihd4L1hOhZfl6f9c/rs/55fdY/rxfI/wqIt55BeePALL6DOFBXJt3X6H1M9qkQXyjmjeeFKwPuYkDva/Q8f4YtA7hGgOIzHsG0NIPBKArStS1PzLgEaGl1ut7xNi6xcm2Nwb0yRJtmiBhDyhz4eK8U2FEsEFBgx+bAnBfOA3etDLxBEtjlUXb5YA6c6oIugPO+bQbUAXFH7QxDu3oea8fKgfGEuH6Mx7tuADdWpwdgxRiJGSF5IN6pgvG5b9DtiP43v/nNx4/bABygAdzX6f09uOvejQM64PO8GS1etzGKQd0cGDZlAJ2HDLIMoBMJ3jPgVl4M0rzzwK0OY2l9tBHb9BQCufwgrixP3GYMRBhnECILQsBaWZWnLLkjZ0LXyWF1klPXuzFwfQYyB3ZgCkgATt48J/JmnJ6VZ5anaczakNGCOQBdm4FAHuS00fcGedqArPbGYryn3rkuNCe6egVxfehLn43BPXZsxgS05hl4yWfADMLi4NppQnCtTF+VqSuAsHL9uYfYdXlOpqwlfZBnTWpnTQT5xibds3HtOfiwzSkWnafXdM6mnKyRSZtSukqfAjmZd/3JnvhCofTCQbr84sDyTBy8F9yB8a1APQH7zPV5j/P6UR9bv7qbV/pufs1ffLVeALvrbY2v6rX2xdtGOlDXX/XqyzWIgzdvGEQF18AKsEBGMSnd7pwZB8qXkVBOcRkqbQIkYOtHAPSAWb77ubcyRi0joB/pPIkrgLsnA9F9a3NlPBfapRtjYwrcO9bGtONoE5E3wfBQcMae0lNe4OPBgnhH55SZx70gB2vXAlhTdJCW5oGDdzFog2hQB3gQd8xtZ88oACF4B3AxrxYwBQYCzPTV+3BHfx2lmwcj5F2iEwWQkAaI3u/ZSICmD9F4475Ud5zuYzUAB2vedxD38VoQV+bjN+A3VmPrtCCIGyNjZj4bGD5jN1fAdS0AtesgzDBKA3R50v2dvU2M0LWyDKtNgJMKz8GPdVgbxp2RBhzPnlwGZPIhBOvKlBeSx+KtI73Adk3WCpWRdfcnawAFHsman/h1ogIYZI7sgbpnB06eKcAESECTpruCdAAS618w561L/4G38adH6c2ugXGnJ8Xpi7jQnNzH/QT37jrgyjOPvGPzF8xPkN94A2tgzmM2N6ENgf60EatLBwTl6TIdCOLGUt/GJ5ANQb/Wx1r2WxH+Ht1fqNj80mkyRWfJK7km5wUQ7934Z3knvjDI8G+85aW3fCF1lb6DW/ArDpDF6/WW9564/u/iZ/p8pq0651xd75oE1I2D7q7tltd+86R7BrW7g7j21d/j8zxix9qB9YQ4pRMyANIUe43bQhycA7XYNYCXD5iMAINH8RkvccZt4Rm0xRkB91U/g5mB6TrDuQZnob3pHbf8jPOOZQ1SngTFZQhSfAaUAvdhG0BTZDGvGzw3z7WQJw7sdu59DAfcgjxAFxgER74gzjNlGICPIQBuR9Lg2NG09+GgC5Tqg7gxAIDx9gFQRgm8zMGGhKfnIx3viLXRnufsB1/Am/cNzEJpMOdxg3fvxQFcAH1jNFbjCuLy8sQZN4bOnATeNWCDbe/CNw/c86qtBW/aONUXABuc5UuDuGuxkwztAd/mhLfE6PogyTow6ow9WSePydZdTI6SneRvAacdmTpBvfK/ZdUl88ZA1jwn3h5o9/GkZyPdr4SRP88QiMimeQgn1AJmEAx2YrJts56e073005zMtZM1c25N1FE3naU3xp/OiLtmS3YMAdn9g6W08Skzhzxi8xJcV1e59ZEfyMFXndZOefdZiDs6r01g10/txeoL+mtNbTKslXXqlVo65JnQWTpM5hbiyTddIPttwj/ZEw8C4sAgDhonHLa+dJC5ixdsz8AQVAO4+BnIvlbn7p7lv9a2sYgX0tKVNcbK79YhmLauxY8gvut31XfP43xOPcvtX7qv0jtm78vw9Y4pYwpIUDfID+IpdsoN0jYE+szbD+CgzgAwUqvwDEAhiGcMuj4hro9ChkRsPAF8Ie2+BcCubA1R/RlLRlWc8bHztg5BnNKDoXfLQc8xOeMq5GlLB+gMLw+9I3Uwp/SALwCu4111AZ53DuJiXjEA8SA7mhPb2QMtiIv92Yqv1YEP/LXXH2+ToQdqRkcAdQBzr04KQA0UgfW3v/3tC4h9xNbHbD5WA3GQ9sFaMN+v0vPSHcODpTGCOAMmDeLGzpiJzSlPG4gBGHAZwdMLV14+MAOxmNcO7owneAN1/SzIzc066kddBtcpivVg7EHEc0+mkrFkpGvytlBzLShPjlxLJ9PS+hGnR9Lla6s82QcPsuaZATVZSiY6wfG8bPrIlVcm5sEz3+8egAh89GeOQQ5U94hbmqwbb/Jf2lzSHWnj3Pk1x8bOVtCX+rOm6ZA1FoxD7L6Nw7XxBt/GbR2CeO3BXh8Lc2AN6uaqHyHPOnhrp0/3sikQq9P6JAvytFdfkFbX/Ny/cuvtGdEjekf2yBg9JONiOkUH6Gk6+wLxBXBeV0Y8I38XV2/jrSs/4Gzf5Z3l8q9gE4xOeHYdGBeqC/P3pre/q/Qz/dausXYdwF1X1jxbg67F5W1srcE1qLpubc+13PzS+6yeSXcv78YLHbEzSJQyJaR0FFDoKK4daAYoRV6QA3YhoOtb3fqk8BkrhitjQDEos/tReMbNeNxPmwyKtrXTthDEwdo9bSKMTbnYdRsWfatfUGcNsHsab/fOi2BUKD+l5b16H85L4hWBct42OIBnnrldOlgI61Epp/jiYN6xPKBnrIGJUQAgEAPDjqkzCjxdR+liZcAG/oy8ezqGNWYwd/wnD/jcx2bCJoLHoD8/9OJjNv8q1FfojtABvK/SgfpPf/rTC9B54MoDOuDzwm0ojMemQp/G3MbD+NyLYQNxczMWxs+4zVEIzuXZFJQPyII2gnSeeN8QALg02IO2Ou5lc6DMWnt9wNv1XAHCcyd35KGQjBWv3JRX3eJkirwWlMnXngwmX8m32P2DhCNez8yzM1bzsxbN27Gt50vWbA7JoR8e8aGe4DsIr0gcyQcgEApW5BnEzJt+0z+65/67Dul4G2FzMFbzMhfX2Q75zau56C9b4l4BUDr7Is94jA8w5Qdo18qMUQis5lEdeYJrcO3IvP6UgbhYO7F+lWvj+ddWrKygvj5dG2frVdv6tuZsAL3znMh4sk52yXt66xTqq0B8QR3sA0ww2XghVTqYBbtAeF6X/wxcn6lTf3fxW/o4x/oMxJv/xrtWJ8St79bd9LYr/Qy4t84J8fPDNgaGIq7ipXwUUJqCMj6UVki5gRu0A7dr/VHys08KLl9/0sHaffc+7iXIzzB0b4bDvTOmXTMyC3Hps8y1+zcHcWNtLMbVfN2fQcn4UFhG0fEliPNyAzNDKuQBZ1x9vc7rFRhaiq6NuuCtXtBnrIFdHyDO2wIikGMYAKh3bAwCQPJuQdNRehBXn5EHaJsEY2is+rQhYGTAjNEBc4DjLfiiPJD3J2bg3FG6NGgL/dQqb1y5drxwpwOdEHR8DuT6N25Ad39eSu+2wal5AnNQFrs25vJ569WXr53rwG1O1q22yqunjyDe388z3J5xckkmkgvyIrhOblb2kqGtX5525ErYPlbWknWx+9MDsHDi4923TRf5sBlpjjYz5iHPBszG0bMmU16J2FyaW69KbDyBjfwGpIV4YCLrq4fGaS70rZAOnXNzLdD55mFTUFg9AkAbCFDuiNwYjMmzCPTqpXvq6iN4mgfABnPtBPlBuo2BfKBWt75Bubb1pZ3Nk3toW3vXQhC34TEuY5enH3bB87Lp8jw8HzJOX4vJv+A7kYcQD7pvidfo37UDEYAJJsULnU3fQfwKrs+A9dk6V/1v3jP9VP+9EG9tindNeeCOuHnF0tZevV27q3Wuj31Wz6TvIO4onHJSvjUiFLkQ0Ch0hkwbkOzYPIDrjyesDeWldO3u9U/BBX13DZptHsRBVB+CPG3cmwEJ1uIMS+OR5/7Vkb8Gt7S+1uiaW4bVvdzT+MTGz4BQVsaAcWUQeXHg2LtuhhaUeUdi+cp54Ayr2DWAOwIVgnkgr11QB3KABSM7nqhQAAAgAElEQVSQ7YgOBMEQKIG79+GADpYMCJABtk0B4248NgdAoB3jAgLBHuTk+4lVf05W8JU5zxu8QVtw7U/N1JHfEbuP2Yytd38ZLWOVziPnleSJ510D7cLWOM17QWxeAC5PefUX8LzuIK5udcTayFPHGjuZYHwZcc84WU82kgsxHZEPasle8nRC+6r92Yf+tv/kjm6QNeOyUbT5sxEzJ+MXyII5S7dxAfM2f+SIrDnm5Z2TVYBx5E5+g3lgyiPPG0/+22ibj7mmZ9LGm36ahzrNO92n/9kAcUAO3OYpyHdvaWMLuiCa7omtjbh32IE2cGsHqEIgBmv5gd29F+DKXOtLHRse162NMQVzsWtjaG7S6mprXDx+Gyj6Rr88KydOgZzePQXxwHEXB4ONFwbyXTP+guv6OuFygmePkJ+F+DNQ/dp1PgXirZV417g0T9hxtg/MpAN55du+dGXifVbPpE+I79fpFJISUlxKQgGLU0Bl6jBW6mfExEAevJWvMdJeX4DIIIhTfNfqiru3usqLM6rqnYakMRiPsEDP2ATxjIvxyVsDqu8zGFPjNRYGhgLbzTOCgg/GgnFH48GXEQXoAM4DV5diA6oyRla++MxXVx88cx5WxiD4ASJQ5ok7tnZ8HZx57TxRRh3E69+GgOfrF9nAlsdgo2BMjvz8bThP3D8+Aeng7SjdPzDp78R/9atfvfwsq6Pz3o9L20zYaBhXHjiAl2bI3MeJgrjgGsw3MH7AC9zi0sAF4mAsBDbpoF8arAWgk6cPawOI5gzi3iMz5IwxOSQLJ5QX4GStjWLyddZP3ujMypZrfW27bUvmyDzQgHgbRRtD87Am1qr5m7t5KTMnIPde1sasZ0uOyJPNAJkFmP5MLRiCkHsGceNo3Mac7tE5c7cG6rAVwuq0+dEZoXKxvsGaHrmXdFAXW3+ABGR6ZqMsrT6oquM+bIrn1ZiVA2jH5eoGZnW6Vkd/5ckP/kFfrB/5yvUt1KYNgnGag6C8frqHaxumvmfwTDwzz4/M04OHnniG/y5eIJReGGjnGlwCjLyAvenyAvZbIH6C+bvvvvuncOb/K66/BsTB9BHEez4b77N6Jn0H8d4TU1gGjLJRktIUi/JRHspMeVPkDFEAZYxS7KCsP8rsOoDL61r9PF73SPmVbx3jW0Pavd3zDI1HHUG5trVXbi6CfhuDuFBZY7YGlJqCM/o+DHPMycPui+59PwnmQZzxVCdgM6jADfCOuJXJAxUBcAN478UZZZ5X0Nuj6TzyPmyzy2foGff1znjlgKicx6w+w+9eAo/e8bn/Jc7D7r+Y9f4brJXZMNgs+NMzed6JA3i/256nkfctdk+xjQOvpHlIC8BffkAH2/W8gTgoL6RtVgRlwU07afnmaBPkGsRtYmxmPB8Q53kxvmTd8w9YyZVr6ZWrIE4X5CtfcHedHC0QyeG20U5Ql7zRAWAgZ7xo8uDZmV+vVMzfHMlEpxDyhDY15mveYG4j13Mmm47bfZjpnbkNKei5Jzl3/3O8xtf8zdkc6GdwDmbap0/KV6fZFSB2H8F6lweKBWVgCeJtMuievq2Pe6qrL0GZer0u0N58AjMAS8sTALYysQ2DoJ/GULnr5qZcvvb1KV1/YnJkLOqxFUBOxhyx03n6DOie0UOIr8F/Nr0wAGmG33GvY19lwfoqXoA/A/ErKAfw/wSIWyNruGGfQ1C1ttLKtGkda7dtpPcZvSXd/fqorXfiPGjKyYCsUlJECkhxKBrlocgUOIgzVNoFR+Xqqa+dkKIyDPpbpS7PfQVtN+3aOBgU9+le7ufeGUr3FcrL2FwZyurqI4B3z8bgvu4lbszmQkm9L2NcGUAQt9MGYR4zBV1DyfgCN1CrW33X2hWCOOPaO3EbAv0JvGkgYqAZcd4q6PHK7eiBESR54jxhkAVExh34GHLtGXUesX9sAsBiQOvDNr+T/oc//OHFAwdnx+Q+aOv9tw/dfv3rX78AnCfv2p+X+RM0AN93f8bk2mYDvN1X6DhdubEH7wBuPObIYzF+xi54L6zlL6QDdSCvrrbqBTbgE4K45wjijLtn7LknN+JCG8LiIO66+skj2SpPWp+nDMs7QzpHf8CAtwziNnZkwHMkA51IiK1R10Hd+pmva7G1MF99ALqNnT5tIvsQzjceeaAAZQz0M11Y/TJPY1WungB29EOcHonTn+qCrjruYb0BecGed6sOsFoH8GxMxtPGQXv1A6bxe45tArSRFvRhfBuCsnbN3Vj06/6lXTdGfdav+7qfuHHr07g9O2sqBnKhP+N0GmID+RDijwz8CYcTECDCA2fsGf4gvoAO5oFn47Ps6r3ygnwB/p8C8dagODAXt+ZidayfdRI/ej6Pnu9ZfkLcM3UK4CM0hohBoXQUhFJSvk0rD5IUmnGiUIGYUquTkhH6vHhKUNDngjwlPxW/64W4exZ2LBkYhjMjK1ZH/cq71qf8xtt4zrFkeMTGH8R5Lt4v8maAuR02AIM48FJSQRlo24lTXuBmPEuDvHqMqraO5fUD6LxzZYDO8DLiDDNPlScbyIN4nrijbIAHREY8kEuDfT+l6mjcNciBJi/cETpwOzp3hC7NE/fBmnJtBR55kAd2YwBisWBsIB3IwVu6a3WM0TzMJ+/bOBZOjT8PPCCDmXSAVx64xbwdYFce3PSrP+2cbNhkeY42Zowv2UzOk5tTpoJzm9nkrfzkUr68dEW/QvJ7erry5ZFB4+BVMvwgSy5A2LxOT7v5i82r8mJzDvKtmXrkiXevb5tI8shj9IU12ARPOkwXG3vzMFbjpBfpCfCBWfqkvKBO9dkG9bIJ0rWVDroACZgBVKwfYxLKD6YBNXBrG7zNRzkdLk8acK01iOvHOLTPdrGFxulelSmX51pfrpU3Hvexhk45BKd2nmWv4WwaXX81iHfcCwKBJigVL7wD0Vn2tSF+bgrO691A3KU/5Th916S12BjIgzjguq6NeifETyi/9fqEuBOAhTgjshAnpAmyfOUMFCV2TVETZMJLucCxPpRR2hQ8IW+DoC7gq1/IgGkrLV+dvBhjYBQXyhnNjG2nBIyoehmfjG3zrEz/GR1jlS60BhkfSk/ZKT0l9dERiAMwbxZ4pf09L1ADtOA4PS/cNcMJ6upIB21tgz/wex/KuOo3D4ohBj/AXEiCsY/axIEUxNUHM2MCNtDkRYO0L8p50PoCXf+oxH8uUwbMvnZ3bM6zl+9duWN2oHfUzmv3YzDADBTG4/6ujdE4+pjNtXsEdzFwGyNw9y48TxyUApTNixDEQDlogbJgnvLUA2iQMm9wV6bNBn1Zb19vO/4MPskLmUvmyQ65WignT8XKCmRSvmtp/Wwge10ny/VNL8ifjQVDb6Po+ZuTefK894TCfDuFaE1AWt02L9a59be+gd3a2Bx0gmTTSCbJKy+yzQ2dNS5rkt4av3x6bbzy0xPXgVas3tqC7Ar9Ctri+gNGzwR49S8/ILsGzYBavjaCayHA6oO+mgvdBVj1Ar8ycO04XZn0jlG6cda/Oe74jUmZft3T/XzTAOJOe2yOwNsYGseHEwh5d8UnBN56rX+euA+vBEZf3923+3RdHIiu4kAuPsH5Vsg+qg/A3eOs67qy1+LXIF47dZqXOe86lF/cmqjz6Hm0vuKruqAcmPtuQVx+8cJeuefIC3fC4ovy3olTyrzoIEpQA6mydsEURJ0NKao2hYRfXKDMFD5gbv/S2lbW/TMgxsgorrHsmpE1F8FRJ+O4xpJxZoQK3ct4MjBi8zAvxkLsWnBNQSkg5aSUwMybAwMxY+vdo9A7bvk8HXUZx/KlawPc0rWV5sEHf0CX17E3w80QAx9wOqYGWkfp+3U6Yw7cAK4/GweeJ4BpA+a8d0B1BAsUDD6j7l4CwHt/3p+a8d554f5WXMzDDhJ52uCt/2DeJsFYlckHIkDp3bi5gLlxCHnexca8gJYWzNFaAHXwlq++awHc9OkeYnVtimyoPEfPk3Eno+QkMIvX4w7K5Eq+cvK3cpbcbX4yJ9a/ELSDuTgQAoYNo2eVzJANz9G8zMO6ALVrx+RgDNrWAtTF1kbYzYs19xysgzr6aPNj40Ne9EVebSBtJAE9eNF986A/xmsuYrqartDfdCf9Soe01xd9st5iQbk+1FfH8+jdsvVQJ3sQLNVT5noBXlq54Fp/Aby5uAZc5UHaust3bXzmIU33lWnrWr+N29jlG2+bgWBtI8YT9zEhmKtD3jgBH9bIX6UZ7yvjL++1strok9HnrQnS8oJU9+y6OFCdcSArDoLFJ2jLv4vfWl8/C9y7fjf/WYjX7865eW5cubVq/Z6Ney7FQdpz2VB+8K6+WJ66eeF+XY0xYngoZl4pRaKYFHXBFtwIMQEOzKfCUmLtUtKUWz35bRbUcw/XgnRtKWxKq8z4FuLSGcTyM75BPqO7BlXd2mZ83NMYjdfc7KrFzbM8yk057dztsHlJ4Jj3DOZAzruWF9xBHIh5OQE7L1x9YNcPUCsP2vK0VVcZuIIPMDHeYMQYAyE4AiqPCwwZZ8elHZlq7+SA58GweK/vvsrdAyyMV1+MOTAz9jxwH62BeMftrnnl3sGrt2MAaOPwHvyEuLHpU9AOjATprtfLBJeC+YJToNk4uINc6wNy1Q/kwczaAJ/1BUpGlSEnB8kSmRFWljb9COLJJrkVXOubriWP8ioXk386Qv7IGqOfnBiveZiX52tdArB8c3VtjsrIBoCLwdq6KhNba320aZKnjnJ9CNoButc7jvS92yUzoEdv6Eq6nB65TqeVZxdW/9mN9EoaDAFQrJ420oC5gNVfdkA7z0s9IUgDrWDt9GkdhcrlK1cm6D/o6kfdYO0ejV9afWXqGEt58s1HXnZCX/RMYCcA26sKpz7ux35Yyw9rnANBIBVnxCsrLn/bX6XVY+zv3onX395TOlBtvCArvbCUfiuU31o/0Dbe8/5X12+FuLk17+Yp7t6VG0Pr95Z4n5PnE7CDeNeV7bMubz3xhXgGJZiKKSWBJLwCZSDE8lJEwpuSbkwB1BFShmJwVjeFZwSEIK7sEcTXSGZ4M7KM5AI9o7kek/ZrfIyNYqb0YoGSmjejQgE7fgNCu2sADMwgeAagDMTS6vIAM86MpDxAUa6MFyRPqI1+eWMgxWALjDXDC6IMM48aFBlh5cCsP8bDWMUCw8LL8ote3tEDg2NzcBUDOQjz1P3NuPfhfobVu3AAd23TwKvr/h3vB2kgV6djXGMT1NO/9MJEWn/GDsrmJhgbgAfqPEXzA3IBxIK6dPXFgj70FdQAyimDNQdKR5/klDyQEbIh3hDQkytxm8StV3rl8wribSQrC+L0icyRNWMjOzZ65t1crLn1EKyDORfUae3ywsmHoJ0A2huUATrZ8Ww8IxswdW2MyCF5sWnlVRofANIPNoKuthFOp83jKtAxQVn6xrboU152I32je9kb9sG6sg/aitVXrp4+Vn9dC+nvQtw9rbEgrQ91s3PZreyCPpTpv3Eao029fGOxFtqpS6YEuibYLNI3Y+jd+Ic10Iw7GAQoIFF+5qsjr7KFwpnOY2P0wUHbALUQ6p7F1REvyEoHxhOab4XyW+t330B63v/qetto1/XWLU/cHDc+y1uf1utRfAX5nmFgDt7i5MJzEwK8uGN0JyvSXpP4Op1XwUgxLOBNKQkqgaWsHQ1JE1xCmmIR8gSYEKdYKag+CLbrFONU+DuIU1qhHXjG1VgXzNKMat6R9NbJYGrPWLqfMRiv8RfM2RhT6IwAJTV3ALeDdrzoGNZR4wlxBlcAXcYPrNcLBw7X2vGOQZznLq2NWB3tANy1cvX6wA2UgIgh7kgaPIFTzBgrz3vT3sZAewYeKB2F+wDOF+l+ac1HasDKiHuvLfDCed+O00EcvL0Dd3TvyBU43Mf9gnd9ALi8hTg4BGtp7fIGg4y5AfIJqSDtvgJ4bah+EFPfXK1R9wElYJNvbTpOd8RJPoN4m0JAli6QKeAO4EF8ZTGIl5fskbuAnRzXb/dxf7JIZ4yJ4bfJIhdB3DyNXyxPMFdrYk7Snq95is0/iOdt55l3bV3U8Ww8M98x9MrDffRLpsmRjWEfbYEUW0BnCnSIbokL6T69MjfBPJWna2K2Q9BXdgf03EOgr9YoG5MOZ2u0k9aXoE1QFuuL/aLXbRKCuDF1H+Wutz/1G4t8YwjIxipPUK+Nfid2Nvz9BK5xKHf9EeIBOWMfFIKy/PKky38UZ/wDg7YLoPN+3aM6C7IFYFBbEEq/FcqP6rtP99i65T0TN9bm0vW2Le+Mr+ZcP9ao9Xo2br2Le35Bu7j8ZyAO5rxx75AZnRSEMAauAM6opATKKIl6lJFyFVIw+epQiOqqrxyUxdrYMLhu8yBPWQAP4sbG+DF8jF6GNMMK4PtnP/KvDKl+uj8jQumFDI4xGq85UmrjF1P23mXl2fJOemcJ2AHXh2rBGLB7Hx6cvZvWThtwDvqMdQFg9KFMf47SHX0z0kDH8AIg6AIlwwvKPGjXDDh4gSqDzIt3Dbra8qgB3JfnPlYDamAFX/30L0jB2wdvPmTztboP4YCjDYL7tJHQ3v3EYFDatWCs6gYM0AjqYAM8ILxwzsM8YycSwBXElNeutLm6n3tYK9AyXvna2yjxkjLCZI18LajJULBN9pKtq/hZiJ99akc26Q2ZAwBHsCBOTszVc7c+Adp8zd98eybyzNU8zTeAL8yVkwVlZEFd5Z5PcmQT5xl6buqDuTGQQ7JrE2oTa/3oBaCzEcZuDhvoVnqVPqV38gHTNb1XVx3PRH+gSBcF5daIjaCj6WwAFgva61cbNqv20gJ9XohLy6te/ejDuLIH6um7sddHfYrZy7zwhbgTjL4tUOflOD2jHcQZ7wz8M3HG/i6u/8r1GXBAqHuUV3wF8RNwrheE0gta6bP8vH5Uf++h7i9+8YuXULuzv6vrxh18uz7rdq/Kz1j98vTVGr0Wt54bt+bFPZurZ9XmK/kQywP3vPAT4BSPMFMg0KJEgjSBJeQJe2Am0NpRMCHllU5BxSmc3TOPhCJKCx2dd63sCuJ5MhnaIC1ewytdUKb+euEg7l7GmIFprCk4hWzOKaf3gryjvhoHY8Ysj7mjbx4Lw5vXDfb9aRkD6BpA1FEXuAM8eOtHPsD3kRmAO9oMXLwxRhqkGFqg7j00aDHMjLI4iLvufkCvD8baj7z4vXPw5mVLgzhPHMD9Opsv0nniwGxzARZgAgKCsQCDfm0EArh7FgI2eARXY5cvz1j1GcwBCzyCc7E8EAauApC1AZBnbmCtT7E+xa2ZOp4BL4m8k2cyQVZsEAvkKDkL0Bsne2c98pbMrdxqq408QKpMXTJPn+gZg99Jj2fWnMzLepuLOZMHwXqQD2tkjuYrBuBAbs09I7F85frRp3WSD9zkCMw9x/XK9Wkj4V42kzaG1pAeGGsfCQY7MAyE5rU6psyaB11pdVzTN8FzoY/yxPTVenlO8ugue6MtuNaX9dOXcegjuyVdn5WtbXNPdfWTzXLPxtXmQJ7xCPK6v771l70Ac6cWZEzs63R9tzn5yTvxjPnGAAEADH750vKUlXcXB4pi9bZ9+QuZ+tb/Cb4gdgKw6+BaXP5dXL3iu3ryt86jcWw/1T3nok5lW3/TZ3nX9fUawLfsXN/Wvfh8fuWfYFdPXq9JOkpnUECNMhAwAkjI8sDFruUTfEE6pdGGEK+yUq4EW7nrgCnuHdpCe6EufyEubYwZPIb2NKwZ0/LFpTOm+th+3TOIGyelNDeK2LzN3fEXBbSb5h15N8jDzgsH2/W+g7k4aOd9u+aZgzWIA3j15OsX0OszDzxoZbAZ3oAUxBlcEGWggZMRZpwZbhAAVv16Hyxf4I3zwn3Vzthr47rfY+d5O0L3IZu+zVNgxBn1PLzuGbyDs3tvCCC1CzDihUpeJ2CDlfuZgyANVgG+a+OxLsrE2wfAA5b7GI/19Aw8U8+YvJKNZKtN4BknV+oF5OpUJv8RxAH8CuL0iI7x1Ppw0npbA/MRPDdzN+/g3eZOvdas+Xo21t1mSXCtzHoVbAzke25A7lmrKxZ6PmL39/ysqY1DP0xkc+cjOEfFNiE8dGsbGK0xPQt82QjlAVJ5gAXF6tJNNooO01vrxJawFWtvtKW/wJstq/8gqy95rgVtuqfYGLR3v2xEY5cvTx/qZduMx/30p8wY2I1ePYg9U/WUsSeXEM9wi8ECADLe8qTlKTuN/3m98ACGyuWDTLDYepUF8cBVvJA704G2+Cw/r6tXfJaf18Zg3sZmnGf51XXjDrxdq7vp19puWWOov9fiZ0HecynuufC61xtfgPPEHaV7H87YpBQUhhATRgJoJ+lISLxQkyaoBe0EQk1IE2j9qJOgUwDKIA7k7k0ZBWlKqWxhG8QZvYzjej6Mp+s9Ymdkg7d2+th7uo97NiZjN1ZjpmQdiTFEDBIldIzuC2/GlQcCAo67HS333hCA5TNoIM1TB3Ded+/CxeoEe23kBfo89I7SO0bPOANZAAfNvHB/1sUAM8YMrTLGm+FltLWxaTBWkPcOHcQDrz9R43nzxsFb8DGbX2QDduMCPZsAXhhY6l/7jD1AAoL+pZUXujY+dYKusYGCIE+/YNV8AQosjNtaCAENtNrgyNNeuwLQyG/+1sL99WHdnax41mSWnATgBTS58rpmv7m4gvgpk/pYOWwTmlx2rZ4AUHQFYOiYjxHJiI1ccN61aX3AXLqNi7rWy7zN1/pbe88EmK2z9SAjZMJ6yPccyU8eOKAL2mlT3YCvD+sruLf72nCQeTriwzxeKFvCrmQnxABprvROGd2ji4Jy8Bfku1Ynu1E7fdBhzy4ot+FWhy63idDHCXHlQjaP3rtWV5/6cA/3Nc7y3VOaLZNmS7J59aEfz/AK4sZB5h7+2EvgZbwL8gJtRv8uDgbKpQNzENRPdSoPPN2j62C14CstXtD9O6Ub49X43zPO+hPX58Zb3tptbF1bd8/Uurv2jIK2PH32XHv2ysHbEXp/G86IEMIUiXAResIXxMRAHsyVq0dpCKqYsOuHUKd08gvlnYqRAlCClFp8wpxxW68lA5qhzQPamKFUzxyDt34E1xmMYmMzzgCeMehDNgBnlBwZ8sb3GB0Y85yBDpDFHTXyTkCcp+1YXQCQDaDuWjv9acuA5zkDVR4m48uQMtAMruNPxhfMBQZ7DWzGWp4+GH3tF/K8+I7jg7j34X7QRQx65mFMjnc7um0cDLy0wOADQ9BWFgAAxbiFIK5NYwME7YE77zIP3HWep7zALg0g5iW0ToHPfawBUIGSe4GNTZNXJOSZDpA98kFuAJs8SQsAHcTbMIK7OkG4usllsBYLyR+Z1Ie82lZmDPTPu2YyQyaM1dybn/FbM/OyXs29+crbZ2GtPY9gnnzIl2e9BevT5mufofqurWHPzKbBONoAiJUZZ6+AbPScPNEdMOOh80DZBRCke+ab3fAMpAW2JbtRXXZB0M4zC6rqB1ntckDAuTJ9ua+8dJwtU1+QV5/6D9LS+tBOuX7kuZ8gzY6xgcr0pa72HIBOJWz+bWjUNz7haYhnzINx4N38q/TWkwYTcAgqwaR65YuV7bV2CygAPK/fA8Uv3aYxBtqu33vf2ovrc+MtP9ev69a957nX8lr78kEcwL0L7wg94wOMlIjAEb7gTfjAS7yB4BF2QppQiwGQcOqnspTDdUobxAm9+4oLrtv5yluQM3DGyugxlAxfXvd6P/IzpIyrMte8cBuFvPGMgfsYNyWlgJTUpsXczZUHnhfunR+I8Y7ymHnbDBUPMcCAboAHYsDWjmcidq2ccQbEQtdBfN+JA6j+M84MZmAG4t5her8Nxgwzg8roG1uwM1b9GrcjUP2px5jz4r0T9ydm3oH7xTa/3OYrdgbb/M3BZsMmA0zlGwcDD9LSAoAEDWWMveA+gT0QbVtjMSbjFoOSeeeBm4dr5e5vXQRpIK+dvo1DHzzErt0bqOQ55QBJz9dzZ5DJCBkCa3IDtmRPnMyRuzvZU6dA/sirtskkGRZcq7dlQZxMgotx7TtxczdP8zf+NmPmXb75y2/e1rN19nwW5vKtvbyA75n1fGx2pHuu1RFbW30rU0ddcmht688YnQQYdxtbm1gbYfrFKWAj6F6gZR8E14FO7PnQU5tv65OdEasrFjzD9JidklYeXLNJAXuv2b7aZBPEbJI+2LFs397TeNkuddk5Y9Wva2OyafnLX/7y8sxsaDxbZezqQ4hn5IOsOFgz7KXv4trVD4gAzgmT6pUvDiTlabeA+rlA/BynObwX4GdfC+/Su0a7dpW3tta3YP1bb/XUkSctPw8cwPud9AxIHinhI6AARuj6YQfKtoHiEXaCShhX8FOgFEOZOvqVl0LltQNp4E5ZAntxIAffIG7sAVpcyHiKM5LKpBlIcxUH9AwCJUzJjdccg7h1sHu2m2bwwRvIxAANiGDIsDKeAuDIBzsBsBkvABekKbP2ed6MXAFgQZL3JQAvz0a/jDTjy1AywIJjbPD2TtuPr4AwY8ogM6LBzjiBS/8CQ6+O9n2Nrr2/DfdnZb5e99U6Q92HOTYg5mRM+jVf41En4+6akZdnnBl1eY25uu6vnMEX5BuX43pj1/9C3BoEcWUA5lpooyJPXwtxwBGClrbu4cTE3MgzOSAb5CW5AVlyF2zl2xi2cUz27mIQX2+76+rXbzLq/mSf7uSJ2+RZb88+T9s6NXfPoSCvOtavdfVMtDF/a26T17U8a9XzUSaQC7H8nrFn5bm6rk95QM6DB/JCcBcHc/JM7m2EwdxGhX1okw+O2ZFsUo4Du0F/xfQ0e1L9rgMsm6NsARxgxQCrDTjrj+2z7u7LHgVnz0Mf+tNO/dp2T2NSX9vqKKtfG2vPkT3xOorMeb5PQzxjLwbkPLM7eJevPhh8g/h//b8NyHtBvpAOzBtvORhvmfRC3HXPSH5tpT1jZeI8cADvT8kYkyCWkAcwikXI8icOyRAAACAASURBVMABTR4BDO5Ap1zcTpnQCgSZoCtLMQi2fPeiIBSjI3R5QnC305bOW86DXmPK6DGA5iG9YGdgeUoUXrl60oJ01/p3HwpJQRkTa2A+bWYoHIAzOOArBHHQBWuGCWSDGmMLNkBJcfPGbQLaCIAhgOSxB1bw1ifY8ug7otc/jzNAMcCMpsBA+AjNEbgvyoHYkXp/IsQQM7QZ64wv7x34teF5C96B+yLdn5P5xyf68c7Y2jC85mLMxmeOOx5jEgKC+7in+wOHNACAKdA0LqAJPow9795aWscNQC3ffa1FZfqSBnFgVidPFKyl9Ss2NmPQxj3Nh6x7/mQyL1mct92mMDnbzWJyF5Q31r628qUX4sr1WRmA00kwoDvkjpyQCfOyLoHZero2P3M3F0Ha3OT3HMQBmxxYd2CVTi56bj0vm8Cej7zAL9aftfR8W8/61S657ISIHHrlo61n7TmRa5tBuuSYneNA59iJYAnAbEZOAF1tk6NOtsR6BdVsiWt9ieWxS9qwS4J0baTTe7F76lMgE2sj1FWerRPrXz12zbX+1fEslXmO+vBMzYXdZE+9lvsG8e+//ySv+BGIfTBXnQDZ9ZaV90xcP+IT0K4flS/IS+eJ15/r/sa/PyUDcO/BMyxA1lEyYSacdqEEjUIxbAQteNs1UjYByNUhjBQP9Ai/PlIQwgr++gvyBJtiUg4CD86Em6DLD+4pjnKBMlBeEA7kwTmjmIFlEIO4NkFbumt9SHf/5m/M1sCczM2cAQzAHWsy+AGZJw3iDCyg8ZQYJ8ZTAJKMlbrae48OhEBuMyBmpPUJ9vUH4oycfm0QeNB5oB1fM5oMow/TgNjvn+eJ86SlARnQwb0gX3DNY5cG8V/+8pcvAcAdn/sSXT/G7pmSBwY3TxzIA2ZjAkcGP1gz8uUFeNcMPxiBhHg964AUZIOTuDUFcPdu82Sda6eOtu5tXPIX4sZh7dxXHzZSZJqMkgMyRobIE10Rgqy8lbNNn945YNswy5cW6yd5lNd1/ZJJsk4nyGCeuNMac7UGAdo8zMHcAnkAN2/55in0TLoG00LlQbz1AXnPSrm6AV25tbURkw7w6gdwR+sC+SRjyWAfXda38dqcmh998M7YnLMrbAoQB3Y2opM5NoIdsVbZEM9PHTGZzatWj42RX2CL2CuB3rtX9wNi/Qj6Ds7qVqYfabH+2VJj0mbrGDt7yYYYD3C7jzS4Pw1xRr2Ql/3tOP3xBuDuq/e7/C8F8cAepHnaQhDPG/eMPdd+mc3X5/7BSQD3no8xAT4gSxEIPMFiOICX0FEmAneGjoLaOTN+BLI4EII3ZRQrJ8wUh9AT9N29pmRiCpPinJ74CfGMK4MoZAzFzTHIZyAX3gxmitcaGLP5M+ztlvthF7BlcPKepQEXZMGD8eRpiIElrwOgwZvSWk9pRsvRumN5INE3z0RdXrl+i20Q8noZboaTIeRJM4wAzlACcl+XiwEZyP3Nty/OpQFbkAbpvHBfnnsH3u+ja2OMGbnGLs94jLN30eYLzMYVKKQZeYHBDyyuAUHQhiEHcWulHlAFZXBybe7WmMFvQ2O9bXRaG/0Eev0FNnmApm/3MD6wcW8bsOBhg2WjQi7JDHkSr0xJy6dDAJ3ckUN5gTpZ7MM418nqQlyaPIrdS5qMk3t6RAfJCDkzV/MyH3NtTVujylyTEaD1DM5nAsw9l56RtZCnjTVy3XMUqydPWeXlBXryeB6ngzj5dEokALprJ0c2n47r9W+85uVZ2jSCOT1hj8gfe5HdYBsA0xq16V+IB1f2Rnt6nX3RT32xRcE7+3VCXF/uIQT9bBdQB3HlxmNcOSRi/ZJZtpF8mVObFHaWDX0IcUY9aBcH86uy6hRX17X0gkN64VF5gFFWunbBSAx45/UzEPyade5gfZf/zNh2zkF547N8r6UDd2sq3mNzv3Nf8BV6AGd08sIZCl5oQkdRCHweeEfIBM8OckNfma43Dnx53e0yAzgBluceFCHBpyBBO0VxXZBHOUGWggCucTN4GVOGMeOY4Qza6qnvOmOZZ2/e7qN/sbEYH6WzBubPAwdyc7cOvFDGtCNykAUBhqdjbrBgCDNKgYvRZYQB2/rpm6E6j9bBnBEL5gFdW/Bi6BhvBtOX6IyiANigC8rA7UtykJYO3uJ+wEU9njdwC/4GHLx/97vfvcTADgYZOc+W8TF2YwyeQGpu5g0CDDKvLTgw8Bl7dayLenmBgCCvMut1euDuwWO2zkKvFYAe3JW1mVA3L12Za/UCm/sYk/UDJevrGfR6xHMhB8E0iAdrckfewNmfZgZn8KZbQVw9bdVNHuujPtWVPiHumsyTRRsnJx9kzryttfXppMH6WTP55ioos6bkMDh7BkG5ZxPk1RGsi1ifZCw4i9VtEySub33Vt2e6IAdosG6jCd4Fx+vk1uZTHlnmuevL+M3VKRQdYWfIYQ4AfWUb0t8cEeWAnX1xzfbIA1758gryPWu2KYeDDdx7aad/dqL6Qdy1vvRrLGyKugtxz5Le2rR7nnQ7O6kfeU9DnHdWANsAG6zv4m8Q/+7lR2JOOP+rIX6C3PP08Vo/ocr7lgZwxqZ/zcnQMDB5oOBIAO1aQZcnwnAw1gvuQEapAE050LWzpGiCPiiBQIEEgup6IZ5CEWT3T1Gky2t3TWGVA7DTgwxpc3F9FRhNbYBcMGfX4nbxjcPYrIHxgrg1ME9eEMXLU3akCSRi8KCg4kDCmGYEAQNIGEbvBhlRbR2rWzuBFygw1GKQF7tf750DJjgxcAyd99S8bkaQh7Pw/uGHH/4peL8N5mIAD+ZADuCADdby/R24a/nq81Q9847+bWbIRuMFPZsY8wVIcw7i5pnhL2/BLg8IwMfaqC/mSVqvIKTfXVvzD9DWPZjv89BeAG79Vd/mR3/6BiD3NGanH3l95psnnrwALWAL5A2Uy6NXrgVlQhAH57xrMpvcksnktz5dl59sAgFjT78W4nnh1t0akgXzsZbmC+LKyJ5ywdqq1+lHz6e196wW2LXTxrPSv7WqH/murSW5Bl/yAuBi1wDOC+8VD2gXwJvMOjkif9I+qhQAP5gnEzYwnpH1oKdsBJtgjdgIgc2gv+wMnVYmADTYygvY6kkL8rVht5y60X32SpvsEFsRxLW14Rek1asuGyVop9z91WFTyBm9t1mwGRZsAIzv5V+RBuAg7fo1SAdxdWpbHLTPWN0NedhXeZXlIYpB5/QoXZ9w/NzXwfYufnS/s92j+me59mfe1Trc5e36WsP6klbmOXnu/XCLr88BfD1wxoJxWQMDZpSBABIkCnICnOKAWO9yXUsLjDvIMTIdO1MEO9mgTYD1TYgJrzJ5FIegCwSZghD+lMOO1vjkGyNlEKtjZ5tnw0gGcukMbAaUccyAFmec3aPdvP6NwzgpF2/M3IR9Z82YgDcwMJYMKsgEbt5PniZDxzAygmLXDBzPhJECQGvS5ihYtlngifP6efq9J3cvhpNx0wcPBsgB3DG4H2zhUfuPYz5Kk5YHzh2V88wL2oC8ckE+g8rIuxfD02mDuRuPTYbnb4MBnsoBM6BoC9hicwYO8zdmaxHAQQAcrCEAWTeQdS1YXzAWW2/AFsBb8Bzc2zgX6EAmyFdHX/p1j8DWGKwlT9x8bErJMXklD2SNzATp4vSoeAGc3JHFQK2etDwBrOtLWp77kGuyqQ/XxkA+yCIdNE7z3PVqDVs78yxPbL7qr0yauzJ5gnLPJggnt8WeUYD3TLVXv+fp+XaELm6jAO6Oy4W8bvAO5OTM6VEwb2Pp9Aj4wVwf5Mo4PVN6QCfZKrbE+rA17Anbka0B5/9l706TJLmNLQpzCzLtfx/USNM8USNFbadkX9k7bbfRkVmZ7KaJ1NMPNyAABAJAuPuBI7K6+TV17Fo+nxO0+SH3VJ+vco9+lAfx/IR768e9nqO9/vkqPsV7a3NAh2wAjJVu8S3Sgh0bBnO5C/GcfIDeNJBvmfwJ764XJvKBessr27S2/60QvwXfyoPuptU9ku5atoYB3PsCcL8879v3Alyk4Ag9iHManETHdRSOMtqJUqaOkIN1R4yciDygFS1yfAyKkyE5wTUweWAvTeEZh2dLGUA7awbCeIq8tVFXPSPh6DjFBMRznjnIrrUxV9ENke86iJu/5zI8ELeRMZ/mDloicQ4EtAJLsADwAAEK8hwdZyYy4QBBjQRxzgyEOV0RP4B7BkgCJ5B7LvFcAkiepW/9iMT1UwQukgZt8PYnYf40TN4ROZADtiibkxR5F3G7BngwFxkZdxAET/NxLQ8iwGmDYZzAog4sOH3zDeD6MUdj5fzbyGgHDJyzVP+cdM8pgtavtQ7eUuvvVMIxa6I9YNfOOBtraxbEexaIeVf6tzmhy3RfJMaZ00tOma4FXGng3pTOJfSN7hFl2rlPeRCX3/aVt8l07bl0n/O3STY+a27+NjXGbs2tG5jK0410sbUtDbjWvs0VPWr95XtH21Z7z/IcbbVLArs23jmAi74di0td0wfXNq7gLdIO6EBNd/24Ur4TIRvJ/kJCPZjTdXpkPt4tvWMb1sU7Y7feGz9Ggja7rox98y2BV7l692mvLv/jujK+iPATlWsnD/bd730VdNRXZXxgEAdyY7YByS++B/GAfILXdXWbXpV375kurAMzwGz5Aqd8bQPQCa6F27eRPyPp8/qtZ277q7bnfM7r856z/pFra9d6tubg3b9/7vv3wrsj9L6B50w4iCJcCsZZUWrOgnKJChlG32k71nWc1/Eu5w042oC9e0DIfeAHgnaYdpsUt90mpaX0lH+NxfODurq9ZjjGSRiSXW3RCmdIOMmFNgfZtdR83ScN5vJ2yTYHnskQbTCM0bjNw5w5iyLjonDAAA7OlHBwhCMFCYDgEDkwAmYiihyblDPjvEQhQKc/mwYbIWsu+ibWOnABkufpX7+i8H64BuCOz/2a3H9O4j8p6T8qUe6X5kAN3iKeQN4xu5TD5Cz1D6DAx1Ebf87eHInoDTSBFNjB0NyDBEfPsZur+/UTHKSeUV8cs+ugykm3tvq1aTB3z5NaF++i8iBunUjjca++PEf/SWAzXveaA/2lt5wt/aN3dMOGjz4F8oV3+eqk2q5eZnfK2B5QS+llOqqseyqjp2yCTtIJugHiNjDm5f0AtjXr3SgjyszVOhNrr40yc3ftPXlHrs/3Uptg38ZHu96vd+u9Autu2ug5YBN5dY7UF+J03+aT/gO3kyTXfRqin/SxjSWo09uO3fXl2fTT+2Uv1sdmpwCCP2PT/AZYywOr9xrIpdV753ySemnimt/Rjp9og+DdqKtfdbWlN+5XVp98IF9Ix4hx2njQN/7m8t9OXwAH2StgL9DL772br5/SoNK1tLJNK/++Q/wWjM/ye9cnsK3JW6I/91nH3mHRN3gXgQN38O4buAg8J8PBAKDdIoVrt0ihKBZnwZmJuhkGiBUdFnlJRYtS9doGcCmgi2hSVopLUcGR0nJK7YwB3XVO05jkM4wdozzjED1zrBxfjvCeg+QwF9zlQT3j9Exjsw52yMYO4uAdMKRBAyQ4f06UI1k4BL2ikGDOkYkopMDmiJEzA3FOSiTCMYFQa2qNPYvj7tmcNCcL4pyZ+0TYReGA7ShdJE4AHdj7wVoRDkcZzJUZB6cbbNdZmwMHDgTKOW6irbmDqzFyqMZW+2DAkQOG++sHWMHG+gWYhbj1JeYPsvq3NiAuryywe3518gu5IlObrN6TMRi78akP4pwpHaCfbIO+0TN2Q4J2370DNPuqrjLtlWsrXR1lg/pdqb12ym0y6Tz7sFEWdbI7c95NJH1oLRfiRc7mSsyVWGvvoveszDt1ra77ev+BvvuUV1dqE0ofvWd6IfKm3zaEdJ2e2nDS9xXgpndEvkgd3G0onRSxDTBfUU7v9evZzd/aWCfrxRfxPWzb+5QCKvguYF3zNyS/lP8paABw76I27hcAEHV0hegrnwLgnqlcyq8IkugY4Q89T8rfvAfxhW75IBsAgvWttPvOtH5KA3XX0so2rfw/BfF7UP0mdSeIH+njvOctcG+9e62n9+WHa+efjonAg7cfryUdoYNdToRzoHgUK+WlRHuMHsR98wQSAHOcK084E6IeyBmOnXBROZB3tE5hQTyQ2yGTgB7EKTvjaFyMIOPI+Gw+jD+IF9EU4eQUb5VznnuUbh30bR0yJuvgeNsczE3EBwwcp+gQaIrscow5RA4PiDkWQAzkHFsQB3IOTlpEIgVUx9lS93ue51vTvskDOehwnvrmJN0Lwr5nA/UepxeJgzq4O1LXtojGvR1tGm8wBWH9G7c8yWGbn7bmQMxLO4A0Nqm21kLeWi3ElYNKjrf1BA9At8YB3BpwzEC+kFZelN0mJ8ircz+gOS0gbRb0TzzLuzMG7ei3dWYHnC2dpH/0jd2QIA7KSZvjIF55IJcqcy9hh3Q0PZQS+lr/Qdwmk26yE2NbiHdSYb3NTWqezdkcTx217t6jd9H7UUZ3XZNgr7x2rdP2R0+IOu+YToA4PSB0h46AOR0N4kGa3iXg7TQJlAO6PIg7LQJsUbiNKh2nw+wE3NUR9+nPGKwDHSB8FVvmezoBDKoBW7o+yXprq13+pqibb9LeewniNnrKlWkvyNBeO36lfCeT9ItP9Bz3ebbxfSYqC8gneJWD6C2AX5WffXS9sA7M4LLlC+/ytf1vgPgJY9dvQfy8ZwH9SD6AB+8z+i7q7ts3eOc8OA7gIgBI0SgcJaNIlKhdYpE4aBSBc3AcpNTRMnj3jVbecS+YczJ2vxyOY3UpA9I350hxO1antJ7LWNrdUmjStTSQn1E4x8cZBuuupeYpNW/1rstX3zowMM+wFsYE4NYAwM3BGnSEDhocGafHaXGInB4ggK4yjrBohCMThXBiZKHHuYHfwlykwhmJOECX09Kntbfu1plTEjVyVMbBOQIyh8a5AfjVcXrfxfWpPYfn+cbN6UqNlxPMIeeIzYFDLtU2iBsz8R3dnDh1R68cvHUgxuna2nUsa82ApyNz81GnjXIQBqoifGsfyKVB2v3aAby26jhvZSueRzwD9BqHVB/W1287+lZJH+gGkALxCfHsC7wDdMBmd0E8uNdGP+lkepoO18Y1PfVsIKGX9NHG2vu3qbEebX6seRG4dQzszRFkQV27gE1vlSvzbpQT8HYd8KXWrc2PPt3nfnVS7fXDHtITukOP6JayU9c7Ond8TuhPEBeF96eSffIBcToO4k6ciM9DNqZ02zW70YdneaYxGLd3y//wdWyd75Pma2zY1PNNfJJ3XzubfJE1XSDu5Zfcyycp846UuQZw7025frQDefXeo1Mez9mNoud77ivEgRxsA2rgBXH5IL9p7bes9t2/aX2XLqTPsuqk6qTfd4h/UxjvfY9A+2zTt2/w7pfnff8G8JzKOo929I6PKRd4UyjKRkkpT8foANuPq0R/gEH5gVv0ByRSQFMGJMT1RuTgLyIHQE5Rn/r2rYqDpMCUWdRL2vVKjQfUVxbkDMo8Og4v5fDkpeUX3Oo2+nHN0BjnuRYgHsCtg80KQIADZ8+hcXYc1AIK4DgsEOQ8EmADOVE34IK5Mk4m56YcVDkgUTiHldPinEAZ7D2P4zYOjtqGQWQjEuHgtM2pOULvh20dpYteRDeeZQwBPIgra3zqCIdo/MZoDurbmOiHAzYGjlc78y9is0bWgXNXVsQIBAR4wIiAcoDQDoCtOTBb/yKrAN097quPUvfWLtiDDPh4hrXj3F17n54Hjt47XaWX9IKO0CdQtgksUmZr2VsQZ2vy2i7E3aO8TYDrIE1H6aW+1ZPqPNfz2SmHz5aCOFs0V/NorcGbBHOpeVVvvubu+krAmF4Hd2sTnLV3b/crb7Pq3coDuvdNN7KF3j+9okd0hw7Rl+AtTfdtYCtnCzabQdzmkwD1blYBnH7b9DqFYgdsh03Qdc82bv6H3wFc7zaxvvyNNeYL+aHgG8iDN99J9AHO6uUT7fhY70276ssHa8+hZ55rUyClc+/+Tjwog2bwPQHd9batrLR7zzRQlwbqrqWVbVr59xniC2L5Be3O/yq/9+598rtOt/JF4ADuz8aSjtCDNyfBGXAMHISIE/goUrtGygWOFDZ4U3JRtMgTuII0cBPXpSKBnCugg7hvx8R3dM5GFK7Pfsghb7fLkDzXzrOd6UJdufqEgrdjpvDA2zEWg5E3P/Pk+DhGeaAu+pYnyhkYcc9C3HMZl/H6Fm4ONjI5zJxgUQjHlZMCO/ACQw4McDks5UDtWjlHBoYLdQ4MAB1xcz4cT8eInBaHJeJwLM5JcU6iFvflEDm/E+KcWt/CwR3A9c9J7tgakzIOrwgGfI2/cXtWEA/soiXi+UTeuGw2wEDKyXOiHD9gEnkCDkBEQEk76+sawNMzQG4jpd0CXh6oA5gNTjAHsmDdBqJ6dZ5vPJ7rXXvvNpl0jl4FWMB+C+JbD+LBnT1mk+W1pasEtAO8NB2W0le6b/NrY2xTaWNtXaxJmzlzND9r0PxaE3NsvduwaC9vY0N6J0CsrfXQxr3eh9Q16R1pG7zdQ2/oipQdePdsIl1Jf+g+HRGJ9w1cnc0r/WELdAnE2QGdZRt7fA7kfTJiE+rourxInb2Au1Q/dNn6WUfvNrjyJ9aXrwFYkm+SgjnY8xPu4UP5nPyo++UFF20KtOFb6I865X2y059n8HcnxJW/QhyAg67IzbdTaRF6dY+mC6Pu2TL5oLPllW16giuoOYa++hvq/TX4Vf15fP1s+2fvb7zNo7k17643Vde6dV/Q7r7abP/6cJ/32ftTD+Si775/t+PnZHIIHATnA1QUjgISCmfHSBkpk51fAOe8HCEDsIik7+AABtbrNDiPnCuwF60XjdsE9J28H7mJIkBdCuae6/mNQfQrH8wzKGCVN+YMhpE0J6k5BvFgDeRJZQFc28T9jEz/jJYD7zTCpwGO3SYFQHJ4wRucgMo1J1GUEeiAm8MSdUgBMgcWMF1zXMFb1EE4NLDmkDgoeY6M8+KoRNg//elPX372s5+9/v/erkFbREI4tH6Z3jG6vvRDbA48x/NzvsYL2jYmnHCi3saDaGN+nHBiQ9EGRJ/61y/Hri/3ceiiPDAA6EAgBZ9EnTbWFVgACWzlpeDc5lFatK1c2xXtCbARYyDgE5i802BEj+krHaRrdARU/bbERjnQ2iwnQC0ftF3fEu1AHLTZaPdWrn+iL+3oayCwuXSyxT6Nkz52wmBu5hm8rQmxJupaa/Xm3ZG5uXtH1pq4lqqn0wtoda2tPsFcX8pbS/rCDlboE72n7+kOewjiNpSgTYeAu7pOpNrQdjrFFtiADavNbRtc+u8Eiu7Td4An7IA+mgufZB0BlQAsu+dfgF0d4QOkyvM5/Ob6CveRTgkDOV+0AULl7tUXf8b36d8z+WFpm4gPIB4AFuwB5dH0BI37tkw+aG15ZZsuxORBKZBeQfpZKD/bvmeXvnX/QjYQm1/zbq47z60/y7euPs60Pkv7l9g4FcafQ8jwGT8HAVwpHeUhlIVQTsB0fARYwMpBdFTneJyjkIqGRDqcBpFfqIO5dmDej94YC5BzOJxiAG+jANh9f8pojIUop+QMiSjjVFN0Ss94gDeYM5xAzoA4P1Lk3XXg5hgTfVgbfTIk4xGJO1b1WWC/P+YMwZtz4qwCg+sibAALdJwRB9VR8zosDkwd8IE4Z8M5AWIwBFvXRSTqRRf+9hvAf/GLX7z+72I///nPX37zm9+8/OpXv3r55S9/+fLrX//65be//e1rqu7HP/7x6z3u5Qj166iSc+0EwRzkCXBzvjngNiLmaG6N3fg78szBcqzKOHV9ic44UWsFxkAN2mBtTYv4AEG9cmWg0XE6vQMlqbL0Mf0ENPVk4eY5RY82FMRYgKfyNhL0lo6yD3pBf4DWb0yAHGADb5vnvZZ/S4rEpdpK9cuOs93K6S2dpevswKbSGG0q2aB5WqPmXroQB3drYI7W3foGXnnrIO19yK/0LnofAbz31hq6x9qmS4GcTnWSE8QDuCh88yDexrAonB7Z5ErpPh1rw2hT2ibXxpbeOXHaPKjbANisOMVog9bx9xmF5x/BVp5vAGKpe7yLwCyvjE/iO7RXxwcRef3zLfLa8rt8XBBXH8il7yAeCBbUyvb60Xx97f1bJh9gtryyTRdi8t9liAf2TZ+FuPY757fu381W67r3W0vvrWicsRdtcgTABGYcEAVrp2i3SFkoDqHIAOloidNyzAS4HAQgOzLnKAA6x8hpul4nKq88iLsP/IP4+SO3IG7jAORgaQwclHEZE4BTcuXauafI3bgZF2VnVEFcykjM3RoE64ypNNjb3CR25IzLGnm+Z3uejQeIO13gMDnDnCAYgZtjQk4KrKTgViTBQQEcMHM6HEmOCaBdS9WR8hwVcV+irb60E4UsxEEbvMmf//znly+//PLlT3/602vetbw6sP/iiy/egVw/nKM5cL5tRmxQgrg6AvTgzcGao02KuRizzYeUFBn1C3hrYDNgbfSvXwCxjgQIQAIAwCQwWGu6VTSZzgUnaRtJ+kdH3RPU5MFmAe45nsGZG4Nrz/PsAMXJ00u2Qo+cbLGxvn3fg7gNtbb3xOYaqLUt+gZvp2Y9q+N7z7KJoLt0nV4uxG1emm8gbw2slzVRbp1bB/M076T1sAbWy7oE+OCurftao2Bv7eSJtjZGbdS854X4bgiBnI3QjSAeuOk4kBO6aeMqDeI2nvR29a1NKXgvxJWDuag8iDsJBNvsnX/0rovEXVtrKSATbYvclfMzwZkfCsJ8Ex+mfUGDvvTBtwT8E+LqtDEG8gHEgyrnDwaPgnvb1Ye08i2TD9RbXtmmCyT57yrEF9zywbe0eTS35t11c6v9md66v35upXufI3bfxBk7peF0KBmhWKscFJcAJGAW4QJlv3jlwESdomlQ7gi53T1nyXnmYIuAgB24g757HUGLxDkd5eR4QAAAIABJREFUEb5oXJRPOl73XKCUgrWxcKDy4E6CKZCrZwDmkVEE4jYsQf0K5sCuPoMsdW+G2DMZu7H2/dHcrcNCvOhCClJkAc4RcR6cDgFkzkcZkQflgK2saDx4S5WpE4mIQvrhWsfp4CzqBurf/e53L7///e9f/vCHP7wDOYiLyEXn/j9wR+yOGfXFSYKyTQiQAzgJuByxeXHC5snpArh5crjmYHykuZhrP6xTpn996MszHNcGa/AIHNKAUwQORiABMKCdzgEUXfReikgDyr1U/wEsoHmuvL79noP+0Qf6AqhBF5zlpaLwjcSVPQLxou3augbvwK0fm3JlgC8FcWCgm/SSTdlYrk6ac2tnrawfO1VurRPX5g+6Abyj9a47Wpfa8LTJce/22Tpav06m9NUmMN1Z/aFn9IhO0CWnOSRw03F6RegmvV+I0zP2kt4BNV2WirhB2zX9K+8Tk77Mwxp6t9YzAMvzJ5UDNJ+Q/+RP+Q0+RZ28e/kq/klQoY0yeffyx96b9vpRX7/5YcAHb/eBt/L/Qfz/vqvvkfgJ42evT/h2vTAF7qD7FsRv3dfmaCPxyjbVf31ItXesTmEoITBRlt1NdmweJKV29YTDyjGALufQMbqommNrl58D5SQ40a45E+DXXh7M+6Yuuhflk6KIBTvAB3lA1x48AzsjkZe2AbHjbYecYWRErq1BRrdROaesvnvKW6sM1jMYpzURhXPq1sTvAkCDs89pcVLBLZCLKDglR+ZFqqIHwgGV5qBAGujU5Zjkg7h8AF+Ic1gg/pOf/OQ1ut7jcxD/4x//+F4kDu4idpH4559//urkHEN6pjGbS5GUNMcuX1RujtoWRZlfEZLx1h8ny6n2IyMOOkduc9D3aE4VJDwLMAKL9QUdwKBr8nSQfnkHdM+GCuADu3rvBmhWgG0FePTvWdrrW979dDiI0yc2BbKAG7AD+hXEAfgtAWabbv0EcKBW1jNE38q0AXfjMB4AspllL/3Yso2luSTWTHnADbatj/m35vLegXdCrEcbK+Wtk/Wx3ruWrZ37gNsG7YQ4vQrmbEXeCZZTnfQoiGczpfSdftEzZcGcvSSd/NjY9sv04F0kDujutx58nrUEbsAM3qV8KH9AwDU/w5/wJfkOAM6vCYj05x73a6Nt0K9OuWfzX3ywPjzDPZ4vTz6IxBcAQLPXj+YD1N6/ZfLBa8sr23QBJA+KgRV8y5cukK/qa1f6bPvuu0oD9lXaPJpb8+66eveWl1Zf+94BGBP/7rmjciLSDuqtsTL3uK5f9zB2CkIhKAIFtSukMCJvYPKjtSJfzoAEK8ffYMWRgbDv2xwkw2XAhGPgROWl1UtrH8T1xdFwimBIivQrC96MoSg9iBun8Ynalbm/sZsLAzBHRkbkSQZqNwzmIvWicoalPCOVJ+3E60ffNjc921zMz6aFQ+Tcclrg1JFzkSqnwwEBNUiCGngDHWezkUQQ55SUE/kgDuBFJvoE9SJdEbUftomu+/69AP/rX//68pe//OUV6CJxENf2Rz/60WvUEnQ5UxGSeYEpp5wDdw3i5tgxqPYcr3kS4zNeTlPaaYGNRlFQDty6cfT6BxDPAnZlgKGMWGeQCEDARM8APEkH00mASVfbAASdBbs+AU0bzzAW7ZwgdZxOJ8AUXB2l9+8uFHEHcddgS94CePXagjmbBWswV+c5Us9VZ/Ogjt6yawBiA2yh32kE8Z1fdsp22wSZpzbmbq2tuXernAB3wNamd1GZddWfdWtN5QO+du6z6cs26E1CvwA8PQLxRFQe0HeTCLykiD07yFboGlvIbsAbsIvESx2n68e68B2AyU8U+Wb3yquz3vkW/gLE+ZJ8LL8qsCDy2tMZAtbause97iHyfFSBAvh7Xv7IverfQXzhsDCo/Jk04Ei7b8vkTzhtWXXSwFP6XYX4Ce4d74K5ubUeXddeqqx6aWsYuL2fxP8+BsrBvL8sCObgXl4/+nOvaJzhF3XbtadkUkAU0QbLwAmQAN5xuGinX6Mz2hwmA+D0XEs5TsDWhnMtUnW0bhMAfBuNe45IH9g9j7PkjNrNymvjGjxtLqSAb2zua+zmwhDAliHIS82d4TEMRsU4GFSReUaV0dyCOKO0fuswzS8nxulzVBxUR4McEQcFbuBdpMDRADiwEaDjeHJE6sqr55CKym0AgDtQKnetDUCCschaFN5RuohbFA7gf//731/+9re/vX4jB/e+i7uPg9OP6MbxeBAvMuOUOXcph9+JAyerPce6R57mYFNgbvq2WZHaaJiXDYANT9/ei7ylW+YaGDwbFOTBh84Reug92FDROyJPL9WVygNP94FZEaq0jai+Qc2zvGM66N1zqI5EwRawPxXE9QXU+gXojcyVA7zjdJsHz1RvE0qf6Tj7YDs22+ZufgtweWvQuqhvLUGX7pov2HrX1Zm/eu+7jZQ0PdCvddMfiLvPu3GfvHrl9c0+iOcQOsRe/LaCsBW2Q+TZD92Sll+I942cvrIptkDoFp1jR+lcMO+TjhMhuuqd8x2CnIAK5ETAk9+w1vL5En6CD2nDr14f3Vs75URbp342X56jrf7olLYFVd6nOuWJPj+AeHAoDSDPpFcA2jL54LXllW26cJP/LkL8FsAb7yMQ3zlbk13v4C3tvYD1StG4NKhLtVl4u1//+rIBsOOjkEEICDuy5gA4KcfZUs6gCLzoW8QJxCDNGeQwpYyAIecoQJwD1R78OQ6OUEQDvBuN9ywwBveidGMBZ+MB7MYH6h2/a+/aZsQcpAyAOJZybb6MgxHYzTIOBsU4gjWgB3Bp5fIZrT5FPPoEcWMzVvOyHhwV58YpiSzACdA4IHkQB9+cC1ByMhwMgDv+43CU1ybguw7cYN0xOgckrx/l7hfhisJ9DxdhF4mLuH0DB/B//vOfr/KPf/zjFep+5NY3cePQpw2CKAikOWBOm6OXes8cNLDmkM21b+IcahsQ8zEuIBf5NF+/iLfhcJ9jVGvWd3EA8CzXHDxn3zgAIoDvhhGcu/ZO0kFlhI4m2gZ2746YE1hpEwS9T+8VGOkfXWJHnHDH2gCbdLwekJ+JxIHZ/SBN6lPeJjyIK/ePN4G4qI4u27TSf3bCxsw3oFrLQGzOQZy9WkfvU+pddtJSuTJr4F17H/LqXFurFfauz/REO/XpCh1KPEffRBkdogOdynjnfSOnU0AtJeyI3hMwl7INOpeNSNmUzSJ9Bm82QlwHdfqobz5MIMPW+QIpXxGMi5il+QN5bQlfIhAI5vyGMm29H9cgrQ29sRlzn7KFtSCBj/E+81NS7fR3959d5fwXIFf5oKJuwXOVD9hbV5l0QXaVD+hB8+pI+zwe/8EPfvCSnHXPHLd7Vs8tVdaYbqXmob22PU+ZNbB20l0DeWWtdesrrWzXGqQDNygXmSt3j7rye7865UBPOTikQAimYM4BABIHALraiI4DrOui65wDA2W0HCCnwWgZLEfBKIhy99kAcKwADrz7HGNQbtNAjINUrq2NhDr31geHZXxSdW1KGKOjMWJ3TfpBnIicURHGkZFJGVXlDJThuWbMNj82Am0MPKPvj5yXeXNwoJMj6oiQ0+FgQBEci6b3eJlTIUAHeOo4IlJkYSOgD2UcF8DaIMgX4bsXGIM4kIvGAXx/mQ7e//rXv15BDuCidO1E4hwe8HqWSIiD5Wy9bzAwT5Lzl1ev7X7PLEJqnvrMoXqGzQYnaj6iLk6c4+bUQVveWnLo+gcRzj8QKKNz9DHw0sVATfcASxq0A3e6KS1i1Y4+15/UfPVH/zrloROiKRAFVMD2J2ZSx94JICdbJ0/UBWopWOtTFH4l6giYay9vHPSYbrbhZR90Mjulm+a40jzB2Br2Tq/S3rP17j24J5BLrVORuLT3oN3C3/vzPtmGd6xvZa69a3qQ/UjpUydZTmtc0/k+29B7AuZF4vSMztlEpm+ATufYFzuTJ8ptIo0ZsPkBApj8Adu3eZfyCcq9/4U7MDsR6VTPfdrmQ/gRef3o28bLJjB/oz/1fAz/RDxPW+XqvWPP/CQQX6gsoLf8ClQnwK7AvWUb2QbGE+QnqAO49KwLqmcfe909yoJ3qbJb8D7Lu0e5eQfQ4NxamG8gr0x6SwJ4/ya6/5VMvuN1+cBemXsSz+McOCRg9R0cAAEWDEGbLEjBFDgBFUxF1gw0JyBlABwdY85haMOReE47f8/x7J6vXFmQ9gzS8zijgG0cNhK1laoL9Oq0MXYblL6RlwK6+XJ2GYsNjZ1vhpMBZ3xrrIzIfXbJAN7JhWfa9JgrhwQwRRGgxNmAIQcjUuZYRNWEQ8m5BHBl6hbknJR7ObOclY1BR4sgbnNQtAuO/vZbFF4k7sgcrH0Hd4z+1VdfvXz99dcvYA7u/bhNdCx60Zd+g3iOmBPnfEmw7TjUfG00zJljNEbjNX5Odedvvsbp79nNt2gcuG0a9Mlp65ODVxa8i+IABzzoHD30DugdfSQBW74NZ7oK3toDd8ABPe2kytyvX23omvfu8wz9cJxetAzIougFNZAHcGngLt26QB7Ui97PtCP2IO75Qdy4nE6xX7bAttik+WaLzcm81AX5IE5/g3jgtr5JEJe29mx+Id61dfMM61m/3huhO95vm8N0qt+Q0KFgTv9cO2anB+lYuk+/CF2jX/RsIR60g3lROP2TF5nrm19j4yAdOKV8A59RnXr5fAYfAd7ALAoHZtDmS7TTB5FvM+Ae9aAcsJWJtpXxMyCurHuV8z0fDfEF9YJGOUBV9t8K8eB8KwXJBbp1sC6ACrBFydaptifIW0Nr2rrqg7gfkIE6kAfuhbfnBfGe6X5j0yeggaedO4iDKsMHz6JvcALKonJwdO0+Ti0HwVg5g4RDlecoAJxxcCgciOfoT5k+OFHRuT6L0oO48WjrHmNxlOn5p2iXNA9zAHKgJb6hAzjpqIrTE1X3zRzQGRRjyxjlQZ5BdRzGEPWzEPdccwQ6DgrERREcDYBzLiDedzrgTgBTRMChAGdHfkHcvSJa0YejRLAj+haVyOsbxMFQv8Doe/j+aZljdAB3lB7AHakDujqQ194v2n0vNI4gbk6cdnBtkyLtuLuomUNciBv7uQb6DuL9SZu14cT12aagyKxyzzcWILDW4AMwwAEWdDJ9lAIYoZPaVabdFcTTabrqfWrjHrpMP20I6Qtd6IdtJ6CLwq8gvuC+ygN85YF90yAO3tqBuV+n01N6bSPOVugj2zKf5tp8zImY065N0A7i1rYNjdT6WXPAbf3ds+uvP9fKvRPX1k9emffaBkAfbczaILoO5N493SJ0SzmAB3H2QLcSusoOnOr0CQrM6Rq7kLKNhTjAszPPskmzjkXNARXAvfPqgjjQAivIisRB3L18hzL3k4DNh3hHZE/z+BL9649vkfdMfeuvqN79ThM/GuIBZtMFTeX/XyFu3qCcuLY+wRdIXdcOVOWtW+1qW/S8aWutTaA+4e16xf09V7mxOfoDLMYOio6hAyZlBnNg5LiINpwD+Bbt5CByfDlIKVEO1JwHcZ9+gjjA69s1iLv23E4BtPU8YkwclLKALU+aQ9c2AW1E3EMAHcg7Zs+IOmZnOCDeTpnx2F0zQMbFgF1L+2GbvmyCjNncbFwARrTQsXJH3UG8Y2XOpEiglKPhdBJtRbCcFGCDI2gTkQlR3lE9iHNK/WAsiIuw+7vwIC4Cd5QO5n7k1jE7iG8kDr6cpgiYcwdY8+sHR+o4QE6Ws23uHXXmYIO4OQVw4+yffnWkbuzu5+ito/44bqK8Z1R/ggQ8gIeAhvcBIvSQPgI5OCdARj8XaAHO+6Sz2rq3DSk74WA51r6Hb2Qtfw/iC+Rgvan6om+gXlHeEftCXCSeg6fr9JFdGbs16JTCHMy3OatX1tpYM2L9gnMb8iCsHHCtPSkaB3lt2xRo3wbAGOSVtRn0DP3shkxf9Cw98s7lvW8p3WMD6Z7Nqwhcmg24Zms2hP0eYzfGdIydsbnENR3m3/hEACbW1DXoLsSDPF/APxSFAzm9WIhroy/t9Mdn9Bc/fJR3JRUQqJP6RMcv8Uc2DPqXup9/+h/Ef/jDD/5M7Znj9FsReOVgvIAG6SLtYF19oHdPUXZgLooGYMBOtKututoH7f7nsv7jE/9+urKidXnP82w/jLELBE+KBJ6Uao+nF4zqALUdfc6wlEPgMKXlXXOM7gNbAthEHpA9g9PRr2czJqK8SF47JwYBvz421Yc+9dFc2pCI4hkIJ8xYArDjR2V2uIyVgwZpxsdYSd+lGKhyhm0TwNBA3DPMEUREGaADrqJmMAMyEQIgAzRH0jEeB9M1ZyIPctqBMvjZCAA3B1YkUjRy9q+PIN5xer9IF207Thd5i8CBHMRdgzuQO3r3d+I2GZwgp+hZnK25iZTA1Cal+ZmrNoFWvh8fuV+EZO4cq/npuz8vE4X7Bu9v2oHcvRy253HanCsJ5uqSYG5cQUe6EKd/STBOP+ntQq1yaTqdPtND75mD5VxFXSAOpkEcgJ+BeEBfiC/A+/5d6lmbLxL3bZXOgkN2YxNivuAZTAG2TUqpeZqjtgE/kLeOARx0lYHtCfFgr6/WrucHdG3cqw/vyXsj+pV6571b7947P98/gBeV0zv6zzboGzsDczbT55s2xOyMbSTsjy5mb/rkC9g/4Gb3Imn2HtzVASoBZ8CmCwDuniAetIM4HyIY4GsEFN4TX8bn0cE2jfIFM0598kUATu+M76MhLhIEgVOKECsHqpWr8iB2KwXA4Chd2JbvG3bpt/1NfMdzlW/O5nSOX3tlC3brYu2CdGmwLtWGBG1p4JaCdMfrvpOfUr37jA3kPQvIKRQDBjkKZjdfNCwFeG1AnCMDyqBL+QinkEOQds0hyoOte8GckroGZmWUWZl+gLvynqMtMHfs71o/Um3co4/GJN/GQL/y5sQBMwzwZUzKzIvxKvOrY3AGc0abMWewGTbD8jmC03SvORi7NeSgOKCiZI6m427HfJxKsOZYgnjR+B6rL8T1w1kFNM7MdUeKe1TvKByI/bvpfqjmmBzAO04XefsODuDE8XoQ1x5YOTnQ5RgB25wAnEPmdDnbQM6Bmq8xATkQN2/3i4xuReCifsf3RJ4TNkfP0peNi+foW7/GkRiDdkWEQSdogQhwrXhHRB3d9N7oSMKpEuXq3Sulb3SQDnn/fsQE4qAauL8pxIO5FJilwfwqLTrXTh5A6K2NKpsw9gBqLZpr4Jae0bh5atf6uK9jceBNKqMDQX3XG8RbU/k2BNqAuPuJ/oA7qHuH3qt3Cua7ieskhj7QA/ohXRvbkx8bx+yB3hWV2xwH7t1Ea+MEwMYeKIMxSMsXSYuIQR2QSf7B+oO5MhDnL8AbtMFXufv0ze/wGXSJzll3ett82Y25WRvryEf5S5gCDH7poyEOKmASlDfd8mBWWruupbfgXfkJwcC9afAu/bYhvs++yu/YA/bC/grgAXrXL7gXdQf3BXdArwyoa7dpx/HayxujH+FoYzwUAwxBkiOQFplLXRfZSikgUHJsObycAocXxJWpL0IG55wkZwN+ytRTaGkQVy5vXMS157rHvbV3bXNRPxyUcelL3ni0ZwygK+Im8ubiPmlHWGDOaByf7fcshphxWi9G1Xdxz/csDosz4mw4mI0QgAyUgbyogFMhHAqIczClReIcEgelPzDLoXFkygDUJkHkkZMS0Ypu/TodlB2li7JJfxsu+pYHc6k6sC8SNyZj9XzzyHnmxDm9IMvxEOMxLuNs7m1gRPX6LAoXeS/AQdx4rZH7OTXRkT4JgBuDMs6+KNx6gwkYiO426gMlEojpJZAUNdINjrINIT2hc4R+qyuy1Iau0BPO2RE2iDveBl5H6KAa0DtS3yhbXdfaJgvqW21q637twVuZ5wMIXWQf5mR+1sKaeF/WwNzZozklrpVbH/BeGLvHWuojWAdh0Gm99a+8dQ7inqFffSbpTmNbiMt7rzZldIt4x71naRC3saMTUnrWcbrUqY9IvG/jdJhttIFmY/SQFKUHcWvoO3TRNJsHcetbxK0sKAM0wIO7e0Bd3j1BPB8idRQuUOKL6BJfaN3Mnd2wIRsOvsJclFln78m75Ztt1j4JxO+B/ArWgH1VHvBupd9HiAfuTXd+yluPjbJ3U7P1HZlvJB2MA3WQLq28DYDyonURumttbBpE4pwRBcyJUTBKA06JiDVZkAZxRkvZOJEcnzrOUH8cY/AFYOX6Uc5B5iQ9l6jrPhB3b5sBz/Icz1OnbU5XXW214Uj0vRAHacakf2PRh82Ko3FO2o4cpBk04ytlsAzXNZAzSn1ZF8bIATG8nEuA5VAYJgdDGGoAF5VzKB3rKQd5jsU9IlPGDWIdL3Jm8sFSNA5+AKkvv/gGyCJx/7hLkXaRt2gcyEFcqo3v4UQUrx+Oj0Ms0uY4gyiHa66cqOcbJ8djnDlZdTYg+gBxGxSnBMbnGaAN3jYcxJi1cz84i8rkiWe1gfFskOf8ACHh8EgReXBJV3Ka3hVRTl/oQDpIx+gSUa4+3aQjC3F/59u/nNbfdz8KcTAG4QBedL2Qr04axPW/93m+zaVNKT0O4CBojQAYRNkBYJsTsRbZq7XQBmTBXNsAbD3rw3oVWVtz6+y+vYft29B6lvLegXb6Ctzl9a0v5ezHOyfeMT0H7+raxNGxNrTK6BjdYyeAzd4ImyBsji2xqU7B2Bs7yw49T5TM3gGZrbPzom1g7shcXX4B0IG7Okfr7ldeFO79uHaCA8T8Rf7KOlsLum387MjpFZsx7jbR1sF6e0d3Ib4RYXnwXcAE47fSvb8+9ANioKZs2yhb8G1+I1n5IuCi702rK926R/Keez7v1vWOsbx5mYt7ep58cw7cm+46KHe96+s6ICuXB3JgLhrvuqh8047ZfQ93jK5On65BXH8cBSXmsEBR6midUDhHQIB+AladtsGcI+EIc4xtDMBanWvtibz7iWeKiCl4z5D2TG302T3u54Q4Wc9zzXnkdKXVBX9zsNt2bA6+Thj0qZ2x9Www18bxF8Mj/biNYcozcG3cow/GCDycCqgxQIbICDkQQCwaEAHkQDiVhEMBOnUBPIByWpzXOjhgU87wbQyA17fmjtL7b0gdo3d8vhF4UTjAg7hI3D/24n4bAn0G8Ryo53luURGwGyNgg612xskhuZcT1Y85+lZvfH45D9i+2RPjBHTi2frmuDk2MMrBKeP0rYE2nL7rnFsgch1gvBfwARew4gSLSl0rT6foD51K/9Lp9I5+0hsOvH833XF6UTEA+8Fof2oWqANzAA7IwViqzn39ol2f54/Y1Gmjrg0EiIsSbTzpMDsxR+tj3YAcJMHUvNlJNmruQNv6ADRbUBaklRFray3VBXKp6y2XJ9ZWmo26bjPgvsBd1C1lP20+pDaM9E0KYm3mAFcZXaN/dK8Ns7RPOHSPHRWV2yCywaJxdkYvlevf+wXoALyRNlCrs9a10S4BeZ9YAFu9VFvl2vAZHad7TsGL90KvzcdmpJM3mxJjNUbjY0PybP0uxAECaIsEFyTVnWX3rhdGbQTALqCpr813BeK3gH1VHrg3NY+di7y5m2cR8qZBu3Vo/Uutrzai54ANyn6wloBxAtALbW36kZt/erV87UXm+ncPhwBKFAvgRK8MXsqxiUSC7qacIFCSHB/jlVenjxyM6LcIuz7UKSv6rk2p+vrmUN2nLAB7DvFMjkma89A2J20XbKMC5JweY+K0uoeDs2kAe8fqjtQDeOBuB+7ad3Htc3ygwnFyJIwx6Uc2jJFcQbyIIIMtouCQGHfwBMgVTsxzGDhIAqTo1i/T+ydXz39mtWP0K4j7h2EAVsSsT45Q/+bEiXp2UbExKbdpkRqLMu1cB3EREMepT9/8HfcXiQfyxitK9wxOHIg41xw2Jy9qqcx6c4DKQAG8AgyIBxkAAZuiQnDxzgmweX90KfFO6WI6pZ7+KffOHZX6G3GQBXEb4ED9CMRruxBXBuTSys9IXF3PkwI5AY/+ZNTcwNLatfGyliBsruZsPqR1UU6skXptWz9rZh2JvDZtlgJ7mwB11tC66c9Y1HmWDZLnuVauL88wVu8wqSzIA7b3HdTNydwIXQNwG0Y2wlaIDTT7obtSAoj0EAzX1kBcnec5zQDgIM3WReJgHLyDMh0I4PKg3bdxeaKtVDubfhD3m5wgbp2soTWwMTUXY+7kji9orGyRGOs7iAdfsCgvDbKVB9rSbftoPiAFt8DW/eqrWyCWPwF6L8qurrRo+NH0fNa968Z3lZqP+QXvIHwP4NrXV2vk/vM4HJhF0ASYV0AZoMFafU7FDr4IIWehvg2Be7wHu8+MkSPLedk5AjmDpHyMVV2ADMjKwJBUr41r9+knJ6mcBHBgVt+157vWt76I5wd994J1EZT+jb1rz9RX/YK4KBvAGZMNi/vdw8FwLm1WtBN1BXIwZ4TWx1G6a/WtCafEEDmWInHOpGM94GaQHAnjZJCuNwp3zclkyCBo581BASS46ds1SOa8RBuicH+uVYQLxsTxuG/i/SMve4zeUfpG4r6h2wQArT6NlRNsMxHIOVN5YxE1NEaOiLQG5hLEReE2Gvr24zljFX2LxMEcyIHe3Dhtzruo39oWeUs5dymwAwBHyBGDgJSAOifZ+/WO6UgA9+5dS+kzXXGd3tG19J0O2tj6zMLJ+xvxMwoH2ewtGwNk5URZ1/Jd73G5KLtNQW3cq0yd59ZfEFdGN9mKtbAm1qcNlbz1MH/zyVblQZW9SOkwuQVt66kPbVpXa+l+0NaH9bOW+lYXyNW5Vzvl3onn7PvqvXn3Nmbq2rBJ6UAQt1k2P3ZB6AxbYXNJMAzoAMi+2GKbZXaonXH2y3Tg9Y4DdUAO8MoBHpxBXqrOMToBb9fqqrfp9/lNEMH/eQf0zhp4Z0Hc+NhLGw7j5CP4BnkndZ8tjIOrNKAGj8q2fW3upfW5bZTpl4DUPqP21QWxTU+Q3gN0daVJBdk2AAAgAElEQVSPwrt257PuXe8Yy2vf/BbgQExAvOjbGjX/Uv1c3V+ELQVqIA/egC0PysE7YGfwHILjOI6nIzsOR3/qlBfBgxznScEYJOMDQgYaIHNu6oO2FFgpaODkWOQBWFspZ6lce9eUGlC140DlRf12rCAZ1FN+9yrzLGNqLPrjJBqTcbRh0A8wg7cftonGOWX3M2BzlOpbW3XbnvNmhH0Ll9eH/j2PU+JowA5UGSNZx8EYF+IBPCNttw18HBIYAiXJWRVtSLUBes9x/C0KB8QicD9S80+t7g/bgrhonDheB3FH7toBP4iLiEGcwzMe0XibB+PhTG0qjLHynKnNxULc+MwxgBunSLxv4X0P91ygNzdOHJj1z1kDtugLoDi8hXggDwKlQdy7BRG6kQ53TZ/pDz307l3TG7qVXqmjExwwWHLSAHoCl629BfEAzQazQ2VJfYJ9EC8yV+e0zDXpuB3ERXo+fRXRWh/vw7to3awLG8l+zAtIzBlYgzhAy9NpErT5AzZSmdS1dU30Y42tH7vQdwAP/PoL4EDdCYp6773NmjbyfJHTGO8dvOXNKR2kh+ZKD7MLG8vsI5hnl0E8WGpnnCAOzgAM3AE4iHvvyrSpXcDWpohdGbDXTtqPYQUS1r+1N0f623G6DUfjMl7X+QW+hE2+QjzABo7SyqUL7+rBZdtc5WsrVd91kJbek2C46QnSe4CurjQ4l1b+SNpzb41lyzff3ME6sZ6ta+vSOri3fG3cB/hF8GBLlDlWB/LgHcBzIDmHjJ1zUQbsykTdgK9MP/LB3Tg4CsbEEICJkq3To/AkByCfEctnxDmLoO2ag+yaIgM3aIOhPGcJ3iBK5AmoMwCpNtpyFIlr/buuf6l79e0ZnLDv2IAM5D4TBP7m0/3d477zeJ2x96M2/XNWHBPHIgoAPY6C8dk9M0r5Ilt1dtaOmAnAqc+5MF4OiXPitDixHJbydU6e5V7H1CLxjqWLwn3ndpwO0n6BDtgLchAXpQdxkbjoWF92/cbEkXhm0b9xmSsBWOWgTWoTxN3L+RijjYYovH/gBciTQK7OGnJuxHwJKHkupy5P+nEbcNFXMFjguD9wgIt3LAVneW1JEE+f6QC9cO3d0lN6YNPGGXPWQZw9BdtPAfFsVhrYt4zNgjl7rY2/E3dC5JfL5mPzQ2cA3IYL/II78Jq7ebFTdsu2rUubWZse0voE6+qDuPrq3J+PsF5sj617Tuutvnu9G+9rAa4/78tYwd0YOmr23kXodG4hzi7MNT2kK3QwnbT5BHF6SLKXIlvX1sma8Ak2QwAcxEEblAM0wIvEO0IXeVdXFO7ewK0/78bmz8kdPaJf1oiOWQ9zZOc2IGyfzyDGxnbyFfmNdxBfuJaXBu/SBQ7YuL4n21f5ALWwquxMF4blg2lpAA7Mm1ZXunXylT+S9rzGIa1MuuXlzbn1uVrD6sy7e+S7r+P2jtCDd6lyEXMR94K7aHudSmUAri3DB33XHIH6+lIG6MRxMYOg+CAO5hkqYzwNP+PkFHKKlDWHSGEZNAAzcNAlIu+OLwO86yAawAEXTEXHQN592iUBG/wZi2v3aa9MFA7gjsgZlDLGxJkZX4bVuNp0GHPH6+CtDyDXRxDndDgShshpADfjAy8GKQ9irkEb0EGSAHntGPF+g+akij6Ai1P2XrTxbjzH/SJYf7YF4o6m/UDNfy0quiaBvGP1fuB2Qtzxu/v1JXI2bs7EvDhGzzeeomFzBmzjcSqQAwV965AjsgbGaQ36cdtG447WReKidP3k5PVnvhw3iPdcKacenESZ7kkvAQAQgoRrdUDkXRN5QkfpHt1tA0pXOXa6rIy+OaFyLMppd5zOnrKxRyCuvXbZaCCW1pd6AAfrIvPuYZtF5Mrk/egKLGwwzMtaeC9OMegP27VOys3X5kQ787Im1iZR3zpZP2va2lmfQFudlO3zDWv7bMnaKfM8zyLWVJnnbF/6ce1Zxum9KQO4Tlps2gCb/rWpXYjTE0BOZ87NrhMhNhMM26DSaWP0OxjA7XgcwEE7SBeRL8StPQFwqTYLcfqiT36D/vAl1oa+0TvrZgNqXjavxpiPYHuEj2A3xGb9syByArbrYFK70uq7vpUGpNpLT2Dt9YLsqlz9glM+AJ+AvoL02aZ7b6XbR8/dMVYmrXzTXZeib2WtR2WtizmrV35G3qLkU0TRQdiuPGcgZdRAfE/a3ecoRN3u1We7fM6EsxD5OqbiPBkLR5CxMbgV5YQRZszt9hnzOsN258GSQq9i51RBFKBBGIyJI0PjKg/sYEyq82dA/oSsPxfr2k67f8wFgPVjDJ4n9bzGIZ9w4PoHctEYY/dDInlj4xBB3Fq18+cggBq45BlmwFaeQUoX4gyZ8+GArXtOi+MShShTFyRBXL/9oE0E3vflIC4a759ePaPxE+KO4BfiNhyigSAODsYEqtLGot6YcqDWAcA5JdJGxlh99z6P1IvIO06na5w3Bxu8PVNEBkpSbTh5KUcIOJwiQACL645r00uAAhPvLL30zl0DDAnggYk+0w+bQE5ZZNYP29gTuyFsqk119siWlBNley3v/sr2nhPi22br/HloELexpNPm6t30ruRtesCx+ZmzeZoju7VW7Dkgb7n+rJt1KHpuc5TN69d6ageIRJ4ozxdY++p6Tz3Xs4lxep/ebX8mJ5/OLcTNLbuge/RF6hSRTpJskj7aWNJn+kiUucf75xsCt7SIHKADs3cP4sAM8MG7VD1xbwDXHsT9cE4AYy08T2ruNqPelQ2GMfEX7I5vWJ9hU80+3oM4gCRBZq+DSxFlAFpQnfm9f/sMdNV3XXqrXP2CUz4An4BeAN9qU/mttD7V91xjaHyVSRv7pud67NrJOyZvHa2P9so6Ni8VbQN2v0AvBVeQzuClK+pPybEEfd/StNG/nbyIXJ8chRTYQV09ReOERYEgxbgYGefI8BnxwpzRacMYcxggbQcqaqW8nIJ6joRSK2PcHGXK7bnuA3EADeKcFHA7GgdTqTrl8uCtHKSBVtTdN3BObo/TQb+TgSL73UAo83xRfeLZhEMnIO4e6wA2DNF6ATOjY4iMknEqC+DqyP4LbYDMqXA8jJrT4nw5LddFVt5Dx9We5RkgKPoG4Y7UgziAy/dfkYrGO1KX7nG6PkTEjrWNTSSwEO+I1lyNQ/TTD9uMz/WOzbzNS6ovfTpSF+n3TdyP3EDdM81Ff+Zt/jaPdI+j60iVjrnm2AnYSwMLvZSnp8S7ARM6FThAis4RdXRSXcBKR7VTTzeLxDlpf2LGToI4u3kU4uwsCeJsOBus7ir1TOWeJW8cfhUNKnSemJP1AzjvCdSkNjvWxtwAmbBDa2WNzF+91LzZde1dk2w/+9dGOVCzZ31n92xZWZt08Fbnue5pjaU9U75357161649r40saJsb3ZCnH67pn3nSURtKdkSX6KM8gNskO+1iZ/SS/YC4MTrJCMIAvRAH9eodlXfsLkoH8KRr93snAO5ex+n8Ez1qHeiV9TR+YzaWxsRnADh/wXaIPHn9dfqCZKEDLoH3m6bb39lHILyXLhDLLziD7K10217lg/dZ17N2bJVtak7abJl89+38reeKdXe/MnmivWtReEfmou+i7QANwIycKGP84JvkDIJ8kQGDr21/EuMeZUUIQG5H39++ej4HoZ2UIXG0OUxKp4xhcQzy6sC7fMZMYSmuqJbhMmqGTIHVcawcAMNWxgFpk4A8iBNABeygLjImYCxlJMAqQrarZjgEvMFc6igc3Dk77UAfyBujccozanAuStcmkEsBXhvjcw9nyJFwFgwxAxSBdyQGYHbSUgAHM6k2QEkcJQMhZwRi1pMzAzBOrEiXk9KWM7Jr1xeQ7w/bAjd4y/dLdd+/F+S+k4vQlWtbJK5PTqONBWfo+UV4nF/Hlxv9FAW5j/PhkIouzN9mBqyBu1+pA7oI3VqZN8ct4uakAcn8rQN9k++6iE1KH8GA0D+AASfi/SgHlvLeH3HdvZ7rPmUARuild0z36NFCPLtkS/Jds9NsUB2bdc0epW2sXbM/bdzDLl2TbDo7rS27zJbZLYgDDJ22UTYn60OP6KT1pE/WsnkG09bKPBfybFWddNvW3vpYV2uljA2zleyZbRP2rKzNub7YtnI279r9+nFtfG2+vAvPUMYOjJ8UiZsbHbGhM8cgvptL9tinHhBPN4GcnUrpF9/CV4Bvx+Ydo0u988rBPTgrIyDuT/2k6kTh/XmqetB3ImgdrJV5Wx+p+Ro7iAfy7KWNfwBnH+++iYPHCdlPcR3Ezr6C3FvpCUfXC9wgfCvdtlf5ve+q/ur5W3Zr/M03OF+lQB2wRdyutQvgIl/GTc5o2jWwE/mcAIdAOAnGnhNg6BwBw1eeA/AtjzgOXPHPSFJC97jXtb48D/QYCXAAOIdJGA8j4tTtijkCMGd0GSsD5lQ4QXmAzIgzcOUUOodByYl694KmiJeh6YcUJYMr4WAdV4G4iAmgjVvkTTpGl1enLaPSr2cYg3HV/4K88e8ztTVH43QvaFgLoAMvxkcYHQMEawAj8oDlF+Cu1Qc6ToZBc1BtltoocWCccU6KcwJ+9wOiH6T5YZoj9f023q/U90duQVwk3q/TfTcHev3ozxhtEJwuGBco0IGiceME78Tc1Zfu8aB1sB42MB0Virw9Z4/SteGk6RGdk+dkOXHr0IYmiCujh1LOMLCATBAPxuqAIqFz3p9rIOke7/KEuM2aE5iFOIAGZPbXJjuAZ5fqgjibYo/Vscsty1aVZbvdr86mmuwv00EGgOi1zSydNh/rR4/ojbx1tEbm1hoEa2vDptVbL2tHtNWGtD7aEuvUZjwgre0CFrCzHymbUR/sG0Nr3TvwfABvHFL6QAeaB1szHyldUJ4fanNJD+ktnQzmpZ2Yicz1wcdYw0BdRL0RtrIidNF1bUr5T/9imz6AXiQO5qBOb2yw+BXrwrdZCz7EugfxNr19F2fbAgKbXsImX4/TA84VkKr7lOnVc26VLTDLL2wXwp8qv/1vvudfjbX1KZIuugbkKwHtjsrPf11tI++MN+cQzBfaGXUpYwdeToWB++UsUDN0bbr3bN9uvl1/zwZwv3jVn3v0LfqlWBw2h0nxwYTxgA0D4izkGRcjZ9iMnAPIuDnDIl/wI0FUuxyr9hSdwRcFg3hOIcjWhzaiatE4OBN5QAfzIO5ovWN4ETzj9XyGxcmc4nk9c52RcebsOR9OhzM5IQ5YjDBwM8IicRAX7QY2oHO/tbSunFZO1cYIwKyvDROQgridu/4dTwdxR+Ki6Y3K+1Oz81fqReEADvKAf0JctMIRcoiif2PcCJwDIh2lB/sg3mkEh0TM05ybP5D3QzobIOtoPekRnQrYnJ01CNquF+Lr+L2boEAXgYAoozN0qza9c3WEHkrbBNBhektfgnj/dnp2unYWxLO3Um0DMyCT6qSBPZBXv+VsMejri40CjUjcBtUYQZw+WyvvycavtQRD62GO5pV9mqv1s6bBUzvl1sJauZaqp4+ugTggyYMS27DG7KZNMduxztpm79p7vmfoD8w9K6h7jmcQ9cbG75iX984+XBN2YcPHdtrkBvCFOP0F7iDOhvTHv4mcO04PzPvDtaJsx+kg7topSKCXD+LBXgQO5PwOHQri1snczZV+Gys7SdgI38FewDufwY/chTgwXQHrmbLgVvrMvdoGzk0XrJ8K3PWzfZ95YzCm5tL6SIM3YAfoTRfkC2/R9opfhoMsI2acAXWNXb4IefPtxhmyqNpOUBqEwVx7ToBD4AAI0BeRaxP82+E7Vq8ffXmOXSoHABocA5AAOoPhVCmia3kOg0PgSHKYDJcCE+AE3QCccjPqoFmqfRC3ky0iFxVzEJ7R7l6/fR8vBfOicoa0R/Da2BjkVIxnHRGHs3CX58RyfjkbDoZDsSYdpwcskaU80AZzBkkAXSQuz2BF44yZ09UfJ2Y8xsHoPc/6Apu1djzoSNAz9ONoGoDBG8hF5SLrPVZfiAN438MBHOj7dbq+bDD0DaycH+H0FuJ0gQ4UlXOY6q1DEDevInH9EXNvA2PsHd1zwtbYfOlbTlvehobzlrfmdKwy18FG2jsCK/0lyr1Ha2o91dMxOkiPui/AqDcWunYvEmdjnZAF3QDturLSoM32d6OuPIiz3fqQuma/UhsFZewXcEDcpyL2YS7mCHo2VNaUfdIr+mPNVo/N0VoETHXBVHnrSh+11U7fRN5asR2QbrNufV2zLcKeW3fX8tbVvZ6h756zY2lMQZxdLMRd53/YBRs0X3rZppI+BvS+i9NNp1j01XrY/ICttbyS4A7KBMiVAbjUPYAvFYWDvLRjdZ86+DG61tzN17z5S/bSZrc0m+E38hfybx6nPwvds33AO8uD8ll+Xtdu04Vr8P2YdPuT32eVb1wBez8TyDsGD859y5YGchDvqFyZOj9WY7B7LM6oM06wBPJgHriDr5Txaq8t6BIQBl4QF0HbDRIADtILeflAHcyDtnJlUqJv1+1CGYgjH8pv50v5OHCG5ZqTZUyuAxCDZuQMXArApAiIcrvWjpIzck5TWQC3U/bjNVAGX8AGYA6Lg9Av43CPOsBXz6n1YzR57bQvQpD3XA6Fg1onLqLYsWvD6EQORQ/my0GaO5iBHLAG7lK7aQYIXnbTCYDJg7gNEmfjCJRjsX6N1dyMz/M9j5MK4hvZ9q+gOU4XVQO4H7aBNAni4B3EReH9+M09ovgT4qIXzzM/Y8xBSnOYdAHoSznJPhNwTEUW1sG8ifXhoKyBtqCdnoCEudKlwL15Dj6Qex9BwboR75KjJPLKamMtlStLJ+hj7YomgxJ9oX9+ZcxRZxvsF4il7Lo8EBPlG5m7DszduxAP4PkBtr5l7DmQ8w9sHCycEAAFGLEBegOG9LJTHRC3vnTW2qXv1kFba9iaWJfKQT19dx8dBFU6Kq8dOwnW1pG+EnljIfLWM4hbY9fW3DNcSxP99uxOCQCbmEcbPHqijN8xV3Pmp9pc0k+bXrpKh+mo0yX6CfDm5tQOmIGYr/OOwVlEDciJNo7JpeqCu3uKwtU5QieCH+9GIMEneTfmb72ssWfTcWMzniLx0mwmG7HZvQtxcApenzINjNK3+t225U/ofsx1fW66Y2oTsvB2VL4SwIF5/wQMpB2Vg3aRuOt+aS7qzqjbSTPEBbLrFcacITN+TsI1eAdoKWOmgMFXCswBG+DVg3KRt+dyCFJ9dK97tNUnB6KcsmrraBrAQQm8c+CMhzAszoJBMXJGnzEyNk6UQYMvYHOOReYZOmNXDsIUnwC343ICxuCunuiHUXACHIe+c2QLYePgDDgG48ihMyYOjSMrr60y18Q1gyP6CN4d45mzb3EAJ3JlfGBlnQCqY3Tgkk8YZVEo+FtPfVo3Dq41Mg/jMw7P5qTAsmjXc3xj9styIiIHY9/HRdhADdxSIJcnftC2ENfevY63jdEGgcMDcWkgB3NiDOYsr762bTByRkHcOIm+rYuonIMinJi5B1JRlmsOOmCYO+k6oHgvvSv3e3feszWT9i69c22DmGvtpXQnnbDe9FGZPJ1yiuPIlW2wEXaUTbLrYCzPbkj2Xlm2XH1Al26bhbh72tize3bYtXGAiR9tAoVNLpswduvB5jpKpzPWEzSsX+tijayHdaFf1oMob63ovI2UTZQ+tU8frS3bs07sju0GdCkdJvLata702z29A5spfXl279K15/SePZ9emBNxbUNBJ/ifonEAD9xAzWe1uZTSZ3aqjWdYO6D2bouuA7hNUqJMXtuib+0dpQuglIG3eu1s+pwA2iTwWdbG/M3bHK2jebAhm/jd9G4kzmbYCLu8e5y+MPtU+YWl/Fv9nu1dPwPtq/u37Hz+Qlv+hDVgr3R8HsD3aBzQAVtd371d+/OwdugZLSMGa44AQEmRNaiq0ybjZuDJ3ud+kTIlomAUCXTrU74fXGhDSVcqa9fpfvV+nKFO//qgqMqNiUPjpDldIG/XK4LkICglo6KgHAWFZaCMkcHKL6SDeGBn8BRe9E1AvIhaNORaPXEPR8s5EA6AkXAYGQkH0E6eA+CEXDN+kgPLUajv+HbrOL4AbrPCIZJ2/tbihDjDC9gZYtCSgrpvw+pA3GbAGnKeQbw55tCsrWf2PCAX0fZDMYbu196O1RfigN0//CL/CMTBN3hzep7l3SeiGg5SWn3Ad2JjM0PA2qYmMXdzNu42Nu63nuYJJtaYYzZf74YuWX/vIYh7P+oCkPvcXx/uoXdSdXTCNZGnM1ISVJTR2SJK+gqMfgzp2JpdLMTbkC/EgzWbzfaDMRtSzravytQrr4+u2X3lpeyTXdpciMTZB7swZnOwDtaUrtAZkGOf9NsaWBNraF3TdWUkgFfvHhsq74PduJ+9sWlrJmXXQVvqmv5K2aQ21tX4Wmdl+lEmnyjz3nrH2Z7nGwc7aVMhNS8+iD+yGT7hTWfpqvL0VTvPE5zwgfwcEPN//OlKZQCdfxR950/5We2L0rURidsgOCFpDTqR8G7osTEbGzsBcTZ3BfB8yWdABWSB7dZxcvXPpickz/vP+vP6bO/6GYif/Z3XJ7Q7Ji8tgi5dgBeBAzRg97fbUjA/o/IAzrgzWAaZUYI1AHMIoNs1mNtpB/DuZcSMnwHbjbvWTnvKRLkoEaUC44Dckc+tIyI7RrtHx0QUjxJKtSf69yz9iM6NmSJy0hwvcBGAFI1SSkYV9DhHYGWUGS6FBuiOxu3gOR+ABnXlIh9OiQNVB+SuA7sy/TLCHDLHw3kBOwfA8YAyp2M8HBljB4iO34xbO84BNLSpXQ7L/frR1r36kOdM5IvCOYeO04O2iFMeyAKaPFEnEldvJ27t9BnErZP5B/LGUMThuSILRm8z0FF1fzfecbpoXN6ROpB3rH5G4r6jg7/7jct4g7PxyQd1jqfjdSnAF4lLOSRz7JMCJySvzDgrt/nwLH1bUzrifbbW1t67VBZ0gBtElEutV3lt6BrhKJVXp0w/6UvgltIj+iRP6BCwEHoJkr6HsjU2AKBsM4iDtSP1bJSdq1uIs93Ars4126ptcM9P6J+4Zuu1dw8fYAzA078I1gbX2M2FnYIdiNPxdJ59tmbgaI3BklirIK6N9VWuDdFP9q3drqHneqZn0112TXcBPVtVH8Td23tlt20GvCfPbWyeK+/Z7JgYAx2RBnW2aI42w+Ys0g7mdFRemTx9A3Fj8MPX/B0/x/8lrtVZZ36Sv1RGD/Kx1feLdH5YWX/655OeNWgtrBN9Myc2z17YA5tZgLMZPiJhO5+dUHO94Lyqf6Zs+7rKP9PXObaAfvZ79llEvZ8H5IE5WEtF3cAcsKX7nRuEN7IGb0YatKWuHZNr595gLlUP4AyTATK6omxGyAABMmOkEOpdM9YVRpzxu1eda3kOBbj9iIKC2REqo2QpYpE0QBPt1AF/19qkwJRQvg2BjYY+RSEU1bgZMGcMfBQRUMDPURaj8iMTRsV4KS0jZdhSwsCBOUgFcYquDsgdD9rFck7K2uW7xzWHYIfPKTBszoZhyOdsGLpohHEbp/F2bYxEHTgrJ8bN+blXnlNg/ByGtuaozD3E3EWgTicYIfgxSnBigJUpt2btqtUt4EURnglS1sj62NTIM3oOFsiNgZMSWYBpUS8noD/R+H4XB3Dim3ffxoHcUTqoq9Ne5A7i7jdGUUHwBmnzC+KlNhHGkWPsWNC9RRW7eWmjIQInvr97lo2gTROnCr6trXcafDl59Rx879taWZPaqVPmmo6CxAJd367rK1BLtQ0w8vSWznkPIM5eOGebWXbKBtk4UINy0HadaNNGnB0Hfm2rk7oO2Gv75Rfs2vMp7NKYfHf1Vxdsgm3QF/NjS+ZBh+k1nbaurqXWm72AdcDeTY81bC2rt9bWvrWVWlPPtFZSz/SeArl11MbaKjc27eS9C330jrQj+iDqQJztlRq3cRl7AFdmTuaZPwJp35sLNOiwjTZdZa/s2LO8W/6vU8cCIu+a8IP8KYg79bCZ057Pzm/mG/lT7Qif7K8G+DJ+0PuQpmvWku9gSzb/7EvKXvgG9sE22HTXH0D8LSCegHzr+uzv2esrcN/r42o8VxAHbJA+j8sDOAAnYN1xeD9Ik5IFOHgnwVu9sn7kwigZGzgDHxAGahDvGF2eQQb1dt1rwPriGIK4a/dxKBSJwhSJUyh5sKaElFNbSqdcWzBWT9nkKaY6Cqxc3r36osA2BxyXekpNWSmgPxECFAYjBfJ27JSUcTJYDiZDBSQGD86BivMhDJ+yq6P8AVw5YQTSHAaHwNDBL4AzaNcZtTGBLkgG8jYfyoFcG2UJZyCvjrFzBt0PooE9iNnlM8bdTYO44/SgLp9RShmmFOQ7Tjdu62etmi9Hw7lyahyrNsZlY+H5ogog1w+DF93uf0vaL9VB3I/YwHtFmTogd5+o3rgAV5/AbG57nO6ZpHIOSDvjWHg3d30R4+sI3fyNVYRBd8zRxsw8OefeqffrPYOB9986AEvO3Bp1bf2U6y+dC05nCvrEvaDiGYEmx+sEyK+/6Ty7YA/sqc10MA7kpcqrOyFcOTuWfwbi+RV2zVaNzZ9Tsh+bvuBog2vdrGVwo9NgbpPbOrEbeSJPx6xHYs28A9dtjrVr3dSxcetl/Yj3yEZJ5UG8dW6tXbd58h4931hsFkr5EnZtLkQe2NuY0BWbk7VZ9gHgNpnsBMAJnbX5ZUOe7bt175XPky8CL+UH+b5+nV6AI+V/6YT7tMmH0hfvpkhcoOId8W+ea27GYGzsh+20IWcnbLATK76Dr30P4ldwvILiM2VXfX7KsquxXB2Rg/VG3R2FB+2i7iLvwH2mQdxR+RWog3jgLjoH2wwN+MA5UBeNS5WpkycnxME8oBeNg3gOwf02BkAusqZoFIph+x7jmI0iUTRtPCPoa6ec0ro3xS0vTYGlRHsbD/17rn9chZMngM5gGBLDYoAMnfFxukefOnUAACAASURBVBSXYTNozoVxU2jH40BOwYEeuLRVR1xrL1XP2PXjuh0tJ+M5nsm4PZ/TAlvQBlzjAwp55YQBAbM6AtautancPQlnoI0+pRwC47OrB3lpEAOmIM4QGSQjBC51lQGbezgVGwGbCU6KwzRPYtOTmCtHylkZgzX3XED1HvQHkp7l27gfqvUnZyJtUTdoJyJx0fn+eZn7jbNNh40JxwfSQE7kix7ktXEt3cjbPHNI1kC/9e9a3j3WlFOnF+bqfZqnd2otOD2g6OSFTmkXXFzTN+3TPZBRb830UWQJ8ImyBPA8Q19tPukrHRXt0nt2kC2xcfDdqHvBrZ5s2ebZcX2I6LPrNu+lW16f/IBx2ISL9nyzt+EN4uYcTM0P5NL9IG6dgIRYD2tkzdwrVWZN1UtJsJR6P96T/q0Z8Z489wS296bc+hJ5oj3R3vv0bM/rmJwtyLcxr9wGnRiH+fA7bLoNO9sAcXbJrghbyWbZGx9B33wTF8jkC/k+ee8akF3zfa6ttzK+VlAkVVdUzo9qQ1f4XnrjNNFz+Lg+CZqv9TdmY+NH2E0bYHZD2gS/B/ErqPbd+QqSz5Rd9f0xZeezT2C7XliXv4q4r4BdhL3pglx537+BGsilDI4UmVemrTyjZngADOILaWUMkYEG7qJr1+Uz4NIMWX2GrG/9qQNXykYZ/VrV7pLI2z1SLMom4teH+4DYDpLY1avjGChkIgJvc6B/96S86jgOcAMRac5CyrgZeUYKykXW4MSwXQdx8CYdC8oHfWXa26kz9py5POfB+DkVz2WcjBkYgDooM2xwVhbAlQVpBm4OGb2UEwj+G3XnHLTveI5jACQwZYAAxfiAVVqEyzC1KWXAnk2MtbXL0Zkjx2eOHCuHxviN3fNB3LN3F28D4VhcZN3fjou0i8qlou+O2s/v4WBLAJhjMUZj9owAHtQBXv0JcWtQ9N2mIIi3QbBG7rMpsTHj7LzPAEJ/OPVOXKwDB2httJWnE6ALPHQu4MgHJqm+Apf+tXdf+lnf6VTldFRExXnb/LIVtscO2Tpf0PdwkFaevcorA/sALlXPtqXqFuJbJ5+9116Z57NDoAAhv4DOjqyVuVkbdmNe1oRdJAAIfiBpfemWDU8SxK0XuyL6AFH3uq93Y22zwUBu7eSJ57NjNi9vfOql3p1neg/68c68G2PyTM/xPPoB1HQ/Ozd+18ZkXm3Y2Xh23QkhG2bPbMwmlM263/r4Js5v8m8gLA3gQZvvVB7U+cR8Y3m6oX3RepE4iPNl9Ls/ebUOxm7MNhfZbn6B7djsd90J1mcnUIN36QnN//T1Ce0gvekC+8wXcQfmhbV8371Lr+oX4sE6wy06lzLiIM8oGRpYMjYSnBmkeqnyjtRBNbi6N8lwtZfXpjr5HIC+7PoYtG88AM7xiMg7Pgd0iiiC9zyRP0dAQe08ARrIE2Mjrjkuz9OuTYndJgXmQCgd4+hIi/FzDJxBUTOnwvESTphhd8SkDJiJ9gGcsjN+1wyfI2HoHC3Dz/l4zhp8EGckCeMuwmbkDNxuncjbiIAhQ2fkBLgDeWXA6R59SAMokDG8wFXEaW1AiyGq0wYYGa579pnGah4cGQfIwTVnTjMHZn6ebUwgTqw/IOrf8xxV+5GaPzsD8iAO2KLzjdDVaSN6dx/YGncbDePVr00KeBPrtc9W1iZGW/eb70bgxtXmRt5mwzpwwnSATniv3jExX9K7tiZt5NIZekFPiPoAZN2sYyCnkwQglNMdekQXT71r80j3wJHtcMrsh82woWwRlPkEtijPVtmolCivLpCrz7az4ex60/pwH5t1D2HvJ8R9fmI7wdF6iMxtnq0R2GWfUgKQYGKNWhf5gGoNlRPvQ2oNrZ91DsCe6R1ZzyDde2nTJVXnHfUee5Z3oU/P6Nme1ZhtWoHcNTuQlmcv6tmOTXCnbuyD7SbstmN14LRZBnF+s5NIaQLI4F7kzd8ROsBn8n3S8sCvPX/r3oW4d0BfReLEuzF+wYQxsS/Cftgcu2E/IE7yIe9BPHBv+m1D+4TyvetAfYL5vHZUvlJ9R+gL5mD9aNoxet+6i8ClgL4Q3zYMLuAy9GQNXD2IAiR4ymvHUDPiDFZaWRuConhGrl/9UEa7SuIo3a8j/RCDyJN2nByAPvQnElfeEZKUYtppiswTjss96qRF8Z7NsXLqYMioXDPGIM4ZMmDOkeFQagAHZ06UUVPsNXzt9cM5qHOdc8/oc9Ici501GGTQwbtovCNzY2TYDHkFBAEVmIA8QHWtnsHZ1dsM6Ec74GRoDDBggSBABUPgAraEwYKeKFb/YGz99G0ODJwTC9qlHA/Ha04iC/c2Znl96JsTAEnRv4gczIvIwdvfkRN5AHfsDvbagbh5cCb6MjfjlpqrZ9h8SI2/zUMQd18At3GxBsFbfiFufPoEFCClH965uROAIfSIjoAEvfLe5YGBgBcnSZeUr34sGNwHTG2MQIhe6YNeppPyxHiA0IaYY2Yb7CF7ZZcgbBN/BWu2WXm2un4gyJ+RePbePfrIP/AHQdyYOk4X8RlvIGUz5uNzADsDP7pDv9hKp1bWns2yodbFOll/91h/+tiGSpl23oN1toYkW12YW1vvTZm8tLZS71UfyvVH2ix4rjE2VhtX4zfWFWXqsvtsk32w1zbf8gn714d3zFfyaSAM4KBdan07gelEUzvtiei7T5PgDtxt9gB//zlc78C7IPTNOrJj42Nn7IBkvyfE+ZN3EF9wy/cvoH3bEA/Mb6UL4v2OveUL7m2jXDupCPxRYBeZA3fwBumVW/DuWJ0ha8PgGB9DXAB3zB7UgbDoN0BmqEXmtXVNtBMdu0/ac+wKRd0iBiJPgJ3IUzqK1m5SH+73DI4JlHd36RrsgzgHZm7aKDMfoNcnkDM+UGNMDJQTYKScCSn6ZjiOKIGc08nQS3PWnII+cyw58IycY8nx5JAy5I7QgRts7crbmQN3u/IiWSAEI1DayBgYlQMUcGkPtPrVn/kqF00yvmAVQKVABoztrotuQd+9+uBwGLCUE7IB4VxFH4RD43w5LOXaGIv7jQ1Qm0MwBd2Fed/JHbGLuKUL7wDemM/x6s889Z/DkVdmTq0B4Ls3gIM2B9SmRv9gHtCNnUPl5Ij37t0qCx7eOb3g/KQBBABcAzihT9oEcvcF7gDhmrQx0N4Gwv10E/hE30R5EOfM2RC7AVG2zX46hWMPhA8oz15Am/AH2nct37V2gbt069R7Jh8QxNkgW7bB8MM2f81hLuzIptmGWJqtta5sJF2SB0DXoMJm2Ru7onNtjOmgfED1XoJ562s92T0geyckUHsPxmUM3lmi3HvRrvfS5s2z6LqULhijcUgbizzJVsyF7Tsla6PO1pOgrs4cvFvBDV8H3NbTe+brwDl/qUwwBNDq+MAkmLtffffbAPg7cdD2HHpV8MIXWmcQZ7dBfO0pP8Ge+v3IK8RvARzIv22IB+FHUhDuOLxfjis7ZQGunfogDsxB+RbMz0g9gANzUsSdsXaPchF5UXn5jJjhrbifgQZqqR09GAO6vJSxEvmka8faQRXQOQtOgULZ9TlKJ/Iicmk/cANkykoxKRglNQbztD7GrS+Oouf1/MZGgc1bG/eqt2lwr2MkgGQgFJQxFhUwYMLAlXEuORqAF0lJGb42hKFn0KIABs+5yIMZB8S4XTNeBp4R75EaAwa8duGbFr2CEiAS0AbWQO8aoACe6AvAgZSz0J/7GGLAkgK3FKxEw/LgBoYk8HmWjYHUuDsS1L9yz+Ckcr7mqcxY6seGwDiTomXldvTGwBEAqXERUAduf+bVNcAaI5En7jf/xq7PJHBro8x45DuRcH/PXIirrw0nBggcHfHuzZd4v+q8e5CgM8AKUG0UOf+ABeLa0CX9AERQChJS5XRNe890xGkDIc/p+tcB/VsFnK5japvgHDj7a9PNDtg422cDhJ0T+ewTkIN4PoGtLaiDd+nW6YdNLsT5AsCwSQcLP24zb3ZmjbI5G5M2zOwHOOiWlK61YQyO1hzApWDZxtE1sWGWei/W0rshbaiMoY2Ud2StSe9EO+8ye2bj+vFMfZ4biEDtmXSfHRhTPkA9ILchaX5siZ1ISZE5m5fnN7xrEbZgxFoWefOnyvhIYHdSmR9Vxo+ql2oL5NotxPXbv9ZGt0Ccn/NurI85ew9slt2wJRAnbIk/IeyO7UjfReL7bXzBXfmWyXfsvfnKSs860XawDrxdB1nlC+Ei9G23bYP53rOgL7/fwMuXFnGDVjCWD95BH9gywuAtDdTShXxA12YNlyFmjHbQjDABRrt6DkFZUAR1EjilrkW7UvekZBwBo7cL9D0ctFcAlgKqB/G+2+SQisaNPwdkXjklfQO158pzQMajHwrcnCixuXseg2VUnCSDZZiMmVPNwDkYMHdNXNulB/3uy2EwOE49R5OTCdzKKwNym4lAzGABOQgzYhJ4GQ0Q2/ECijzDAkJ5/TAqdQCuLxsVBsgJepZNgDYAJgKVkqJNAD9/2JbhGpfnFDnor01CDgnM5Z0qmI82xudZgdY8zEl54zcmxu/5QdOYSEftAN61Mg5Dn9q717rYcJgjR6PPNj2eydGYa5GDa/foU19kn9+1MmJdgVYkzNnRFfCgQ8GbPtAresIRakdXAoA8kINykKdPYKENPeI09a0dJ0q0FakCdr8i9lcXIA4SdEre32GzGQ6cHbIJus/W6X22U145YS9sNGDzBUG6NB+Rv6n9CfsgzlewQRBh237/0r+pABTmZC2DhTUxR2tmPdgK3V2hW8rN2VpJA6aU7bVRVufdsGvvTZ9sW+o9WWNrr4zIdy3VJoBbX8/zvuWzYc9QBtyebaNhHImxrmgD4tqZC7sk5gjk7IeesSv2w4717V3zYzZERd3eMyDzcYKWImyRuM2ca2vP5/HD7qUT7gFu5e7VXv82Uf3o0HsQhXt268mmAza7YlPZGVvjJ9g5e/wA4iesr66DtHRBHXCrv6oLxo9CvPal3Vf6FsQX1FewrixQF50HcCCrLohnnEE6iAdwqbrqg/gab8bIWIOelFECOJEnAfsK4iCcdKTDEeiLYoF3R+eUjVAkhk7BKBwnpG07Tv25/2peynZDUp7SUnQiKulEwYbAevgFJoOiqBwI50txGTAHCtqcLsh3zTkHeuUcAoNeY5ZnuAxWnkFnpFJGwYgZLSgCtTSIBzYpYTALUhACQMYuJQCuH/lAy+g4Bbt7zwVf9zA4fQS9hTgoglpg1I7hMlhjcX8A9jx9ckLmxCmZk3aMm2jreYwbaJUF2fI5A3M0Ju20T4wpaBuX68RYtQvOxup5pY3Dtbno23OIa/cCdMBu7srlE8+1IaEbomAQ4uQ5cJAI3gAMxq5F2toBFUjQr0ACzBuJaw80oFMb+kcftbMh2Ehcv4Ctb+vtXYhi2Q/h8LNXdsMmgm8A7zqIry9YmAfvhXb10vxGZeDtmcQmAkjYYL9OF1WyN7bErgg7M9/mKc+u6BY9Tto00rfgyIYDYin7Uh90vRPr7/214WLHbJh4P66tPdHWu+xEzXvhJwiYB/TGkJ0bbwCXVs8XrKjLZvIN5sieiHnSNz7BOjiBsYbea/AVkQM6X6ksuAO0o3f+U3ugJvwq0Y6vdQ//7GTSCQn98W6kxDsQlDRW48qe2DVxzd6kbIwdsrH3/k78CthbFpyv0gBeum0qk4Lxv9m7kxxLcmONwrUCNbX/pagtQRoJkFagrejhC+Ak/uTjTY+IUkEa5IAgnb2TZnZo9BuZAVj8Cs551lu3vI2fIH561gE5WK/HvcCWDsa18UwpBTDzfANd7W4QTwlTdM8U8FTGBbk0GN4gTnAKhEQaxBkDggPgQRukCSehks4Aga52BFEAZO17z97Ve51BGYNifgk24QVx7+i99ONU6tRP4SkhRWZMKTqjIqTc4gLlpuQC40CxAzblTug7bYNoypkxElNQ8AVGsVO3mMcbnMWgF5SCIqXpNCxPvfoBcUYAUBuHQei6Xl+BTDpvFMxAixKCViBXp7HEgjGBwzs4KAj6N4cgrp15Gqu+Anr9L4BBVWAI5JtHUAdt89NOmXhBrq62vZtxzDPjUr/6VsezNvrIC/fu+pZ3jqGudwTfvEVyYN8ZejJDHoDYszLyA0oMIm+zQx9YAJi+AEy+vLw+abKmDMDJaAbWlTlPHNDFrqYZePn9E8D0xaEXQMk8XQ62YvAuLMCDeLG6Z6gs71y8dXIAKnfgNxc67vDO4+sfFbEGrUMHliAuBlNQDmZkLdmmUyBI1+hZICTzyrQDdxClkw5a1pd+01lp6xzE7Z/x5Nu79hHEQHQDfQ/qDgmCMdgQY5qTcAJcuaC9eOdOtrwfHfIuQdz7mC8Pmc0MxOwq2wbObKp8afYT3K23Og5Q6skL5mL2tj5A3KdNMka2k2/yZ2xzdTgxNwfu7I00PVtdo1d09u3fTl/gSn8L3AtkafXLC8g938pOiC+kb+kFtnTQPuNX9RbiARuUPwJxMA7qgfuE2flcGwDrFE4pC0FcTPEzABSSMnZFnicO5Dxyz+WpA8CEh/KKAZii6xc4fbMhOASOwSFggjQBU79DAgHVh/n0PoG8510HecbqKg/Izcdc9OldGBrP2hF+RgVAKRVDnBEN4AG7mAJTboaBchNyCsugU2hKyJBQzJSRAjBGngO6Z+MCX+CmGIEwkFOa4BlAg1X5FEl944CouJO9g0F9GYeSCUFPDIonwANmXm7gN8cODYyqsRrDPOQtyLUPuOAImjxrITCDpHpCABV7DrYdMuSbq+f1oNXzLuYJ3tYtQ7PvrE7jmJd+6ts7m1eHhOZpTAaVZwyq4ArW9l0MDnlxICDIA2r1XVUCOViRK4AHsAAeQMBjD5I81jzwYN3f8HoGbiD3TVPM2+0gTDfpMF0g8wGYHm5I/8944SxdOR2ijwV9KxdXVryeeBDv+6u1EKxlV+vWqs8V1gmoyRfA0R1p+mMvgHq9WTqX7gVxUKWX9NTaBmixNafrAC7ePVAXwOwtPV+Yg7D+2AHwFuSJycMJcPZBCPjaSb+CuHfLdngfdsenEvvKFvK8A7M4T5ztZEfBmS1l29i58sWCcvZXXbBnjx2u2gMQtwfk09jezdqm49kStocdWojTM3r49r+YBd2gHNRv1+HVXWCXPmN1zzzPN1i/yls4n+B2VV7e1lvY73X6gju4v+c6PSBvvFDb/NKVL8BTVApKsSsL4kGPMQislVFQ8GYkBM8gHsjBGES1M46+GZb+hKxTI2EijAFbfQHwAdgY3sG6Oex4D8/WrrWSp3/vob725tG1fyDXJ8FW3zsp145xBrgU+1TulJpiE2qKuMrImAiMRkrI2IA0j1WQZoTyiqUBj3KAHuBQjJRELK98YKIw5ikGo/KktdUfeBmL0RP0rw91xZQsQAKetvIESgiMeaVgFuSkg6p6FNhY5uP9OowYQ7/6C4Z5u8FcbIz61F99B2jjKhekAVU/5l5e/WrT/L2P9WndzFP/BfXqQzuheTVO/ftRnW/x2jBkoMzAAQ8QMMZ5eQwe8DD8ysgQQ8g4gniAygMHcnV4f+QqyCR72hqLFxbAGVjP4O3qswOCmGfuKpWBZtjpXjpKZ9Nxeh6QvxVnG4qrG6DpvH5PiJcvpodgYl4OGA4a5m499hqd/hVaY+8PwB16xeQb0B1Q7YdA3wTAA29xHjEvXZrO2pf2xv4I1l6wd3Rf2L2wJ9qAtr02H/ANyqe3bawzr7oBXywviPNyzZ+uejehw4j3Mzee8sIapNnP7KZby+AO0mwqe7oQly/Itx/ai/3VgD1xoLL2Do1k1vo7ULJz5kfH2aQ9HNM1+sX20Dl6Qiff/j/xQBugg/h60q+AXNsTwq/yz3rB98yvfeUL5sC98dbbugvxIBSQArnnrswDvecTyJ6rJ+0qeZ+rLw7i6vBmT2UO4sooLmVNgYM0QFLmTt1BXhzoKS5oMiIgyZBUD1gJjhPgQtwJ0SkTZLV3ANBHkLUuQdx6SLe+0t7NvBonQBuvw4A+e/bjSAJubgHfaRtgU/CAnmIz1ik0wWYYKDVDkTFxgs6oUEZgAxOCH5wBWxr8ADaIVyel8Ay8nimIAI7r5QZx+RRJXx0YGD3GzjsZyzwEigdiArAF8tKgBWrKAQ48wQzgKKkykJPWV4cD72Ru5qkvddTVjmLn1S44pZtL9eVVX/t9lm/c5lZ572I+DgMZF2vn/cxHu9oaq3kUN6ZYuXn33vqxz0Dj2tF1bwaOXGT4eXWMNDlRzhACvvoCz5qBZCzzwslbNzugoZ3DAKOqTeA2Llj7cZjrcyAU+8EYIw/iYO83Jow7uU//gngH3YD8Kk7vzzjd11+BLSjQP7ZCoIP0LWgEcXM0d2vQjQSgC9bLe1snz9YF0OgSgNMnMp53TsaViele8OtADZDAbk/yqK23dRbaN3mBXF4hfQdwgO5QEJiDulgI4GLP1TM+eyHIU15/HTzyvr2beQd387J2IA3ewbqbSwBnOx2WQFo++8qmygv4yrSV59MlGVHPXweRHetOvvsdh2cHyoU4mySwNXSCntH3nukhnfkheAZNsF6Il79xbcTye87Q97xl5Z1xbcSV3cbaetILcOlX5TdQA2+wDuABeKEMVgtkafX1Kb0Q164+tk356lLqDQBujPI8B0cKKl070A/88ikuowH0XYnL80yhyydACWBXPIQLVIGf4hNKfTAOvb/Ye+46997mq67xzMW8zFd/hFzfYK1cPgNkTmLfh7TxrR4AUz4GpG9k0hTQiVy8p2lKCOKUsCvsrv4IPCEHugVuwg96AKsewAIh0KgrLQahBTmF2f7qX33zZwSCOYALHSbq1/iBT3vBOAJ4BUcxqAnyAx7ImSdgFoBSv81ZvnoF7YHcs36lHRjE9a+OfqurXvXl9SzvnEvjn/PpveR752J96bN+zWEPGtL9T2nWluEF5DwVhj84MPYgweCSj8BOfgBZO2ACLjEDCWDK1CFfjGXtHBwBDcSNB+QgDn6lPTO46oA7OPqxG4jTqz1Epxcd0BfOZH9DZYG5uHyxPHokVJ5eFRuTzuWJd53ej6ccZvLGrYVDjfUI5GJrY93pE9lOV8gzOU++xR1a1Q3egb0bE/oboAM4mNtLwXiCvAV40O3GDYizAcqC9YI8OxLA7a/wCuIO/9mPHAGHBmsC4tlKhyLpbKj1ZeMCuHw2DaSV8coFNlZbgQ1WXxzEAdzND3kSyKwDJXl2OGJT2J5sFZvBLpUnna7+cMLz9MYXqN+C8gnRgFx+z2dc+TmPxt36W7d0kOm5uPxgHUwXtAFroVs5uALolgU2MJNW3iFg+9o26qpTnjaUWyxoZ6xCgARGbSrXpqAMEHm2lJcBkabgngHTM+864UugigM3iIOu2Bx42s3NWlpHed5BubGNE5iNJY9h4o0QZgIr7SAh9uw9zJPRcWAQGBWKD8quuxhXhjWFFVNaZU7SlBrEGY28gK7NGR0CDiKBVhxEQCcFWIUAGvl5z7WXB/SegdJz/VIshk1g0DoAOCSYRx6ytuanPViCrn4ESqg8QAa4YCkGPuAFPM/mKmgj7HPt5Hln48nrAKGPIG6s2iuXlqe+do0hbl7mIjQP9YxjXcVCa9XBQh15Yv3s+J7NiSchBnB/m66uNQQChg1IAYYskIHAQFYCw8qMPHIF3gwlkGsPXAJDuYfEgMN4M6ogDnyCq3Rz0A9wK1PHnHw39StjP4Ai3wBK59JJ+nCDOCgvxIOymG4Im6duIC/fc/Aujz6aA8CAClg4ZHQYsR7Wwe2FNRAcXjx7dyGI0El7QL7tJXkGceDOG88jlw+CdBjQpYHTnlhnAaDtS/AW55nzPh3G1AEwbQG5QM/tu+e8aTGbILAPgnJ7uRDfa/na5okHce/qncxdH/YaxO0p+wnMQZwtlS8AtXVWFqStPfunXrBXrp426jlc+Z1Fsu1wRbbsj/0wf/YtuxHE7QP74zn7Qm/ZkS+eOFgGzo0Xorf0e67cz3aBtvgc23MAKQaSArDUpj7OOIgH0SC78QJYWt3qA6gQ0IJs+dtPaX2cofnrV71tv2M27tle/fJ2DgwEBV5o88wpcsEz4XEqTPgIF7AKQN41NxCbn7GKrXfrKI/x0CfggzcDo518xktfeeIUwLO/ERdc55sXY9PBQR1GNm+WElN6ykRBKRzlA2+KSsApOSGnfBQRfAMqmBJ0YBII+HuCNoXqUxqw1Y8yzwKwG5MiKadUYs/y89AZQQADN+VdrXs2RgAHxoAKkODGKxUrAzhBGuDMBzg9A6C22nmujTzjqGfcIKqeMv2pq46gXFB/g7GaW3U6OHjWVp2C92odvV99NcfaeDZfsXcodGCxXvaZoWPkGXwywaCTCXJATnhaYnXJCyMOEGDN+xZArKvKvn+rQ9b0qS1vUB3j8Yp43wJYF/Jk1VMnj71/epWs0w3yTSccxtMNeuK5Q7h0cJaubnn0qUDHg/sC3jh0Xz110j967trWvPyAar/n0zUeOFgDp/cG124igNza0kdyTZbtBbkmzwK4BHP1BAdZXi29bB/0I9ijDl7GtPYAb08dIKTLo+P0vXb2h+7r0z7ZX3H11A3g6m5Q1x6rU9CPQIZA27uwI9JibeyztQNftpLTY02BOYhnT9WRBm5QF6uvnbo+ZQK3fHX9fsKekB3g3gNWe+PdzSubQ4/sAdtDv+hzhyt6TKd+NsQX+NJ58sWVfwvkAXnrBr/a9Qwq0rWRLgQcccBfMAfD4sDa88agJSw4AbX8rSvdOMWN753M1ZyUVTdAVm/j+ijuvXoWmwsj0YkcVHm+eQNiRoVAEcIEiZABbYF3zBgwMN7N/IrNyTjWgKFhOPQpaMPo9AzMDgY8bH07fTrR+oYo9gM7At8BQmxsdSkxCFLIjEFXYZTONZdAoRlyXgDjIe6Kr294hJywB7sTVIFEPsgseKQpjUCJgm+AFlMgxEprzQAAIABJREFUSsagMXLm4epLnriTshjwzMOcBGnjGkfI0wXXQEwxg7i8rpw3BmBl2tdOXnAOkI3vnaWFAKrd5ivbtWl9Nr/6+ii/dO/VmomtYe/cuM0TuHne/nW4/rlX/+SrZ/sCCKALMoyxZ/AgH2SBXGTgGWlpRhzUwQmotM/79gxgAnljsLXL2MsDaNDuOyXviHHlnfHutRUzwL6P86h8FmKoyTF5poOgSjeDspj+fBTitddfYeFOH+WzAd160XdAcXD2z676/upWwXsBVO+S5+29wdX65AlaZ7JOZsEjoIsBncyrkx4GcjBczxlw7V2HLXtpf4BKvucgLm0v7KFyaXsqsAsLcXXkBXBl9SmufXtMXsgPeEuLOQDmK3gPsX7tuVsM9pK9sp5Bu2c2FJStc3BXn52trnyOizjbyya6HSFfeeAOhPaE7HWIYsusvfXOcRCzS2J7oJxOCY8QD6yv4iAbVIN339W33dYtvUCurjL54KU/+Wd9z/JPgANPsAOkfS6/WJk6hRugb+CuvVgfQqAtbl7dVOxc9533vWoj3n60tQ7V9WxMtwQpcR45mAtBHCwTOgLJ2Ih54YyOugxDV/u7Bt6P8WFMGIr6ZTCkGRHw1k8A510TZorA0Dl5ukICcUJtbPUF3otnQk7JCKgTMQPtei7jrKzv4BQOMPvlLJjmARPsPbUCSOAKdgAXAIMWaKhbAFhzoUSBG7zzSBbiDhHgbT7ytz6I6at5GSfYUUjjg5o5CQH8hHh1xJVpq2/tAmOgX5grV9fY1sK7B97WZp+Ds3lqJwR08dmm/nqvjI/YGpqjdVDO0wZuAAdr/9nKCfIgzsgCDINMDsC7fZfOg2J81WWYgzpjDBIAIbiqBSqeXwcD/aoHKmDgGaTBLsMK4A4BXcczstLqALgfvYEliJNjB1i3TXQx6NKdIE6XCmf+Qj9QV6dncXmr9/QwiNNv4DAvuudGoetasAgY1sJhx7p0tW2tANHakvcOYvYxWZZH5+ghkAfBQBjEAyuQCsG8dZfXdbc9MLY6yj0Df7AO4MrO/rZv/QnaVtfekgv2g5yIzTF7QpZ6D+PkiQfx7GXOD7uZzbLvwAzmbJ46IA7w2gfvQK++TzDkC7SN5fNMe0K+rIH5WH/r3AHKHrBPYnZIvmf6+QjxoPwqDqbA8p4QiIoXaLVXFsg2r/yFXWnQAzbgWSgvcOX3HHzPNtWRr8+et12AFTf/3kfcnMX9mV6HkcperWflGzsI1E9p4wAuZabEoLqBhxxgCRhBIpCEkLABqPoZmA4red49Kw/gDEUAd0hgsMSArE+QTrB5KP7EhSfuGimBNr52oE/Y/dLX2gI+oXSqB22Kx0CkfJTNc543QZeXQBNugZERwCNwgVSQBDhpeRQgCAUrc2CwKIm+QZkyAbUYSBgs8/S8EJeX8oG6tvoyL/MxBgial9C8ThA3R3MDPM+BVlzQ19k2kIu1074xwR5ItWkuxlAuNAbgCq1J85VXva2rPC+hA4v3tZby7Yd08DY3aRAX9z+q8cSltbHv4MsIkwfr3D5YZ8Fe2Bf7kYEO8DyujD/DDlSgJQ7uvD8HBdAQeKOu1BlWHlnGtRjkQRwUg7gftnU4pVN0gV4txAFaCOA9p3vynyCuvxPi9F5waKDvxqfr/QraIcOVLViAhrm7Seh2ove3zt4f+DowWVc3TemV/RQ8k2trb0+sfbG1d5jqUARIQBzQPRfsiXE9GzuIew7E2w6YC7W1l9JnWIjrzxzMK3gvwKWTGXUd0PwtNxizaYAdnMVBne2y7/35mGflgj3wLLB7bKJgX9g7+2EPyBpZ8kzGgrj5WF/BHgj0ii2hS9affcoReIR4HvWreGEEPMEsuFa+UDrrneDzrD1Inv2VrwxoG6dnQDgh3nOxOkG6dsG8fP0au2f1Gqs5ife9etfigNvalS8ub/9hnQV15erK92da9SdtXO9BuSlxnrc4wAIlIQysCZqYwjMArvh44a7MA7jnrv46IOgTwI2V0cijBmYC7fTve5If+xBu8BYIdadXQg7iDhgUxdz6oRsjyVCDBQUF6mBNsKUZjIxGp//gucKujwAlzosNboE8GAGWAEiMFaUBcVCmTMYwrnkwBgKPRVBmLoL6lExM0fRF2cwn+AZQc5LX/DwXzE8AuYK5lx8Ie64dcG/g6apjDGlX19oGbvnm1vzkA67QmlQuDuJi5d5tDTwjw9D3zuoo1zZYm6s5graw/7e5Z3vgwMaIA7h1tab2xJraZ7Fgj7qVsT/SYsbZjQ4oMc7kCbCBAzAADNQFXimAy3OlDOCMKyPLGy8mnwKj69Dpx237T266hSLX9CPgBuxX8YId1E+vu8OAg3QgF3s2jjaeQTwvnM45PJufwwaQeycA71bBjQQvvAMNEIKd9bb21jEZbk/tq7R1Vwb0YjqrvnbaW/fg3UHKAaFgLOPai90X8M3T1s5hwN4JAVwM+ucBRP7WkzaeWF/kwMGu6/TgnR571q/v1dYvILNb7FeedXAvD5jZME5Sdi6Qywv02cP++V77ANx780MGzZWds6atf/K+8m8f0tFHiC94bumFTXAOtAC4bRZ4pYNlz2cf4LkA3b71H1irJw/cgnnp4huU66O5BGdz37zyzXHfq3RrUXyDcmXF/ge5/pOZ4gW7evLlGadnsXem9E7+ed0ASaEBllEBbIIkJGSUXX1tAXsDeDMsaxzqM4g3nv4JOcHWP3gL0gm78VMEAk+wu3bUXnDy1bcyBhMgGGfCnIFmyKUJdwLOsMtjTDqdMjSgAQT6EYIkePUL6UCnXiFYUQ79BArKFMhB3KmeMWAAzMv4wJHymYs5isGsuZhHIAdW85EnHYRLm19es9g1swDozb1ybQr1Ux3g7L379qwP9Vsb722Ozc37m7dyeeKALt2zNuoVunVgYKTtg/baes8OI0Hc+yzE/T/m5mh8a8nwWldGzFj6aY+aszUOJPahveiK3SELUMACsBl/AMl7AxJgBvJAwcC68iSLPKbgB3yCfN+ZeboMPgPvIJtcO/jSn1fg3vz3QBywC0E9DzxdpT8O5uYSxP2oDcRdqbtd8B68PbAAcOsRFMXgS6bJuHVPr4K4WAATe5Ie7pq7QbPewTiQigFKCLbi9iEIVyYfVPVTH8oqt4f21H6q197VznNjOgyQJaGDHR0GbnLifaXJgn11RQ7E6/SwTYI8tk2QdpVeqKy26rN5+hPc2vjE4Zs4gC/EHRYdMq0fm2Z9W2fpApskPxsn/tkQD2DBF+iAL6hWXrywlg6Sm799BN3qKdty+YXGFGtX282vH+OZU/31HFyLd169Q2WvIL0QLh2gN1Z2/jewWx68i5vjPjMIoNo3afAG3YU4eBM6MGVsAJwRyIAUL8DzwB0I8sKNI52HT2gJKmgTUsbDqZQQOygYs7ETeDFjw+CJ1SPo5gXo0owqyAC5kHFOsAmy9GlcAjioEG6BsWf8wUSfAQTYBHAQFg7a6xsg9GmsQA4uDB2Pg+KDu3oUbyGuvrk3hwAZGEEW1JpP0O0ZfAENqNXzLHg2b/XVLQTxfUd11O+7c32I9dHhpnfXVh6ICuasf3mBO5AGeu9nvXruyi+D/2r9zcs8ejcw//3vf/+Wpw9rydBaV3vQ/pmL4NlcMmpi6+1WhFHulkSa4Q4WILDGHQAWaOoBOlALZDGIg5/A4PrzMxB3aKUD5Jde0JeFON0K2sC+cE/vqqPs9MQ953mLKwd14wR1ukmn6Byvz7Wtv2XvF9BuDxxOvGu3ER1mAA9c81LzxkHamlr/Dmr22/7QCXvjEGuveOH0Aij1teAN0Hnnnq2zvShPfXl56OYI0EG7/RPbM+UgLvZcHhDKV88BwFxAHBy9n1gI4nSYrHh2qHHwYc/YSrYqJ0WaLWPbBGn7LlQmdoiSJ/bMHkoDvZtKnxgdFBwSyRGg88YB3bzNsWt0sM6OZPvolfVP5zw/QnwhdksHwTMOrIGv+OxjoVrZQhqAt45+znqNdcbanvPSVh9ADKLK5fUcRINv865N9SoP6BtXJq6/YO3/aC/9Kq6NuDr6au6VmxMD4FqNAQHBIA7UlJrwBPDiIM4gZGDEGROGQZ+ALWYsur7TlhATTleJwM2T9uM1P2bznDADOwEm8JQBtM1RbC6EXf8LeteA3oVSg2swJcSElxFhsIFTnsDQEHbpDE7GJuOTJ8f4g0Dw83x6l/rQJ2UyVgDnnVD4jAFjx4Cpx5gBhrrmqQ9zEIAs6EgbL4iLAXXhLA3goPbTTz/9+3e/+90b7KoHfsAs1l7ofYrLF+tL0F55HjFoKwdDobYdbCqX3zqpp9y69p4ZFXne17tvAHjv3R7ozzv2zvu+3kt/1pqXJCYDHX52r/SbUdPGntmPDLO20l3vZryBhmEP7kEg7463DdyuoH1LBnMGF9yVSfNuXVfzrujYDeKgnE7Rr89A/AZ2eYHdoYEX3uGaboK4a9s8cMDgiXsXEPe+gdQ7A6U1Ic/WyLqQczpmTa2t/WsP7bGyZN6aC+Q/kOeN02NjieWJA3CHCPORBm1l6oOv+ifYlasHePt7BvkgbH96R+3rq733jkIyYr7NWVuQZb/sJ7vEyQjcbJhnMbvWNXp2VX0HAI5IdpeNU18ZiPu37N2OgHdy1OcO8zdPcps9Y1uk2aFsCrnv0EznvoJ4QAuSGy/MpCsrv+fiV/nKKxOvlxywF8ZbP1DWvrFOUO97nG16DrBBFRgXvqUD5nvKt25p/X8r/Pjjj//ecKsL5PUn9g7e0XrxnkE2bzllzhNewSOMAErpGQKGxbdw1+mMDcPgRK9ckNa3NO8eXPVLQBkv0CbIhNI1UVdGQG5cyqA+hfBMoLUN2gHeGNKMD8+muk76wNPJNMEm0IwMYxLAlTEsjLr8hTfjAz4AELCCAqCASyCiHNJOwcaRFvNKeHmMlbEpvtM7QwY2DIN8twaBhdLpR2w+5gGGxgRS18nBLKAtqJX7XgzigvReqeunPgJ5XjMAG0O+vgFfkNYuj7Zx5eWJt07WJePduonlZUS8q3e0Tq2pd5UnKBfk1Yf2xje2MTuUmK98a8jIWlv7Sw70oa71a06NY98F+6R+v18gNzxEcLE/eZr2DSTAYEHB4MvjfQOeq/R+kS4PHARe0/6LbQx3hj+dcTjdQzL92tDh2eE4UOdd533Ti9J0U1rdrW8c7fLE6ZHDNU+cV8kD79OAdzF/AAROawCe3hs8yLY1J8fSeeLWlU7ZP/sjtt8OzfZKG+CxzrxfQO3GI1CDd2AWd00eiMFaO0FaME9gM2e/VRDytJUJDhzmL62scnkOasYVpO07OXBg6dBCzpIP/YO4NWQn2aFsFVBLKyvYc3ni0gG/+srlaePHvg5+bnGAG8jtEVkjU8a3Nt0mkd8+WbBvAvnOLtFPevgVxIPiLQ6cxdXxXPqMb2W1Lz4BfOtD3eBbXHv1b31UXv3i4J2HG0CDefnFC0/p4F58lp/PNyhvXuMXb1npIF5sbO8N4owBRe67tZi3S3ASwEAKpjx1xiGD4hDAKATrhTfjENgBnFCDMNiCuJMlL9z1EIgDOpCr4xbAuOahHSHuyt1Jtbram6+5UQT9KtfW4QAYwIBgMxyBlEEn1IEizy9oeFafoSfsAUYMAvIE/YjVDf7S+k1ZpCkPpTI+oxUcGDwQ72SvXF1tmpM5GJPxM74xAYzXCVwBtjh488RdM/Oi5SlXP/AGfKAW8rSBjrH13FW69tLaVl8cQJWpb34Mg2BdAubG8reOdRPkt5bnvmx5e2KOxmvujW8NwZWBbs3thTk0rrQ+rbEyQBFbe9AHFXGHLgDXH1hlyANLnjjwgA6P29Vz348BXDqQMLpdp5PfDqZkmP7QR1AN1OL0rbiyBX3edZB+D8SNYzyHd+ObC4i7GQMkHngQ916g6KACkoDhna01wIFZci1Olq2rtbbmZNgee6Zr1pgOaEsP9Amg4jzhgB5QlRvfugO0+YA3EEu3H9L7/T6Yi8FaG31tW+kOJsYH6/Y9r5ssdOhW7tl87at/04LN6raQ7RJAmX3iiAjSeeBi9m3zs3vsXO3IStfprtAdsMBc7ObHHjhsWFM2xgGJ/G+Ql33Jvn2B+Ct4lh8Uize/dDDtWd1N11YcVG9xgBRv3fJrU//nuMqruzHAAiE4guZvf/vbr0Ig3fgJ5pW/igPxq3jHkj7r3fr1TtbVjQUjwHC45hZAmjJ3EhR7BmGAz7js9+8OAdrrK3gHcPkEGVxBljAyFGDu+ptX4uSfgBvTeMZNgAEc9Hnv4n4El5B30KAM5VEESszQZzik8+wY7tIMTACRx7hn5EGD8elKWD15ynmgygJLoFAmUBT98fQcGpyMUy7KFrwZvTwZSsfwdTDQp7EbXxxAwRWkg3VX3/1i23OwB7mAB8aAvnkB3jsJ6ui3vgF76ysP9pWZW2tlLGmh9Q2ixdora73E1uvcgwxO5fbHmvc+Djb6Um5N8+DyCu21PhwO1LGH7bGx5Av2yfqDuABE9iYDyaAz4J6leYRAADTS4ALWARz0wC8vFkAAnhdF7ukCuc/w9xsSekbHgnXwLi5fnC7mdedt08PyXnni6gjGpaN0h26BkYM1WPRLe+8BfkG8QwyQWY+80jxrMZlPlu25dRfbO8Faa1cATutYbG0L1jZ4218hzxnArbUg3bM5B22xK+8OI9qDtjb2rLbez5iAGMQDuefAbc7dzpizzyb+usZeZrvEbFOgduvioMSutedidqsyzpO90I7NJB/2Rd9+R+EAaF/6U0afPdg58m9uZFawtqcnbj/IOJmnB8JX/4vZDbjygu/CM4AWq3fCtHbFtd/4hOzpyS6QK6uNsubcPKsfsGvTM0iC929+85t///rXv/4K4jeo3yB69nmrU94J5fP5IxCvrfG9L088iAO0AOJdBSVI8hgVys5A9Cdk0oyDU7w62jv9y1cX0AkiISWg4OuEL87j9o8XEExXRV0tJcQBGewZO21r78qdgBuXgOuPohjTAUC5MR0WGASwYzyCDoAyKAxMQAgsGRkxYWf8pQNRhkheEDoh7lm5tvoAESfgE+TBO2CYlzrBRj8gGKQcQvI+wdk1OY97r8vlC945DxpkQReEBelCeeoAOTAqq5/ihX7wNDdrEPile9aHuaqza2ZdPAveS7n3tFZnKD/gKrc27ZsxzN84yhgvxpn3y8Dbe8aW4dKHfRAb277Uv/RCHIB4h4ygPXEY4IXniQdxhj6vURrMwQAsgAE4QCNwmJNrdkYYxOkCOadr9I4O9Z2angXr4F1c/iuI02s6+ARx5dkAwKFLdI1euqr1J1Pm2o/0vA/IWWNA9e5BzZpYM4dUMmzdBHJvb9p3cUGZtc3LtYaAKORRG2uDfGMDbflgbG3Nz7qDmjXffZDnMCVfHaDXTrrbEvXtn/6Bm/wI5rVBGYCTLe/s2ZU2O2Yv3Q5mP7OBOSTrcWdryQC4V8Zmaq+NMvbMnpAZ0C7wwl2xm+8//vGPt3Uku4HcPljjDXSBrKdrX0E82N7iBa/0WWdhGlDVOdsF2UC88cIx6CovPzD2rOzsX556gAeQtdm8AP6rX/3qi+er7kL8vV7x9n9Ln5B+eg7UxdunPM/emRfuz+YoMEADscCIuMomhOIADswMCMPSP6PKSIA4cGonzigwRASUURAIIS/aCZ+R8AzOrocIJ9gS2ISWQHd9znunHIK22q334ll70AZwc9e/cUGfZ8FQgBAj7vQJyAwJ4w0ICbV8QGDkAwajL93JVTvg4XWqJz/IBAX1pZXdIO6UnJFbrw80zNF8tGuuxgLHYuAC6CAeyLs6D+J55pu/MA7aIKxPcM4L10aeOoH8PAwoV9+8mpt5Bm551rMDkLWzZoI89cStlTgDX9patr7tSeujn/q3boDCsPlE43qTUQcE6209GTP73Z41rv7lM3Ag5FaEgW6fepbX54+gLmbQjQ0sIAAYwQQ4wAE0ABAweOL+SdMgztCT24X4ezxx+kYvwZwu5nHLf891ejrMBtBXekfH/JOrgMHrM9f+Ttx7gCX4CcAWxN1QAFoeoNghVWy/7NW53/ZMGxDXHjB5+A5D+gcn0AbrxpQO4pVZ17zvAB6szdkeLKjbH23skzryyIv9M0bX972jffauBeB2cCEP0g469tNhiB1iPzkWYCwAc44KMLN1Ab58cUG59mI2jp30iZBs+3cGxA5YbKg5/etf/3qTW7KaUwDm7Iw9KHSlnp35AvETysGx/J6Lb/m3vOovrBfM5Qfm4uDlufQJtuqefagfLGtTLH8hXv/yg7j01t/n8pvTU6ztR0L9F5/9m691BnAwTtkpsRCQg7I8AFd3A6PhGp3RUMcBYJ8zCF2bAymIC4wEYQd0p31X6oSUASHcAM3Llte3c/X1JV8dwk9RpAm6oJ169UdxXAmCO6MEDmDHoDAmwSKQM+RBnHFn1JXJL4CIdsDBiwxA6gen4NMY2gSI0xOnWBSN0lE25ZRLfQFsjNe8QDHIAirQuu4O5uJC38SVu14X1AdkHmwet/6AN29fWplDQhCX7iBwgtyczM/76kN/1se8g7jnDLi6hdZMXe9q7aonT7n1sw9idaSDOOi2RgDN+DN0Ps/wVsCHgQYJ5a33rq0x9a1Pa6+e/cjLYhTBiLHueh54lHedypgz9oz/QiGAiIFG4InzcHlQdIHcklUQ7zAtpnd53HngxeXTP2l1g7i08B5P3DjpL501F7raD9u6uu2X9mAI4r0LeAAYwFlj6yNYL3ItzTO0pvbJ3grW3D7KV2chbg+DuNjBCKxBvHGLATfwAnJQDtLKrL019xkDyD0X7JXgnfLwG0cszyHw9MI9u4UQO3xIOzyyP2DdNXogZq9OYCsL7tmwQM+uZQ/V45C4TmfP2EwAd7gSyJHDD0/cWpPX4J1XviDvpoTuWP8fAu/GgVcsv+dg2bMyUDnze96yzZN/hhNWJ8R6Lj7r77M6C87alLfX6eahrbLyxZ7Pfsqrv/fEjfne+Oxz30vaOvps4Z9cZRAW4iCcQoszCjwC9f2LbP2rbAyHk7462jEGDgAC791pEoQJdSDmFfOmGQkC6QTJG5EHzmDLiBBebQV1GTqxcgKt7yBOWTrxUgCwZnj0oR6PXJ40Jf7zn//8BjACHHwCA0MeOOQx6uAdPOQJDFBQBRnP2i2YpMFQrFw/+gMPoEiBQCWlAnBBmXra6Ff7xgyw4LqADeQL8IU4AAdhEAfiYJz3rT9pIBZXT9y1/Hrx6phPgO5g06HAszU+Q/VbL0bde7bOntWxturID+LS1tEaWce8CjcYIMv7cjh04GPceCy8FcY4bxp4rXt7vXtkHGuvPI8bZKSBJrCDuDxGPA8NcEDFHIQ8u4ARZADFD5IY4yBOdsnx6iD9CtbBu7j8IO6ZLgvVAXLP6bF0gJcG+SDu0E6n6A1dcxD2mQskfHt1VexmI4gHOvAAWRCzNgKwW2MHIWtnrUDFulpre0ueOzTZl0C+1+jWaz1x4JYHuNZZsLatdesLyvKU2QNp8Kb/fgBm/WujbvsUtHu3vH/76v3yzLteL8/+WwNrRe7sZTAO4mB9Ahu4rfmZz1axg9m7IM5OsmXkpsOV3ys4tHoP8uwwaS3B2/pb2xyEbA1dAe8OrD8b4sASkE9QB50zv/oB9ATXAk8flZffszJ5PW9c3Vucx80jbw7q5aGL6/fWfsd5St/afyvv7M87FszVAcq3cF41hQ7CoM2ACEDct211XKEH8bxxhqKrOG1cnzMEAJ4xAFDgBmwxwwDq/UjN3zwKBJ/xcNoslifog1EB9LxuQk5JeA7GlGYMKYP+9anMwYAy8P77Zk7x/vjHP74ZEQAKkgtoBqZ80PC8HqPn6gTnhUzgZ7AASVv9yy+oz4hRLEDqmXIJns0hwGjvOYgHUB71euSBOs+5H6UFZHWDsrqgXB+B2rNQPfnagTzAB2Vzqb0y8O5g1Hp5Vk87QVqedRHqS33vbH0y9K2fd69MOePTgcf6MVS8QUadccv4uX4kCw6KjDawgC6jrI0x98BgHPttDP0HakYxr1sfwVwMOoy6wOgDAmAECeAJFIGnH7Yxvg64ZJ5BB3F6J9AnOhmsA3Nx+UFcfoB26Kaz8p4gTocbjx7RGbrEEwfxftQG4EEcLPOMQRZUxdajNbEfvD8eufUTW1N6A+Jkmfxba/Xsh0MRUC6MS4uNcwagdrCw7tWx9tYYrJV1iPLsb6sF+XnwynfP5AN51/pB214LDilgSRasA5tiXuSMjbKP7A87mIddzHZlv5RvvcpAO0+8Ptgv9tPBlNzwxN3mOGAZ118QJNvmRnZb09KB3XrnONClLxDPu/4WcBe+pav/Kj6h9NHnbwFP2VN/T+3N27voB9z92A3EgbM1kV4vXd3eP8CKb3N5Gr8DhfhWd/s0htsPV+mUPKXvVJ4XQKnlMQagDeD9s7M8cW2VCeqpD96dPglsJ3qnR8LH63YVlNECZgaW1wTUCS5wawPG8gmzfgX9ArVrR4GAmzMBd1BgvKWN5cRqDvrQznjqMOyUD8iBikFhvBlzBoZwMy6eeQ7iE8IMfSFD5BlotJHnmaEKZtLBSLkQmMSFAAXsDJzxg6O5grdnQATQvG1ABmwBfAVpAO6X6rx09SqXDupi/clTTzvAFQdv46onz9opb37qeBbMMaibZ/PNeFsHa71rY306GO26AXnrZj2kxdY5bwJAXGUybgDEGNpzMmX/eeMMPHgz3oy4tLW2zg4S+ms+eS7AwwACuDSjyEBmJJXxwgI4WAcNIGDYwaG8IC7P7QDjm9ySbzIN3h2IOyTTU0Cmd+keiMu/QVxd5crScc/yK9O3QwIddmgHE2sG4g69dJV+ujEAcp64eYNl7yH2jg4v1iCwAXhrxAMHduADaXtm/3YPHcSART3rxlvWt311CAJlIUiDsbkA7a6v9RfU1Ydv1NL22+cAsbaCcsHeeNbC8K+vAAAgAElEQVS3sfsBHzh7FpOVAM7j7uahTwkLcfbJX+OwTdLi7KI15lSwaW5A9hZRPrmtnb3QTl1l9oWsOFj5TMTrtzdknhyBufmYZ1fq5JaMdqVuL8i2uBss8RXiC6jSn40XQp9J38C2eU99bt1b+lsQVwbkN4jLsybiwm0utzE37yMQN54fDfqPXCgvBe+kTqkBUZCm9AyGf3o2gGsH6MCeMdFeG6dPQkjoGM8ACsaMAng63YMp2IK1POW8bHkEVTnQg7G+6lM5T92zsQRKQtDld/3O4yfoDg7moB/zoQj6NgcCzyADICAFanHAEAcTcAHljI8YdIE4aC+QlauvnT4FMAKJ+lJenwG8fsFF3+oKebAgWFoMuAti0O67dzAWB3HvG8i9N5jrB5ABHHilgTpIizs4gPECGrABUJ6Qhy1WZr7e3bPguXUov3dsrfO+1RWU24uCNQrgPDteHq8LdMgUEJJHRtJvJsgS74XB5nGBPQPIaIOHq0Vj6tNY5mX9BcZOHUACpn64JZ9hZDRBnAeURwpyxhELAUgaFEDGfBlg83qCOD1cAINwB2jxeyHeQeCEeAdwQBHAw8Gng7e1AvH9Jt67AK13AlpeqzWyFqAmDSLWzBp5BmnrmX6kPwAOLup28LFO0iCrf8AOuMYU8raB3Drncatnv0FbHQcQcPbsNqG4w4C63kl7dbU3njk4oNhb4O72Ie/be0m397xjtsg6skuAzAaxVa1vB0vrrJzzw47Jlyct9iywd2L2zwGVc+IHh+THQdABVfCe5NHaW+e8cAenQG6NBbJb+H8QD2gLpdKfjW9g+0jeAu+Wfurr1mbzOpzoZ71t7wvg1kQ62Gqr7m09bnPZsW7p+hXfyssznrn4VToQU2YA7qQezDMKQA3aPHdtTpgr14f6nSqBktCCL6EDVkY0kPOwGVqwFjNgwZfhCODyCC7BJ9T6VS7IZ5wF5caTp44+HRiMoy6FAnUGXt/y/HOS8lxF8Qp8IwcvIAVVsAEUhoZBDyIBN9Ay+rw4scAgKQOb2ngGiAKI67vy+tTW+NqWJ62dZ0AEW1ALhoAKyMFXHMTFQh41kPcsTxrAAVqfAFw/+i0YU+hZHLgDszWSJ0ibs7i05+bd3D2X13pZl21b+/ZFPWl71vUrgIMHz4TMAHiHT14m40nWyANvhdFjAHmYDnLaMnL2D8ztZ+PYEwbOGCAOSOpKM5Ly3ejwfBh4Rh90GP5gAgyei4FHGkjIn8Mm3SC7DDqZ7ncldIpOdlgOvmLwlk8H01f56XJ1lZUn7jAgVuawI22twISnCBp0ls7w8qwZiFsvIMx79R69D5iDmbWwpnmq1oeHDi4deADFOtvLDqv2E1Ssq3UMyGLrB6rSxrO2gRiEF+RgLuRpq1ddcWD3Hp71qa60WAB4+Q553lFsTu2vd+3QAuLKgV4b36rZHDbLfgrW1Cc/NgrYg7Z0tuwGcfsgqCdm59gwhyvjkB9X6GTfJyTzstaCg5T1JKPWlOxKA3sgl7YXDqRvnnjXxgtxQAKQG6w27wau/2ReEHsVP431qt0tP6Dq01rweoO4+oF233/Tt7ncxtm8xqzvLSutX4cNQAZjV+KUl5FIsSl+BkK5en4A13v4jg7m8pQxJDz2fshGEMG7QJhBE1gZBadIQug5WMsnnLzlYK9MW8JLAYCasDPG8p1SGWcGT3mnVuUMucOD+mIG0smVsDOYxnZ97/Ag8DKACdBABCCABLiAtsCwbwBnhl99MWMklq8fsFYfCAL2tgdmRkx5ac87nrS56M98ANBz8JQHzuCb9wzOvO68bLHQVXlX4fK08+76AXF9OMxskK/8DIANwkB7wjcQB+niQB/Ig7T3bM203dsK62l9WjtrBACMPq8NNBh1wGHoyCK4kWPGkmwIZMzhDsjJARnwyQWYwCdAixk58AZ1sTyBUXSlDka8Sgac18N4nqAGG0Bn+KWVC9UFkzxxck9eybJrWGAV+h6+Xndp7/gRiHdYT9fFIM4Lt1bSrvBBhy4ChVsCB54g7gaDl2rueb4gJ3g3YANvgWcK5tZqr9nBBdiBwz7SH7pjP+WBivatJzBaM5AVOjTYN0G5fHMCc0G6vPJrv3UA29z1Ubvqy1Pm8CA2bnvnWdo7ejcxGXIwYFPYQbbJgTJos2HsovVNJvstjzKyq1yZ9toJHQSUs2/smdtLckx+7AmYg7jDhLWzxvTCegK4QFfEQE6+rbcYyN8gnrd5AziILKRu6Ru4Ni8Q/VLxjnVLP43bN/Bg2jvnwYKnfutHunXYtLzPjN+434K4vu0TCPOuGQCKvKfzPd2ro653sK/i/dt9ENeWt8DwMEAJnphRAlzQBFZgFqTl7TfvhTjQA7+8BJpQJ+Rizwl3CmAsQm5c42uvL8aa180YCXn+lEG+mKEFqT/84Q9vMAEMzyADIAATaKQFdfIkFuLVV0damRiM1Beke1ZeX/IaJ2jpB/zA1nwATlqQD7gOIIAsBvHArgyY5YF3cFY3qMs7Ya5M0BbE1bEe4GtMeQI4m685LbjNU1CuvjiQdwDxrE7Qrn15+m3dqlOetXH44RXzgEDGPjKaDpUdUEE8o0kuyJ1PKYL6ZAHIgQmAANm3z66BGbxgDi6BXn4wZ+QBZz1FxlTIMw3iYmAHAABxgGSMySkDTpbNOYA7kKx+Bm3et0BfA3BwVl+QH6g9g/iCXJln62Vc0MlDpH8g7mDkxsI8+2dXQc7c83jF3l/wbt4Z1AQgcdAJ3NLygM8a+hQC4GJQcWgCFHWCZmvVGoJxnrLDG/h2NR687acgv/l67nOAOduvYn3rq/bKBO8pyPcM3oK63rdDi3cmh6DKBrWeHI3sFvuU4+FwZF0dmqy7+mxdtov98iwmv8rJB/m1Lw6hru3JfRB3ne49zMN6C9bSgclaA7i0WyR6Q34Fcm3tf+g6OTCdMNr8W/oGrs0Lfr9UvGPd0k/jLsSr6z2Bj9f634a4dzIHEAZfV+kMQoqeAchIMIK+gQfxblmKvZM6DACAE0TCBq4ELqB3nU6wg7g0YQTQgKqe0798BoTAE1oKUCDgC3BCnqCrmxF0ujUPhwQnVt4XoWeQCD4FMh7IUwgG3Vx4WX/729/evpEvhAAqcIsDVpAGZSAWpAEGbMSgnCde2rO0cpDSRn15gn5BSyxfDNig2bzAVQBEcA3iwJsHHoDFIH5649oIwTzYGiuIg7dnkDdOUG58z94jzzrIy7dOgnQQ9uwdqle73kvdgjzthNbT2gkdjkCBcWUQyQxZJJPkGLjIAtnMKJKhPveon8yRCaDKOAMQIwjqXT8yeF1DMnyCOkAAXow7w86Iau9gGMSDHCCBu/pB3NhklTySWwcRB+N+3NZ1OB1d/Vz9VScdfoI4cKsrSGtrTeis9RJbFzphXR0yToh7ZyHvdcHm/axB795thbUUANq6gQp40Bvw9p2cVy4GeWtUCJ6NE2Tbr/NbN1iDW/kgzGsHPWXmbf5BugNCEM8z114dBwBt5AvGF9tP+2x/pfseTs7sJdnLTgV36+sThX3v0ATu7CY51U6bbJq0PHvEhuaF8769j8OVcQXr0eEJsMmr9V+I72eNoE6Wf7iB7yN5N7BvXmD8peKnuT6NmwdcP+pLAyfweRfP5e+7yT+f66f4PePnjd/qNg/wBec9xQN5xgHceeDquDrPC+eJC95FH+owAq77KD7jSQgJGyEllNIEETAJIEALjCdvnJEAWAYjgyqfsKsP2Al1fclvjMbzrJ5n82D8KBFAM0KEnrD7hiQAOmUwpkOEcteZFBhE/WId3MAk2ABpIYiLwSWgBPDgrC95graeeR2CtLa110Y9+fo94eYZxIFWAFUglZYfbKXXy5YO3mIwP4G+fTWOvvUpSOsXxI0H6o0HtEFc2pqpI269pJW1XvKrW5k2xi7Ir0zd1obB57Ux+qDKyPseyKsmBzxXECebronJISh2rUlOpMkoGREcPjtYuqlh5PXLGDKKoAM+riNBRwAgHg3YAAsIiLVzhawN4+4Z0JQJQVxM3lyB+tSzEDdnEA/kC3G62nV6Xri890JcvfXG89CNRZfF1jH9BBrrGyysDaDtVbV0QBe3Dt6/Ww1rAupd9QKLwCMEbTohtq/WF+R5udYvQBoHSPWrLM/a2u81P+/bM7gBtzmDsef9cZ71D+YdBoyhX5DWj/beSbq6oF7a3MxHfWkHHocxgayxjexStootZBPZnqDuGezJZI4QcLN12cGgfu6Lw5XgUOAWwBysnbUmr3SEnBZAu09BfQ5SJv+HBUfgeQJT9cRb95be/n+J9M7lln4a05yBUtBe/cDe+5QvPvN6Fn9m/ADemOd8zQuQgRmAg3gGYcHdN2/1e5/eDcTPb+EZG0JIcIM4gQRihlLct/G87iBOmBNq6QQ9MNeffpTJd4IVMsjFxiTw+nGNTqkYIadUADcmYIuV941eGY+cEgAWkAMVuIAX8ARdaUASpEEMXBbM0nmNQVzcN0Bl2gkOAeJABVrGDJpiY5lXgadsfsqkg6BYfp60a3W/Rs+79q28X6aDd/2J9ZXXDdzBWh+tQ/XVBdnWIG/ZcwC2NvLV1d57tY7qKetZv8ZTT3tl9V2dxuCtuTVhhBhdNyyMncNbXiawAXpGkayQn7xdMkLmGNAOodqTDbIScBl+Bh58AhDjyHMxBxAHiLw6cAZw+UBDnuTpoz55qsADDIxvcmh+ZN1cz+t075P3DLyl09+fC3H6bwxj0zF64YDrB6DmCH5BESAX5vYAEMHPO1kL791ByAEIxMHOwQgwrKF8wAFy+gLiAN7eqm+d8oQDpbVsvY1nXjeIN2dlQkDXpqBv+yLWbwcD/dtXfRg34IO399Ve2nt2SLPPHAT2iXyxSQ6SAM15IWfkjaxyNpLHDprJqkNU0FZHf2KhvfEJiJzyxgX2y/tZcwdMsmeN88CtNX3J8xa3D9Zf3R8WQq9AdIPTe/NOKH30+Wmcj/b30fpP4+9vCfS9UD7Tt7G7zq+sNsZtbwAYxLtKZwDywF2NywdonjaAq1/wLChTxyGAMWFsQJzAEsYCY5QwJnw8bsJJiBkHwcmSMS0QUuXaqKsPwt2Jtut0/RuTgiijLCmGPo0F5DwcisUoSa9hogg8OIabZ04p5VFgv1YHO3DllQMQLzFwATrIyN88QA7KDFOeI08DfPq+6jnISxsHpPRVn4BmTOOAch4xSOdtg586yvK6edrS8vURrLUTqiv2rA/9gyjgVidgKytPrJ6+g2oHEW31qUyeNfIuvUcw9o7qKNvyhb2+Bf1YQwccsUMQb43hYTQBhoEkKzxwckkWwIg8kBHgZjzJUvLEMyJL2pFfENRGORnh3TCODoCMONkIIrxLxtH3RrBWJpAbBp0BZfRBwbNrV89AYc7ag5n6xuH9kz/yanyHCe/AM3YQoWOgDbL0VVgvPD1e0Af5rsu9n7AHgLzwDgDWjy6ZA32kL24JACIgAsWGvNzADnze1Vp5Vx6h93VwkQZzQHHQKQ0u/dAqiAOROqCkLwE89S9IC8Y3NzGwmptndczJDYI8aXnBG6wFfdi7DiD1G7TtkbHtZfWM5eAgqGeOHQYW4mSMbLFVQTi7BszWOeCrS1YF+YI85eSXDdQPu2ZPOCcgTj7pAKdE2oGk63QHJF62tZR28+E5T9wzkHcj8hXEn4D1mfLg9Nn4aczP9vvedk/j83Q7/OgzCN/i25j+YRl1K6udcfUbgF2TA/YJbwDvCt13c/DuCr1r9PoI4gwEQ8PogOkGwkjwGEmCm0cuj1ACOM+XUC50GY+FeMKeQSbYDgoMbuMxPJ4F4xpTH/rue7hrQT/8oGTGZpgIv6t0Rps3ZB557IzvX//617erZzAGNNfRgAhG4BIkPQOOOIiLgzh4CwAE2IL0PqvfoQDY9A1qAugFXBAN1g4XQTwAAqzywK1cOnDnoZcnX9BeXeUOAfWtP+XyxYG+8QJt6yG/PO8D4PqV772UBXFpdcRC5daxfAeBvoFbQ9eDjD7DCYBAQ0bIAvCRSeAjLwJZSQbJToe/zdeWToCatmBKPhhKMQCQHeOBAO/QHIBc7JmRD1yABdx5d5UFe/UYf/3p38HRQSSIM/wnxM3thHjwdnDpZk2dDWAeyMWvIA7kdNla0NV0x9ysAxieAcQCqjRY9uwd88YDOLgAuuBWA9QLfncA4Lxxnri1BRhtWkvrB7L2AHQD9QLaHKyrPHMqDbwLan0EcPuk7BbUsVdifehXW3nNozIx+8L2gDBZs57kUyCHgjQ7KARyeeRTkKdMe3EHAHXcZgZxn2K8n5gcWQ+3Fw4/DkoOmOSzb+ABW75y+XvN/gXiJ6yCypn/0ef6+Wz8NN5n+31vu6fx85bVu/UZlBfUW6/82u+zAwIPHKTBOqVnuFyjgXIAzwvvZqBr9ECuXF2HgBQfxDOaYjBlJAkkwWMUEtJOk/06mMAzXowGgAM8oVU/YSbInVIpBWgL0j1noLXRJyDzskEawAm5b0aBO6gDOi+Ip24OYJ6SgOw///nPNzgHu6AZwMXBVwxmARzEAQi0ASiPUp5n33aNUT5gBTP9AqawQA/KDhSBFhTBEgQFbYK0+oL5ywNjsTz1OhRIq+PqPE8+sBvHeOqaS3PTh7T3Bt7mIQ7UeeHNz/vVh7kGa2ltlHcokidtvdTjgTNKoMh42VvyQtZ4kQCcbHSwIzdkgwxKJzNiBlV7MkMXAjn5IwN+T+GqHsDJCZiRIcYeuIGI150XZl6CAwZwBQd568WBAW+RB24cMtePOcn6K4gDcuDOG+8wTqfLA3H1BGntwHsBXh4dtnbKePx0l+7RyTxxumK9vbvQFW4eL3j1zRxIAC7vlWfYJwWeubUBGvAGaLEDM2/QJwow9xcArncBxhrzhjsAicHTGq6HbU/MI4gDuPmZrzz1BfNTNxDXbwBXLlS3Z+X6857y7K0gbSz51ojMWLsOi2SL7Hkmh/ZXkO65Otk8z9k8deSTU/0EcfYMvI3bjZH5WFOALgC2AOB54W5ABLokj6du/a8/bFvIPEHsqXz7+kz6l+7/aU5P41d+9lP+E8S1q650EHc4AGCwBnCGKoiv973fwQN4BwsgX4jri4FgABhOEN+wBpQwEkIhsIMmD9nVuXJGs2t0giqP0KsvML4EWx4jswcFz42tDiHXt5CHzQC7bmKMBKdlhpkiAH1jqwPk/YqdgoLIX/7ylzf4gYoQDEEHXBZQQBzEXQELgRysuxIGcAHguyrWznj6NI5+6zvwAWvgzTNWB4SVBV6Ala6dZ+20Cb7mX39AnbetvLEDe2PVn3JtxfICr2ftG8cYDjbg7L0EefUjLbS2+lHfOkpbG/B2IOqHbAHcQc2ekwGwIndkRAyE5CbDKA7g8gVyx+C6auel0g1yrS5Z6K8W/ECSPDk08EwdBIEhj5ohBQWwAmwxYypm/EEIABj7PDn5Gf3kjqFmtF9B/ISz5/IW4OUtxEFbqM0Jcfl9hnC4sbbeOU88cG9s/t4J8LyfNaEzIO6dW4tuKnjU8sAcuAHaOgV1QMkDBxhg4bVrkzds3YxnLCEvXAziYvuhTOyKubmZa3ugH3smSAvmru8AvvkdEBwK9KuuPEE947nFY2s4I2SS7crzll6QnxBXr7pkWrn62U+OifIgnhNiP4zLnnkXh0dr1qcK1+gCr9t6Wldl6pxw/wriJ4gWMIHmo/Gtz4/kPY33kb4+U/dp/MrPvsv/KMT1oy34ugZfiOd1yMsDd4Wu3glwIA/iysEe/Cl9njijIwC6IM2QMpoJIqEEXwayH5NJZ2gZUgAP1tpSBEFavrqbJw3gfTtkBCkR78Z3bs+MtPEYSmVOyoSe8HsGbQHIKQnvg/GiJAyYen4Y5u/H/SgM7MAwaIJREApUIAQ6QVxaAGzfxF0bAhMvHODVk1ZH2yC2/QFmwdiBEizNR5l0IPYcIM2xNtopa97S8nja2oOwduKgL199dQVlQVda3wtf7fUpSCurvneSlt8c5DnACNbDQUcsWCcemsDoM5bgar/IVsADJXISBMmEdHKV/CVvZE8Z+WAgyW23VOqAWN6xcsGYZIWM8KIDABnxDFw8T3DvmjjQZ/yDDeMPKOSMvOnbfLyTuex1unQAXjA7eHRFTh8Dc3XPvFv+euLWzLvTGzpDjxxYvB+vTwzcgvcpBPMACXA8XNAGbLcVPHBpQM8bB3LQkacMYECcFy4NPECjnrW13sYA0caynmQCqMEUgCszL7punuqpU9sgXBt9aKdO7dXZoA9l+lDPWPbRAUMwFjtjH9km4M5uBXFQlieUJouexYJ88ipmk9hFB05pn106WBnPvtgjwXwcHDsg8cZbR1fsAT1P3Noqly/+AvETQsEnGH02Pvv96PPTuB/t76P1n8bP61Xv1nfrmId9q3Pm6TPwAnYgZ6wCuKv0/pTMd3DAbi7F8pQBvboOAQvx4M0IFBbkwVcegQTYjHDCKj8BZsgI/YJcHw4BoO2AIBi38RhZ15KMIs8pgyjm+fOuhTwpXjiFoBzKzYmSOEVTRH3J57VTACDjkf/pT396gxDQ8sgF8FlIgZa8hbj6QA3gfsTj219X6aDleh20Ar72+uGRygNUITgGWNB2sABEc1wYB16QLQTinsX6FAdosffqCt27AS1gq6tcHq/aGOai3Ps6qJhv9bd/afWVddsgbW167yDuWX/WyfUqjw0Y7Afwkg/XvyAGTgGInMgXGEFyYV/JFPkR2/MMI2BJk7WupPURuLXNAJNVQRmvHByAgiwBMePedS/vkTEFJ4aegRUWFrxEMkn29Glexn6COJB751cQ79r8WxCvTB9Arj9rZvwg7pALDuYZxL2j4L1BXZkQ2MAN7AAXeAEaqMFF6Jn3bX3EIG+97HEeI7CAEN3jNWoLlCBqbOO0lp4FwLXG6iizP0CnDKwDsNj89JcXbf69j3a9R2Mok17oezaecfVljdzssWPWMRtGtjyTnYV1MFdfmTgb2DOZEJIPskIHHBqNZ+195hGbm/VdiAduh8q88zxxa9v6vl2nnwDxvOB5gthT+a3/j+T90v0/zeVp/OCp3rl2u46vIF6d5qEfXnW/JgfuQgAHZOXg3A/ZmscCPG++vkCc0lN+is+ABtQMqLxA7lTKgAIvAwGOhDXPibB3+mRkCXwA107Qh/6MU2wsae2BG6AZHh6U/gSHBYIfvAk8JVAfsCmI+YC2PIrlGp5RNlfXVBSGEoAvsArgA17ABLie8zAXTEAUkACOZ9mf0og9F7pa1yaIdyAIhkFcHMgBN5hKB9rqgi/wqpOXrQz0xcrlq9M4Qby+vVtedzCuL8/KOnCYs7GqbxxzFeQpV9c6gXk3D/I6/Fgz6+EKncfAQNkLHiIDZ+8DkG+6GUoy5pn8ZQgzoMqCOPmz1x0e1XUlTa7JDblwAAzwZNAYZE07B0AAdrPjZoDMkT0AYNwFXjijCuzSfUMFCPW8D5nj3RvLgcFcF+LegycOzMBrjnt1Duieg/ICfL32zVd361tHdVtH7+796IT3A/IgHjDNH9jEgncKnkGtmwlr4N155gtxOuV2JUgDNagDC/iIlQtA75ajG4ydh/FB2LjWXVlQNm95oC1uruQJeLVRd+t3KPE+3kt/9ir4N45nQVt1jEU+yVZ7yT6ROXJDxsiOsuSPrMlTJl+Q17O9IINsUbYqT9ycjMmmGd/7WN8+TwRt6yjPOsoTOzBZd0Haen/1d+KBJLCInyD2VF6fn41/6f6f5vU0/l5j62vX7kzfxurX6eoqN54+XX+DdlfoQN4VOijz1AH8BnFA14cA9PrSlscSxBkYBnUhvnl5zhlZ15SgyVgxqmJ1lG8AbeXKKAIjKt4Dg7Q2hJwBZRAZHwpCceTz2hhYnhOjQ+F4TtVVDvKMFaMlrR1lBHPKQ1HMmZdPAQCNlyoGHTDLswQv+QEtiANS38R53f0pjYOBP1XKM+eJagNsICeAnj71HWTFoAuKwTJQBmPP0nnM21cQV65vfWx7+YGct9849a39zqHDgPJuB+R1cJAWrJV3E4zb2gV2726t/F6gv8Nm3PN2GTnyFogCNsMXAB0uyaNnxpPcKCdPnvXBSJIRBlSZfHoCZsrIEDkQyJg+9UMu9Usu+kQTiMmZAyKDygNk4IELzLwDCAVyQCFX2magzcs8zH116oR4v2kRd6u2wLY2nhf2QL0g3/ryBfrk3Xh9HWwDBrDRnw3B03t6Hx44ODq0eOe+gXvvBTgg8877ASDA8B7Vs06g4/u4K17QEYBGO/2AqLGtn3kFZvnm0lyVm6988wJkZfaHBx3Y1TF/+bXtUMJe6F++vruWV1edIE8+QZUnbh+tobW0pmTJviZvC3CyJpDB5E06GQRu/ZER5exnv80Ab2MGce9j/ayt9QRoa2n9rLE1ZL+6AelZLO8K8RtsXuU9Qe5Vu/Kf2j+V18/GC8/N/0+lP9L/1r2lzUk+mAveF6B523neXZ33I7a8cIDO89audBAH+PXCGQAQp/iMGyPDmEqvd8QQCcoJM4PJMyaYDCNjJSycpQN/AJeXUQvsnuUTbgDnOfOsO9VSBMrCywFnxpVhpYzSDDCF830zz1taewcGbSkLQwDsFIW3RNl5lv6OHJQCJXjJBzYAB2OAF8AbmKR5mAAF3EDuG3kAd73uWbl6AR1AtQW+gBxAQRKcwdAczAd8BfPTVlnl5WkDoubsWz/wCtrpQz1BuXx9ayPo03P9etZGLGijH3MUmpP+auc9gFusH+9sHcSuz3kGjA/vgqHkDdpfe2PvAczB1DODydDZO3JFLuQzhAynNHmQFuytvSSH8oFZHtkFPsbXWOroQ79kODnWnzyyx6g6OJqDZyDnmZMXcGD0QS1vHKhcHYOKdyKD2urPuGSerhS8K92ia+Bsft5dvKFDTQCnoxvoq1C5tukxvVVmLHPw3t6DXvgu7vAKZvaB/riZokvm33vmjQIdb53n3awAACAASURBVNnNg+B9wbpDDE8RMIJLYC6/9VEugE9pdR2CrGnjWWNzAlWw9Uxnwc0cPSsTtAnEfdqQH+zVFfRTG8/615egrjJ2oD7027qwQ2QJtMUCmfRsj8kT+UkmPbNp2St1yKh8Mg3cyba0fem3Ctbe3hQ7OAG4NQRmv0inQ57z0K1nv0mwrj5ZdCPyHeI//nj9lv0t4C+Mv1UvQG/9M73tgTjvGbiDeB44iAO3APRC4N54IZ4XznCm/EGckVmIB/IMnxisCSYDQVAZK/kMh8CQ6CNDGdzVExhaeYwboWdsEmqQBmvCngJQCoFhZSgJO+PD8FACwOZtFBjSrjUZcG0oB8Olf33xmgDdyd6/6PbTTz+9AdqfZQEUwAXuvM3gW8zT7M/LxK7SAV3cM5hrry6Q61cM7A4IoAeOQRE4wTyIg6gAnvLy4NXTFryF8qun7oYTwLXVrr7kSddOX6Avrp600Hzleyfv4j2tjfdzqPEnRgwPQwN2jKO9czNiz8kJ+SPTgMRAkgPGklwxluQlr1t58qOMDKpLVjKO8uwvOSS76pFT5fLVT/bInzQjnDyTlz0gADuZcbvD6Ae2QM6bdDgBCAdFMtjcO7Cai7HEdAJkvXdeeBBeeH8r/Qri6bDYe3knB21zctD1yYCXaR+Cm3eiS+mT9wySwNbVed44gPhtAJDnKQKHEHTkqwf82qmvDLgBiVcu7gBkTQN58BYXgq95S5tz70CnQVgf5q28tHodAKpvnB1DewcJ71o7ddkLdoW8kCGyI0jvM5kky+RLXc/2v2d7ICSnYgdONsq+2JPW395k26xdB6ZdM2sL3tZb3Lq2B/J47d8h/j8A8bzoAA68/Q14ID+/g3eVDthCEA/g+lIniDMiC3FGL4DniTMIgTwwM055QYSWYapOngBDU9tgnkEm9Iya/rTvWzeoOp1SAHVSFoJPMQi+OgSdwLseZJwoA2PrOl1flAbwgRysGSYnb8qqHYjooytU1339WRbY+QU7mAVZaZ5m3nSg4mnmbYM179MvrwFMmcBrD+J58IAexAFY/8YFT2lBOvAGzeqc3nQA1y6gB93tC3iFPOutU7o5qGdN+kFc5ebSocJ85HfgaQ0cYPy9at533k17ZX9BBqj6NEQe7LGQwSQDAE7exKXJjD3Wz3o32pIVcqMueUuG6lesfZ94gqu6+mRgpeWbIzknS2Qmr8n7MPgOgAAueCZbgJ/8mjfZFxbkdA64vXueuLUIzsqFQF5+OrXP6lQ3iCs3d+voUEJnzMv8yT24Cd6DXtAP8APDypW50gVhoWt1niAog3SwBpuCMrBWpi4Y8eYddoAGYHiVPEd1rZ1xjRdczUVaXiFAA2zzXzBv+2CsHkACuXT96qsDgnZ7CNCnwLawK+0lOSKPgkNfDoZ8afWSPXGHUTIlyFOH/JGnDlf2pDlae+Oan3XrwNRVep43qHeNHrytueDZXnyH+H8Z4jxz3jj48qxBF7ALvHBAl88D32/gAfyMA/heyzMgazwCsVhgFBiE6sgDXgaSMBNehkq96mwbeYJ2DFnGmBJIM5aE2xUmbxl0CT+hT2kIfoY6r5qxdI3uqpNxBXBtKYa6DLFnxqsfLFEQp25GC9g7BSvXl+/Zf//737/8W+QABdwCSAkBsm+9/YgNtAQQ533yxgFcuVj9frUunWfvkNAVdJ6xcYAxaOYVm08BXEFWG/WkwVW5PM+C59LiAO22oSv6DgvV1Y88MYCrazzP+hA7RAC5etbEe3gvBxqHGFfoDAoDzaNhqOyVQ5j97uAHPr4DAxqZqKy9Fwfu5MVzMsHDFux3BhK4yJUxyKdAVjOmm1ZmXMDTvzL9aE/OyTL4modxyEyHQjIIDAAA5mSLjDmoeE/zMNe8b3GBTnjn9cTTFfEN4uZSCOKnrnl2iNaHQ4h3DuKuhvv+CmbAJvYe9sY7AIMYVICkH4yBsADmwALOIB3EwTiI8wyBpGtfMAJKBwLwASS/ngZxbRwOHK6NF6ClC9pa2yCtjmflgbh07b2XdKFnuu/dqhfYG0t+wLdWbAh5IBcOfcmUfZWWTzbIEThbb/WktSPPyZ10eXni+7nGvNghnxMdQtyAWEPr6TBs3eiUPZLXYUmZtZQveFbvO8T/yxD3HRzE1wsHcNDue3ZeOCirB9rreQdxZYJ6Xbs7AGQ8Mx4MAyMQvDMYyrvuU4eRIKiEVwzOGZ76yrhkjGrHiDGYDAwlIMy857xozwl9ykHwg7i6jBFhB1/eRV74Qpzh6mDgZKsu5aC0jJYyhst3Qu30wxi75gMkkOKN+/fWebKg23df3nietXQBpHmiQp44qDscADnIi2vPmxcCeQcF4wCjEKTXmw624kJwXdDKq658wbO++p/PgLi2oO69A7QyaSD3nb2/q1e/Og4Q5i9YE+/oF+h+cMNoM4qg56DFYNlTBjCZATG3SmIwBT4wlRbUBVR55TOcgEomGEZxIGc8lZMz8pVhDeaNr46xlCsjx8ZTLt8ziOfh6k8eWezWiBySLTIFAow/mSJb6qirDVn3voUOB+mVd0+/jCe9z+ottOlWeenZ6h39Vf/0xBfi9sWnKHMPHADtT8KAA+xAE9CBPJgrAwh1zx+3yQcXQRq81QH/DgUOALxJf6EANtKu1MkKMIOtORnbmnoWgixom/uWew7S2pq7eNPqeLZH5qKOdMDuMKCe8vaSHSEj5IJ82M/kRR45EuSRG2l12DDtki/P5KHDprSDXnaITTKmmK1iixxurI31BGnrBdJ0yz5sWRC3nmD/3RP/BMDP79z7TfuWPr+Bn89PEA/opxcexIuBHMB56urm0fPkT4ifhiEDwaB05akOiCfQDKt6GSJ1pRkRddcgBXLGTDuCTIgF10sMMkU4IS6fMihTz3cqp2SBYQriDgKUjkFXDzR4964KBcpBQUFFoDQgrh1jrC/1GRTGDEz9Lblv5QAGfDxPV+K8836sBsry8sal88QB3D94IQZ0nqpybfp1e5658fL2A3ogX4iDKLjnLQdugJbOQwZY7cWVBXaetZA3rs163cqAWrm09/cP5PDK9RX8zdM6dBixBv4zE0aGYeSZWlOHL/sS0MjQAotsgC4gM4Tkq8OeGMgBneFMFtTzTF60YyDJinzj6EM6eapfZQyt5+RN2vgZZjHYnnJvLvo1XgdKckW+Arj3vHni5F6f3j3Qpi/pyfncIThIp6PqlU7XqkMfjWHNrId5OkR1nQ7a9ADE6YBn+wS4YMC7tndAAt6BHLh5f0DBSwRpdUEmL1C6K2CQUce3ZuMAJDDpg0cORmJtjG0csFYvgAdkkA7g8hbC+q5e+eqCtncERrdB6snTV/XEjdfY6qlvP60d+SEbKx/kpYOhcnKULJEd6eyWeuqwd+RGrMxBj25wLoK4+doPnrj1pkfWp7+xd8Nh3axtByLPXaFbW/W/e+L/AxAHfiDu+zVo856Dd79Ev3nh2vU9XTovXBvtAZz3w0DlaWQA1jAwDgIoqy+ozwDlHTFKDIoDQQZPvYxRefrQVn/aUwKGjhcsJuQZ0IQ+I0vwCb18hhr0gRx0QXghnjdO+VylUxJXuYwsQ8V4yXMAYNRcfQK6OkKHA3UYH9/ugBeoQDP4AaM8nnVetqtzoBb8OZV2rtZ9G+adArugXr9w57WDeiB3OFiYgzWAA2ceM1DL8wyyAqgG8CCubX1VXxvvEdS1CcoA3X+W4j27Rgdzz8qkOzxoZ77m7z2sg3dlQKwdY2Rt7QnDZT/tPZkBtGRNHugAa54KWQBM+bxg8pYXRBaUZ1iTE/kZUqDNe1eP7KinHxDPIMtP3qqjnv7Nk1ynK4ETJPVvLIdG8kcm877JsmC+xgrcxd6XHtAHeiHo23PB8y1Unj6lt+WL5RnLoceapAtk3YEjPQAraRABD8AFA/sHaK64T4iDigAiwCsO7OAOLHng0mAPSHnK0topMw6IG9Mzj52HDbTAuqDVPvgGZLosBHH1O5xoLx8cvWNt5OvHGOoLgV1+AG9dHPDJwx4IyU4yQk7IDVnYYN0DNllQx+EzGZWmF/aE3aEr9sA8g7i15VGDssOV2wvr5cBkzcWeraPnAK4+J+T7dfonQL7e9M373ryte0sHX95zAO87OJjLB/D9Fq5NwViBHMTzwgN4himlzxhkWIuDuHYCw8IIMU6MK4PG0CnL4Jmf/jeAubb1S5i7AqUQDA6jl3HOEDL+vGoKIc8zxWI0gbZfpcsrMFryKYg6YN1pl9LySnjelAbc1RW6XmeYHRAASJ5YPR46SAEXrxUggziQ8UJdo/O6fRcG84W4fHAH8rz4rt9BHcjzanm4C/AFNEgL4A2q5iIAbUAP5F3LdxAAYAeQPHkgVqZ/0BaCdrcP+mx8sfr619Y1ukOJd/MdnAFxLWqdrb+DlL2zrwBq/wGc7AQeMkTO5GXs7DWIkzX1yUcwJjun8dSukNEko3mkGV1z0G915GuXAS5f/yfEF7hBkjHukKkvcyTHjH6HEO/nPRbi1oE+0Isgnm5YixvAG1+cPqW/4tpIG8u7ei/6Q18ceOkBSARFAJFPF3h+oOCTUp64wxiY85J50aBMD0AXZAA7b9HeS6sH/sq1C8rGAFnt1eHFA7gxAQjEHR6ANBiLtTcfc05npQFZWYHMKQ/agNiYW0f/ntWXFnuWBn22gb5bmz4BWUuyYb/tr322x0Jyqdx6q+Mwyr5lt1bGpNUF8WxTtznGlXbYscYORtbVVTqI53HL74od6K07mPPKBfV/uIFl81z3CpsnvaD6OWkA+jnhNvbO9Vb+kbzt6zPpp/VzDQ7SXX/ngfd8wtta7fyDedfpHQaANa+ZMcgIMBwZU2lGJyPDYARoeQxEnpT+OmRIg3nevrkGfu30YQyCT4gz7IwtgyefgDPSxZSBIlCMDCajBM4AwTiBN2XjEclnlIBXft6HmEJTDkpCeSgvY0DZKa46YK5MWzcEDB5DQqGVUTzteBOuxH0zB3Ow5nmDMXgHdPnALfSDL7ADf3XVW7CDonwwd1jwnJfOiwZqAAVaQM0bz4uWD67KABusBeAGX0HanAVl9dEBQNsOBforXz1969fcHBDE3tuNBcPih2wMcQbQntnXDnzkJtCRs2SQXAC1fQ/YZBCEtWc4BeVCnr26ZImc6Jf3bUyypYzx1V66g6e4PPn1ywDrC4zJoLbkNvlOb4rpjjnqz7jqi8kyHQna6YtYfe9dAO4FsPEE6xHoPauz9ehkedKC+toJ+jcf6+RQS54dXh1Kk2nACorkH8SBAjQAFQwdyKTBOA87cOeJ5y2CjrAw7wdrdMi4dI3OOQxoBzZgBE6gDv7K1S/QN8DeK3Iy5ll+3rV2gmdzL3hP4+pPX0Lp6ssL6No77FgvICZvZIJsFOSRMTInJjtkhuxJJ0vqVWYvpPVF5tgr49AVa2OegnlYN+ubt+2gI9CxPmFIWz9rB+IOQl2tq/s/D/EF1nvTC9v3tnlVb/v6TPoJ4iDcVfp5je5a/AbxPfT0ozaxuu+BeIalmIHNYIkDMsMqMCLyOlg0z67ty1dHe8aIIcuAMjIMniDdiZYiEHQxgAsUQABWRgm0GSbpnkEdwEGYUki7HgdtaadcJ26Ap+AZi7xthowy8z4YL/V45BRNmWdjeKaAlI/B4jW7avbDLtfmvgkDM+8U4NZT5ckrB/eu3qV7VrcfxYE5SIKu0PdtkA3S8oEVbPOiwVYA6H5wph/QFpunOXvWZ544WOtH2B+x6SfoNwfP+naT4J0YG4bZmlpnhymHLfsY1ADcPssTkzPgATZyAaiVAaMyciY/2HbwYzAZVMZQG7JRGcPZQUE5eWsODhOeN6irj4y1fvStDR1YOe6gKg6kzd/7FcxbviDt/YJ4kPV+C+YALrY2WxawyzOv2i/EW1Pl3pUOdeVPlskxSNADYMv7tGc8ZBAg0zxl5UEcXEEFLAIGmJQGb+UAzwOXziP3bd14QYqOgZS6XamDjrS25hFUmyu5Am35Dh76KwRyz+Bs3nTeuwZHbbRVR/2grn9BO3UK2ju0gzjZICOFZI6cyCM31plMgnTgTp7IkrIgL19bhwTjCObJJtkH62TdrZ+DTiC3N9LyBNDemwx56ggORt8h/nCd/hlwb5vPQrxrdFfkAkgD/gLccxDf7+Fdcwdmis4oMAaBW7qgXF2B0RIYGIZJfeW8FNAWGDuxOZYnLWirHcPIW8mwMTSeGVWCTcAJPeUQM86BnLcF2LzvvkOCeV54XjRwUwjQpcjSQF0aYKQZBooNytqk9BQakCi0sXjogO0gIGivT7Fy/QAzsPKUQY+36sdeIN41Ok9cPT90E3sO4OKgzztXB9D1Abpds4MwkII0+BorCINv19zmIj/YagfcwbtDQXnNuQOAMepbXfXcCLhBcMgwH/P0HgwJg8PIMkgB3L7ZR3sMytKMnT0FNLIHaMFNPXAXgyEZIRuMpkAeGEl5DKu+yIyyjKd0xlWcATY++RPLI2/mo071G0eszBwAklwHcvJeOn1Sh16kR+sN0xPPwTy4B+UFt3T5+vJMx1ZPK288z0FcWrvyzN+6gLjDZ4dXEPPtGbzyZskzsPLuBPIfxAHcwTZAB+4gXsyTJwfaqivNi9eWjugPoOiVZ969vgI5+EjLMy/ADbzqN1d5dFTwDp7L8x70OF02nnr1E/iDdbE60uoDKn0nx2wO+dhDX4fNZIfNCuJkVH7yKK3ccxCXpgOcDeM1R+/S4cK6WQeHGz9q6z8+AWd5DloOSsDt1+jgbu2sIe/8uyf+AHDe+QL5M+nPQBwYz+/gQbzr8wAe5PPCGZ6MziuIB29GIAPCQARxsTJGiWEBZv2ak9ABw5ieA7q0uow1I6p9Bo9Rk8d4M54MLKFnRCkEEFAkgWfXtSCDBK5BlcL1HRuQKYhnJ1sKTDkESp533QleHUqrT/04IVNk+SDtAKA/P1zS1piewV855VQHzECNUrleBjveqiDtH5RRDoRdrftvGl2vyxd48upWz7f2ruNBFFwBmfcN0nni4B3Ay+v7dyA3D2Curfbg3Bz1Kzg48LB9LlAmD7QdKhwuejfzZiwYb1CwttbGQYuhEuxpBzWGzk2KPQ2qea5g1yGvPHUCKyOaoQRx8qJ/8iIt7lm6QIbIk/b60zajTMbU88ww128G2zzIOb0J3GJyLS70+Yh+BOJgGlgD+f+xd2crlh1HG4b72LJsfOkeZDziATyBDQIbPJ35wLfVP8+GV3xO1q6qLnX/qpbqIMlcOUbGiog3c9VuyR4l/UrWqKx/ST3/q339s3mNy5+r01/ZfuksiPMXcAMrf1YCNDc+qToABwIQVue9grs+/lQC0N53t20gqaxee31A3K16b+JsJFCRwRhACj5g5FYP/KANbBJZgdxndLLw6drKyWt+fqt8wrsx1Run3PzajeP7YoGLAtiyEzbR4U7OptiNNnkHTPnaYu1sc2/j/EDMIK/1yFE8onM6oAsA92/qxQ55//li74nu9AN2MUcdf+z59Sb+CMifA+4d8xjEwRn8Ch4BPDh3074Hb/0CuLEFGjCVroJDgUdgKHDIBQlJWR8ByRyCW3JZS0o++d7IrQfixvq8bp5uKYFcIC2wchIOBNyCkNQt3I0bqDkaqAKvBCAClXp9JKAVNHLqnJTDCgicR5/mkjsZOyyYiyNzNnOTRbu1lc0f/MlGXqBXb4zAI0D5IRsQulEDISgDuZs3aAdpgAR1yRj12t3SPbv5AiyQg6+8W7hP4RJAgzhwy7UDsfV8FQDmxgK6MkD3ozqf8PWTA3lfEhw6+oLggOHXrw4tAomgSscONn4zANICm2Am+Pn6Iqcfh7FgC74S2LAHcANSqdt7cPXMNgRJ7QAbgD1bT5A0d+DWrly94Gs9c2ZrBWL1fSWqjzXAkL3yn1I+KWf/krJ+7Dwgl+czAZwP1ManStVZU1m9+ZpTfcmckj5BvDr9le2HPtgkO+Yr7BU42D54yUGDzXuPwAECbtd8BGgBVR9ABnJwDt4BHPSDeLdxudt2t3Cwsg4fJIN6N04gCj5yz+YDfzLmu/yJPOQgt/Fk5MOb9G+M8frI9WGnZDCXOkkZQOXGBXEH9CAewNmgRK9spwOfMltTnw2qM642dmg+OR8pTvCbLhsOLg5N9N/nceAGcD849G4ceCS6F1/239zTn5u4/i8e4gvEq/LV37K331X7u9TtXM8pPwZxEOw2GyjVBe/zBu5ZezCVN17wAVxB5griAgOnL3gIIEFbkGiMsn7g2+0EqIN3siVn61vXnMYJMPajXNAR1ABeMOYgAM7QnVbBlDPJAcKnc58GBaWtr9/CXNAC4j6VCxwcmaMISgIBp/UJmCOZD6w5NAcz3jrqlNWZC6AlN3YJ2K3joAFScnKQSbvgIDiCMRADpNu2BM4l0A7kyk7XHBL43cjBE0wBGnj727Ybd38n75bt0BDEgd+BwdzWsn4/luuzuDWCdgcL8lrPug4WBRJBRYARpOlQUKQD+xWcBDG5gOUmKNELmHin3q137H0DOLgteMBngQuqIC5gGid38GMr+gXxgqf5A7zAWuAUTIM1iJvHeLl685TUWZONsv8AXs7+le9BnK9IfIqtL8DNGbDrV169ceroRVK//qksaSNf+jO3sjaHEPpy4GTHbJSt8wM2CWhsHeTc0AHSwYzdgQM/AXDQ1NZN3E3bp16wBRtAB11JGzDL2QcgASVISdbkg+SQmxf83SIBir0rS+YJrPzUPH0RkJNvIa7ds2QtMLZXa5bYqjrzNaf+1jFeP+P4uTgTxNlDie3QK/vLjtgW+8ve2V/2WZu58gn+IJ6IO2IL/ZNBXNrfH/hE7jbu0BzE6ah3BNr8EdTFGPX0qO4V4l/xTRwAAbJP1IExWO8NfD+hB+9yN4QT4Dm9IFFwKCh4Vm9MN3BlqeCgj3m7iZD1lK9nbdYzxnhAN5dnSdABcQFHIF2ICz6gDa4A7hkE5JwAKARsSVmbG7ExIMpJ5AUvjsKJgafg4JnjghAH80MWTux23hyc2RxuMeb0TKaSOkFJ4BAsOTAZOCfYmwfA5AITMLoB9zkbPP3ITQ64bs6AySk5LNi7Efuk5kdkQRiA6w/s5pT6fF7Z7dsc4AzmgC05UFgXpM0bsAWMAgE5rCuACBR+TCNoC+yC6N5a6M57kO/7Anc6oxPvTh+BDSTBuMMdOwDRbpACJMjSJ9uQgjN7CcD6qa+NPWhjSyAusAq6+vVJfaGtrE1Str7yQjx770DMhpXzAbm6Pfxm3wDukNpe8zW5PgtrZak2PiOpq29lz9brCwA9pkt+Rf4gTv9sPB8IWiDO/tk2YLM379khzft1kwZvMO4zOVi7BYK41G0c2JX1M6ZxQbxDdM8g6jZtXWOt200TuNgZqAVq/cmrP9nag8OAZN6StR5K7Na+9Te/3PxBHlzZK9vpkMcmlOVre2tn+rO5AJ79ql+IiwdiSpcCstqb2OQLhMORBOJu2v6ExS+V6YauHLiU1SkHdM9g/grxrxjiAbybbjfvhyAeuBsjL7gA6aYNDBtUCiJuGN3cC2AFKGO7gcivIE4WP7YDc+uaN4Abby65tQU5wZVzCO4CD0cAalAGhG5w6qVuXQVvYwRvY4BC4oQFL84JsoJYQQF4OZF6t21rAwyHBmDjg7Bn/TmfuYHJWHNx/j63k1NbcoM6yLuRG0d263BOkHZbMa8DgSArqAmcnBA8gbXP2G7n3ZiBHsDdqEG9BNib3OD7MRqAu4n3BUBuboHAegUIcgkSgoIyWQVrQbUALdgIgunHfsGbfuzZs3ch2Zv9q/OOvDvvCyyBJpgDuPcp8NXOJtSBq35ygbTberejxnkWMPUzT/aiHvjNYc5gHdS161+9PvqyT3DO3h+DOFtn1xLIgip4WzuIqwfZQM03GlOuXb+e88v6alO2Hr9SdggK4nyKPunal6G+GLE1wABBttaXFBAHXTc4tgAgIAneDp5BfG/cgK2fHIQd8MBf2RjzAS4fsWbQ5F9BVxtQ8wO3726ZgMXmAI2s+vFh4/RvDr7XXIHYOmQ3RtvCGbwlcaB+4Gms5xJ9seVsL7sLznRbnT7sGqTp23N2GcS1iy3Zv1gA4i4LfIhMZJXITY/2H8QdpoNzAJc7XKunO+9Nv27tX/zHXs5PxX0GLj/b3+WT9EN999fWV+WrsacsX+b5Q8//mP6CNQhuUr9A71kf4CwBuMATxAMyeAbQAoSAsEFB0Co4KDd261rHusmwua8D+pChOZrH+q0p6AiknIMDSAXecgGdY4BfSX/Js7aSZ/XGcqoCWKdeTiNgcVrOAuDqgNZYzufGzJk4VxB2GABn/dQpy401jyAFVpxTDljmAX9jJWO1cWYyWksg4Og5ORnc2vTzSRN4OabgCug+cbs1u7WDMEiDuRu1drk6sO7v3Po5ALh5G6dNX/UOCh0YnPYFhoK4AOKEL6D45NnfNwVT+3bosC86lujDngVAB69u5oKhAxGdKTvoBGlw8/7pwvuihwBNR4Kl9uCqTEeetUnGev/Zi1wfdXSrT7frdN44sG49tmdNACQX22TzwH3CO6jnY9pP+w68gGxOEJd7voI4v8jHKntWNlc+o8x3rce3aq+PwwH57YWt9YWKLYJFsAM67xK42LvPuN3yvO8ACuC+vHj/+jjIATeggy9Yy/dv4srqQNxhwfz5nDIQtz7ImtuBsYMkELFFa+irDznNYb5u4tXLK/NF++zgsPX8vYOMerIE7srGslUHUHbERuiy+MSu2BHbUp+tselN2oI4m6yt2OS2T5ZiE3noxMHKgdkByUGaLsQA78YhR05XHbbpLJhX1u8V4hc38S9zKDjHPgXioLgAvwJm7UHVrVh6F4jn/HJBI4jLSwJGQUPAar0rmcjdLZwcBcCCXIcHwUZgE1BzBkbPaQTrh5I+EmcqVSc3H2fhiIACLqAD4E7hOYwckIBHwLM+pwRczgVOnM1YVqASqwAAIABJREFUTgxMYOXZ7bvTtFu5OTg/YClrl8zlGfD6qkC+QGRNc/e5DcjohMwCpNuym7ZP6iDt793+Ru25T+Z9Hgf0/l4O1sYCv5yj+3QO7sZKnh0QnOQFRvpxKAnK7dF+7VFuP/RKX6BMTnrQFygcftTrQ190Yv8OJtULaL1reYcw5bWHdOSd9klaH0lb79o7Ywc906/k2Y26wwJgdygwh/aem4NNWgto2Wxfothx6TGIZ+N8KogDuIMBuy91eNb/BDdfPCFuvvXXxqkzZ4cDZXvzjhwo6d678X4DORh61xKYgwdwAgFQgziAAqybNYCDuTaAAVj2KanzLPdsjORv3sAEvm681gxUnvmfpJ+bJ/hYX+4Aqa4/3egHuPLmbHyHhEBsT8pAzt/tO98HcjpoLnvvMCPvyxy9iSH0yLbYh5TdqFNmZ+qz4fLa+DafNpc2ts83+JHYwm/4VocOsoM4SPPNIO6QzYfpBtzpx4E7cIO71NeUV4h/xRAHwf1bd7DePJAGbcDc1C0BiANoQSHnFziUCw6eF9ZnAPNsXmsvwJO127hn7WRbOawlcMkFtD6RCsgCrGAriPo0KHWDEVQl7ZL+BXhB/0w5HQfiMN2MAcbplxNzFkGFkwMs2HA2cuXkbjGcTT99fKp12+bo5gIwAVKbfpI6oJfUS8rgTg6ANE/OrpyTk7fbk+AB7IIYCHNqgY/cOb1gBr4+YYKyv4cDvUAKrMGSrgQVdYKtW77TvVu2uchAh3QeCOge4IwjE/ntxX7Jrp58glC60C4w2Sdg26s6OjHeu7BHyVjrKsvNZz37TjcFSG1BUNl+2A6b6YajzljzCZjt3ZxB3B49G6evMdrM5ZndaLMWOwXtDsQBPB8I5J61dfjlY3yoG3IQT7dBOIB75g+SMaV7EM+Hek/65U9sV9mc9krH3gHde08OrOw9kLJroAY0dSDunw4Ctnq2tTfxgA4ybtpsk611c+xv4t3Q+/s1m5X6CtAz0AKnemuyS5Aih+RwyV5BXp+9NS/Am08fc/aJ3NxBPL8P1HLzgafkOeg7rIoHQZxtsLtStuI5gGeHcnVslx3zbf7DxrNrc3fotVbrk8c7oVOg5qMgDc5BvD870E+HHuDuh4H66vMK8a8Y4j7nPwRyEA3eBZNyQae2AsxCPJAXLHJ6uTp9BaUNVso9m/sEOGgvyIN4cpJNkBNcCj4CpeApqAK3eoFN6lYhKOkXwOsv2BaEF+AF8pyLQwnqnEgwAxNO41QuCLhtCADqwUawM7fgl1N32zSePG6XoCUgut0AFrADNYCBYjfQoKctwFvD/AIExza/RM4cX7vkEEE2yZ68n3TkPdKr9w089iVgkUU/cLJ/ewdPqUBCLgcVe7Auvdq3NYKeOolOjfMVwT4EILIJSOYne6AmJ53I7VNf0JfIZR5jjNdubHpQX7A0dyAuZwNAKEDqZ3/efdBWTlZ16bP9yPWRm4vOPCuzP8/pIBiy+fWl9YP8rbo9LAdxdkzmDqZsnA+cie+dyTvMV7d//kpG89WnZ2tbM114//TsnbAPdg8UAC3PB4APFHy5AW4Ql4C4mzjQ9vduZcnt240ZgN3QfUoHXjnIu+EH2aDt2XoSefgaeRwG3C67VQKZAyp5un3LjTEXaDe3XJ22x1KH9NYG0YBOR3yVzthhNsE3O1RuXX7ATrM7thzcF+Lq9eNHIM5nXQjSC3no2yHITdstHKC7bQM1QNOPdxXE+3pBd/p4F68Q/0ggLpAIIid0CzzauyUsyAsQBYACSPXGBIhuIh0OgHlv3AF8Id4Xg5XD+gAk2Agy4Cy4FTC1S2SQClYCoT4Lc0H8hLjnnEuewwUEYAUTt1EQFzg4jFM+hwIcgU4fgR5kOBfwcHoBylwCv74AyAEBLOByfid+zsxRAc18ysAveQbUHBqoHRDIVxAAU+uaV25d+0+HwENG/RZo6rxTwV0QJ2s6F0zsCYwla1nboUMwEezpTfBpXmCTrE8+IJaTy3h97YM++lxJv+3bviQB0Z6Ns06HE+NaT73UszU3BV+yCYRklazvXQdje26cdgcRbXJzdPPWT/KcbXmmT/pjg3xgD6J8Td2Z8sFA7j2xX3bLxiVreGbPC2Xl/G/zfHF9Qbtn75QPSeaTzB/Ule3DO6JT+meb7BX4Ajjw9ckbHP0Owidb0FTfLbybtRsiaAM5QMsBux+1gfAC3xzdis2vbM2+APinYsrgpS14gRQwARKZrGkufZvPPOaUFuBgzG8fSny/dv09l4M4H6W3wM2elNlevsG2lNVnb2xRond1bFmZD8vZrXJfBvleBwpxgwx07FAUxP0Gxm9XAjWdpJvK9AXgQdzh5xXiLwziQbN8P1UDbinwLjwX4oJL4JbvcwFC/QlxAJcENGsvuPtiEMS1F/g6AJjPvAFF8BHQBDAy7G0m+QQr7QtxwVBADi7lgi9oBXLPnIwTcSbOAyKccyEuMEicqZsmoHUK70TOofzPTgQQAZIjunULBMAMbOpAyTOHBUyHgj6h+7uwZG5QBzdQA1eyAZt5CrrkBh6yB377pxO6o0vP9gpOdKG/esE80GujG/N0YLAv61rPfu1FG53Zn5wuzS0JVORKRnv1LG+vAAHk9m1/9q0/8NuzpE57OX21T/J4B+S0pnrrkr3AaS/Jo96e5ZK2QN17N17/xjVGnf1J2joABHv65Q8nxPOvexDP19hw78k7krL53p33pI8UvNl8dp8/elaun2fv1zzeFZkdRKyhXl8+Y4/ej3dArw6qAAUUIC4BoNs2sAMpiLpBuz1LIAvkPqMHbZDRB1glEAdvubZu6MaYm48EzT53WxeQk4FMkvXMw9+6ZQZysiUrPzReMpc1jA/G6oFdHbuUgmV9ydK+9etWHsT5JrvLlvgEnZbYUvFGv018wjj2F9TZteSd8H1xiFzWlqxLHjp1KHLjdgsHcZ/Sg3Q3827ifbXYZ5B/hfhXDPETjOC94AyUgonAIXVLAPAgql393hBAUyCQV1+gKHA0X/AuX4iTsZRs5CRb8N4bijWCuGAjKFm/wLh9C24BqYBVQCxwbXDOoTgbB8uBOA6nAh3QEMyAlsMLBgIJ5wEy8OFcgp7xbtlulQICJ/Lp0RzWknNCJ2hgAmLjjA9cYBXMArU+5uy2qp5s+pkT7NQFPrlAbE/pg2wCeLAmT4GDruiaDvVZ0BkniJgfNM1NHuvSiaTNWhuUBCLAF3zIaS3jBTr9zeGAYh51yUwP6ujVQUSuH30VzOwN4KxpbuOVzR/gvVMy2CdgabcvZUm9dqn3L1evX3YiACurkwrIyg4AzUce+mOT/KlDcX5wQjw/yxf5lvHexcK7527PgTy/A/8OANXlm+arznhl7799WEedpF092+997Od09g6IkkNsYAPswAqEgZzd+2oVyPt1OuB089bWTR1w1Td3n6utA5bWV5ZLIAayykDu9x9uk8AE4srWNJ8+ATyIB+BgDOw7Lz9Nhvpav30Hf334M1tlf+yHHfGbbEdevbb1E2V17NAYKXDL1cvZvy951tu1xRl6tNd+2ObLSJ/P6UJZHtSrS1cgr/wK8a8Y4kGx223PQRMsAVXwKHAIOILMcyAucBQABA1wNV+ALXgF8eTYPFlBvKDWIaH5g7hcoEvecx8FLjLpKygJWIKgtBAX0K+cibNwRAl0BDMQAhIAzeE5juAld0MFGUEAgABK8DOHsQKcgCDYm888bp9ysOL8yt3gzWE9baAFhA4LYOUwoS8AejZGm/X04+gAx/E9m0vw6P3Qi0Ad0OhAWbCXANyhh76UBRgy25NDg5sC2FrTYcV65NdmXvMJQsbpSwfkIUfBCmTNST7j9JFbQ5292Zd92hddSNYha/oho3dsjGRdbXQGrtYzr/W8ezmZzBHEyWF9OmIr9ixlMz1r6zBobnMYIxeg7V1f+uVbJ8Q9s9czdQg1hm2zXWtJ9pYNg2111lg485MOAMZ71+sL6vIl62kjL7nNY23t9qeOHumJHumc7Tq4ggdYui2DM+CBGz9g++ANmJ6169cNvJu32zhQ66OvPtr8WDKwd3M2t3U9W7ebsrUWxOTgY3605TYOZJJP6sBGFv33Js5vA7Pcc3AEac+SuYO2dn0b51lykOhrkviRbtmHssQv6FRih6Xq6FzKf+ieXZqvPnzN1z8Hhv4sZ21At39fNsDav0IJyv4+7kbep/R+/BfEy0Gfvp4Mcf9Uqn8+dfVvqz9UXWt+rPlj/8Ts1NvCUrmbOAgWNADTc6AVbDi6oMCxJX30X7iqFwzqs/2MD7QODtZenfcDPHX2RC7rBWVzCS6ClVRgIpt5JX2tI5Gt/SRXQcz4gCTICubdsDgZp5EE48qgA5AcCFjAClA5EXhxboFBcPE5K9DI3aj7ezcnBPc+yZmDowqKnB6ofJa2jvXcaK0NPOAPMBw4GTgvsJFDDmyg1frGq5fUmwfMAQvQgIA+7BWIzE0HZFJPZ+ldQKcnOhPYk8e8ZPRsb2QAXcFe4LGmfUvkFqysZy3rmFPuWX/z6WtOc0gOCfYkKQdxBxiy0Asd2Jf56NU85rRf8+nT2vZuLXXa7dk8+qvTX9me2Qdwsie2RS/gyQYDJXvSlw4L2OazT/3ZKX8qV84fsl32WznbNb91zEEGeet7D0Fd3Qnx/DC/zf4DON+tT3l9zCXZpz3RkfdBr3TO7hxeQbrbNQh7BkeJLwByEAfvYC33qTeounG7je/ndbA1xrzd6sEycFqj9YJrOcjq6zAAVsAF5j4tW7d59XEAMM5+pJ75qLXaiz7gaO5u5w4BjQ2eHWTEATbo4F8c6dDKLtgcG2Mn2R6760uYMfxCv/qKC96FpMzn+DiQyztMiCd0Rr8gDeCgDND9Gt0zXdCLdmDvV+xu4Po5SL1C/Hvf+x9YLbjeR/nLQnw/WwscwVkwAVIpiOf0gkL95FKBomDgWTJPqQDWvOUrgz59LRDomjuYFKisY379pYJfILcXSb8Ck+BVKhAKUgXghTkH4nCcigMJ+AIYsIKFQAYkAM55OLuA4nYgEAC3fuCtL7hxaBArEBoLrtbSn+PpB1QCpr6c0xzAZXy3SPIkB/Ab5yRuTmUHAfDrdk5W6xpvHnsSSADHvu1VGeQKHvRCP1IBHSADFRn0l9MTea0nkZeuBJme7Um9IGU9gUgQI4s6zwBqnLnIaY/Gk9t+7M2zPUv0JpgFGHsSEI2VrGNuMhb4yCq1vv1eBVL1dOJgQAfsjT1mU57pJVsC1Q4RdESv5tXOPt8HxM/1HoM4209etm+8pJ782japz1/0c8jzzjvceH/egQMnYAAFSDvAgi1wq+ML3ar5BNADNUj7zCuBtl+Mq+8TunIJgMHeWHMCJoAuxAGzBKYArF8ykNE6YAZI1uvmb279QNq44KzcM182b7DWp6RNvb7BU5v+nkE8e2dL7Jw9VpZ7Vi8BNluWPLOl2uifHWvTT2K/fFqM4PtyupHI5n3Yr5u4f+7X7duzT+h04lAD1g463dR9saArP4pTfjLET6CdN8gP9Xyu+7E9v0+Iu2UIUuAn6ARZwQccA2rBrL7BX/0m7d2MjQfbbuFu4sE6nWvTp2BnTAEl+BZ8rGnu+i7IW1Ofxhe8zFOdsgArEArSAla3Tc7DcXIoDgRIfe4FElDJgZzCObQgxqk5MJACOFADjv4AZSwwqxcMza0OxAFcH84JaA4IHNRYYLN+8CGPfsaAGRmsSyY5AIK3fsoBz1qCAMCYSzABY8Has70LLt1C5QFAH+NASl4wAUnyJZM17IPc9kpOdeTQzzqBVNm+6MGe9fWsn/Hm9B7kzUWvdOrQol4yv372Y+4CaAci6zS/NrIHffsCbHXkoA/7k+yfnSz82Db4dcjpIEgv5pLSEftaW12brdxBt8Po+hTdB2sy7KGh+uTLvgNzz9n8+kF9znz75g/sgf4cprxDNgZUbB6wgVZi/x1mgT0IA7oygLoFg7Zn5T7FV6deAnM/bgviC8vWtj4QB3kABfXkAlVrABV4gRKwueW7hXbLN6ZDgLyyenPIra8+YMs9a1MGzuZR5tvZYHbGt5Tl7JR9BXN5MUfZoZBNKrPr/MVYiY2yeXEmiPtCwvfJkX7dvv2ozf79JkBOHz6193sBEO/zOsD3JwigfxTiBfB7+YeCd/PeW/djqX9fEAdBgSYwX0F8A4t+Qbp6zwv4fdanOYN3f/uma/vwTtQ5PJBFANrgJNi0ZrAXBAuEVyAnj6C0wctzyfwbFANXgBLQBa8g5XYXOIFEEtA4bZ/3BBBOJAEn2Li9dBsGNzACIGPVA1afxZQ5vwT0TtZAzYkBiUycGOjAiwwcGcQ5seSznzXMbx5rmsdeyG8OARnU1AkITv6CRUEGiNSBEVjQoWeBxS1TWXCXjDMfmQSW4GttQV9SRw/q0qc9kYF86iR7Um9OutFfcKN7ezL/wlwf4/WjO3uxJ8/d/tUXCNWZv3csSCrbL70Cudz+7JN9sBc6AO3AqKwNwPWjF8k8ze1ZO7vNZuWlbHchrpwvsnnrBevsuENn9eTQlmyBeZ/twfPW1a/Dt+ftByTeP314B/RG1+zaoTOYgrcbN4DvLRy0gRjQQRqYQdXtGETU9Sv0IC4vgawDAEjzJ37GjgNoPmd9ZcDVBrjk8OwQ4N87gxQ4+SeektumtRtnTOXmt6aynAz68DMJwPsxGbmkgK+dT7JZtph9ZSOe6ZRu+Q+bU6ec7bOjfDG4s23j2Kyy+cUGEHdo4O8SedMzYPt0DtigDNI+l7uF9/fvIA7w6kpP+pz+GCyD7YfKH1v/pbe/b4iDrQAiyOxNvMCywA6oW3dCvPmMF7DM6cYN1t5pz/JtdwsXbAQnueBiLvXbb2Ukc8FQP6lguIGpQCboFfwERQAXtARdAZyjSEEukICyFMwFNODkwBxd8ODgHFk/kAGwchASCIEN1ARDAFQWCJTBDKiM0W4esAvinNszUHUT58idyjkxZ3YwAC8Qc7jQ35zWMKf5Ark9CyCCRMEDnASafkQV2OgpWMkFH3qiIyCnG2uY236tSU5rksE6AlBJ/4IXWc1jTnoyj/dA1iBOd8aaVx3wazd3N2llspBBnURG89qjVJs6+xBk7V1uj/advfSlJnBq18ZeBGAymkM/OrOHdMd+84EF+AnxbDi7NY6dtmYQ92yd6rNj8rB14yTlfFJevTxwb96Y9swv2ABd2Q+7pHe2ytbYZnbfLXwh3m0QtH0eB/XKQArqnqsHHmOC+0IcTAFcCphytt4tmSx8jywODto8WwPMgAzIgcyt3Fr5K981zlzWMleJ72gzl5suGQA/WcgR7K1JLw7pbJD/sQ82JZfYGHuRg7FUHZvkC9o7UGpT1s97kLNnNi+2ALgDRSC3B3vr34kHafumA7oAcp/Qgbt6OgF3sHfwoatHb+LB+YRlcKr9Q+Xnuh/bc3o65b6nr/OHbd2GBQ/QC7qe+1u1QCMABcWFtnLPGwyUQV4y1lzNJyf3J5988vbTTz99+53vfOf2Qzf9zNU65igICWrag37zNWeHgIJg8sqNNdcGKEFPACzgCY6CoiRwCb4chQOCI6fgvIABMhwNYDgqMAlqoKkfZwdwfQG+G7tbtf6eQcs85tCXMwKTYCBIWjdgCZbWACptnJeD58RA1hcBuXUEG0HFevYBhGTzDKbm7zARVAUX8wOasqBBD8AkkAO4MmjRUSDswGOcQCUA2V83a2Xyk42e7JX+1JOdDgQi+rAnKWiQuyCoXT96MNY8cnqzB7LLA7Nn45Oj+oKh+fSR05E9B3L7BmnJfqW+0mQjdJDdCLL2TxdsSr1y84AiWwza7PQ8gKrLftksX2iuYL0QJ1P19yAerPPT00evnk8/sW/7Aw/vgr7onR0FD0BzEy+5/YKoHEx8wnar8wlbWQJxn7WBRlIO5uBuXLd4oGXPfAU4wRUsgzR7Vw7i+ltbAmBzgRIZAAu8yOJgQU79pb4m8JWdbw/nYEkW83aYSBZ1kj4O0GyV/QVseYm9sEU6dbhUr65nPsAu5WxTu2d99eFn7J39OzR4B/QjTpHXnukUkN2s3caBmx7oWw7mwB201SmXAP/JEAedQBSY5Pdg9L7qW/NjzdPVKf89/dyDuODyEMTP4BKgy4OkAFDgUBfEBTABCQwYpFzgUU9W+xDUjNGvsYKPgGZ9wHbo6OCxQA/iBUnzSh0IyGHO5hcMBWFraZN7FqDJxlkEKs7A+P3PPvyvODm+4AUIARqg1HnmRAKJ4AZQnt3SgzfH7pQOXhKwyUHbQcA4N8iCpXYAtIagwIFzfhAyzvzm1Q/orCvQkAPIzNXa1ihQBEHtggWwByPPAgewCeTemzrvDZSU9aUvQV6iP0HGPAUc5XRkPfIAMH2RW10w1xbE6VigMg8ZBENBi6z00MEnPcprNw8dtnd5MFfWj1zmsg6Z7cce7cNhpC8z9gfI8pJ90gGIshuwTlfq2Rk9GWceZbbIToO1cnZbXXm+yC6NDdZBXN1TIG48f3yKn+YfJ8QdZOjDu/YuvBP6z14BCwDdmgO38v6tG5wDNh8C06Du5ieBOqj6zC4FdLdzMOZX7Bo4QRtorctHgy6YKqtzmPYp3jhwdrsnF4CBl+e+Bmg3rsOIeVtDnaQdoCvzL3MHcP0X4vyMf/I1tsWu2EjlcnV065AkKWeDPXfwZKfq5N4DgPMfvk9mBxw6ar90SLfdtpU7zNi7d0AfynLwdvumH8nzK8Rf+K/TA+KXgTjnD94FjZ4FIzD1zFg5PoNjaG64AqggJ3gJaOYSqPQHb+O1AbgDCODLu4HLK29ADOLdaApicnNbQ2CUJ7+gGJA4Hydk/P73m/4vX//6179u/+cvAQUgQAA4+oGa/qAEluDZJ3b7BWLgAGJBj7MBLifkjOYyD/2oBzX6AmR9AM+81hMUFpD6W0sQ0Y/sbu9O5OQAOwBTb22Bp3nM3S1YUCGHAAJMwGktuUCuXTABEDrTT6K3IEe36qwptwfr2o9gkyzWpxfyWd++5fqS1TpAQc+gniwATKYAbV79zG0vxmuzjr7GemZnZDGvNvuUmyt9Cp76SGS3J3s7v0YAGjsBa3piQ6BOP5IyP9Ae9NnaQpx9vgvErZO9mvepECcbWbwvti/3XKo+//DsHdZuTe+e/umEjuiULdM9mwdV0Ohv28Fb7jO2GyG49wwcQOGWp+wmKIEIeO8t3XO3ZbDsFh5YQZPds2nJM1k6UMjVWZ8cZAAnv9buRgp0gM83gFnZHOZ1GOiQYH5lc8rZbyBvfaCXyMlfHRJBl81IDoly+pTEPkl9Ps3+ag/udC5OgHd1nr0Dtsz/6YRMUu+DLsUw/8QOkB2g+oxOD3SgTj9JWV2gv0H8vCGez/dujO+r/lzv6/b81Jt4ALT/BSGICyaCilsvZwY+dfoFyL3hCkbBUR4YOf8GBWXj9BEIBVhg4dgcuFOfEzFD1lfwAG2BikzW7/bdV4SeA3h5QXHzlZscZLKG4CYQSu1bsBKoOBPnEDQYvP+b1z//+c8bxP/73//e6rSDBvgUzAQ0cFLnkMKRBQbODLQSUAd984M+nXBC8wBOARLwgcg62tTTIacVHMhqDc5oboeibu1kAEhymF/gMLd5BF2ODlKegyUQGidQ0IV2gBM0CjSeQYrOvFNt+qoT8NlC4wpY5iU3mclAv54dONzQrWmv9qCv4CSRC2gFMGPkYAzyZFRHP3TuACDX39x0JanXzzjzmYMc6o3VFsgFW5CXC6T2B8rtQ96zPbMdkM6WBF7j6Ip+2GG3ZfasrsNqdumZncsl9fliQLXOCXB15jwT284PjS+p21S9fAHu2RzNax17sCd79W7tkQ7ZJZtnSwDSp29lt0LPABzI3agB060PJNwKwTugy/emqA+oALm5wLWbLoh6rs56EoCqA2zruYkDuPHqgMrndFDzb6Ktbw2f7x3OzbsHBHOZQ5u89QCe/+rbIUJufWDnzw7S7JFN8VWJ/iS2Qp/8Un0HQDn9Zmf6GS/xNckYfczNX/iwtfi65H3YB73RoRjWTVzZ38fFDO+BvtN7hyhfTII5/bx5DJrvC9b35nls/Y+9/ctCPEgLIIG5GwNoBsSCjgATxPVXDoIFBM/NJUAICIyP0zNwp2//S0w3XJ+onYoBiFELNNYw3trvAvH2ksxychcYzdmBo0DVTUWwyrkEcXB1uPBvK31K/8c//vH23//+91sQ/+yzz25gBh8JVIOnPQITcNoTZwZaZQ4HYgAC7PpwPn20G8chzdW85gM4SRmoJEGUYwMWWAOSPpyYc5OJMwO2gwSIgZU5gjgYqieT8cYAqWe6ADHg8u7kAgcICiz0pV2dIB9U2IB2/WrrZk2v4EwOa9k7me3VnpXtTX/9lNOZZ7Lad3MAuURefUGaPiR1+gO5PvanTC7jO7io71BQoCR3KYALnCX7BnG3Y3ADWPtnvwKyfnTCxrpBK7M/tpidBu7ytVU+xBeMM7950rG8MvstBV7j8kW5tACvvT5BXF7f/ENuLftxULNv+6NH+mSzbBfAQC7Qua0CYxDvB2zAAhZB3EE+kIPJJgd9oDEHXzQ3UAdWa7hxAqk2oNUut15g7itAhwprAJm/i1tbPLKGdmPNaR4gNK91JG0nxLXrB94dXhw0+CEfD+LBmW9I7Iod0aXyCXLP6qUgzibXFzuM8huHKWt2ISCTAwsg26ODS7qtTLdgLdGBdyLvuXfzCvEX8jn93k084AkkwVkuoLjxFljk+gBsINcv4Ao6wVt9SWAQBNx4BGrG7hT461//+vZp+k9/+tPb3/3udzcDEuQFOHMW6Lp1dwsvr16/M7Wn8mQnExkDuWAmAAqSgjHn4lgg47Dh1ArY/t/an3/++du///3vb//zn//cZAde8AE9QAIbAa0bMYAGatAEcu2cWjIWxPSRawP35gRbEOKgQR3g1QNQMAMhdQIqGQQS0FLulmRtt3/BwHwCbp+Udt0dAAAgAElEQVSxBQZzgZ59GGMdQQfIgcl76bYqeAssAjpd6SfAAwh9ygUmMpjbu9e/4G8e0LRXByX73YNLoLV38th7+yVn+zY/m5Kbjx6MkduLfp4l0PYM7kFbXWPMQzfNaU+CqH0H8+rsxb7pxZ7kbGcBZwwdaA/wdMP+2CTbZbP51kMQZ58B1Fye6VSi68pybb2HBbRycH4I4EG8vgC+PmJ9srAL+uod+aICID4pdxMGRBAFEeCWQAUkuv2BSjAHGklb7SBuDMC6RYMxkAKqz+ILdm2etcmNsX4A138/5wOZH3sFcXLqvyAH8w4HQVwdQPIziTye+RR4g7x6+uBzbJGu2IScXUme2RI7kapTz9a0SZ6zQ/XmkEv0z3fEHPHImg5UEhnsiR7o037FXTqvDNKArR+g0wWdeyfq5fq/QvyFQ3wDycJZ/QaaQFjA0bf+3brlAlX1QVOAEfwBi9H7tAPif/jDH24A/+Mf/3iDpWDsF+vG+UJi/WAdvMurLz9B7vmEOLmStYAl8LnlCMaCM5BzPE4L4L/4xS9uMpL3r3/96+02/rOf/ewGF5ABX8B0EwSk/nZtr8rBnJOBuToA4YCcDzSDmTnATT3nJIc5u2WCtXagAyRwU9dangHbOHOYtzXUO8Vbzy2DHGRXt3OBu3HeV18mCthACML0BFwCjwAUxOkSzAo+2tItG/BsXvsntz3aG/0Fc3tjB/SjLYgDbkk78Apuyub0LCnrRwcSeXumH+/Ms7H6CpLkogf11hUg2YE2YNeXDuSSvsZkM8p0Atpy4+jGc3AFRvbHLtkwu2Wf+d/m+nUTN74DwhXE1ZX0vYJ4th7M5erO1AG3fgAexM1tHe+zd0/fdOY9OoiyLTdBAAHPbr5AAhTAAChAASiSgzKYyoNMIAcVcHEAAFhwDsbKwC6eAGuHBrnP6NaU67PJp31fAsDJmnIHC4cFbcYDdzfwQC4eBPLa69Pt3L7VGdOhnX7YSwBmF5I6eSCvPUhvPzanXVJmX8psnx/xcXq3JoB7Dw5T9uPPF2BMt/S+ugVxybuRgnj6oCfjXyH+NYL4FchBMTAGcRCuTkAQ5AVnf0PiXD5j/fjHP759Tv/973//9i9/+ctbuWD+7W9/+xbAvvvd795+sS7YBe7+ZNJzAN/8hPmCvMNFwUoQ62ZDRkGZc3AMAYCMv/rVr97+8pe/vMkK4m7jPsVxIHsCGrnbtbKxQKEMTKDoRA60PmtzsG6EOaAAGHDBFfAbJ0Ca3xj9QRyMpIAOxvrRn7U6CJhDvdu3U7rAYS03B3XWBCmBxnz6kk8g8AxkBQ/gJYf+4A5cAElvfeoFG8FHkCk4BRh6NpcxUnpzMDDv7k0dmew5iKuTgJks3ZqBuLLce+mQBMj2rI+x9GPf9pYcBVPB0dzWtQcwJi9QFTT1Mb8k2NIBoMmloG6c/QdxYOUHJ8T3oJmdyp8D8Q4LQZxts/PSFbDXD+q3dWQGcTdy7y9f6WBmz/RAb2yOvbMpN3JwBXIABWB+D+LdBAFU8v+3lvx9WlwI5qDjxggofVI3F8gCuRzIrQGa6visev0CMghJAY0c5gOzZFDu78HGkh2wzSfvNi8P5PVJpn0mF4jyNTYYrNkFnXXIDdSeszU23CFQHft8COJsmf8HcT7Pf8VauqB7+wXr4By05QDvkEQv/ZlD7lCTTl4h/sIhXvC49zm9dvlCXKAJioEcvEsbDAQ3wZMTMAwO2g8tANKN3Gd1AAFkY09g91z+riAnO3n3cCFICUwCn1zQFZSAQ1AQVNy6wVwO4n/7299uQYEzBhQAX8gAhEAvsIG327jEqUG2HFSMpRt7D6BO1D7ngz6oC47mIpfUQUEdGTpEmNepXH+QdBjg4J7NTS5jzG8ejg9aggRgks166uWCiCSo2J919BV8zGWsIN8NDfgEoQBnrHYAAQLzCEpy65kTcJubzMGdXiTy05O1BSzt6o3rJm1O6wqYEtnIIAmQ2q1h7w4q5mht/c3jfdmPsQXX9tqfWdR327eeedlMXyzsX1+2IWf3wfUK4nzqCuQLcXbpoOSARM+BtFt382fH9GytIJ69rz8qS9rq1/NV/2DuXUr8hSzksmd68D68U7YGJH1WBzQwBAwgAU7/ZBO0N/mhmcNxt3K5GAH6QAMqfe5eiJvf7VdsAa1yayqDE4jL+6wvBzRxiI/LgVydfs2vDNIl84N4N3Hgtr52uURGyUGZz9ELG2QP8mwkULMp9sJX2BT70xbYldmhXB82LZfYLp8QP+hcjOHzcp/27cMeQNzeHKLoMWhrk/aQo01/cbovJ68Qf+EQL4iAeA4MxAJMn/3qc0Jcv/28vmVBgfNLDJBhcWSGkXH4fOMU7pO1H485PRpXcLNusA7e5dWX721c2dhSB5AgLnAJRgJeSTB0q+Ikgr0gRF4Bx//G7ze/+c3ti8Gf//zn29+/3EY4HAfjTCDgWc7BBDbzcDC3YEB2SwFKkHRaBmPg0A98gVUQBGOgdaPhlIJBY/Uzp34ByTzG6qcN+IDKWvp71qZ/sFb2TsxDXl8PrGkd8krem32QUT8gVWePAZ3+6A2wBJ7A6llfevZOQcZzcDOnRHcCnRTM+5JhDXsgK5DTkyRwGUuOgOu97QGiwEh+yRg6Mo6MDj+9N7l6MjSH96pMNwVasO4rhL0Auv2UrClIA3twD7z0kF9ln+yycj6mjh/RWTbaIWnBXRlQpezYmBPi+bU5S+qkIN5zef2058fmLlnPug4X3r93T1/06l1l527J3Wo7wPMpPxjl++AtqQviAK6sThnIjQWbgCkHSzds80ugDbDgpd2zPoCuX8BS16HCOv2NGMzFJjA2hzFB2nwdEswr6SM3/65jnE/sfJddsZ/gzS+U2Q/bojc2lf7oUH82JVfPtiVj2LI6Zf7C9/m3ywKQW9Of7eidXPQmgbjDkByk7R+w7alDjj1K6sGevpRfIf7CIS6ICByd/jktR1YHmNoLNAUYfbtxq5MAvtSBwFwCkCDJqPubDKPimBzIadxt3Od0DiEw+C+4WTtAy4N3+bZVTtbyE+JkFpwEpYKQoGRNUOZMnEXABziBgTE7rfvxnYPGb3/72xsQjcvZjCnYK+eoQBo8OBlwywW4YCTnhCApAHL6AOvHMpxSMhZg3ZClbtzm7/bMoa1pDXXmAS7rmQOkQTwo5vQCA/h7R2DvwOEAYX9gRjZ9QVUAcRMWqO1TEC8YyR1kBCDv3XiwoSv6pRtw0waY9ioQgbHgBa7N3V7s2R7oiRxkt2c2Za103+3X/PsuA7Ox9ExGQVS9dY3rb7vmJINkbvXkah377SZsDu1S+7dfNmTPkv72mg5OiPOXfGttdSFOd8abp9t287Nb7ZsW4Gz9hHJwPut7PnNzd0C4yt3GydOfUthL+vQOO4y6mQIigPB9N3I37R/84Ae35F+o9FldTFD2P+0QI8C1WzIwLZRBBkwDOXiJI0EcpCRjwApsyQG04hA5xCUgd2AAOu3dsjscWKO5tCeDMth1wwVHiQxgyr6zOX7hwBPEgbg6ebpjkx0W1bNxqQOpdmP5Sv7t4M/v+bnLEHmTizzks1+HFO+A3rTbn3Z19kJuuqEr+9X2tYd4UNn8//OfrT31n5itfAu9hXBwlqvX7yrILLQbX14wEqDMI9AIlj7vcBgOymk4pZu4z1hO4uCo3jiBpLWT9bF8wV1ZTq4OFQWwbheBXNDnXJ2IBXjO4cbMGRg/GX3yZ+yciRP1ORHYBHA5h9XG0bQDAPCAcJ+8+tt4kAclt0+gkgS/bqOgCuZuxmTiqAKjMscGfm0gLAgYZ0yQ1x+8yCDvJq+/MucHZwDzwxxjBQKymh/EjDOPfvbTLbYbQXu2vr3TI5iCmLJAJNBXL+CzCX3Nb1xrCXr2QF7gtU/rq6MXBxL6Ms6BxNhAbT3v0ftR7x0Asjn1Iaf3ZA/qrSkQeiaLMQ4W9md+4+lFndQY++mwYM5gb27r797ZAACztadCnN+w1YVztgrkm7aP8kKcH3XYPuG8z/lFOf8o7XzaG1df/u3d8iH7Bij6937p3ftzEPPnIWAMpvwfnP149Ec/+tEN5L54gbl/fgrgfE68cCMXKwA4QC94uqHzVfAGIwACqa0DLDLow4/7hA7gfQlwwNBGzkCufzdt5Z6tC45SPxIzlmzW5+dsho3kB2xEYlvsiM0qZ7NskC3qw7/0kdR1YKRj/fgEP6ZfsUoccPlI18kRvIFbWbIfMpKdnuzJs9y+gry2V4i/kJv4YxAHuoU4GAfSwCwP1nLA3eftF8QFH0YMAgwCqPsbV47ktO3fjGvTnxyt/xi8z/YAniz21Q18A1M3DAFWABJsORRZBWwAITNj59jkc9DgIPpzqIJWEOd4nFEbQHBOMAC/gMTp3JKBCZQACcyVAdyz4NeNmQzBP7h6BjPjQIYzSwKmNnObxzOnBmaObi7Q1g6SknrrWtP86sBdvTrBWJ0x9gFwZJW0A6A9yrvdCjAFJfqU6IqeBDN61lefxpvDWqC6+kh3yUt31k4OejLOmgVAQU7yPgK7ta0ltS4dedfWTl76bN/mM7c+1iFLe7anDcLeub7msVfJ+3dgOSGebfKRyutHexMHyYV2ZfUSf5GCedANto/lwbg8HylvPs/1KVen3dpksU/7pfsOaN4n22RPbqb+ZQRY8H3wBGef1vkXoCsDardxIHdDBn2+CDLiiPES4AQhwPbcZ3D9Ad0YUJbr4yCgXj8QI4d1rSUGgZw5jdGvg4e5zSkpd5AgB4h3KDDeHvkee6ILdsj2ixXyq8Rm1LMvthTMzZF9a2ez9CoO8G8AD+L07M8KZCR/B40gTm66kJTtNd2mq/Sl7RXiLxziAom0EFcWXIC/ILP5Bhz1PSuDqDx4cnABTdB1g+RAHImR+fTF0EC9H5e4yQCzOa1/Qvrec4cU7clkXwG8YFOwE/gEHkEHlCWOxlkEamADLk7AOd0SfP4DEP0EdbLmcJzO2G6UgnpgCE6gYZykzAl9lg4Q5lYHGvSVDKDGWekPxKp3IDBGgARvziznzE7mno2zD0k/CaQB3sEC1PVV1+Ggg4O+1mgO61qvsR0i7E8SsLoV279AQx90UwALqtoFKH1Kbi32LvCnJ3V0RFbryz3rkw6N6TBA5yDC5qzplggu6gTBAiN57cP81tdGJs/2YU5Jf3N7H9YDcu0d0qzDDrz75GiP+mhjW+yum/jaZ76zOd8BXzZL/vZQGcgX4AtyY0DW+Gy/54CuvqQtYJeb40y1LcCr09f+yEE2B2K6ByQ6petsGNh8lQOJbq8g6k9WwN1tXA7mwKodGMUKIOp3NQBUCjqAClqegQmoA5Px6sQffm0uzw4S1rZWn+7NY24w1kffgGcea5DD4YJs9tKXRfHCmvxJLGFD9JFO2L3EL+ioxEYlh0PtxrErMWafjWOndMpHHb7d+sUHvqwstpKbHsguJXOHHnV0IXULN6bP6fqJza8Qf+EQFzBKObZnMO7fags691LQrr1nc5iPYws+DA+gAGJvlByawTMcjsNg/TMzQc3696C99QE86Bvb+gKNACPonamAA+SCMQfiOIIxWAGfv+UJIpxbmfPop4896S9YyysDgqQ+mOkPTACgDTiACJi0SQAVpMECNNQJgvr5JE+HxoErCJEzANMt4NJvwA/cYA3q5thkrsbZb/3MQxZzyckhWdOtmBxktCeAC+D0Y8/pxF4FoAIVqAlmdOVdp6f0l27MY9/qzQ/cwdze6cP62gQz+jNf79Ca4N1agqF3DDDeG3mNJStIWy+Yy81nfvPYi8MJXUnK5ivgyvUzV/vtGdCtyQZ9YVpYV+4gvc98h+128978CuD8zBonxM0ReAO7uckiBeLyE97Nqb4+my/AyUA2/m7PHW7ohL69v2yV3wNpQOb7gOhPbv4eLgE7mKvTD0TlwKI/mKqrLIZoX+ADVzDTH9R8VgetIK0/H3dIl4MxWcwbxPU1l1wK3L7SdQsHb2Pd5skC4vbNhtlhdsL+2IfEPoJ29ey4lJ/wn8awPfbKPvlm4HZ4D+h+3yKu2jNYA3I6VqeNrugifezBxxjt9vQK8a8hxIG6BKaBuzpAD6KCAKdmwIIlwxOAuxn69MOZGZbEQL/1rW/dDg1BeYF9r1zf1hawBBvrCyyCIDnk+yzQB3COw2k4HlCBmy8GAgqjBgv7CA72E4QEemUpcHM0MAAjybzaOKR9OqWDgj4dcDg+UFpL4qRACaDAqqwvOJMRxM0DbAKjv5+T2zhzSaDt2bx0LwVla3sX5hZk9RUIPIO+uYw7AUoGyfrygEoW+7R3e5ULTvQT+Hqm6+oFqECvrN54fcxh32Qgqz2Ryz6A2GHHPswr6Q/EAdw78W7diIO4+a0n1z+ZySh5t95NgNdub9YDceM20JKzfZnPmoIze3FIZIfPgfgVJNmvFDQrB1zQDtR84CGI17ZgVj5hXvvZ/5SPDOTiZ/kJPXuX9Mem2S3b8qepfvAGjEDTYR4IQdzfxsEVKEEFXOX8EXTqb3zgAVjP+gKvPkAevPg0yIEXmOlrfgd1n+6t19/GxSZjyaaf+cxvboDTn6z6B3GHDv3BlS2wC3bAXtiWZzphH2xUmc3XFqzl2VV12RgbZPf5Q7dw/iumuonbW7LbO/nJTm/2pQzs6ulOoivjyO+wRNevEH/hEO8WALqCDOdXBkNg7IYtD9KbB9WtC6R7m2CsAp9gKxh3gvRjKsbDYDgXw/YfejFfYG6Nh3L9WxfACy4BW0CR9kYD6urcGDgSBxF8BRs3BifbnEDgMZZ8+hljPwV9zgYcgr7EyQR88AEAddr155DK2tQLbKDkUyO9eAbF9GRtIAVe9XIQB1Agk2sHNw7sc5rkV6rm1Ve7sfYWEI1VD9j6WTeIexZkBSK3c33MIzcmmeTmIaugYg6pG6sgJnjRK72xg3Tgmd4KVPp5D3J1Aj890hUdkt+BofXVWdeervRNt+bqvXt3wRdYA7p+7NJBi0z6Wb+Dl7mV5dZUJpt96Es++zS3srns16HBfqzFHvlV/ibv5n3m+mXDATU4AuSmBfoVxIOu+Ur8sqSuPuUBu7Xltd3rb387LnnJRw/0RCf0VAxgS3zM4bMfrAVlkBQT+pwOsuqAJ9joK6kDV/WVAzN4qQcrQJKrAzEQBytjzQ3E/YsZIFanb+s0/968AV9fN3jjJWC3Pt9hD/w9iGfr9OEWHpyzffXFouKLXDKWzdEjHfIzh/du33L+y2/7EaEvCfZgn+X27hO6/aRTupHInU7tywHlFeIvHOIFkIU4mAMiaMpLgXphGmi1VR9MBQpOL+i47TJAxgdCjA1ogJsxcViQ0Nd48z31c/oVwM0TwIN1wbx6UO6zH+cRwAV0oHBT8M+syEhmY+wFhDhRTsfhcjr1grs8MAj8BX8AkMwHpJwQmDii9QQ1UAJAYNIXIKVuzqCpDGRy4KQ3c1nXeIGR3A4F9NzN1TrGgbI+nF3Z/HKHDnN2OBAUzCEYmUMfJ39zkNXc5lS348hInoBHt/RCT+yA7gQwgU0QYxcCVAEuuNsPPWg3nt7oFQiA1Fjvir7oMz3RqT7GO2wFFOsab1x/pyaDfuZuzm5H6s0jECsHa/2UBVZzmdNe66uNzObRbs/3IJ5v5Ydyvgia5C4FbnZYWc6G1Un6Woed8j1+rPxQyke3T8DevHb9d4yyfgG8MeRIdrI5yLAD+vCe+YR3x67YGXv032ZwC+yG6ADtdgs0EsiIFX32BV+pepACaXWgZR6ft4NsBwG5NrAKzOKPvgDsb/Fyazd3h3n9gE3Sv8/wvhoY49lBAAztiy1k78UYOmB37ENdMUTesz5sSJ2c/dFb9fTH97tsiFV81ZoO7w5F9CSnjw4vdNRN3P49S+lRrt6+7cMh5RXiHwnE3Qy6icsFk3eBeABvjECUg3NmsGSAgrLADwCMrl+rcjqG6VBgrHncyHfeq7L+IE5+6wkm1hM4unVfQbx2QV6Q7VQsGIMU2QQVDmR+c5C/W4n+nDNnzNlyPH2Bp4NBkAl6gc6NFxxBUJ/gThccmqOCE5nc0vU3h/HGcWK5fuAFuBLI+sQm126sNSRzaANxsDeHsjWUBVcgFxCsk8zkAGd1fQ71HqVkMR7UHSaA0cGADuxHTt/l6Y4eAVGgktOhPnJB0Bj6NId2SbmDUl8iOnzYh7W9V/DwrnrPraWOnasPKkFcG9nIYH1yScG6A5Zn71hOHuPNVbBWT+6HIN4BdGFOLjBkx9lwObsF7wB5Qpx9Ai5fyAeVg/CZa9t0tpOjuu1XWVsQ39s4+Tpk8B3+T6+Biz7ZBltjM2yIvbFLn9j7zA0wYgO4SGDqFgk0gCp1YwYnsApYxv3kJz+5JT9cU288wEpuqfoAunlAG5xBvx/aqmtdfR0AtEvdvIGuX9UrA7rDgT2xATbHzuw/YLMvKfvUJ7tXzjfYTjbLHtWbg13SnwO8r29iVZ/UlemIPuT0Q24y2YNEDwE9ndCDOmPU2Tu9vOnfMZe7XQm83eA8v+SU3A/lyd++ejam8nPzh9bdtnP+ZAG+yun8KnBweMEjgOujf33lzRVMtfcjNNDf+c3XjUGgYYyMUKDrBN7/MIBRKQsCrdka5eo3VS8XAAt8gli3AAEvWAsiZJBX7zYmwJBLcCkgC9KcXiARpAQseYFJbg43e07Y3DkYJzOn+ezXfAADhvbuGQw5IEcHWO0gDMaSceYBBWV1+oAwSBoLpJ2+zedGCsqACmL6GiOp058M1nRy9+yk7u9nIC4IdKInkzU6BHQAMNYhQLu1PJvHjYosyvqCONj3ZYF83XbbW3qiQwGMXgR3QYv+BD3lApmAKHjJ9RXElK1hTfqzDv3IzeH9GlPAJIMx3l32oJ+5zEkOKTlA2DvokOG2bQ7Qzl7KtRlLbnOaz1h7YC/5GHvlr3yGbanvMzs7DppyPpQNX4G8dn3YJaCaM19+LL9amw91WA3MyRSwa/e8af0v2chN3/wEzBxy6IXe6J19AjnbdFBkc0AEKOyTH3Z7DNSgJLkxdlsWR4A6WGnvRg3EwK2vemBT55O6/p4lN2m/gXEbB7DmB7iS8SAP2MqADtzdXMGdnHyJ3Xj/9syW2EXP6th++shW2Gr9lY0xD9vKZ9ifWMIP+Vy+y4+lfmtADvK0Zzqlzw4mntsX3bVneft5s4H3qnzC56U9LyjvlZO5/fWsf+Xn5vfWPOvP+ZMF5CrLPQdmwUQgEUAKMJzec9Cuf887l7J6qXpzGm9e9TkyY2XEAt1CnBMxIp/V9bWP1lI+5W+dlct6gswGkDPwAXZBW2AXVAQUSTDRDi4cz42A4XNS8xYIzS9QCmxkNYdxG5w4WQ5oXjd7SUCXlAUu0OlTouAFQBIgATbQmIvOlLUJdn0yznndugG6cebk1CAmGBpH34AsqTeH8d3m7VcCYad6YDbWPH0B0B+8OzSYqzoBWP+ArkwmgUUfc6jrACMA2ZsEsA5QyoKV9+G5gCV40afAJ8jRhzrvSjKevuxJXtk+tXtH9KefObwTNmgtawKM9bwbc9AX+azlveqnXGq8+YJ979kc4G8+MluXrGS2Tj7GXtnvPueHbI3NBUZ2fCa2J3WoVH4uxK1HjmTpwCqX2DpZ3gXiV34YxMWBbqR0S0e+PrFF+vfelNmZw6W/7box93dcOfCAkCR2AC1AewYfMAJ09UGp/tqMkatz4/QM4PqDsx/T+VU8oLuNBsDmExuAG+SKE/0TNfA3B1A65LIN7z8bVgbmYo+cHbKvbF57/iBXz47oq3nYNlvnh3yX3wZwByCHH3qir+S3T18w1Dm4kLE90V+f1+V009eGG8QZbEkQDjjvA3LN9aHyE5ZXz60dYHp+H/u7Wu+qrjXLk4XeK8s9gyTYLsQ5cyd4QUZbMO3dlavXp/4+e3/66ae392qN2sxRoAE7BlnQBQg/aOGkHM0nHMGoH7VZwz5P+XcPyUH2AFtAEzTBulQQIYcyoJNHYA+SoONXq4I8Z+E8gpcA154KrvbVYUCwLzAZV5njcWJJ2XztH/hA0a2xGysQC2JADwb6m68xglw3a+NAs0/nnh0Mumkrc3AANT+IBm5t6vrEr01fCXzNpa6btjpjzS05KLSuMeaSmsP85tBHX+OV7dn+HGIKTHTjHQhcArz314FPHb1p9648e28CoXdGR8aDp3kBuFuy3DretwCpjV7p0zhtcs8CKXnU0Yn5zGst7dYTQAO69yEFdmVjrJHtsAFy9x7ZXD7GnkB7bSuI8yk2Bp4SONOJxOau0rYbm19a77FEhu1jbOPJya+aM9mqU6+8z1vXYbebuHcheb90Tke9S7qXOuSy2+AkTgC6A383cXAF0KAMOoCkDpABDJgCNJBJQV1fqdu5eZSN79+q93dun9iNk/obO4BrB3rgdns3zmd18HPwYPPZb2Bmxw55bGvt6x7E6Sc7Y0/GykGczfM5vycAcbkY5k+U9ATUfU6nhw4t/RlBDtgOPPqDu2cHG31dYujoi7+JL0iAJhAFnZeaJ+dDebK3x56Nqfzc/KF1t+2cP1lOCHoGvyAOTp3Cc2Z13aT1ba6gyVELtAIbY+SUYGasNQSHAC7ICGIMkFH77AtgToxu4BySAXF6/930ZLOnK/l3D2QXXAoYgl4AD9xyKYDLySJwF/g7UAgiBTH7VU4frdV6BSe6MJ+ALzB5LkCp77DA+QT5Pv+6mYIN6AGdHAxAIegbC1j6CmwgXhnEQTKwcmj7cUACVfMBsXp95AKLpEwOCXABVi45LBhvboGBbKCuTuCwrlO/MRKZtFm3tdUZY11ye9/kIZ892p99sR/vQbBiR94T3Ql67Em9cgD37ugEZI2VC2j9GFDAS/fepXchkZsc3pEE1m7cUvN7N+rdcPpaQCbt1pTISm5r6t9BQn8QkpOLP1iXfPooZ1fsiE3xkWyLzSvrA4rBOoh7ZuOlfKucj2njm/zYGrNtBrAAACAASURBVFI+fS8nQ3LJPZujerJU3vb6WPOEuDapfdhD/uf9Sd4t3XpXHXboiV2wf++BvbAvNsWO/ckNeAAGbH0qB1+gUdfncPEEwNQpn6mbaRDXD8gADKj9Ir5/p64MyuYwDtADeJDXB8C7wevvJsxv2K8YYJ/szl7l6iTtbIrdshtt7E0/9epOwKsTN/iYNYC7L2gOPiAenOmLXkCcrhxu3MDpR9t+6egLh1x7XyL+52/iC5oAtHUvsZycD+XJHex6Nqbyc/OH1t22c/5kuYLgFcRz+gJMIAVzc5lfHccUoAQrAVowB2MnZY7GAc2hr8DCgXNihswggzhwOvUxFidB/buJG2/N9lG+ACeb4CTICCa7XrdkwVPQCORyAURAJitg2Qdj5gCComBlLns1v3XII8gWDLXZl7msQSecUtna1rRf7fJAAABAJoGABJzBbyHCoTkyXXNYAU1gC+Igq84eOLJn4LIPfcCIcwOoPbpNA7h2zi95F8YDHOjW13rJBfjmBm99Chpk6YCg3rw+g5q3MfZjDX3JQz4AtK8OK8FwA5gyvQlm9Ep/num14CcX9AV/c0rGeS8AQdf6sA1Bj/zW0iYHXbIJiuRR7vCjzZonxPU1r31I3g1Qdyjp2bpsjWz2SXZ2lZ9luyfE15azZ/lTIW48G22dx3IyZdPGsmv6WjhvH2X9JGX9pcCtvrKc3N5HPhHA85lATtdSNu9dsh12zD7ZF9vtUzHIdKsuB1q3R5+zgatbsxywJX3BOICDt7mAC/jUmwOYwdpncocFc0hiVRCX19cNHPglfVxO+GaHUO/f3tiz2NN+sz32p68+9VNXu7yDJFujGz7Lpvm4JIbwQRAXVwN2hxY68bVBPaC7OIm79i315cJYiT4dSL74m7iA/BB0Tgi9lOeV+V45WQNNz/pXfm5+b82z/pw/WZ4CcYGkJLgELbBXbm7OzhmBGBQ4lFMsg/f/3JY7LTNC63Jut1WJ8zJcAY9jCvY+j3EMJ1rGpJ+1klm5fcjVS4CanALJBovWC+KChLULHp4FWMFVoBYcOID9qDevOf1gz5odSE6IW1NwBekOCNZQJoP1BSrrATwnNn8QEKQEd84IHAIVyIEdkLo56s9h9QVVEBYY9AfYYE2fwMqJAcZhyiHB3AFVf3uUm9sYYBYIJDdy81pbYChguon3mc561vBsDWW5vsrWMl7ybH77spa15XQu2TvggSs5yd3to4DmHbE1emA7ghid0jmdygU+KZjr1+FKnTZAMg+56NF8bJQc9k2/wRaY6UcbecwnN4/15foaQ/4+vXuvvSttnr37+pOXXQVVdqYcxHsGQfKyrYV4IAfFTfr2rGz8u0A8gMuDsnlKwZqs9aku3+ML6kqeJf6/EOcb64d8gl4kupLU0TddOmjRsXcStNiUuNPfc8EIpAAHPMUgYO3G7Fm9PgDuBt/n8W7g4CWBuRurQ4BP5MaCOFibQz2omV9dSV8xTK5/EOdr7I7dZHPZVPtmH2xFro1d6q9c/dkmhvJvfsv3griyOOBPgiDsgCIXY+1fckixb0DXZs/1k2ur3v7o6o0Xz1ABQVAOPoHhpefJ+1DeHgJOz8ZUfm7+0Lrbds6fLAFxn/cmHgzLwUp7ybO5zcMpOZqAK2A7bTIQ//MC/0/wn/70pzfDBiJOz4GDqoDLMDmlgO4WzoA4heQmLFCRs72QIbnlZEh28rIrwULA6bQfvAO3oF/g4DichGMJvqBFDrdGe/N3fakgReZslx4KYgUv+zM3uY2Xt18By3jrS53EOagEVEAG3GQR+N0EOaaDBeDR8/ZTT1bBAdDB1Hj7AFN1HNyP84Ijxxb4wN84CaC8B2Xv0TiwDeIOWP3vDAVMOuqQAM4BWvBQb21rmM+7DeSeleXkNr99ASf57Nfe5cAoWJFf8PKe7J+OvDf6065Mx3Tb+9SXbW07OzDGXN6FdwDOdKhOO0jQNx3Svzm8G9AgEztZiBdgFzD2QU7yk908xpPbOoHc+uwnGG4eyNWxPfbMttgTuz6Tekmf+lY23jxPTcmUPMafUD77sH9Jvf5nCuD5BPnzi/yTPnqvcnrquQObd0GH3gs/YLNsh/359TXYuE0CuTjkxtzNGXxAVQJdYJX0EW/AHNS7fYK3eOQZ7EDZJ3LzmQPQzGP8Qlybvuokz9YRz7I1+2GLcjYE6PYr2aP9ZXueq2PPPcvTC1tjn3yW3/FxPssX+X7/yVX7ceu2V4ecYG6v9tgnd33o0t5BHsz18XXB2DeMzEtmqAIx8Phk+j4AV7D/kPmC8l659QNOz+9jj/fWPOtbszxZngpxkFqAGycFcblAwRgFLUEZxJ1WAdz/TtBtHMgF94IQ5+W4DJYjMj6B3S2cYXUqBg3On43Yh8DSPuQLcfYksS8BzRqBO2gLFMoFcU4gKAjeYAJeZFX/ySef3Ppa117ZLKA7LDg4yAUu9eX2aF1yk1UuYHXjsH5Bi+OCgvVzaDAQ8NUr00231W7oHFk78AIx3QkOcvDshu7PGmBpHroEEWPomWMbG/gdssAGvKQODgKCOd24wb3gAOTmECToKyALpqDt5i5Z3xr6CSpBXB/rC8BAKrdvACcnWdhG70bAAmn7ZmvKEl3QI5uiW4FPUCw4yvVjDwDCNvShb2Xz0Z0g6F15Jgt9SIAMxHQvGQss5i2IWo+OAaXDF/lL6u1Nzs7Iajw7DKwBsFw9W5azL7LmP/ayEDSf5yuI27PxzdecrXuVB+j6et468/VsvHJyV/Zc0p9u0z95S+RuL/QhJnif3s8CPMh5l/Stn/dNj3TPrr1HthjMARlgQdSNWWwBVfEleHsGcHXagSxwgVY3UmV9/b/Ou42fMAd18K6+y4j1lf1NnJ+Qmfz2Yp9BXLlndQtrZbYnVd8487FbtsqXxAG+yv/4Hd+nEz9oC+L2C+DBHKjtv0/odOAGTh/60YM2erTHN4IEp/HyBGKBEcSVBceg803NTxg/9/nUX/ALxj2XV3+Vey8lQCMTJy8g+ZTDWHwC9+J9mmHwIP7zn//8Vu99C0SABmSckPE5PQKOE3QOxKj8HUdg8sM29hGwk0NOFjAVTAQNwcIa1gqc8pJAwfjJrSywggJogYobpiBuLfrTz16tL5Cqt+8C3AYx6xcwqxe4yGK/5ioAW7vbRnLmjBwVnECMbEAOzBKgGwd0ykADiIJD4MyR/TfTwcM4cOX8br4c2rtSp686fQDG3oGoeUEXwAFYcLCOYOlkL1AEZT5tjL4SmczZPN6xpL91tOsn+OrXLaIDCx2IEQITkHtnYEof4CjY0Sdd2Fe61I9deZbomT0EEWX1HbTomYzWV28snZGzLwnaAjC9W884MlpPYsf2ZSyZpcaoM4c6eyCTAG49e2BL4MdW2LJyMGRPwY/sgbqDoGd2ycbMVZ/q7dtc2ezaLRu9SmQo7bjKyXeOrd6agb663Yf9kI+8+YUyvey7A+6AHvT4Su81HejDVtgtO3RodMD0eV0cAtBuxyAEtuC+N3HP2gDLGPHHbR70JM8BzG28+QAd1Myl3TzAqC54qzenPyvyAfZDZv6u3PMCXJvn+mVn6hsX0OUOMvbPf4sF/Muh28HG75PEZjds+2mP8g4woN2ele1ZCvzKHUze5JgMTyD+mG7hJxg/xPNzoX2OO2U7Yd1z+RW8q1twBjgOypEYkUAosDMSJzanTi+dQfthB4fioN55QYyRMj4gYWxuiDkNYwJUASr57MfaK0sQJ4tAcUJcsCxZXzCwPpmVBWMHELdNn7usDxTWtN6uL/i0XsHQut045J4Lbp6NKcAWWD3TG7mSKYflrBxXTsZO2EAnAAhSghgYKKuj+27VAhhHBljOy9ccUDi0+UAS3AU5kKJ7dcaAkLJgYL0ONt30k8HcQby16VDZQQLwBRLjwVp/iazmpt8CjTIZJPO77ZKDDhxiyM9GyC5Q2zeQZkt0oY3+6NM7TafKgr53mG0oS4HAuzAv2YHWPGxCGcjVO2iQ09oSeST9yCk5aJCL7OBN7g6IDh2ewTzZyUgGdsBespXsSt3a9IKc/AEQtD2zLekK4uZaKGef9/Jgvfn2JdfaeW3V03W+sHXtgbz5gP1L3lPvb/2CjiTvUj3flTqw2K+xwMZX6JcN8QN2vr9cD0BBvGc37G7kgCtmdUN1AxcTQM1N1RhfGP3qvB+tgTWIGwOIwT6IqzfeRYWfsDF7kgdxZXtUz/ftJ9tSXojrW105X2Ff/Ii/8m0+L4kDvpCKzeKqPXXREqPJTEZfLhxiXKT082zPcv2UO+y8ybG60YF4ATpAnAD6Jj2fMH7u86mzYBiYey6v/ipfcPauOKt3KaC51TnpMQAAB+A+3zBm9YJlTiiIMUxOByACv3GMneNxHMYnGBSA6IEc7GaTYCNYdNvqlG+tAnpOwzHILBhzIIbPuRwgOk0LEHRAL+ZtfbJYK5ALXupK+qrTpzaBqwAreNGZAFYQ47g5KBnJLFiRUz1AAQMdSeTVjy4FBGAES8ABcgkMQdLBCDQFtCAuwNmv5O/noG0ezg82DgbW6IDg1m289k76QO1WYQ31bvJkI4M2OWgbRzb9rKUOHK1DHvWCT2vJwU6dPcoBFAzZWBAXrOmJXulJP8HMe/XugoCcnruNek/Kcnah3XsCEXokD1gLktazN3vp8EFuutlbtXX1B/TkC+T6s2+2ps6zpH8yWjv7YSvkKbGnZF4ABsFA5hnMroBuv+bLhhfMD5WToZwsZ6qtvPZ7EM8/yZn9e2fS+mrP6YiP9L7U0Zl3TyfmNJ86fdiNd8FWvTtxRSzylS9gAXG3cGVgAnG5+uAOxgAmJknKgAfivjL2z8fcxo0DQKADRPM5LKhX53M0HyAXGe2J7fLvDqHkl8QldqVdCtTy6s86PsA2+TOA830piHdBCcZkdAsHdHJ7BnZ71qd+niXt9k43/i7+RoAUkH0mlZQFzOBxwueb9vxcaJ/jTr2dsO65PP1f5Qtx63jmQBxOkGKgTnqM1anPJ1swBm8QZxQCMmczhjOCFMMDCo7mEMBZjHVzZ4QFH7l15Qtwz4KIYFegE9xag1N0ws0hOLmbk7Wty8l8PeCUDg/00Rr2aX4BKlnU7bqClnb91Adx9ckkr19Bly44ND1wSjoR3Mi/Dt5tFTwATF867/YL3HRYAkMAdbACbfB0OreOIOJwJAF5N1D9AMYa9OJdBTHB0DPAWsu79jdxa6gXONRbA8SNK5CAuCSYCigOGNbQDxzB0gGAHGQzXzdcbfZiPiAPktoFffoT8NQLhJ7p2TunSzYgwKd374idAIA676F3Abb9CYB+JXrvEEJu8klkDexk0Zc9kYPMkvmA23vyLKdf4/Unm0RmsgTrbC1ZtWVD9kL2IMhOeq7Nc0ndCfHs86kAJ8dVIqfUPD0n9znGPsgSdMkYyOmgw6t3t2XPJe9U0t9Y745uVh90oo/3wV6zTX8b7pIAxv2tF5gW3CDVrTyw6S+JE5I4UeqHbsaYK5Cbs1urOrGR37Bvvt1tOoirEwvUX0E8m9SPH+sjVWZjbIud8jP+JomhexMXX+3B3sRkN266kAI3eatLP0Be2aHljQAZFAKGwAk63cpPAH2Tnk8YP/f51NkJ657LexdXee9LTh7vkAMJRAxIUHbz5ij+/iJ5BmYOAJKCMefjpBIDFNAZm5uwX0NK/l7rmdELBslDTsEiwMoFEX0KyhyaTObP+eVAnuN0swM3Bs0BGa2/3wORH7QVnFozOVp7IS4AazdG+7YVuOpDfrIKYuQiE+clrwBUYOO0TtcSIAhIQKAvkAMEwAEK+MjdiCWBAtDtTx85GAkAHJ1T07lP6m6fDgPeQ5AxXj95XwCsRwb68ZnS4cc7188BQD1wm488HRKAnizWI0eBlTzKkjK5vRfyAqMAxa7YjHbr2Lek3fuU6AdsBW3vnW5Xp/TJTtVL3gcIeEeeazeX/YKzwOp9VEd+8pGBHhxqHFoAwjshq/XJS57K2iT1Ev3SlfkDsJxM2TD7YCvJGqSCHnmNkewjoAVu9fpIJ8SzzWz7Xh6Q5eQ6U+3n+OrP/vaze9rDU/vx7vLb3m05Pwng6yc7T/opN4ae6Z+N8Q9/MhNXxCSXDbdQ/h+cuoH3eVxb7SAGbkDnMzqIu41LQA5sxoOjfh0MGif+8QF+xl4W5Hw9gAdluT5SAJd7rk8Q98y+2C+I88u9iTvAdKkSX+1bTJZ3E7dPexMHK2vzTD/2YX++Lvjh3hf/Tjx4nLD5pj8/F9rnuFOP6XuhWJ28+qt8Ia7dcwGRMTEexiJ4+9TqR2kMRxnYJYGPsUqcjPEJapwL8H3y4mRueZ4dBPQlm711i1iQCiSCBlkELU4sGHB6a0iCgXk4AVkZuwDs77qM1GmUE3JGju/rkIBkbnstWKWDguEGOWXynW2CF/kKcPL0FmwE4m6EgjDZ6QawAgA4kF8QAxLAozt6B1plkBGw5N3KtQGsfgKANocjcPW+gFcfOgnUQCrYWMN8buZkAUvzej/eL5hbVz/wdvP3jsG6IKJO8GIX4Oe2CszkEGCt3c3WOtb2jrwHazpgGEcedQAp0QUdmY9cwO69063x9urd0ye7AEOJnvUByeq9H++APPTg0ETPbIkMwE5GewViQKc/cpGZPN6Pd5V8nslmrm7o9Gsf5iQXWaxLjiAnJ5+UvIHJGMmYcnv2XB/lK4jnM/Ls+aF87VV5wVzbOb768sbYU/uj9+C7Nm8f7SW/4LN813vkE95J78VY+qGn5qHH3il96MsOvAvvyfti8+yW74N5N1Hg7ZPxQnyBDG76g3g/2v3ss8/e/vCHP7zVuQyYA+zcwruJG+fLIl9jX+y2GLgHFWV2zc71IbukTlKmm2xf7rk98lX+xOesBeZ8382cz4rB5HCAAWyQ9kndgUOyV7DW5guqpL09+bGevX//+99/+6bP6JsL0oK1QHnC55v2fML4uc+n3gJ2kO65vPqrPIDJBQI5hxRMOJhABRQcRRBnOIxI7tbm0zoHEmxzUsYqSKvv1q6fz/FOrk6LAic40oFAQLZAGdTVc2gOLIAJZBw4gFuPU1g7MACLQ0M/xHOyZuACUHsMyq0naLWmcsFKXpv2+tS+dQJbAYYj050gVHCjzxwVEMhLdv0EOXsCkoBLf4EUzNSrAxng4dTeARCZBzy9F7Dk4ICun+BivHaQDVggBG5kUQYw8zmceWfmJ6Pbsvkk738TwLML8+6hoHFkIQO5tYOwd2VN0LMXbb0/QVlZTjbJ3rx3Qd14OqQvui7Y07HkXdF5ejeG3QiK1pcExurIQD46JKsDoH12AKI3upGAPGjLa1NPTgce/chqfXbqnZOhREblIJ5d6ycFamV7lAcwbZ7Jbu/mYYdsuJQ93svp50zZcnntzdGzdmX5CfFgTtb0T0Yy04OkHLiDdwCXS8bTTe/THptPXrucfviZWEP37JUtenfFJVDzmRmggc3NE7gkUAM4uWdABmswA29/H5eLH+BvLHgDuXGexTGxxpr8ip11QJFL9iqxW7KyYf2uIM7WpSBuDF9ht2Iw2wRyftefuXzd5K/ian/fB2uyJetCnC6027N96BPEb5/TvWQGJSALzsFcWd0Jn2/a83OhfY479XbCuufyK3hXtxD3/tRzSsFCYkjgIshxloIdI+qfnskZqL4Znn4g3t/PGRiYMiI/oAADzmpvnFUeVAUQwSKICwgCWMGNU3AQxi7oF1Q5Mgfu4MBxreUzsD/nCD72Z8/2KreWdQpS6s9UQCNfbeo6FKgzh8AiGJGPrPbVHjznvMFMUBO07I/eQAAQABt8QYbOPcs5MgeW2yv92hsdcHRQ1FedNkEtiMsBU/I+6cxaIGSMOQHNp3gBAdTJCXAOB76qyEvev1uQPuYCQHMJQnIydEsyh72xEYCWBD1BqcOCdvWCVmB0GBDs6I6e6Ih+6YvteJ/73jyrV6e/9+EdyNlj8prPPNa0vn3br8OIgOzrgv05+Bgj0RFwp7eeyUpOc9GrtUCGDSgvhNgC+chEPv3sJV8jl2cpaDe+5/qYwz4D+PpO9vpQnh1vvrpsbO21yenZXs5Ebnsis7L907OkHNCVS+rqQw/G2tvqaXXQ/Pp2SOBX3gsfYGu+Fvla2A3Vzdzn5iAHwAG8z8kADnxA3Wd1N1MJ3OoPfqAI+m6zIG499s9WxSV2GpA983N1j0GcL9Xn/9i7sx7bbqoLw0c0IeSKn4+Q6CE0ohPiCgF/LZ+eLb3RiFm7duV0lS/UheW13ExPT885hu2165xInm+JXf6JwMUM3/Tu9qw/uWtu9DMPupknXT3Ttyv1NiTm3O2COd5O4kgjgol4et+6ys68Pvfys/3Xfb8n9yXLr+Zw6lMb5T1fEXRl5RH1c3NAIEABTECX8wWwAA0RcCZXr4LDNRbn43hyAMfJEIlfT2pjVyxH6pwJwQrCzz777EasQGMJNvIDBnSRAGMELkhyemQEcAWTMWwWulLynUcg7P+FfgJUQHXmtdu8NmzVJgDo0E+wmhP7BXSeAxxglT3prw+wkptLxGAuyAWpsDcCZ3OkLKm3CUKo3tkciSBxRKJewHsHbOrIUQ4QEI92yvQFgOr6FAH8rCm7IVt2NZarOyRnXSM566EvWUgOCZsH/QEqmeqV50PWy6aBHJsD8wR2AR9Z9LQ54VPsyp7sDPQjQ+BubSKY/Lf1YFd12pkzOxobgbC7tTAWXczHBsk8+bVbI2WRtg0VW2rPdmwagWvj3RzZg2xjerb2dIiYlrwR0iZtJXqXKhMHnunOx4yxPsgv2aIyeX5bWe/5cDn9smFlV7k12Hae8/PmbD7FLD0j680j8/Lq9GMfsqwxm5GXDVa2ssbZuIr0+L4feEbmiBwmhAtILTLzPbjTNgJHbk7hknJX63Akou9P0+Tk8xP+yp/4ccTNb3tXl3/bdJTCMfEv8fmw1LuYEoM2ofyzkzgCF5fwtVtHGxI62nBIdDc381RnzrVx+lYnR+AOO347dPsmHslERL2/kviPbqfN7FKefTavrrw67z3L2XQJOvIu37rnPHdCFTwCRHBxPo4FsIAVMAPQwNz3J6Tp9MvxOB3nBGiuYYG061kBxIFc49gxerbjBahua4xrPkvigUKBChAEhQTYjWVMwJmj21j43o7E7UYFHh0CemC24Kb8CqyUBXibVx4oyoEYcKEfMAEudA/ggBJAZst0F7jsam7aqjcf9pWQjaAVvAhRYnc2RYxIsROxtbA+6s0fwSAb9Yge6QA2a0KmZAw209Z66a+eDMDgJEqWNdc/Wa7byXRVD1AiX321Q9Lm5h15I0dt6FOdeQa0NiDkaWusQM78gaI+1piOfJJt2dBzAG9NIhd+xO7qrEeEjxD4DL2Mo04f9XyQTYAiXW0+2cAJx7zpqCzbWRNzJatNiZxcefpZd/7AN+gYKSH3SCki4geVRd6bVyfnR/Q3x/xR3vP6Zr5bWe+1L2czqfd7+VW7JXFzNr/mYw50LdE94j5zdfrpLyak5LGh1Lt2krJsYsMUmVsLm17kai3hk41phwlE7iDRlXIkDpOQGdzwbRyJ+z2Nq3WnVM9Orvo64cIYmz23TuJJTEsRd3nlETdflJT3rI7/L456Fvt8T5wXh2JPLNpod0jynZtuCBl5I3MEjcwj751vJF47fcz9lcR/dE3UkfFVvqTc89luy3uWv28SR6ICWAAJJsHHEREl0AKuABewIUck7urVyQURSBwTSWjjlCWA7BQ5F8fhNHaD/g12u8qI0HX3FYkLUnoI8oKCsxuLXgIWqHJyQet6i0PbOBiLLp3CgbxkzAW0wKmyzbUtsY3nZAAwdgJW9JMDGvLIqJ7+AUzB611bttZXwCIBBAcQOt2yu3cEixSRG1K0iRLM1oQt+naNlAS+gJe0zU4ISDIOu2inr2eEbszkRGrGW/AIQNiazYEP3bUjKxIHPICUzMYxd/X0MaZ1qx091Ul0IU8biU34AaC2CQjA5WzNhkjSulgjz2weoVoLbcniLwjE2iAB8ozl5EYXhM22Nipyc2cLbcwX0Xs2J7LMpXXzzv/bZNCBf/AZelrviGdJOrIzx8r1lXpXJ0V+5JiDRHbEa675Z36cz/Ze23L9V0blZ37VThl7n6TL3ulenu58f1Pl+rBX9ou0lXlWng21ldiEncgwjmc4YU34kTW1UfTJD+H1SQ+xITVYhMQRtwSnkHe/UHc69Q6v5DBMH4Qvhzewjo9G1vdyvi1ewoCzXUSunTbiyRzaXCJuvshXbbThrznBOgckmwtzCWsRMz0RuTIn8r6BL4l3In89ib8FgZ8n6wj6pUg8EIzEBYWA4KDIApEAOac0QYG8ETRHAmY5HzDzndF1ll+l27G6prLTk3P+n//857dTM4ABFpF4gCdgARUdkJwgpQvnjvCMg+QQk90wx+bQru4FK90Euc1OQGaOC3IBFTAK5LTdVB95G41IYMEWwAA0cvTXBgDRHwEhFQmA0SvgU7dEEBHLzTEwMk9lyM8GCOEKdH2RDTBhG+ul3o/8ECkZCAz5eG8smwNtEZL1RaTZElggMQBClndgaO3lbgSQGtnWRL+Vx1fItD7aIEv+QV/JO5/Rx3yuSDw70I+NgBzd2ZP9+AZ7B/BszvbWFMCzNR9Srh0bkBnR6mct6MB2Nkn8yOnNBtQ8lbMzu5mvhBjYsvmR2wYh2cajozGMT6fiim5037SEnU9tXtvIjwwxQqaxIth8L1v0zm89Z5/8Xr59a3OVa1e/5Cgzfr7M33ejsnOIrJtDeeXmFGGzW6l5elevXeuffD7hWU5uWMHXbCStqzV1/Q0j3AhGfF09O2kjPv8nBMKW/NPSyn/84x/frpthmMMBUpTIEXt8dElZTEhbJjaLg8i8dnJlW6493+R7cLcNpY20Q1SfChykul3oZI2kbUoQNCKna5sPc5Qics/q/Yjv9ST+FkQecW/+UiQu8BGPYIlA4RwfHAAAIABJREFUI/FOTQANyLkm50QI024UGWjLCYG2EzsSdyrmRBylXaJdcP/uOnBp7kgSONBB4AZ2AnNJXGAaAyAjOGMBXD9ooxd9jCVoXdezpzktGS/IBUzKNm17z/Skr/aRM70Ca3qrSzZwY0fgAliaB0CmD+AzRwHMfuZTMr9OeWyPPIAREkMgduPmzd5s4OSIWBGlNuyBxPUDBEgG0Xr3TLYxgYr2knHIIh+h2fkDEKduCYGXjKUNsqa/vhF5mwLjkGuciFsOnOgp10Z7OiqjDx2QOhu0uTDP2mdL9uQn1kJie/5jrdgXibO1cmtjzuxrDGtWX+ParDQfG1BzB5rsXFLO/xFCV+z0pD+59KUnucjN2tNjCW+J3NovIUXUkZH5nSnio785k28885OMa7zGzB/Z5CxXJ+mz/Wp35rWvvL7G5ev0MeedUyQrj6ybQ3nl+jUn8yq1UVG3Y7AXuWu3xslHyLbe1ki8WEu45LMbnPBdGx5FzHKEHYn/5Cc/uR0+XKn3nz8hcsQu6evwIA7gn4S4I2fPldND4m/8pDbl6pRH/NqJj+KR7uLPptoG23W6w4qNBJylO+KOoD0ro6Pr/34DoL5bB+TdfDy/kvi3gMQ3GAGFExDwA6xOIECM0woChJkDAWHOyhGBNqe2W7RD5EiucRArB7IjFChO6IISOQYigIEOAlhQC9DIDyhzcvpwbqc85AFQga7bAXpxWOPRw1U6ACN3CfrqWbszIe0SPfUDKvQCEEDDHACZMQI48wGuzUE79tRPGRmS8uaEBMxLMkfliIvtkUzE5hmJCm71wAmJK0eSCEXAC3Tt9GcLQGYNyQ9QAIix9COfPfW3fk7fSNyaAw6nUnJt4jznD/paCyTY6dR7m4M2JMaib+PtOtKp+ZJBZ3LpbJ7a0lk7Psn2gJqfIA6J37C7NVLOX/hOBOedHDrUV3trQl9+ZO582aaFTW2E+FbgidglmyR2YQM2oycZZPMHviCnh+d8I79Ql978Id/gD1I+H8GV09uzPmQ0hrlHdsbYZGw2yTfTp7y21d/La7/1+kbi5tq8mg/b7pyu5qVMak7iZlOxQn7lntsw6Jct5cYkT04PNkOI/LBPRh1EkKBfbzuNwyW520IE7Ts48vbuet3Bw4/cvEeW8I2P8AF+ycci8ghcWTdJYqDyyL2c74iB+vN3OvN/cSzmIvBIvFO4zQjdO3k7OEXirtmlKxLXxnycws3tlcS/ZSQuIASgAABuSMIpBFn6oYjr9P58gaNpJwFKwQLs7HbtBDkYh3GFI3EYOcdFjgI1QPAMDARnICAoBUOkQx+giXiAKcAVmDYVxrHb7vQBZPqvRk/yPkm794h7c3V0pFsA4TnyCNy0aQ5ApNR82FU9QDIvQS14sx3CZRfl5iuQgQRiQ2KdytmAra0JkumkjlA6OatzQtZPW8/6kQ8kjKnOGMqto/GtNdBAzG2SnETJdcPhWR9t6GVsz9aDnMZDxMY1P/PxrF5fzxKyl5ur9uaKSLUnh07aq6cbUJYAY37CpgG89WBr/RGe9bc22jSGnG9bK/3YwmaIT7Gf+QFKcwXSNjSebWBtThG7DQ3bsBW70pt+1hvhRTp8ju/IlVv7Jbz8Yn19Sbv5ltPbXCIyNkim3PxL5m6O+aY8Mi5Xf7bZ9j1r33ObAmWReD7d3Mxr00nmfF+qXNvmQv/kta7qPCuXWnv92KOx2D/ZbOoZdvDBbpyQovV1EOk0689fHQCkbg2dThG5k3nfx5GecocTN5Fwjr/mk5Ew//PMT9Xxucoi7m3L97VRRlfvYoVviWM+KcbEer9J6vOhT4c2FP0S3SHGgQmZm48Nyn4Tp38nds9O469/YvYWBP5N/CYuIAWHJBgFBsfj/JG4H6shZz+siKCdSLThfAARqPt2o61d4n6XESB2usgWaPbDs8BAoBagAZtAFwycPCIQOEiDYwNY3985Mp04PgIGOjYJQDQAkgesyiNqz/teeb/2B1jAg00ABR2BDb2l5HvOdtotyJiPd3PUJoABMgIdqbIjGyqTEC4yi/yQDVJTzhaI1UaGLQU+UvXutIhoEDFi0h/pWJs2CuxpPHKM5RTsPcImx7pbS0BiLETmhG4u2qmXa+METw9j0cU8+IR5ypUjO23ob3zl5t3athGw3nRB4uYP3OiJ4NiKvoH3SWr8hVxtrZu1tFb6kEE3zxFFuvGpbhgQNwIHmGxp8+pX63wNiSvje2wk0dO8jN3mgHxj97uMfMja01niI2yZr7NVczTPUmRAvv58SH9+GKkp9xwJ5p/GzT89b4rExcRTaWVckXjxm03pVaLnztEcSpWLi40puhcn5lXMKWvu2U7OTmwnZbN9Zz8+xO/EgzhCiDb8Pg061bodRMwID0nDLd/IETgyd/hA6AgP+SH+TuKtGb8yjuSZLur491XiexKfVK9fOMAf6Vkce+Zz/BDeOUz5jOiX97DPYSm9I3Df/hH5knjfw7XthhSpvwGWT6XzW+/5/lTf91F3jve+3x/p6MdbknG37XP1qE+kEslEPo9y/fSJqLyTWbkgFYgbhAKMUwFjxAjY+udTEbmFt+sDvIKD80nAGuD70Vv/ShBnkZC3nZ8rHIRCB0EeMAlQwSwwN9A5uA0FXchHOADXTtifergVEIicVpB+8sknN1AyZ/MKeAKzzdWxS2Xes3Pl9Alo6Egmm9XXOPqf4GNegZn5kBHImw97AZtsJ6DbsZuz+Qpw9cibzZCaOs/sjFS1sQZyhAucnDY8sxWbIdyIPPImE6mrb6OEjIET8EBOSAtJS+yNtI1DT36hnlwgg6TJbj70BGZyfWwy9AFQfAvImaN6emgj1b6TOBu1+QCK+ipj38DaGknVk62+2AhMjUdH79bLuiB3fswedGM7YCm3cWFn84zI2UE8SIGsuVk/vkGmdeYfYvz0j8iIb/CJyKw83ze35mN9vGvTXPUVP+ZREsPFkzJ+GlnfyyNp+kobC9lPvvVhhjHMJ1+nD73oSFdzaY3kza1cG33TOdskszq2Sjb5m85xkp39IlQ+y49suKyXTa5bPKm/pnGjB9ecurs5dKWO0H0nR+RIHNa4BSSHv/JJ40jGqawNBN/ge3JtlWtXrHhWJmlDRzHF99weiDu+ZmPpJhQGI3C4l84wlu5I3Am8P4mrTI7Q26iYHzI311cSf7CJuUfiSOw5RP4xSVzQCBaBwLGQA+KwC0SYHMaPKZC43R/Q55TAVzsgiFgEBkdDsJxHzqmQuG9MnBNYAAMgByCADBBq/AhAQHB24Es+cOfUTkZ2pK6UnMIFG0LxH56Q1SYl8Hkqp4t6YFU/ZUCZPkAEsNBvSbw+5hGgnUAUWLOtvt4LdiBdgJsn8hHIzTdSRLQ2KOxsTdjdXOX6JUMZEnbSEPTI27po13V8MsnxrC8Z2mVbZGsDwMbIyvr7Lmfd6EI/bY1Drk2V9ghRHcCS86HASj+bD/MwJhs0Nj3oI2lvnuTTiU3k6gB2ZJCfqGdH5Z6zh7bWxRppm13ppj0i0J7cdKe/OZo3EgeaQJQN+LQNUmTuHaF3GtfXGhsnAuXbT5F4cziJh17ksFGgb37mdJI4fzIu35TW//JXflc6yZyN8n+28tz7IxIns/HCjisSb36bm4ukXzLOXJ1kjmy15N3zbhjIT67niNwze1p7vmWtrLl4sUGzWYNv8MTJtoOHPzHrGzkCh18I0nW2+LIp4K/WiXzJeknKrKOcT4oH/l5dccH/lHtXpx0S72aI/9GTD4ptJO5TgJsDt50SnZA3TI6sw1zvyLqTurkhbvNyoHol8eN0HeFu3in8PInX5hGR164TYsCwAfbUc6Skjb7eyaxcEBeMEU7kwtkRJ0fvF+euaOxGOQ3A43xAWDvO50QG9Dkb0udgSNbfZ/YNximxMZe8BaokEDk/h3ZCEnA2BwiDbODqtN91Eof8wx/+cANV38HJbK6AKbJdO1Venn30UwaIAUjg6J3OZC/wATxlkXjtA1Q2DUzlwCfCEfTsB1wEesAjsBFX5Ma2ACOyFeCSEyQ7kQEI7N4Ra6dEwW9NkCdCZ0NygUXr5t06GwvRtvNH5EjKGlsvz4jcWhjLKUQ5udoiZ3LMhf5SRK69deQb+gNS45e8a6uPMu82HubNRvQim+34R4TGTwCl+WinnI20ZZfWSs629NA2kpQbl+701oeN+HvJhtE8zb0rWN9U+SBbS2xmXsmz5vwhMizG8g1kFTlFOvJIJzJgi52bNieJmxe7kBcJei7Ro8R/z7S+zO9PEi8+ytXrw6Zk5efNx/pErPSl31Vq3umcbcorT+5ziHzt09hsanxrkz2ts/XmX2LE+lpvm7f+dUmY5fOfwwGy61MgPHOlbfMmJsmyXuRL3rdMnXH5Ht+0npJnvsfX6VK9GBCzYopfReLiEIn3j23BVredyBy2Imu6yb27LZA8R+5duy+Jw+TXk/gzTuJL4JFo5PyuJB6p38sj60iq8SsPYASNQBGAgREn5URAy0nabo5zt6vj9JwQAQBpzgd8Xb/63oRkfW/iXBzICV5fwGcsNlgwELCRnEDg6IBfoCER49kxc06bCLtKBP6zn/3siz//+c+301Pf2s2XbODT3NdGygIteXX1SxcySmxVCuzUReABT8DmnZzaeg68AEtgLXAFsTqgw6bsKbjZFmFGcIi7UzXiABCBk8B3QrDRkZC69takH6uxp/bsS3YbBGMZw3pbH+RMBvDoFADo6EJv5I/gbCZOEqe/BKSsYcBEF/3VKZfoYmzPcu/ak2l+NpRswRfZhn8ElOylvvl4V9eGp02XteXX9KF7vmUNjMtv2V8bGwY2dBJnB3Pkf2wBRH1Wcv3q9OYdmftObk1aN3pYa+Mv4fGTJSltxEEEZfwIh44BPp3NnVxtpDY02nsng7xkyvlf48kjc3lkzn/5Z7Gw/l2MqCtdkXj+bkwkTjc60VeioxSh7jxWx/RL5+KnOSWb/OZf2dplx+cfUrHGrt7l/I2vWP+ur62vk64E63wG7EdgyBxJOkDwCTFArgQzeyZb6t068lGpZ37HH/k6PTxLfCgcFbORuBjka/DP7aNDVSdxV+TwdUncjQKSh9uIXJsI3VV684KfryT+gMQj6U6/yDMiVVb9vTyyr9+SzRU5VV8eWde2sSsXtIKnABQMHDIHt0tFyHZ+HIFTyDkMMNOO4wkGJxonGSCormsfRM6p9BEISNjpcHWkHx04uuBANkAfmNsUCC6bAkHkG9WvfvWrW/rtb3/7xS9+8Ysvfv3rX9/A1N+IAxzzMy9yS43Xu1xbeXVAau0RAZcHcuXaLth47h2wAqTG8x4YAzJBLtgFr6BWx/YCW1LHFhFf5IYw2Ec5e5GjL3tF4k4KyNt6SEBHHXJOtlx/64fQk4+49EVc5OhnA+U0ilCBIPIHLI9O4ubFN+jmihxANV++Y3zvwK1cuXXXB/jTC7mqb4PpWR1dEDA53smhoz7sjaz4ArBvPG0lZXLtyQD+cvblczYwwJ395OwASP3YTUwAVM++j2pv02FdrAdZkZucn0gRVPn6ij78IpIxF6n1XfLTNgKTm6u8Z/LNXUxJ+eXqQh8kzpdP//YuNio/SVyfNrDNyzjpQb+Ild6ReP6vLhudOiVP+dqn+Z35juW5d+Majz3ZMFt650fexZicf/FP6+iTiXX1zRmRwy1E7jQO+xxqbF7FDbkSOZvIbLzGyO/k4oKvbeLTbpHEFv9H4GJRDNLLxrFPiIgcviLqyJtu8FEOb2G2HGa7Qe0X60jcfByqfCZ4JfFnkPhJxECldI+8Kz/7RjYRQ+/3cuOoi6i8k1l5gSgABUckzqEAO0Dj0JwmZ3EKlvxCkjNyZkGAVICYHSSH608hOJVvNHI7QL/6tJNEDIgfyCcDWDoBAct+pGV839gFlE2Ak/dvfvObG3F//vnnt+/sP/3pT28kbq4Ahv0AT3MPhMqzR7l26tgDeJRqH5hF3uULNAHlAg95yY7EAZoESApwQNC7wBbowAaJIz5EI0coiBNheNefLGsn+BEP8rX5WhIHBOyqXDtjBCTIDenJySZDXyAiARBEpa82xgR4SB2YaWsdu063lhIfMo452LQhZfMwrmTMQMz8PQM+/YCYMcyNLfgXOdqkL/toT46knb7a8Sl1iMwa8u/GbA5sZtzmbiwy+XFz5/90YXc2dOr2PZxPOpHJ+boytmMPOiKP4knOJ/IpOaKi2/oK8jn9IiJY8osAyeVTS56VGYPvqa+NdulhfEkbvnz690ni57s++ppDpNtc6BCZRqjmZQ7NQ7l26UHOpsqT2Tz0OVNjZJfe2/Q0trWV0iMil1szfsBH2/DapME4hw6Eh/g8W2++qY++90icP4qVYtxaKruX+Ke4EZ9tvMWcFIm7yre5gK10c0BC3E7inbSRNQKHsdo5sfdDYxgKuxG59Hqd/oxv4sgk0ow45aXI+l7+MUlcoAgAjs6hgDIAQ6ZOwRzFwrvG5tR2ecAVYErAEwAiYleNHI4zuULnaPrZCPjBiNM0MuZo2iF0V+bA0L9KJIB8n+Ko8v4ExPccf/bhH47xi1GJLKdxjs6OwIXdkGckDoQiXs+Rd2viXb+A1vNJ4CtDvbQgFvDIA59kGBuIBtKCn50FNlABQL0X+HJ2bXcOOCSEiMQRIkDQD7Cxvw1UV+fWDsEiFkDgOpyNEVOESAbgiBz1deI0jmfEhaytp3XlF0iQTGRvDPoAHnLU0dcGMLnmgOS1UWesxovoI3FzVkdviZ0kevIt8uur3LNxGs+ztuYntxatETtlT+Oxu/VgQ3KVWQc6mRMgNU/A7p09bJDcQLCJjabEd+XAX6JL62pMZCK2+ITEx+i0/sY3rKHx6WVugX+6RkqRVWS2JB3ZNc7ZZnVIj0i8+KCXZ75bHd/fVNuId32eDsaFJRFqRGpu5qFcu2ImOeWVp++5USFf/+STufbxbMzqPV8l61Tcsbm15zfiq3hx+kWMCBAe+dTCJ/jerpX1IqO141fkS62l5y0/n/mhzbm4spEUY2JXLgb9w1aIGR7DxUgZrnZ1LkfcMFMbbb3D4j5vInKYDM9fT+IPTuL3SPh9kXhynsojMrl2bSq8C1gBU5Bweo7JuQAi8AJSnYSdpu34ELJnwMbptOeATuKAPzJG0pxKcoq2m0XAiNgv1Z3KkTzHtMMVIJzVdTxydwNgbPUcVn9y/O2mfxLRFRcid60OYH/wgx98CUBAx3wRNNAJIDwrW1sALPWBX32vgIvNSmT1XE4OgCSLjclQ5x2QCOiAmd3YfOuAgHogEekhMCe9rtGBDLJgc8AAtICP4EfACLdn/RCP07S1tNmxrp1ejWEzRh65kjVF5tpaDwmp0le7bgSMRSf9+QuZ6ukij2SRp6QNnSNvz9qYsw0C28gjcePxx3TTXpv6kEMm2Y1pPkjcxiFysU7srI227JvtjU2ud8QA1M2HjdiBPP3MGaAukeevSLw6felFT4n+xhZjkrXmI/mO5/Q0PpLmJ5FLvrIkRR4i01YfMvlccaxM0q623htf20icb/LR9PHuubKNgZ7VS3RP/x2/zUM6mg87SOZBJ/qYdzI2fpJpXlLzWrnNjw3IXPt4NmZ1nmuTLvLKrRN7F3t8Qdwga3EDf+CQA431FyP8lEz9rJG+nntfws4XzjIyjKVeHb/hu22ixSC/kmzAfcZxjd5p3OYCIXfbCSPdesJNbeTI2w2Ccu2Rdwer//p1+nma3F9mn3W9R3IvlafHh8ofzevRuBEuwkEIZ9pyxFSq3Y6v7ZkEiwDJ2eUcm1NxKCcR34CcupG3HV9XM8iUgwA54A28gJ4+CNiJWtscB/Ej3U7OTs+dpF2zczjfvvWz47QD1t/YOSCHdQXkW44TPTK3IfjlL395IyjzZlOAgJizH7t0KvasHVto650dAjVAlR0DrfJklAdmxmsztEBpfGOpE/CBGDvvM0BidzYX1LVFVggMISFL4OFEy9YS2wMPSfAjbgkBlTt5uwbuZCFH6mSRUV9jkeEEYNOgn40V0LIp866t8Z0MnDqNQS/96CLRV45c5Ugz35Cr5y/GM1e5BMT4nX5ADHB5Zhvzp5P2+keSyJfPIVjz8W48eilj49aVTY2LkOlFhvnIvaujQ2DaPNbeNhc2rr5VAthsarPDTurYXl+6AmnyjGN9kdf6RyRFR8lc+UZEEMlExurukTK56sxTTpZnMozDB5UZh7+mh/JIm5/n05612/etr05e/ES4ZEvpSx/P9JEj48anDx3IIGuTcvXa0l0/ubRlK785b3wZs6S+NuxsbUq9R6r8wpr3GUXc8E3ra223X32VIfWIXZ68/Gtzddoo44N8HYbyMRsJPhWJw0ena0QOY8NX5O2U3SlcG5uOyuSIXDskLsFzN6pfOYk/IqSr+iWZl3i+0ul9lj2a06Ox9I94I+bN1fUe8URSynf85GwuYASeIChxdo4IhACSq23kbdE5ArLlPE7FSBmYcWjOB/A4IHBz5difQPRNCfE7gSNw1+l+oOZ/N/OnHBzNdZXxfG+UjEWGzQIHjcS171pdjtjpiFzN2xyznfe1TfapjT4BEcDyXvvIuzzyLg/g9Ac4gVig2dgAqlMJOwMRQR+wACRlkZly4BspReKIjI0RlwRMAotIHOhE4sgMECDdPlcgZs/q9NE/ctUPUDmBWEftujp2w2KdkaWTOZna0w1xAqCIWy7RX66+k7J2ETjgIlMK2AAn3cg3V3YwhrH0NWfEq493djBnehkrUicDQLI7IiBHe7poF4nTxZh01d660EW9cdmcndgIgNscBLKIu8Q+AJcu+pmv8cgRS2KKDtaWTukVgUWECCr/qH2xWa5vZMbX8juy9W0MfqWPMfio96dIPH+Wvw8ST1/5lW70forE1e38mvPm2XLHYLdsZ9xN7CPVBtlbc6nniJc/8Bfrbs35oHe+F4HL6y/3rv8mcvLvzZW32eOH+XMxy6ekbtKcxB1u4CQS76YTdjroyF2dd3upHlaXwlAHKkQOw79C4kDzESmd9UsyL/F86vO+3x/N6dF4+ke6COFeinTKa7fjJ2dzwSpQCgTB4ZmDc0Jg5wqWEyDwcoTOAZyIXTVpF8EAMTtHQI+EXd0gWsnpGXH7QRoi79fl5LgScgWEvDlrf+5BPsfkgJ3mkbjkJG6DYIfpx24CzJ+ZmSPbZo/N2UY92yjf08USuLrIOhI/80DvJPGAqf7qsy37AhXBHsgBV2UCmt2VAxp2RQbIDDFE4L0jLICinzJAg2Qib2sBgJyikWKELFenD1BhN+QYiasjy6ncOrpS1B8h0YdPIK9O85EgEKKz5DlgItsYtUvnBTF6mIe25mBzSB92MqZ5yMluc6AtctWOLsjWBqTPCfTly+wLYOm0egBtYypfEqdXJE5m82gN2I2NOim5lWCrgL5bE/o2Z+OYC30i2ki1U6g8X+gkyRf4zPpPJKZce0SnjA9FTp6Th8T5aoRYeX7KP9XLS/uen5efbciLcOlTSnd6eqaTlN6Nr38yN0/fzcnOFmuHlR9RN578rGcn5UvoytjdOvEBef5hHfNpvlr9EvhTJK59KSIn3zNf42Ny/sb/xVsbQ3gqBuGivxV3U9nnRjeVkoOO3KEHifsW7hl2InP1SN5vm2By38W/8h+gRBiPiGnr6/NS+eryIZ4fzevRmPpHuhHzVX6S1BJVOiRnc6QkkAqygoJj58BOF5wnIkW2HACJ+2GEq3DOhlAAKoBzFeRaHAEjXt/Bff+WI27/OIs/C4vEkbGdIRLv73CdGDkrUueUNhAc0LhO3o3PMV3Zk2WH+v3vf/9L8o5Es092icQDJXaIwLWpff3Ln0PiAKfTVf2AFNsGanJgERjpYw0EOSDwDFAQFqJCBhICktgZocgRosTuyDviRjCekRpQQDLAwNUgAlZu4wU4jANEAIh+CBMRIiXg4duvfoDMWN6tOR30iViBnGfJM9n6pL+5VK4OgJFnbGApmV8kbj42NdogaT6mn6SdsZUhTcl86M//yDA2P2ZPOb30iVz5Ofnk0SuilevLpsqtiTJ9jWse9OmEZpPEVnTQR1Ivt0baN1+yrK2xI7R8RizyCXXaVR8pFp9yZfyo53yGX0VQCFE5+Z7l0hWJq1ceoT6HxCNc/h6JN4bc2KVINJ3VFyfJKR57TxbZpXskbhyyG4ftSpVXx76Sdzl7lZbExSP/4Dty73yWL0jW6Ezabvtk6J8MZZK+lZErDvimuOXD/EoMiF2/u4jAYSJs7VYUSSNsOQx1nS6P4DuJd6Xu1hKWwvIbiUcKkUX5I4JSX9uXyp+j47u0eTSvR7L1z76PyDviOYkqHZKzOVISSAVAAReIADBAhZCdhC06R0Ca/YMBrsNd8QA3gCrndE57nE4/1+6u0p3GncB/97vf3Ujc6dn3bN/GkTLH8+MRxOHPdyQn8n6Vaey+zdPFFZLczrJv7ObjX24DCJEo22S/nT/A0m7rvw6JA5vALiADNp7VkUUH7wCFXdkY8AKQAEkfZYIfiGgjdzq0BpFi79ka0QQICKYTKQKJzLsatxnr+xoCBg76kI1kOt1GQEgJEfoebi0RN9IGXr4Bu+LTFuiQUX86rb5kG0fybD7NCWjpJyFqsrUxrpOIEy5Z5mhsJB3ps4Gy9EWg5g/86GYTQjfgyPbAkmztJb7KxsqXxJUZzzzITIZxzcG7OmNL7CtG2DxbGAd5K9MmIjdPczQmADdWPhFRW3tl6vgIv0BmfESez8jVF7PmqE8y1WmfHL4eKfJH/fPVyFu5FJGX5+f5uvfq5PqkX2PI6V6iZ/o2djLIPZMxyCB3U3LJS7Y8OxijxCY9lyuT2FgeeZezlzjkA9Ype7Ym1k39krc2UmXqk5GcysiUlPPNfEHOP/im2ETgklgQr/5+Hc5KDjV7ukbSS+L7b3TAyMgcfnboQeIOWF8hceAYYZQ/h6Rq+xL5I/3etf7RnB6WmktkAAAgAElEQVTJ1z/SiYQ2j7g3V3+1FsnZXD+BtAHmmcNySMDFqZyOEaWFdy1jJ+dk7Urbr8QRNVAEWICvUxwSdq3jlO2XkE7cXaM7OSNw38Z9J0f0HNGO0zd1fTluJG53aefJITmiK3ROSQcbABsCJ3yE8+mnn96uyU8Sb+7ZEFDYyGQz+dqy5+R0Eg9wArdALbBhU23I01d5wAFwAmLlAZpygQ5MAI6gjrA6qQp6ZYgtMqmM7QU/IpOQcKdB706oyhA5cgQOyAshRbJkeo6crCXCjrSVG9uJHsla84gLAKmTkLR3eqcr0lVuTEl55KlcW3NbEreWCFJ5OtU/Is3vzNU8u22wkdSHXDYFmnSwEdBWUpcu9GFLtgfIyrNf5KuNcb3L6ZrtvNOTDH29t2GQI3Ljk2FcZG69IwnjRkT5inf+EbnyFySmTKqP3BzFLHnetdPfvJUt0ZLD35Jbro/knQ+X+PemystXdjIaI12XaJWpL46Kq/LKtdmUbP3Ju0rZUM4OpX3PvnCO3dhH8pwdxV8EW7k22bh29S1XH2HzhSXx6shVzo+0Ue6dz4g5cYrAxawk1hxuupl04+gkDv/gIEx0UwqbYajDEGKPwD1ro70yByF4fvthW6C4+RLXc0hq23/s50f6vWv9o/k8kq9/to14No9kNlevzzl2cjbXRsAICk5eUHDynBog+S7aiRchI1wk7lu2EzZncEUL0BEJR3QS1M9pnOPog6wRN8Ltu7hNgHIEj5yd+p3++peT/Dq+b0Cc16aAs2rrWr9fqTvd/+lPf7qd9s2JbREo22QTc/ecvbTTJnupi7BrI6/sBJmTxAPDyvXTR3lgwtbAiL2VB5psv6AuuCVgLwUGygQ/ApEQBxJEYO3c28krQ3KIy3oot8GSrBG5+gIPZIRo5BEd8nGqRab6IiH9bALI6IQZOdOrZ3olXz+6qlcecSKz+niW+BAQ802cH9h06GMe5kBX8rSjH33VeUa6TuKu/uXmjzTZld30MzdzkPRNFnnGaQOrnzobAWO2qWp+q7v5kA/Y6+8925JtrMYj27y1sa6te/3JkPgI/0CWfCp/4UPFrDbFKzlkqNOez1kDJBHhkqdeXf4qR5bK1XuufWOTV9q6ZOijb/2TR6bEv8MYbfQTf8XU5sqlK9npSMbKDrs2L+aMK/XOXhE5e2X3LYd/7Fliw02tWeRdXhv1G7eVyyNxflMbOT/jw/zfJtQGNhKHpQ408NSPfyU4CFsReN/AEfhepTuxSxE5MneT2o/b3iw4Rg5LHs8hqW3/sZ8f6feu9Y/m80i+/tmVrc+0BBPpREjn2MnZ3J8BIpoz4Dg7x+aIgMZ1jh2eb+CuxBEuApX7Po3Q/acn2gJJYAj0AbGTNafSDmG7fnca3x+4eXcitxlwXYTAnf719YzIJWWc2HUSx+1/47Ex8I39b3/72xf//Oc/byThfzRjk9NHvWc3QOE5W1XOJp43RcgBjByolQO2QEc5UKqtuoAs8GFj5QFaJC7I2Z4NATybFuiC37vgR4pyZQgFKQl+gY+8PCNbz12pI3ngABg6pUYmcjIRjvYSmW5FrIFnIENmBImUlNGDDnKJ7umNyJDhSeL6aae9sfWXyLRBQMQ2D/Qli158Sj0f29OtMsmctHdzQEe3DcZmRzb03AYFWHpuA0Aecs2e3umljbHJoJ9ncugfoZMNxBGFdZYjBGup39pW30icPDbQ3xyNveTAJ/gHP+FT8o3VyKmNg758Rxv+qj7d8kXyyNUnf5Xnl/TX31ilyLu8crm+2ktkSL1Hsvk+fZqTfhE3XUtn3CR/9WuMld8Y5Jci7ewkV7Zk3YZJmbraKGfLyNmzMu08W9vqNlcuLYl7rn111trabOIn/JGfizMxKGbb0Drg+B4OI+WIGw46lTvguEaXvCN4hB2Je5e8dwByo/oGyEUskQNAfERO1Qee9/LafVvz/qvSe7l/Czy7soFnwcjR2Yzjs79cnV9ma6eNcv3rp96zseqrzBqSJyAFR07MWTkYh+VQdm+uxF3DIHOkbDcn98+eumrnoJxQQibI32mKY2mL9P24TftO44jdN3FlTvUI39WRnSfSlpzEXadz3gjdThSJc0p/e47Ef//733/x73//+7bhYAtzc7VububuW7k5sk02Wv/tWb9AZfNAZ3NyArfyrVcGiNg1wAAWgIZeAM+zOvaLcID7Br5yhIcAEMgSjnckhmgRlxMrQpN7R+hSJA4kkJR+1hiBRLZIRl/tybOGNlPWFLkiSXLVdxKPuJGS5xJQoieZS3zKq+u5HEmSjYhdI8rpo7+xARv5dOBjzR3ZeqYnf3WDYO42MewINM2nObTR0Y8t1LEhO7O9MZWbI53IZqOSeUXAZIsXaxnptKYAvrUjwzzISyY57KaNZD3k4o6vlsjla5JnpFW88h3j6MPP1PNB9dbW/PPDiIp+2sojw8YqJ+epFFnXvjx55DeGcRqLTPpsnHhufuXF073NgvGWvBuvXJ1nc97EXmwlt26blFVf+ZbpJ2Xv3rcN0mb3k7z5SevsWSr+tBUDfJr/8vWu091y+qGvg5IfGcNEOexD5A41MFbuV+tw0jssdfiKvJF739MRuM+gt5M44EMGpSVkwPlU2rZXz0/1/V+oQ7hrV885vmfOHnFzeOTThqAfd8k7lerLbshdWzKsn/IrEufEggDgWXzk7fuzH7UhXDliR6Zy5ADYAB3w8+91I2TOg/yROMJ26ka6TuDI23U6IibHNx67TH/GZOfpFMhhuy7ipMrJJdM1EflO+J3ufW8Hwn6pTn/zZyegY77s1twj7n1/FxInmz2Rv9x7ZB3gBDL0AUTegQBgEMwFu6AW5JV5juwQmXcE4JSLjBCbZO7KrAdCDAwAgxOqd6SFSMhpzZAMUkFmneABitM4+WRJnpGpttaaTvL6R0ry6mpnPOVydfJNZJBNT0Tsb9UBG10RML3JMk8kzc/Sp5sE89PfVbw50xOoaqufOWlDHlslw7yzKQLfjQed1ZXYLBK3PkgicpK3rmLIuhrfPOlCz2R7V04ueWwi5wORIj/hQ/xJEuv5DmKMdOTea6sdAkc0/JBekXg+uOTaeOXaP5Vqt3kEHoEapzHkysmkW/PZnJ4lbSTzSY/mbUxl+75j92z8JXDP1oRNIunNl4wrryw7R9yb10YZf0DWbL8p4i5Xp513z9Ze3PFbqXjmy/AQiUfkDjZ+IwSXncIdcuSwE0Z6lyJzbeGkBDOR+O0kDvg2nUT8iGjP9uf7o/7f9vpOzWzMNvLIAdFwdjknLyg5Huf+7LPPboQVqeuLsMhht9ZNGZmCRUAItBzdM3kAxy/G/SDCt22E7QdlTtdI3TW4E7YdImcETBwQ0XI6Vz4IF0m7jvcdG5kjb4TuNO5KXj1Zdo6I26nbD9yS4RoImSvza2lOSw9EzzltBMj7y1/+cttl2qywDQIP/MzdPNklApdnH8/vk8TZNbCRAx9rJdg9B3bsrAzgF/jAXZBH7ogkohTwBb9yZAQAkA+SkKwBIpcQXidxBIYotTEG0lgSRpiumwMUV9uIFIHrh+yceJeY60+/JaUIW5nnEv0l5ftMDlKmq3HdAgA08+pkzR/p5j09zZVe6uiKvJG1kzx5SJJf0t8JX1KvTh/2M4bxJc/m4rn5IOJOUnJzUWZ9xIq1zs/4XQTTeteHTLJLjSG3JsrJLqYjPvG+8vlP8YpExK0yeohpfsyvlOvL/zyTW+6ZDGPoW/JO/6dSbeXanyn9yS9pQ490DM+uiFwbiS2l4ii7eq/sKR3Mdefrmb3YpqSs58h63yPp6pbAPVfvWfyKzY1lZW3GI/HiWrl6cdBtkQ0mX+XnkbhPichbctp2yoZ7iLwEEz0r96xdZcqROjx2Ckfy//WPvUTCEcQjkq39vfxR/297/ZJ4JCMwObyg5NhApKAHvn6dC6QFECKvPUJzImVrZa1RpFWQCzJ9ObDA41zGAJgcABn7Hu5U7gp9f+iGfDkisAS8iB8BK9fP1Xt/aob0kbiT+EniTuN2jq7MuzpC3q6POKTNARJXh8T9uMOVE6dE5OS5rgfk3/nOd272EmT+bXVzF/Ds8L5JPJANQOVAJgALaNiWXQOjtfmChOAGCrUH7OyLkPRHCuq9Ix1EpF47vgAQ+vYLECJzwKAtcrK2kmfrxpeQIXKLDH2Ts56RppOrhPwQTydS43onR/IeSctLtTGWdt4luiujK4L1KcaGDeEq49c2EnQ3N2XmR08kzgZ0UmYTQGcbAe/NUT/zUc5nzNOY+qpjN0SaLHV0o7v5NFc2V0auNbOW4tKaS3whAlLHB6yVNdPPvI0TaXunO7vSwZhAXh8Ew3fE+xJb/rRkaSxj83P+ra+xi29tvSuXej8J2DtZT6WzT35evnpVpo+YMI9sJV8S7zkbZscIe3XKBsnf3FjeTz28R9DybCH3HiHXpver3PqUqo+clUfkEbVciuT33ZrzVT7O18Upv4bprtOReAk5w0i4CJcj8QjcVXpE3uncCb1Tunq/Vn8Tib4tCd/rV3ny/5dztojAIx1OzqE5iYC36AAL6CE6OzTXkJxVgLhSl9gx25K5sskEEoIiJ/dsDM4NYMm3i+tPGxAzwnWK7hs5cAxIXYciWu2dsJ3i/aK9E/NepTudq7cxINM3eM7JAZE5p/XsF5pO3q7UkTZHdbrn5EDYhsEYTuQIXiA6iQMEm5oANpDLpmtjdQswPQcumy/QeFa3stmUPRcwPQt4ddZxba58gz9AQBrWAImoB2QIQT1yQWwIADgAhohIGVKOpNjIKZrfkEkGIoqAkZY6bQIQp1nE5x3pARq5MQAPOdLKQErIis6l3vUxDj+JJLVRT6Zx+g5onfkUUHMiQe7I23zpYT7ADpGnk/nacNjE9U2dXdhOv/5EzhjsYmzzJUcemcrp00aDfkvk3tmPj1lHfmLt85+TcK27zRdb6Wvu5EvZnT7WzDvZ2pMfqfIZiewILDLlE5FjevA99XyTjrWly/oksquunPynUu2WOJc0jS1tvT70SM9iq/yMreKreeu7JO45O+w4no21+pxl7JodypVJEbK8sjMvVsWjVB/P1s178SsmlfXe2kbofMKa8+k+g4kDfsxPXafDUvEguamEf522YaMEJ5WFjd47vcs7zSu3Cfivk/jXJdsI5V7+deX9f2t/b96VNx8EEzF45ugcF/gAGKcOi4osXW+7lva9GpFzpO9+97s3AufU+nfVbpzISxAJLEEh8Dgsp+eQnjmdKx7jIEpEi8SNiTSRNFJ2QvejNG2dxDmT07oTuHb9uK0fszmR2wT0S3dX9q7NkbgNCUdrV4nM+7vxdqFInHw7zEhHezb4xz/+cSN5G5jvfe97t6BmU/POnu9C4gDmTOxIJrvuWp2A5j0AYmc2ZmtBLtglNkc81hi5IKwIDFEBAP0QFMKRELJ+iCFCUu4ZycnV8R3AoX0ErCyC1QaY+F0DP5IQIJJRThftkZFUP0CknN7Kk6nec8mcjCFXpi2C1B+ZIlpX6TZnxnYatylE4urpIrfmbEIfKZme9UHi5swm5qnehoAcY6gztnmRRa5NTERKv3SPwNlMoje51jJSisD5QQSkDvlYZ/Fo3epPtjHM25oavzWir7XVR18xz2cicfEcyVa+m0i6RJqei299+E3ERX/ytS01XvKvcm1K+fdVXht5+tCFTmuvk8iLLW0l814SP4n91NFYxtz5aVN585dr0zvbsHnJ+6ZtV8zKay/vPdK25p6Ve+Y31lbyLF745vo1/xZrflwKU91AwlTJQQYRI2zYF1F7Vl6OtGH2JmXaOJB9hcQjHHnfYbfs6jmyupdf9fk2ld2b95abLzLg7JED5+acAh8IOKG4VkFmSNzJFKE61QIrAUCGnGwn0x0j+eQCA7I5ao4boQA3f/aDJH1TQbQSAjeuH5f5wZpTebvENhYIHFlH2t6dvpV5dgq38XBVj8SRNIKW2zRIZHJGjkuuZCPhhxrKEQ6icgLT3rW6Pz9zS8Enzc1ckbo8As+uvV8BC4DZU4LnQKZc2ZJ4QA5sgEeAEtAFFgKbjQV3gS1HGgAeoThpWkun0oLYPAE+sJeQkcQnIiLAwE/IQFTeyQUcgYm+ke6SClIzlhsYRKrOhsDNjxND5NuYxpGUk6e9d2OmR6QoP5/1U2YNbUz5mh/VATA6IGQE3AmcTYCc9hJ9zZMMJM5W+igzR8Rp7vq0KSDLnACmMclkJ/LYUJ1kHuTSMTL3bJ2sKx+IhMrziwio2LLu1lxfepFHlvGM20aC/djROiEG/cSl8SIjeQSeDvmzGDc2feAIv/au/cqL5MiN4Hr2fi/lx5tHcPLKySqR1UmcPqVstvnGWDbUNyJ/isTNsZhrbO/ZTVm6pmfv4V6k3Hv233bWMXLOpttvSVzbYj0SL+b5gBgRz3yyjSl/hO/834ZWLBT/iDoS99lSchpX7sCDrPvT3HKneeX6uXr/8l9s4yyRawTuG2xl9/Ilkqvne/2+LeVXcz7LzBXhcG7BqV6wcjyBb/cOqFw9I1YkiBCdRJEkIgQK5PgmLBc48saK0ASNAFkHF3Q5HqJxvWPX58re3yEib5uHrsuN6U+9/PjN2Nqop5NrdERvg4G8XXc7gdO1X77r55RvDKduzmjTYNfI8Thh4yN/v7C0WeHAyBoYCwIEQEe/gHcLIEg++eST224eiZt7pB3o9c4+CyY9s8+mQLpcnb6tE1sGNAvgBXsBDMwFdSc8zxLiQCACW1Cbn98CmCvbmrurNfNFBlLEqR/fiCg9IzP1xrOmQAnIRCb8qTH1ByABB3vSSRs+ENGQj2giI/JLQKnNhLHpQO4SeuNp51nqtO8a0cbMVaJTiCt9dlBvnT0jbvahT5sLYyjX1+nduHTMvvQHiuq109fNkfHkZJu7csl4xjj1Zwu2Ey8R6PpHz+qQEH+IWMQvPxBT9LIRisQROXt5Z1+2NQ5/0b61E5vkkUv++l+bVf7I123clWnDF617pESXiG7ze+RdeeRXHrmVV37KTF+6lYqxzelabJ0kToYUWafT5kvYyr1v+1NP+iqLtJeMs9X2UaYNW0rFdeXaFl/Wzrq15mKpNZXzT77Px9pEimt+6CQecRcLSBkZR9awsmv2yFvucKOtpI3fmChzEr+ReCRwL0cU75LuyX1u+buM/U3oa54CT2rOCIJjc2ABDXQQW99EEJ4r6UjV6dZJlYP+8Ic//JK4Oo2u7A1y7TljOUdDhMAM+DkVOzEjaCfvTtLGQ8zIWm5TISFqNwRO4k7H/bOrSL8TOFn9m+iu0u0oEZYNinmtE7pOcvtAtvERNr0AsFOYHIBzVOPZMAgKP+6ztuYKGNizd8/KpcAFkGgnsbv30r4Dn/qQIwEv9it5F9gFvvWTBPhJ6IIcuLO3udDdKdROnE0EKBuxJ9s6WdIH+EcAyKwEIBAFmcakA1CxrsqMhyyQBpKVO5kaT+CzqTLEhfiASyRDLt9A3vo2JkCK/CJo9ZK2Z5l3fc3XrQPftmmxrtZbmVMJOyTbs3ZyyXiI18ZWP8RfOd3piuyBGtl9GtDGfCVjSPRAqMkk15x3DkDaRi3CkUdE1qO0JBSRiGHr0BrQz1jWWmIPY7E7kA/4d/34FnltFtOFL8IMvu1glY/TR/v1zSXZLUd8vcsjwsojtEjLXErKqpfTk4yI1NyzU3FTXnm2kxeD5eZJRimbppvxInFlJTqUrBV/IIM88WAsfcVCm6X0Js+zualrftp7LqbktYngy/XLRtaxtTceXaw3PxNf/I9/2lzaTCNfWM93kbfDjNi0wY2okTzCVw4/pQ5E2okjcvRH5F+5To9kNuc475JW1ts8v8vY34S+5hypNH/kwPk4HQdwOmtnZWGcVoG7UzlyBPBI3MmDgyJvyU1J8pNtLLI5NWflbByUQ3I4IAJYgClCdcru2zgi7ZfnTtxO267W6eDKPSL3gzOk2q/IncidvvtnAJ0utac/8uaETp2eOSAH5dAA2Hyd0F2p27QgeqAd2EYG2tlQOLkjOyBhrtbYCYU9AEiAwAaBoHaRsrz1aB20DWQWWAJKdmTDUsHOnpsi8iVzwI3sEIc5IR9XxALUnGx4rK+/j2dnBISQd1ff6dG6IVryrWd6AZXGjsQRKTDpNAsYkDgZCAWwABntvJN7ReLq6E6HyGiJSX0p2doZi187aTuF2IxZd8TqFE0vY9useKYP2/BLa44AO8X77o3klSFJCWHzIUSvrz7KyJAbR7/IVI7MnZDMha7k0P0pEucb+cfpI/yDv/EHMqwB+5u/eSHzbCfnB9lZO7Gvn/5k8T2pzWY+XmzL+Sw91jf5wVMpv5UjwohRH2PzJSli2lx9SX999I80I+vNs1fzoG+2i8DLi9dy8zpJPH0j8erpor140V87scCGdDUP7+aW7vp4VqbO3LYue+ibTbSTrJV4l5e8F+9t2vmV9RcD/F/y2Yy/dnp2MOlX6TbzsBiJI3gYCR+Uy72XnNS1cwiQHPxeSfwdNymPNgoFYMQRoXB0jiyogY3FdRK1uEgc4fmWjBiBO6JFohzCj9rszCOpxpCTL6A4MmfnjDlmzsjpORgARK6+PTv5u1ZHkk6G/nRM+vvf/377Lk0H9U7DSNwVN1JF5HIbAKdwJ3vyzAUhk28+Tv1Iyw+dkLeErOmgTB8nercBnBOZIRlAKAF6Nup2wIYG0Qk0AZwtbGyQevYJXNSXlAXOCx5AoCAPuAIMgV5Sx5ZL4PeeBTTAts7mgcD6F9QEoD+ts8b+zfh//etftw0N2dojGoQjIQGEY87q6WWNA/NACZAgCwQpRYb9Yy8IhtynSFw/48npESl5J5seZEjezbHy6hAmMuVniNXGy5rZwFhXZeaFVOlifRE1sm/txYX23m0I2M44xgWKvvHzn07x2mljXBsA/kW+8YzBFvnTzg0I84PIR85X1k/yl8iI7fWR8xu+wS+AuzViB3ZjR4DexkG5xGbaGdvakUEWTJAbJz12A0onbfJVfnD6KB9WVpt0k1eXnxtbivDCCO9hR7FQf3Kbe/GVrU77eN8UeZcXf+X8mfzm5LnUXDenE521oSed1cvNUW5+zaG8OXvXrjE8K8su2944kffmxb4yz/DVGltzeF0s2EgjbgcnvwUS+5Iy2Oggh6QRdjez+sBHuTrE7lSuLeLX75XEPzCJI/nINSIXlJyec1twpw8E5bSNuBGedwl5W+hOquo4KVmCfAm8cQCQIBEQ64QFJWcEMICNI/RtFlE7iUfO/UMuiF1Cskhc6l9t6yqYfnRFxpyS7pwNgXcdxAkBOfB1TQqwgblTE+e0SXAqdTK3a0U8gFkQRAYc3MaBbpwb0AN4JzHA7HRjzuaIPJszmwlUeaBWIBfoBbv60tmnACdfwG4wXz27XgPWckGNUMy3K3W2YvM//vGPX/znP/+53WjQ21yQlVyyXoCfv9AT6Fl/gG+dzUs5UkC8kYjxEJrv4QiMTHVIUx3Z3vWRkKSxGpfunjvBahuRniTuXdLfrQP/QrBy60QH8/ZuzehDbifzNjhIGPixE/LX3rM4oYt+yhE8fzI/9RJ/kSNw/sVv6KDcs76dyM3Dmtj4sGFkw65LTvusTrtIyLM1sB58hd/wi9aAPRC55Jn95MbWxth8yfqRkSzyyTbe6uNZm/xSvwi5WKeD8vTJZ+Xqtn0xQIerlMyNDXLpSsf023zto9z7pmwnN5dN5C6RG2uTeW2iXzagY3OzBun+VK4PmzRGJA4TJHUSGdmqOvnaTL0EB8SwNRYHfI5vu4lyOEPgDk0OZX5H5Bnmwcw9iTtxw2encTmMRNry6mDrK4m/AIkj4Hb6HBCoIC2n8K6fLZTdFoJF7EjS1asrZ2Dm+rh/+CXyjtC7JhYkOWXOliMCZycEQMh5yO+buKtxhO3UawPhal99p25k79u407h2TuF0c30u6eMUzsE4nRMnJ4zAgTmQBb7AFcjSA+H3j8+YM0dF5F2RCgSAzjacXzCwm1O9ExkZcqc0gA2gA0pBzQZyRA88JaSnTOAJSsEqaAMKwR0wBAbZsD4b1GdgGwuBA+7IzfqxheB0Y+EX+D5d/PWvf73ZOMIGAqU9udED2AXoQBDw0dP45gREjIsskRnbIBJyJAQuRS7aSsaLxNODn/BReSQeGUVI3rWvbydga2zdrHOncetpjcgDcEhbG8Rtc6Gvcm3YShk5+quzttbZRpAN+ZM6G4UIPD9ok0hWp6LmbgwgKxbYjh0jpk6WS+A9R0y17d2a8BtrYLPFlmyabeTZTa7OOkU4EYk8kjTGkrnn1rv2xXgkkg9vOZ3UVyfPj/PZcxMqXraNdvqZ45V+2WdztiktkXs2tyXwnsnmz5uaa3nxSR/txGxrKM8WnqXIuLxycyTDO5nq9VXOHuf82SBbVqdttqq/Ne1EbuPJh+GUg42Y98kR3jowORTBdbeY8B5euo1E6HCzK3R9YZ9y3KAdzHwl8RcicUSLyDk4ogFWCMniWSi5hZI7obdzs9h2bRzdtfqe9CPxNglkc3pOyqmknBCBARHgyVG6TkeOSBxh+05rt4iYjesaXfINnPMhcO2QuP6c0GlcjsRzOs5mbsgEuCJw80UwCDxwBcT6OZFzcg7qGklfdQg8ArCrdern4MAbsKvXzjiAOgIElIhNUMrNHblWJgALTLYSiAU5+3lWHjD0rI+23isrsNUl1/pGdgLanG1O6G6zYlNk8+L3B24iADzd9EEwkjnQmUxjBqLlAJGuJ4ggNfZgF/KsOX3cXLARIo2s1bGZdlKEg+yQuE3Rllevj2dzK+kT2VprJG7d3cLQyZpFyJ61oY8+Nhb00q4NXHNwJa6Nd6DY5tAmBdGT1WaObzcWEgekEvvbODQe/a0fW0bkEU4EFDH1vvXqlOvbGog1drZ2a1P2YyM2V66eP1rX/Ii/IaZILSJvzMiPvtrlo+uLycof80Xv+QTbNXQAACAASURBVGo+qi4CDyd6r82+G+dKPzZgC7hWyl7lzaF852heO7fmZ6zmaa6bzCeba+9ZmeeIGTkXz+VtAsyPPSr33Jzv2UX52rN28uzrWQyLWWtss8g34RZcdNBB4g5DMFTyDgfgrYOTA51Nqh+zwQp80AkcR/Sp8pXEPzCJ+zbbSRlxI9iSd87MaQAXUgNMrowtVoTuxNkpHLkhWu04xxWJG49sAcX5OVYOJRiNJ1cGTAAiwkS+Ttx2hl2l+wGbZ6dFBO7E2J+YIRyEjoSQOMekKwckzxzsGjkc0jI/jgxsO30BWgQB2OROVz4Z2LjYsQJpTu8aFhEkAxmQq47+QB9ACpY2BWwKKE8SF1jASqCV2KQAFMiAStrd+dlGuwUI7cnQTkp2Gya6sDfycBI3T5sWmxHfydhWYAbsndTs6OlszRoTSAFAeQDpOX2Mrw+bIUjJ+E7h5EbiyJbt1UXiCFlKX+Qd2Ufc5lE7MmsbietjLXz/t4EwvjXrmpsPIGQbLxs7756tnbHohYDpqa823vUhFynzKSBno8eeEbmTuWcbAHL1R9ySfuTwI/VI3VysFQKInCKUyCYbyyurTXXWI8KxTuKrtc9WxuKX7KSMza2vttaXHnzIOkZwcmOd4259JIeM+KHx80UyV7bys059BL555fRLR7LZKh9Mt+zwKG8e8uaWLcuVk589y427yTy8Zy+xDge0p2fkfC/Xhr3WbsVvNtpYLqblyrVho+xTuTrl5WLE5pPf8U83lMganvuc5rOkgxFM9e7QBPPhaIc6hyH9kLky+PF6nf6BCRzBXpH4kjqi5bAWX3ADXYts94UALaKTN+J2KrawcqdghHePxDuNc2aOBtAjAu85qDJAaYfoOt9OEDEjbWP0p2ROib6LO3X3D7D0jvj9Gt0mAIkjYN966d48gDCQBqiAHXlLnLpvoIANyCm3kUHinNQ8AbVNARIA0J61YSsyBYjg7cTqFMSegNKzeQq07ACoBJhcsBV8G9QRojJtJXYT9KUARdvAUzvyJOMZg14BOF3Zm70EMpv5cZtNkvkBfm3ppV8gTy6wsaaBn7zTj+f0obOxbRiQFQJDtCXlktNwmx2EEiFr5/k8OS5Zs613/SRt6V0fRMy3bNyQp42n9Uas3pGx+kjeM5Kmj8QvvGtvzfXtWp+PIHH+JfEF7zZ0NguSMfQVU9p7N5ay/E45v2Nra8h+kVM2jnQiJ++RjbbVe5bUWSPr1dqzpcRm+Xm2a9O2RGCdjV8is3HKt8yztsaNkIpxfrg+vuXV0VOiQ8/lZ9zoz1bN1dinLunDN7NbefrLs3Eyypu3+WzKv8vFXGtGH/5hTelIb3FQTBezxWnl7LWxrq+kvvL6VLc5O4lZyXOxLw8zlFtv8UY/sYCUYa4DkFO4wxNMjdC74YT/TuUwVe7gEpF7/spJHCF87NSp9F7+sfX5UON11V2+8+XoHEkwW2Sk5ArZTssi94+tIFjA78raAjshIwP937x582WwuGb3K+2+u5PNiTg1QjCOd8EB6AEmoLW7Q8Z2g53E+xGbq3X/IYnv4Ei8/8FMPQKiUztLTulE6Qqo63PEDZQlACpxZsAdoQjAiEEZ4HYSB9JOWshcmQBgH3XIHSiT4wSnf6QX+Mibv/kKNrnyknpAJ+g2uAMLwbyJTaXaBhDeySCLTO/GsJEA4myNTNiavZzEXanZONm0CXQAoU96kqXMGHSwbsDOuksAD0ACxeqU6WfDgMSccMkELMiV7dWxG5sh4WwfGUc6dPIsj6Aj2vqol856/mxs699p2trTydhIV11X3DZ6ZDvJa+fULB6sPR/lF/zEHMhwQ5N/5BsInFxJH+3YnKyInC7GtUkwr2zc+rfWiIEt2ZatuybO9hFT9rcu+vCb4s46irnIunf24hcl9fluerTmEWYEaDw6NG6EaP3pHun0zg8jbHONYIoLviEmNi7U5YPqJWX6km+OkW55+pWvfa6etavcMznsbb6bzEM647Eyc2ZvejV3c1avvJiUiyW5edRHW2n7a3eW1S/7rSx2PVPtlFtbaw6n4KANO1yDleFn/2YHTICxDlIOcHDf4QheIP9I3EHplcQ/0sYl8i6PxL0DBs4mSOzS26kBeiTuuhUxIlinNgtqYS00wgVeZPjX3AqI/pZcUHDMgpDT5dQClpMBYoCJFG0YXOW40kHQrngQOhKXnBZ9v0E6kjZO4pyQjm4KXKcjJKdkjtrJx9UlkObAToddnQJ6pzLOzcmdPtkBYCNsv0Ln7EAXoJPr5GWToF55JK6/eQVO8kDLXCsPkLyXtBOkBS47naARuKsLADbw9T0Dmz4AGlEiqGxth43I3az4Nq48EA3Q6UZvYxibnyypWO/egWBgr0w/duVPiM/86EYHtkVgbC4po5/x5U7UbBmBK/MewVsfKRJXL2mvTDs5udYXSS9Z8wFrZj0RbZsKeqVT1976OWU7RUf22rGXchs6/sHXkHP+hrD5R4SuzrNcW+TOH20YkFV+UoxYX/Zm02xcfJVfkZD2/MZ6kUVu8edZyicAu2S9S97zA2vIp1r7dBHXOzZ9lgTpXdKXDLIa3zNf33gwZuMWH1dl+vLHKxJPL7q8bboi8uZyxuO+n/GYjvLIV25NJM/1YR9JW8mzNmfZykmWvPLsW86+nrNzuVjhd/zfQczNYjehXan7TAl/nc6d1OEs/Hcad8BzMscFL07ikdq9/EOdjD+23HN+S+KeOTyHQWBAD7A5ZbpOtlh2YRZQAvxOv4jWd1REqr1/zU0COL6Ju8rvH0HhmAKTQwlqzutZGbBFqsZDJnaDftzGmThRf07mWzhCtztU3ibCdx0kjoz6QVrkClCBKQJHGojbMwBHMIiAM5uzhDycTAAaQtAW4CJucgCvk5bTF3K3gQH22jmd6QOQzStgFmBsK3kuqARUSVnAVuCy0YIEu5XUlTbwG6ccCNLDupoXUmNr5GM33a/wzcuc6aGdIDcHOpFFD+saSALtTmIRDB8C8nLt9GVTtmHr5LVBauPjnd2MT88la890SSftInK5d23U18Z7/aynOfcpBXkjbDYwvhyxRqb8g858wnojbeuLpDs9I3X92IxfIHEn8khavb5iQplnMjw70fNN/QCoOn5pjtaKP6y/WG+2j8zZ9UwnWVkP7fMdfsJH5OR5tjb5BtLOP7Jja6ENn0AoySA3Mm/sNhVL5vSkhzH5UL5PXv7OJyTjbNpyzxsn5JgL2eZaOu3ivbp7efpvXj9z3LQ2ZYNiUV4slm8du0XaETN7eNZeffHquffabpm5hxPqS5Vn2+yrreSdfdmxtbfWbsP4Kb+ECX4H5RAEg+G6G1c47BmpK4e1eMAhwAHvlcS/ASdxBA+QOakFBoCAF7g5HfsxgysXC2bn5Vq9v6lG5ojVKRg4CoZPP/309st1AY3IEbog4ow5VcQALICxkw1gcz3jNG2DgKw5D8J2+jYOQvfNxilcuR2iGwKORSdORl/kyjmBJIB2EgTOABN4c16kC+ABtmf1TmE2FUCN0+foABcQO40BYaBNX8AcieuPkNhPf+S5oGz+gq6gUncGnWBkG20FeEC8oLCg0bP2AcH2DwzpYi70Q1ROkTY45uMdkNPNnBFK72QZA7BF3F3lRuIRt7XvWXvzZFu2Zle6mB/ibUMlZy9t6cgXjM8vdkPlnf7aWp+Sd+XV66tM8my+kThyNe+9ieF31hApa0tXvmJsdcr5j1jgUzZ0/EoZWXxgN3RkaQMUbUrZlwybATK05zs2BerI4o9s0gl4ATg/sAZLnuKJjUtsvwSq3lqU96y9OCfXWrB5JJ4Ns6f34oBO2vMRfVeX1SEyrCzi02d9P7/PP5fAPVdefo/Em5d5lhpbXtm9PH03337kl8yl+WxcRtzlrZU2S9LmX4yyh7T1xa1yz9rXpzJrUKpOrixs3by27N1aW29rLNaKDT4Kv+EcfHNlDlP9WNihzbMDEiKHyU7lyP71JP6RCNyp/95JvBO563DOywEFDtAFdk6biBy5dq2OuO3QEK0c6VpcCwvoOH3fxQF9QQBkjMFBOZWcQ3EmmwYAh4A5jit1O0BXOU7cCB2RI/Gu0/thGxK3iaALErebBJgAsmtSJC0teSDdyACIeqaLHIABjshPXycvAG2OQFrybqMQUQmKyEd/gGSuG3CCTJn6M+BqV4AvWFib0gLGCQSBgfKC25qak7m1cUGwyuhIF2161o8uxrN+1s5mTOq7rFw5gAwEtbXGkrmxq/Hk5AFBY7EzH0OYyFIbtqZPOnU69O5ZjphbK/kSztaZZ2OTzQ/4BCLn1/zN2BI/UWaNEapNDdvwFf08R+R81OYneQDPpxVxwhcie1eU/FBOfidx/TuJkxOJ09ccI/LIy1ruevIHNmRndi9nf2shtRatg7x6uX7k8LFd93tkrpw+fNaaWke+RY/GaMzyyumnHT8yj/yRLCmf43fWX/IsVSenZ4mMxid/00nW6fEoT295bVdWY5iLVFzSY5N5tkbaFcdy6VxPfc/y3tlZav3l3ovNZFWWbRdT2PHK1mKpGCkXjzab3RDxT9fsMNkVutM3nIe/sNfNJ8x9PYl/JCJ/ROLAmQNzVs4BEAEcwnKisDOz80KWyBrJWlBEa3Ht0joVW3Qg58dt/a9nBYaccxuDswEu4AnkXEvaLLi6J893d+QtOX0j8H7UhtiNRw+bCOTt3bNv1eQhXYDsKtcY5gOY5cqkHBgZ0MUJDsEgAO/sAEQAGdIH9kjbKcq1OlLg+GQi7+Tpa35ASX/PgqxACxB7r26DVoAHFpF3+QLHCRAFt7wAB4DmECEW3Nqoo286G4N8OgEyfoGwbfiWyD3bpFnTCMTaetfPHNmRXdiRLvkXPZx8AQf/Yktt6NLpmu0iabpdkbgySTv92N/6tRlD4MZH2tbMejl1IGvrKSFo/spXtPPebY22ZPEVJ+9O2p1YXEH2wzaETD4id9IGgMhdmfZIXv9SJG4T08bPXKxThBYgWwv2s9YnUbDprkFrESHJK5Nrqw/fIotMsq0Xv2Bra8Ge6ROpWh868Rt9yU7+eUPTWHyBX/Ap/fJ5csiVmm/5ljd2ZK4fnZcsyTenM5nrc1LzKK/PSeTGKWU/dti0epnz1tGbDeTFcGWV917sytVJV2Vbnr/I2ZntKmM/9rW+4tLmVLxI1psP8nNYKYkDPu3myK/QXZ/DVzjrJhSZw+UXJ/GP/W36pca7R+KVA2hByIk5oQUHXggKkQMkf3LlWgVhInIncmRrR+bKxbdzp2IL7J0DcDpg71pdQHDQAo2TcR6nWMAHDG0AfKe1WXA9zkkicQTuu7jcVbrv5q726aCtax7Pbg4QbactQM05jYPEEQdw56gc1zzpwbkBlzop5waqggFRcHwAD9DpbKPARsrIIiMQLmjkkXYBVWCywabKC3JrcQUWCwDaFvhXAW1s4EsPufG0J1d75XSWew90jMEf+EXkLUfo+65NJAHgrLM1NhabIGugYe7qyQcm6pR3uo0w2D1iPkk8og581EuRjnLrSa621su7tY9METbfUNYmD2DZoFlHz62pdeY7bQCtt3hAwEgZWUfiymwUkLTTtr8h90yufp71lbvFkWtvPP6WzuYemVmTUgTKR6wfO7InWyMda7BE6ln5ro/nCEreWpFl7a0RX+fHrcH6NL3yIe2NTcbV+Pyk8bThb3xKv3zeWFLzLa+8WOqdLfhzfhqhbh6+PCdP9+xE33TOPtpIyduxruKzMu3M17tn+capZ/VnWe/WmZ3CBHM+y8622lvD7CvXT2I7a8rP+Bu/FoOeixlxxNbaFA9igD+7WerHbA5PcN5vol5J/IVP4m0qkPhej1p8C2qhESKgsoDIGXEicSflvkU7jTutI2DfSRA8wrWDA6x+8GYsYCE4JE7VGE4qwNxp3I/pbAZc1/ftG5Ejb3837s/MkLtbAPogboSO2G0oOJuTOECmPxJH3t73xJzz0g8RABBO3ndU5XSMJACKZzIRASeX2EeOMAI5bQPjgCcCL7AE8Aab5wK2AA8Q2G2TvpLg1LbknZwlbuNHAOrJCVj0o5f2jS/XJlJY0vbceyfz2smBFcCTGxc4SNaZ3IDRmMroBTACZjZnN3ZAwuztXfJ8kjgZJXVkScr0sfbGt+7WSXK6tl7WEFl36uCD/MTJWDv+YiOqrWdy1CNfGwLlncRdm0fOAM97f+IIBMlB+NrzczcPchsB+rShzBf5DzCVl/hWvpSfWEfkwq6tQ2vUplx5KZKqrb4RTP5kbayLsbI/Io/M6ZW/6MNXWnfyk00Pz5GisbTlc5FR5Bx5l1e+c1ennG76G7v4MP6mK8Ld+p7fF4nTw9yk1SnbZGc6t3bs4F0uLjeWPWej2lfmXdKvvrUVY5uUNwa7sae4EB98DYlb49YaJqq3vnJxwzf5vw2oH8N2tY4HYPSbSOSl8k6i93JAJZ31L6XvOS69lDnpytNzy84++1775umEJeg4OQdBTMAO+Pg3zn0XR5xO430XR+j+NMyP3yywZ2VI1o/RkD1g48iu1zk2JxKUgAEwAjV/0uYkLrm6sRHwJ2VkSHZ9CFyO1J28Xe/QwxWP9jYQHA2JA2MOuKlTudyJXMqRAw46IQJkztHpyvnVq1NGppMcJwfCbKR9c9JOYAQ8gV4BWKAJ+IKRXQpyZQBGHiioDxS0A7betSmIlUnkV9ZYygFBMqwxHQU3/bQnq3rrtSfuq2d+A6jVee4kSAZwyLYAwViBnfHoE1mwExuz2ybE7J3t1Uficu/GsD4RuLXZZH2tC7JG0k7EfKNbGhuyNmXaOJmfJ3QbWOXqzYNMPuvkDdj6Hq4eKYsV/mxD6h2B9/nF1aRY6DcVdHIS5082CeneRsTcpMjUnNkxf2JP6xgZRdLl1uYqVa+/dbYJkOd/+UJrYt50WD3ybf5FBzLILc8vkDm/8K6ersbla3zAXPiBNc4PjCs1Rj7avPkxXY1LVsm7eZzlW6+upO2Z1pbq9r35KWucq7GS37jyZDV/+ktiRYqkK/fORpVvPHsusWGxrb316L02ytiweLOO4qL46ESujL9ld898UjtELn74LqzGBXD4lcTf8ST+vkh8yVzAcTiOJZDszpxMgJLTtj/4R+RIE5nLkbYydRG5nZoTs/8hywlaXdeTkSjnAZpADlgiYCdxZGwT4CSur78RJ8t3GM9I3biu3V3tuE6ng5sBp3/ACagbx2bEPOSROsfsNM6pc1xz5ryAlH6cWD0ykefUCJx8IIzEyVUf+ADb3oGPYCxgBaqAK+gEW2UBmzL1ACCgsC4BrjryCnrvxijpn6zAT1syJDIDR0Gun3rl6oHNFXFvGb8JrJfEyWCvTuEBQ6CWXgHOPSC3Bmt77+xfObkRu7GAkDUtWW+pk7d14mv8ECgtiStT33ryS+vr1A24kLMy4+trDHVO1HKbOZ9YkDRyR+RIHNkr995JXLmkX75Df4nPyc3L/ErZAdmxFxtaLz7QmvGNSDSiforEa59PkcWPAv+INd+ng4TUlYkZuuiTDvzG2MZdAr8icePwATLEC3nipxgqVxcJmff6Kp+id3GSb+drm9NxU7FQTve1X3GwZZ61axzydoz0UE6v1a1+2rCZ5Fmb4rZ4bo7aeM5W7FUqxr3Xn30kdZWpz35sbV35FV8TS8VQWGcdpNZbWz4plvg+3/W5yIHtlcTfE4l3uu5E/XVP4pG4HEgLQk7KCSwmsEOMTh1I0o/ckDQSddJ2nY1MXYP3N+WeXW/7Qdrnn39+I2BX38icDL/qBagS4PMt2yahf0GITD9gc/r2z66SI7mmR+5kOYkbXzKWMckGjp3EOR5nlU6QV5bjBhjmC6AAlfYBKofmzNorJ9dGwCkN8MvJI6cdL1kCJhAKfAs0ASvAlJe0rU9BDhCsBwDpmtJ7Ab/5Bj2ZjW0t9bG2wAR4GLtgJ8M4C2RL2FfP/MymT10k7pkMc4iI2IxNm4f5s9Hqmh30Yzd2ZG8yJGBTqqx10k5dJGh9do0QLAKW+LFNKf/g123EkLjTtNOGZ2sKsNQj8YhaOf/3j2OQExnr2+lcrr3k5O+dDEQu1wexK0fifCn96c2PvDdPuTnySbaxptbWmrKhtUMErV8kKu95ybzyfMn7STD8Iv8xZqdxepTY33ppp33+ShaZ3cxE4I3D9/JZc+AP5mScErnk8wPPkjba6pO/RoJy85e2zPOm2mQrMVFa36er8rPsbUh8idy43tkqe/VuXp7NbZ+1Y18xsinbKfPcu/VQpo+UfcWccjnbhn3WNl+Dc8WVMnVho5xfwjp+DcNfSfw9kjgCjsQ9d8Uewd/LI/DqvRfcnJ8TCFoLF5H7Fbnv4J2Cu9LuF+MI3qnYaRnBqu9vvn1HQbbI2rWMf13NCdy/AuTHc65pnMSd8p28JVfoiNyp3Ldv46pH5J4lJO7P02wGOmkBR8DOWSNx7xxRWc+cNefNYYFJQGr+kbi2yXMaQwRO/cAd4HN6YAN0IisylUvkBnqCVRtlAkcuwJSxu+AV9IEJYOl0A1wCggK4oC0veI0HHPSXyDS2/nJ1gZp6oBs5X5F3ZXyMPieJk2Ee5st2bM9+xgCCgISN0oEeAZBy9logYW+J7SMQa1MbZa1L62ptrT9SRJT8120J8i71zU9dp3Bk7Jpb3nWj03YbTu34rG/c4kFdJK9fxM0H3QCQA/CQthO65Pu5pD/fYR9zoPtTJM6GbBOhsWNgzX6tIxsvcUbg1rRnuXVTpr1k3eTi3prwo0Cfb7aebM3+3q1BOvEzeujPPxsvn0on/hyx8gHj6FvcNL9kG1tS3hjNlRzPvfOxLVPeWOXa5O8ReDGWHehcXUSuznPl8mSdstUZ2/yKsdooL3Yr612dlB1r6731ENeSsnzAs8Q+YUi+oa0ydWECXxIj/G7XVblUrFkDdi9Za/7a70NeSfwdSXyJF4EHru9C4mSSBZw5LCflDILWSQZQ+eEOAkairrGdmp2OEa7TM1J1SndSRq5IXHn/QIs+iN63bycamwIEjoQRuL7aOHm7Rkfi/dvpNgNkGlu7Ngrk2QD4kyXAiVQ5G70l4ChxTk4rVSfPaZVz1EDL+zq2tpyfbCSOGCIB9lGuD+cPlMgLkAIiNtWupI1AE4gCV3DLgYF1CEgAI4CpfsG2oFUGOMgStIJff33l1TVOgEauNkvMbQyv8pPE9dOOHHMxV/NmEzY0jjr6qDd+OsjpbQ7slv3ZW3/J80nYkXZtyq2RpI+TuGStELPNlnck7t1GzNp5R6oI2Inc+npHvMjajZFyctQhdqdrhO4ZaauPyPmgMid2ZU7eyFzSXiw57dOTH5jb6s0nN7Ehe7INGwXKrTH78QtrzM4RUsRtbaXerZfn2lXv3VpZE77SerUmrQGd6RQRqI9k9SOnlG9F5HTk2/Rt3SMgviGJiWKRbP6k/IyR9SN6FxuVlyvfZPwz0St7kFX8NY/0rk69503JzH5s4bmxK2+9lGsjeVZvjj0r9x6JixEpu3munn3yDWXayOsjZ8viKjwM4/iXlK+Rlcye9VfPv19J/D2SOAIPfN+GxPVpUwCIycuBOZEAAjB2YEDJ6cN1il+t+ybtO/X5T6N25S1HvE7l/r7cid03b/0QMfJ2co/4EbMTO9J3nY7AETlCt1nQD9lH+Prpb1OAxIEwIgfoAU4kzvk4IXDwXH1gGSBx5AUp9QiDTADulBeJA39gLLGPckES8HD+CE15/ZAHmeoFmuBdABDErYEckABBQLIBX6AWtAGGNgJfrh+QJlOZtgEReUBWm3zoirTPskhceTc4/8feneVYktxKGO5HqTUAdy/akV61AC3/4ivgb5gcEXlyrEE6DwR9pNPpdLOIyKwsecNPewLK9m3PYmk961hbX/tbgOQ7/xCTOeIu5s5P/olXxL3lyK82a3a2iJQg7whbjjgrhOz8iHPRj+CNV6YRM9JF5n6u7W28N2mfxpG7foQv7/pUbq51kDVN3B11ot/DA9/lIuF3eygnaXvRH4lHaOJ4kng5U1w720h6iVzf2R/RsuPMIpXO091xNoRffOaj+vrlfAkbcozdbPNNu3725XDnbp3WYo90lxCKceU4Lb+rZ6827Sv5lF/5UL3Y8Vdf9WKpvbjQlY1Naj992bX5ZM+tm4/NscfK9uLOaFspZpE4HdbQ2dxxcsX5lWNySj3yFmtzI+ribgwRfza6n08S/wQSB55AFPi6nLQ2f2wlUn5JNz8grs6OxHXpJK4kcqAuK+DzSRKYATD/tAyx+m1Fb88I3T8J82buLRzB+ll5v9nurdkndW/V+s2lETyiR/LmstfPxNlT90ZvPJtsIHJv4MTbvF+QA5aAGNHyV6KWtBJRogIc+1EPjABSYKnNvCSwArgIBeCzLxYEQSBxwEwbExi5FC4JsDMHeRijboxLv+AADFxAl1i7c0g7D/VAILAydi+9i9vlZ895mqvdZdfXuuwB8vIHEZ+EfVWXV+yWO8rm8lVcAY79BRT8sJZc4oM98KG1yzXt5Zu4OcPOjxY30nnpr41WJ87QOSFhMXcm3h7kBo1AtSNf59GZym39zsqbOsJF3oibNh8ZI+5+3q2s3adzZG8OQl/Cdl8idj7lg3X5K072ZI89gLZHWn8kLqcAqvgG4s5UDkQm5cxJ0pH52S7+2mqnnZcz6kyAt3XdIWfMp2LPR/5pJ/zKt3I5m3wrZzdvy43WsZa9Wo+oyyv+7Lz2frZpN3aldbcte2Jnv2TjyN9k28+x1Y1Vzp+1b752d5Gubowy3R75b5y4nKLPuGJMR8A0O8aIpdhFyGGRnCufnJeyccVbv3ZtdJgZrlnvSeI/mMS9SUXaATENiAEykG6MyywhHFxk7jMyMPI50W+lI2cE3C+6IWaCmP0Mu7dxGgH73G4O8vbWTbyh097qiYcCBO630mljzfG2zg4S9zXAL8x5mPB1AHgCZcQKYCRnYFgy75DLngAAIABJREFUS9AFo0g7sARO2lb0sRfI9mkW2ANiawJx62uLxFyA5gbW7LroPXAB1i5sF94FBwRibywAjIxddpfJGuapLwC4uF1+Npyp+V16YwMl9gH4R0hcrpQ3bNuf9a1n/3KmNYGRdv32yg/rL4nrsz9nZG4E1/mwL5bEeXi4Qnwr5njD9lCn3xz52vnIX2emjoCdp3NE7tqRu/NGyv31NV+gCNL2KZ3W743cOt7C9bNHtBGE7eEAiXsAIOrW8hDIP3sj9sMP/rdvmv+BKqAlkXixlDOJuDpb5975RuB0+eTOyyv1c442NuSQs4pkretc+LQkrk74yz/nVy52/tbIXiSmj/1yxpyke+ruKsud7ggt/8lV2/bpT6y7c3c+X1b4yuf8rq+6/tqUG197azYmba/8MK4z02e8Pea7cSeBa9Nv3JJ4+EYbo0/OdEbllBxzd2Cj/s6su1qbeLNBO+/OQN35/vQk/tIb7Gv6ADQ5x961n+O+up4fdxqB80F/JCDJusgOFfABxoDOb4f7pTfEHXn7nN4/R0O+yLvP4Yi4T+fesok3boRN+jfifao3lg1E7ufmPqX7uXp/bMYvHfEHQPNN0vIzgNyklMAlcQlKS2jjAyRjanMZAC5xCYAtovBGB5D7QgGsXZTsG8uGCyqWgHNjC2T3MgcyNLAApoA3otPuEruoXehASd3lJsY1FxirR6IL8L1F8+stIjeMt6fKcsRl5w8AUHbhrauP30iAVudf60cu9pyvzkzsNvbF3/mKLfKOCKs33i+QORftiNkbMVL1kOfMlJ0X0u3hz0NYb+La2PCw2n9+g7SV/dNLb+Nyzlu3dm/rSJq9HhCsW25otyY/fLLPd/7zOaBN2/uWAeyCKbILyMVU3MWOyCnnHImLM4nMi7vzK7+MJc6FVF8yl2PWda78E1u+05W189UYY51/vjl3kp+bu8aRSLyHOXmgzdrmbd6rnzbE4hRjEmtc2cgOm3wUQ5LPyvIzEq+9sdqL1Tm3sWyvHe18ySc+qNdWTNT1tf8IVozcd/301sW/h9tyyVcp5wTnwqgw0Fx2tZdn3eHOxFloe5L4J7yJf4To78j7qh1Qu/AutYSTRC6Ig0dkSBNgeQvxV9P6TXOfuZE64ka+iB0B+xzu3xn6xK6u3Vt2/z7cG7h/muYN3Cd1v5nu5+JI3EMBm/3M3Vq+BHgTR+LefABvJC6JgYmklHySlN/akhKYNg5oSlL9Ep9oJ70t9QblMlgLMANvcQDayN08F0usxAxQim+kF/EByoirS5rWLu4RnMtf/E+QUu/iKxsbCGe/OZE4u4H5Wwjc2PxvP9rkh5jzEaAoizu/9Fk/MLZHfvGRD0TZfvOXDWchlhGEBySk4SzoiFDdmEgeWHlbRtJ9Tkee8qM3cWcVqSJa5+Y8CZLV5lwRdP9MzBu3B1c/TuqX1vRr99ndekQu0NlXR/j1WyvyjgTbQ/WrPYtFwBq5iROw73xp8RXzcqhcKMadvbgrJ+pL4I1nhz12Iwt3xH3JT37v+eRr5BBRsRPJ0epyhm2CSBJzmy+PjOteNT5t3/VtLIpH44xpXG2rrbE+KlcXB5LfZ98jEjee/favnN982HoE3tluf2fgPhVXeuvyw9n0UuE83Bd55txgGtwLA8sndWVxd4cJu9XpJ4n/5CQOmAPqBWsX3aWWxC6Bg3aRJQlgBGI+a/ub697MvSn7mbi3ZsSLwJEwAifqSL7fdPc53c/EvYV7M/ezc2/n2pA4O/6trrnKHgYQuM/q/ggBEgeO3qQkLP8kINCTePlb4pa8JWrEbayyZCfKxkp8e3Ux2NfnQQbge7MD0IgDyVsLIBY/2oPXSZZi6uK73Ask6toDX8Dq4rvkxi1IBUpdeucTEK/twKM+a/Ox8z59u6vbS/tqLs1nl936fBEDdf7ynQY+hM/8MdYe84U/6vzWbyw7PUQFSggDCSLoiNt5dD7OxVl4S3Y+CNybcD8Ll6/KdG/L6s6O1I6EkW/kjbCROGHfL1TKPb/FLv/loPE04ramvPAwwBd92uWpPcgpfqdrU6/Nnon6FfDKV6QnVuKeliOduTiLKSk/NuabB5sfxjgPbeZ1jp2vu8GvzqU3vx5Q9BkTEfAzv+QLm9lV5295bB/GyyG6nKHZ2PtSWXv3QXllx2x75fppvtgrnV90vtbH38bqE199K9lIs988unWVzcsf+xCL3W/jtXfm9dNiVl2/2MMqWu64H+WRtrCwB0O55KxocXf3usfaGvck8V+AxAPnAHtB24WWbJJPwjhs4OMtx9uJt3KfIIGbP6fqbdnPrpGtcgTu5+MEISNyRO230P183ed2xO+frXlL97ZurN9ER94+y3tAYNe/NffwACCBCGCXqBF4JL5JGXHTJapxEpte0mAr0g5MtbkQyILWrwy0XR6Xua8lZyyrI0ngKZ4ueJeZVg9MIzVtLrFL3lhlZ7CX3fido5+Yy6/6F7jvCPuqfXOhfrbkBD/4bT2XHqjwe/MlX+1Bez5FKhGHdj4b75w6E7km5p11hBHZ0R7k+idfyNlbtbPpgcsn9d645a1+47QhcW3I3cOZst95QNJEfiNz4mH1X//617d8R+w+v/dLbfLRmkhbW19rkDo/7AGBR+Jyiu9yKamtvBMDEgDLVfkb6Mq9SE/c5IcYdgaRpjMS55XyofzYvs7EPDY6F2v3gOtcInHaubRHPq+v/Cwn+VZuy4lIjLaH86Gk/u7Aqct3urGrG6+tscra7Su9fm0M5exVX7GljVlp/Go2r9az/vrWPvLLHP3do3zXbyxN9Ee8zqj7c+ZPRB4WOqfyKWx0XqTzfpL4L0TigTSNfBKX2oUOaAEHMAKe3noAGEADeH6G6LfH/UEWf+AFmfvc3s/HI2Wf3RG2t3DkjcSRu99Kp/2TNG/exhNv5f54DBD1Od16QIMAv54+Ja0E7SmVr5I08FOublwAKbmBKQAFUPanjgCAlHWAvj2b4+KIh1hFdICRnG0RuT5xdLm70OwAAGBanAFDY/ZSK7usxGVmwzw22dDm8tm7Pu3ZDbT3jF9T7otCezCHn4G7Mr/ElA7cdn/KhI/6I/J8Y0NZn3jYwz5ciX2EEVk4I2dFnAnyRJwI05svQnV2SNoDF9GHrOWst+/6lSN2ZW/W+zbem7UfIfmTwfuHYeShB4hIHGn3ht7ndevmt71E0vI2Yi/v9DdGn3wOiMUk8C2PA9zyvbyIVIq1GCdivbGv/Up3Ls5P3rlP/OC7M7AvZ+NhWoyVtevPd+PNM9/5bm5Ur43/7cEd0H8n5si5U7KRHfOVG6e8NtmJcJWrF8Pu4tlXrqcbnzZPn/ppI1v0S/5t/+m3efrbmxyQF/AJdhV/2OYMyEnixoaNdOfkrOQWe08S/8lJPCCPsNMRkrqyy7xk0WV2iQNIAAgggZqfK/r8iMj71B4Z034JDokTJK6OvInP7sZ4E/dJ3lu4BwEkDkSJhwVgDSwk7AKixJSAElxiK/OXBHrKElRSl7wAMnCi9QFSABU52C8b4vL777//B4FrQ+iIjy52NAGSQHUvtAvokgegxZjvxrlMwGcvamBoHnvZNI5v+s1li933ErjcsJf2Ua7IBWsCKGXriSEfa7c+CdDowC6f9yGDn+2dHefTQ5YzEHeC4NKITx8SR8KINGJGpgi8By9lb9+IFcH35u1c+2VFbfo9EMhhRO4zujrxYOprk7fwfi6u/4rEre+t3n2wBnLj95KcHFuxF3uK5CNv+RwQnyQuv5NyJXAXf7F2RuVX93jb6rvTzsXZseds5BhC4J/zsCdnIPZEzPvRR4TOf/eNj2y8hkRb07qR2c5TZq99R9Ldl11H+U66a3Tr0HLW2rt+Yzefy2t6811Z/LPT3LW3Zf7le/s0h1RP126+OcVBjMNDMXdG5U5ETpdHckvZPOJs84FN9/BJ4r8IiQPoyIYOsCNzF9zFl5QSp4QD3pIk8nN5gaJPisDOp2+fIRGwz+HEW7XP6t66/cKbt3Cf1L2dI3Of4BF35G28srd6v6HuMz2bPnv2tGn93maU+SUZyRK5JN16CSxZzWEPmBJ27A0oeWDQ5vKIRXFJFzPk3Zv5xtQ48VtgcrnFUVs2i691xDlSLt58d7n0B66BR6Bmz2xn09r517m+Vp8kzo51Iwd74qM48rE+vucXX5TN0b9ykom+4mKfgRIyIJFGZAiwPETKOW/Azsl5IV0agSIWGon36RxhE3VzlXvjRsBEDiPp3qwj8X7xrTfyJXHr9indgwU71o3UELl9RNbyDZAS5d6g5J2YLgCry1Exka8kAncG5XYgLB/EsrPqDhfzcpfePv1J7Z2Zc5R71uWLO+JMnIE4i79Ye2hC7L2d26/92QM/10e5ws8V61izHLKm/cixpHyPwNg8xZhTukvrA/utYbwyv8hVH1/5diXnPtjIZvPo1mjd/KLX511/9958+xdT2pmUWz1obQ5F5OWRvvLpJPHO+EnivxCJB+wRUZ9S1fft0gUHDBLYQTt8yQCIgBDAAmBA0Nu4/3e5/4bUW7Q3c2/W/bIbAvdzcP/2vE/piJsg7j6rK7NDeyjwz3x2XSQbQGoPLEryQG6BTzIT4CLB7QEwsQNwvZkBem0IrLdvwOeP7YhZ8VIO9IytX9n4CCrQEj+Xkg5QxbVLa1xADXDsg++0PucQKLBhXgDATjatTzrft+j+Yhtb5rFjH+zbqzIfxc7a9eVXezVeX+Swmp18VTY2kLNfZxIwORf5FYnrQxSIUr75GoS8vZUjEe0RyxWZe1OOxP0zMqTtTV3+ImSfy9lS9nsfHh79tjoCvyJxYz1cIn65Q7OfvwjPHmj51cOi/CLV7SvAlZsngcvl8rmyc6hNjsgZOSGWG3sxLh9osdfWmZxja29Meets3DN+2wviRuBL4pWdkX3DB3spr5FVOcJuIgesS2szxthILG2fKyeJdx8i0Wx0n+rvzulvrDWJvtrrE1OSf/lN15fee9mcclz9am/nevnQvvXnn3MonmJbjsmfHhLLJbpcMqezkDflTzHUBhv/g8T7N8kRAlBQ/koJYO/0V679M9h+BNgu8VtkL7zL7gJJLAePzF1SgNXPFr2Ne3Pxb20RsL+hjoAjcZ/N+y12v8ymjqQRvXHKxKd1ZO5n4mz0s3GAXSICEwkM5GntfJOMkldC5i/N354+6RIegCIAAAycjO1BJrJxtkj6KnYbc/PkfeREu+j8CjgWsJS74GLape1iqXeBAUDgERiwGVAAwfUvv7oL9lDbazRb9s+us+cnX8RObPmWH/qMbz8Rg/0n7PDfmPq1rX327J19uYXMe8CKBBG1N2m5hizkhPxDKr0JI5PewvUZ73wRNpJHuL1992/Cab/QhuiRsxxG4rS1iDERNpvsGauN9lbOP76Wm+6HfdhPpC131Yk8LBeR5AKvOJwi/gGwXCdi5mzkA7DfnBD/8qJ4051LOd55V9dvnPOKrNwNPnYu7p5Y23ME7iGm83B29uZu8rN7wL/NBWtaP5/KCWOW9BDYuVd7Zld79mljSXFpTHXzlLXT1rGedrbCDvX8pRNjV8p9/WvX/NbSV9m6rd0a5jWXD+2pdrr54Vx5BMfKJdo5ibt86c5WLn+KUXkk154k/sUPKY8eFF4Dzi+NcZHq7+K7YF1oSStZJbyDlyxL4t5k/PzQW7M3GUSOgBGyX15D2kTZZ3SEHmHTkTnS92but9ORuDd6nzcBhESTzJIUUCJgAA5QSkbJKVElOCAxB3Fo57N28/kOtIEOYHWp7LUH0GJBF4/V268ciQMhF9aaYuYyunziFolpDxD0dWH5sBe4eY2l2Ulah9+nbxE4/V4SZ9c++M23AIGPfOAfH4wLyCJpbUmEoC8JrKubz14A5aycizN01sixz7jeovuMq81ZImY5gqi9XSNrZ4vQ9SnLF7q37z6PsxeJG9t/CuRHRL2Jy21v3sibbbnjrR2B08jc+nKxBwxl5A1kA9w7LSfPtyhAHJFXdgbyOzCOcAJ75+JMxFOMnUH3uPOoLdK+6u982Clf3SF+2kPnYc8EkdPiqywGPcQ4S3PlUDkTnuRjvu269mG8vdln96S90mwmxhJryaNis/3lbTaML2bK1mieOh9O4fsp4rT+Zrf19Cmvz8qtve35m85Xmn/OXk71QKjsXNK9yJQnq8PJUz9J/BMIfEH3PeWTVD6jjhjOCy55JbmkAbBAtM+J/ZMdf9YS8fYzcuTt7dtvriNvgqx7E/ezb4TvjVwfotcXkfulOf8MyHoSWcJJYEDibQygq2uXnHxTJ0DUPGXtACUwN9ccFxB5L4Ev+QGWkyTP+DaeLT6Kkwsa4akjLP1d7HQAZSxxednQb14A0fjARXuAfPq3OfQREg9UrS22SGT3B5yM4Yv9KZNAOZ2dYtD45hinjW0gbJ3O0flFjsjBW7G3Yecu/5xnn8t7W4/EkYqxiAWpIHlj9CPxfqfD2zYilsMeQj1Ayju/WOmzOpLXh+TNReaRt3nKSIxP1ojY5KgcXPIuN8tP/fZKAHGyb+b6Amc5G5lHjmfeOJdiLPZL2Ffl89yqd17q8k4O8IPPzkJc268HJvFW1+5sjHF+HkKQSfeBf+X2+le+WFd/5BehdUfS284/oq+4yCd1Wp883nuk3BqNNZ5d4/VdCd9WxFo9+zunNtoaK/W1j+1T3nZlWOH85VN5JV+cyeZL+XGS9VmP4MXr+Sb+QSJf0H1P+SSVt9av1mQjcuhSS1RJ7vD3MgNKQAoU/RM0RO5n5Mi5/5oUcSsTJN2btjHKSByB+xm6t3NjGuehADC0tsT1aQ9IAAvra5OMktvbG/+QNlABrn3mZEfZXvY/l7HfAE4Z+YmLNnG4iukZN5eXjy5ngKJN/AAUcOoyN8blNIcou7z6zAMOpLH62OV74NcZpfm5fr2VxM1ny747d37zT3zbT8AVARvTPgPj1fqMaU90c1rLvuwPWAEiZ+o8kWHnh8QRauTh7CMPbfs5HZmqI25kr26MOb4eET8GQuJI3Rt3eYvE/W0Efd7W5TYSl+d9TtfGF/VsW6+HCA+KHh7sIVkSrxyBy9cIP3BGgNojcnUiPkC53KHLD/kilsW6vL7TncOel3LnT5fb7j5f3D8PV+Jqz75wFAMxJvqMs3f7MVeOs8W/1j39sna5Uk7Ymz3KDXnYw2/kRicRsPFIT3ux0adcvbuVneLYHeTrltXzn2/Fmd6+7kfzW+dcW3t+51M+1l7dnp19JC4v4Fy5Ya/JFZGLG5E3Ebhx7D5J/Bcn8RP4I4GIq8smMSVUCd9TIbCKTAGbN2cAiHyRNPFpnPbmjbB9Qlf2m+y1IXFv7X5Lvd9WR+g+zwOKki8QsS5SBr7KAQzw4I+3AD4ie0CvTdIGUMDjb3/72x9gpX7G4ooEi0+6OS6sCyFGxcnlZhcxAsMucxfeOMAReKjrCxzEXF17l1yfPUTcq/Ml367871zvdCRenPjNv0g8kOWH3EiM07egrJ6dgDlyaV79u1drRWBIwFk6V2TrzdhZIg2ftOWABzWCsJ21PqLc2cuhiJ6dSNxncw8H1T2ELoEjceO9dSNysm/iSNwabNMITRnJefgg/CeRGgJfwo7Aa4+4i0FAvW9c8l2cnI07WX5EOuVQZ3Dqzsk5dHbnGPXOTQ7Kb3eoO+ghRczFmrbvzsAZ6RcH++Y7f9nhmzXzYbU19ZUf5X+4w8bu2/75VVt3S+ysra8YsaFcXcxqa5w2MbySbKeLMa2tulyube3YO9m2Pbv66Xyrjc/wrFzxYGSPPfBF4NrISeTFLRyVP8aY9yTxD5L4HZh+VnuAfqdb5+yv3QUD7C6XxJSAEktSuJjelBClywvcgKE3GGDoT7Z6q+kX3nrD7ufg3sz97Fy7z+n9pyp9Wu/TO5AFBCUqAOwNDZADWUAiMfnkbYsv/DIP6LgU9oHY7CkQsS91++/t3Dj777fPi8UZI/X6XGIXrfi4nOK18TNGv/ZiGaCI6QkEgYE+9mht2eTnCl/Wx/eQOBtsWqMzd9YuvPXFjQ/2wd9IQHuxNDfRpo9ECOYngXV1cXFWwCaQcoZIHIEi8f0KgzgQhgc5RI7UIxakKi+0IVfj9CHkHjj9HLzfQpe7cq2flfcmrt14ucYHxL1v5R4Q2CZ86A28PC1X7cNDyZI1UA6Yl9gjbiBdWTwicuchRvKnHBI3Z9TZOB9xLcadgzPprLatM+vsG0ezwTayc8/45cHEXnugjsB7M+/hyhh7c3/NL4/X/rl2fnVP7M0+zY9w3QmiLhby1DhtYswfbY2/mn+2mS9+dyKmd8LX4q1s3J2d2q1HxGRl25X56czlQg954hmJR8jyg+hzTuJyJfqIeU8S/8VJPBKIjJaYAvOA3cWSpBLURZEAEgowAVmXF3n6zAgAAeT+jNybtbdvn9AROQLvn5n5+bl/T+5t3Ft5/27cJ3Z/IQ4YS2AXUpJak7autXwaVXZpgWUALoGR2Z/+9KdvhGsPyJkApojOvvvZuH3b85L4kqOyec011oUVky6uiydO1gBW1q1PO3GRu8DK2pbMqutj2yVnD+B1Np1fPq+f61/n+xqdbevw2WUHCtYvB/ikjz/a7HGBuLK+FePLIfurTifaxcVZIy6AjAiBMhKPsBF4n9SXyLXLl96QI/FIHhkjcl9xvHUT+cM2EifK8gp5J/0MHIkn2pA4n7z58RO5yU+iHonfvY1H5DRQjriXvMXhJHHnEklFVPKknHJezoiUS2Lceb1EouWs8c5SnQ3nzq51IxT7E9vexMXeWWlzLh667N3+5JG5fOTXlS/5pa9csa45yGzFvhN26xMrOFB8am+sulipG9Nca1jrJSmm9I4rxuvz9jdv28QysTapTucn7byLeeStHmHrL0dgsz1pI1dEro3dJ4n/4iTugkYEJ8Brd5Ea08XWJhG7IJLEk7bL6iIDtd7KAaSfNSJthI24lb1998delJG4PwSDyJG4t3Sf4ZG4BwE/a0TaLh4w6OkeOABlvx0fwBvDZ/tBxIGBOpKzD3v761//+q2/fdL66eY25yTHSLyxEQ/tsrqMyiRy6tLX7pJ2afVpP0nc3OwZr25N0j6qn75+hMTZFEM+uexAwZlrE8/2wB91vug7RV/95U8gZ1/mq6+d7Nuv3HLeiNxDmt+7QBAEQcgzuaGunyDtSFyZIPtIHPH6p2HyxVec/pywHPLjICSuHXn3y2wRv7nK1WkPC3I/wqblJ1/2c3ok3hs5kndv7I8seQNnApSBdKJe24JzdxEoB/zugRg6t/Jr4+ysrs5NW2dlbudnLtHn/BEgv+zHQ0xfIpSLhzZxEBP7tU/+RyBnfrR261tPfvC/+2Jf7VNe8mPb2q/x+jYezTPe3XuJxM0vfmwmfEl2jLa9v43Pn+bQ28cGX1Zat3Plp73KiXImIo+wxdR5iK/caI5yucIeMZYY8x8kHrB9pl7wvCp/5lrvsbXA2fz81He2bd/Orf2tmo2XZO1djYsA7rQ5+s7L1cVyKSSF5OmNCWgCV4Doj8H4m9T+nKWfi3sT93PxfqFNHbH3s3JE32+09/ldG4AFABKPBojAQZ32yTMS5+uf//znb2/Wd/uqfePz3jJbwEhMIuLArotdf8ABRLrIxjQvEEibp68x6vkOhCs7p9P/q/M+2+SneZ0ze2uXH843EtdvbH7pt1d1cd+5xq5tfcYFzPaVrB1jEiAjx+QX0PKVx0Mi4tyfRyMLD5C+BiFsJF4bQiWIvrdz49jyNu4tXH4hc6Lukzr7bEXkcjoCTxtj3dbwNo7AiLzct/MlcXdFHtMLykDaw+opkfdqY8SFOB9A7ayKWeQl55BCObTn1Zmd56a+Ytx5duxZk0/Oxl4QOsK2f2ROioP92yu/85WPfHP+1midzp+vK/LF+Eh796utdjHQxz5RX9l24yK15kSiNFmCVW6tJehyWVwSbZXp7nx2q5+6Oa3F3421eBPn3tnrrxxB2w/b/FVuH4017kniA54nYQO7sy2gDUyrv1dn506v3asxkcCdNkefC72XzKWTaCWpJHOZXWQX2M8MASQS97PxiBxZ+2U2JB5J+8yOqIl/juZPtfqzrdqJNj9bB8qSDggABMAJlPts5mK4/MVc+WrP27bxeW9ZfKwlJl3kgDIwqt+F4idtLF0czSfmVm5eY9QD3LT17en0f/d5Vy5W5pYDC978C+SU5YD+fAxg82t9yi9rK+sLpJvfPtu3drYS+wY8wAnBIVKkSfx8GqEnEbi6fm/eBJHS2pE7UtHvrVqORt59Qu+fllmrX2SLwM1ZkeceWnsLt1ZiHe1L3nKV9BZ+ReL2mSxpR9i1uQfKS+Luh/OKyCObzbliLcbd6T035aR+Yzuz7ryzce+t53z448HE/txN+xd3Wj0SRz75HrGwuf7suuVC65cTEXaEnI7A2a6NjsSv2owlxU3OiVnxoyNA7Yk7sXd4Y8PPlcbS5/zt27I1rc0vxCtu4tfD3p69M0jKA3PamzZSfNhSfpL4gOcCIlAEXmdbQBuoVn+vzs6dXrtXYwLuO23OAnAgDAhKUEknGSQFcPL0Dfy8ifu5uH9/65M6Iu6X2vxbcIRO+3TeH4Tx+byfjf/73//+1u/NXDtwlbTWBRYeFrxdSUyfxr19i/cC0tWet23j854yW9YDNF1gOqA8+4qZMY3XtnOAVYCVrt86u7/OjR+n/7vPu3K/B2Bue1kABSCBoXPON5ov1c258iv/rnLoBGcxK2762DTP3gGvs/fQJr+QgxxD3N6GI9bezhGrh77eBOVJn90Rq/mI2c+9CTL3GV3OyjOaTZ/d6d68W6efkyNx6/Sb6GwjLEQuPyNsZO1uLInXdhJ5b1l0JG3vK9rdN9IYAA60A3B3MsKKlM5cK86dnzNc0d45O5tyNqJBRmxby7p8cTfFw/5PEheD9uutnL/msneePT/KkbR844Pxrb1EdxJW+7/T1l5pXOQKtUYKAAAgAElEQVS9desUx92/8t7ryqsbn47E78bU397sy/n2cOfc5cOefQS+ecB/9fZjvnPiR+1PEh/wPAkbKJ5tAW2gWv29Ojt3eu1ejVmQvSqbEwB3uV3sLlNJJjEkCJBaEvdp0tu4X07zRt4/KeuX2/yHJ97IvYUjbT8nR+jKPrMbr+zn5R4AAKYEd/mBnCTlCx/5BQho+xb7qz1v28bnPWW2xIUPeyEDJL5oDwz4ru4SVY6gm8NWoi3Rxp71zrPix+n/7vOuvPlpTHFsfQAHAPi7fgJVY41TvvPr9LMcWm0uO7vPbNqTdmvzBSkQBOFTt7drBIuAfQJHun1OR9zIXD5689auDcFqNw9hexPvn5Ihc7+t7q2crSXx3sa1+RTvRzgeDCJxb5pIPCLno7aIK9KujsSUqyM/siQecS9A1xaRL5C7FyeRi5v8c1edo/zrLDu/4n2ei3bS+ZhX/pbD7LJvHWv3MC8OYkDEXB25wwixIPYCO84cy5/Tv3zJj3zhg/WRHXtJe+/+rdaXbHvl5kaA1iARbPtXL678WdF+Jdmwj3Mv9bWW9e1LrCJxZ16stUfc5Uk5wIY2Pik7AznmTtkn208SH/BcQAQ+QPFsC2gD1erv1dm502v3aswJsnf1vdzKLpNEKJElhGSRZIALWHprAY5+3ujvUSNxRIyYkbefkfdZvX9u5mfkKz6lq/tnZ4iePSAhKYF/e+I3v9S9Xdr39jfu1Buf95Q3FnzqMosNACIuZW8ILlLjKrvEO755dH2B2pKlvXReyqf/516v6puf2VtSda78tX5nztdiy8d8Ewv+7Dr595LeGLJN1qY6m+IVAQMjROzzuDfy3qJp5IxcvaUjeSRO9pfd9PnlNX+ZzYMm8kbKtLfwHgi8cS+RR+D6Eb0HAw8VvYl7C1/RHpFH1sgrsn5E4kvQATWADqwj9IB8xwTkcg8hAWwxLEedq9juGTrXlc7dGGMjnIiJvZUIh98eRnqw6cvEflaHFe4yn/loboRondY8/eNTfflknvn2GYHTS9L6iZyuPa3tFH27t5fK+S2mK9qvpPjZZzE1T3vjrafM55PEnfeSuHJSDth/89hVhsseqtguFk8SH/BcQASogOdsC2gDuurv1dm502v3asxL4FofkE20KQf0JayEkDSSC0D5ORigROTedHxW90kdeRM/I6f7xTYkrtzPyWv3Fk78xrpP78BZ0oury8wfe1Sn8zm9+/+KMh8ASRfQZVEOeGhtAEKMlAMe5S6xtuYscOrXLt6dAW1/zrN9Kp/7uzrvuzZzs9fZ8sllt74122t1a+fr+nS3xlU7G+a2JtuniJN/ZSCu3uKQNyJECN6CEXUPjEgYOfepXZ9cRCIATB2Z++yOhPvzqnJUnUToCJwtb92ROb1kL8eROF+s0VoeMoj23j5PwkZiEfv+ctu+iSPDiDxSXpIKuNORe7o5ABwpyUFnKqbl3+aeczjFGTuT8nZzPTu0doJ45Ls17dHekLlYEGdoj/aln+ZnPpobgbHXHeAH38q58oRfrWt/9slWot7906/cGHpF346NUGk+ETZW8nVjUCyas3aUi1vj6NroHc8GH8XIQw8RM2fcQ1CETZcLtYkD++ryUz7y3xr2+iTxAc+TsIHW2RbQBmjV36uzc6fX7tWYSOAlDWSTxgW6LpgEkQySSnIhcYDWbxADRZ8t+5OsyNw/G0Pikbafjysj78icNsbndW/v3oIk81/+8pdvoC4J7ckeaT52sfnZG/nG4LPLAUgXjw50xKj+Lq56PiobS9ceQKXF1nh7s6c9B3vuPIrD7k/bI9n52ets+cRvvhjHj91bPhqff+d6L/nT2rT57LBpnY0JwHGWYgG0vEnIMwToDRuJyjVELte8JSNxpO0zuvHAyxiiHYn382+5SbyR9/NxRE1OEpeDiLzP6R4KrB+BK1sLgQPLNOJa8RCC3NK9mSO1U+y5N6+AeYlHGVAH4O6h8UR5iTyCcq5ETMtBcRd/53DKnovx5jW38tbZRj784gPSdl59lbDf9uks83X9tS/3id27+8Hn8sU468qXYmJ9ZW0R6vbrO8eKkbHtoXlXunjqy9eNx85hLzH2NdJ4PjtfcZIPRNyImLXP9lKe0Pmmz/xt4/+TxP+HSbwL7xJJtpLM5QRgANSbs0+c3nSApDdyZO5/ikLQPqf7rE76pbf+uZm6fj8bZwN49KdSgQyC8JAUcSh7Y+uXtbQviXxF2YV1Ge3fZaH5KTaIqf4ueGAU8CyAajNvxXztkSRdOdJFgld7LS4v6eztGG184Cu/24t6/vCpfTqL9WltnQ+x9S2BV2aDrY2NtYGPs7M2sEKGNALs563I0y+ZIXCCpLXV743dWzMSV5aXSLy89CMff9PAz8M9CMg3dpB1n9P7bXUPCESdvdah+xl8b+DuAeKKwJWrIzVEvm/h7k4gTVcHvufbKmAngDjwNgaoG7/kuHPNKVfFlJSX4r0EXn5o07dnY54coLsDNGG/dfgWkTuzxL53f/mc33x2n9izjrX5sKItKT/N2ZhYP1/yq3il5VPEZ27rKpOdXx+/tk+9eKZ3XjHf+eZcSfONJezwUYyu8sI+8tW4RCz12Ruxllgaq53d3wJSl9VlLMAuK8DtEn+VfgTMj9Z9NP+r+wO1r9L5n/0FzC5our7VzUvrC2w7a1rSSQqXVeJ40gZggA3Q9ctHfVr/5z//+Y3E/ca6P+ri35H7XO7TOe3n5xE4cLYGgrY2H5yrcn6tbs+foa2zdson6/HDvl3OLoQLEqnxWb3LG1AGSOYHjsWyOmAyrrHajW+fynf7bwy9vl+Vd0xle7ReYGOPAWhaf3lQef1jS7011V+S9sNWsSgG1i8WYgmMADwtx7zlIQNvw35GLdcQbL85jnC9Pffzaw+XSB459xfb+qtt/TwciXsTZ8MbPjKn++U2ZetYs8/EtHptEfiS9RJYb6N9Pt+38Yhsia02d8zeA3X14qG9+NROs2MM8C4f6YhHfOWn2O95Kif6nIlxxjuXU9iTN2wjCBJhWN8enFXk3dlpP/3V1r2yjnWT/Mw3Wpt+Plg/UmNDrIpLsYroTm18sv43Lp+sobwxLZ4bl2Ky96n+jWdnUJu9KPOBz8Q5Fj/xKmZ8y2fl9pp/fOw8Vhv3WxffZXURLUqUeyMK+L5CBxJ3+tGad/O+V/tLwPYZfe0jW84lwATCK/Wtbl66uV0aZ+3ySECJIikkViTu02XACgh9ntzP63427m+r++9Lkbe3cOVIHLj6JGkf8sm6fHGudyTWnj9DW2ftlE98EAuXsSdl2sUrpuKi32WvT7zEijYuEDJ2hZ291MZZb89h67Wfen2/Kq+NLfOF3wAof9c//qz/yju/+Jz+3NXNLW5st5Y4iUXxEEc5RgCUPPNmQvuM7W0b8SJp5O1ztzLy1ect3Nuyup9/+4VL4l9QyDUPmb2JI3FEXd5G4uYSdn3O720/Mt9P6IjcW3hv2/QSeQS+OoJDYvtWXhmQB96B+4L4grn2wN8cfUDc2dLiSTpnce5OO4Pyc8+ksyg/O5/a5XzERVeGD/liD6Q92euV8D+SZIft8pFP6yt/1fXvvTTfviO38kf9Soofbe7Or60Y1n/Gsn1vLIqztqSY7Xj+twftbOe/mJXz7YfOr/V196b/HKMuFv9B4i5hl8+lDPC+Ul8B07Y9WnvH/ojyHah9Vnt7yp5zWcAMOAPh+lc3l25ul7tLJBl7MpUYgMhnQyCHyAErQPRG5C3Hp3Wf1RG2t3Gf1vutdcROEDlglMj+HbizlF/8UObz+la5PX+Gtg47bNPlk7pY7CV18fjHrwCG7wGl/i4tbUzxL54nEBXfzqc9dj7V7/SjGBTDzjW71gUe/Od3fnS/8z2/T/+KT/bWv/Wp9saxw+auY21SjiECOcY/5R4avQF7y/blx4MjElcmPp8jXaSOxJX9/FsOInAaiffPy3oT7y28N/E+o8tlZQ8Fctzakfd+Lj9JHAAvkauT3kgj8N62To30kN0SuVicQB65BNRiRIwNzMXPnSUnwTjz8rmzKDc7i/Ki3Nhz0udu7Fhr8CtyWd+W0M89nj6Xk/yxjrzIh3xt3e7fEiF7Sb6s5tedFFeazfTGspjS1s+HYqweifP/7K9P+9pXjsTlAB879/w1ZqV96d/2xtN/fE53MQOCgCHA+0q9gHBVfrT21Zzv2RaIfZVuL9lfsHROK/Vd6av5wLbLQ0s+iSsxJJnPiN5CAteA1dt4n9X9khvpvyv1C29I3c/MAagL6g0cifPLms5UW3mWb+n2/JmabfasTatbvwsXoGnLTzHpgtIBjj0FPMV/5+gzlm2gZM/ZbY+0OVu/Kj+KARu7n2zyHTDld+ccSPIpn1/yL7+zmz/dy/XZmOLBZmtYu5jxKQKTawE8gvKG660YsfoNdPkWwaojYp/QPVR6K/czb3mIuD1U0n1O7xfbvHHLQ/N6A6+OyK3VL7L18+47EkfUJ4kjdBKJ92aKvGuLyJfcikHk3IPNgnbAra2HncbVt+TTw6YzJ/KvPHUGSWdRzm9u7JjyXZs57FnDuUVoNHLhF8yw191nZfvMd+P5x+au0V2RN8rW7R4Zb11z7V1M5E7xWq0/0V6szBUvOlFP2CfVjdmYVm7vfCN8q6+402TXVhYHcaJf8v/0lU/5l87P34BpEhi4mAFtl/WrdKBwpx+tezfve7UviH1FuX1kG1AuWAaaC7aNOTUbtTXPRQlwS0jJIcl64/A2Auj6lOltCCAic+DpTcgndT8n90bkD8MAUUnq/PwsnM5H+Va9fa1uz5+lr2wXQ8Bk38WhuAARINOlNEbduERd7NoXrc/Y7NbfmPXlNeXXxEAsjcueMj9c9oB8ATKfxKCzv/KvGJUz7OePNUlr0o1ja0WcEuAU0JdnNBAE8ojc1xvk7Y3bA6QHSbkXMcs/BO9zOiKnkXcELi99MSKROOL25k2UEbi3eXltvYjbWkvm55t4d4KflZfEI2wETiIxwB1x22finpHq7kzgHgHQyMiYxjYmIA/Yl0zK3XKxM6DlaDmtXk7T29/cxquXU8YqW5t/9ti+e4ARGw8+nbkY2EcEmY/5IE8jcG2J9Y21lrnFZMm7sr5Em7I5RLwqV9dW/Ogdox5p043jy8Zk416M1l/nZd80f2ixoLdP+crn08f14zcA228EB64uZ8TeZf0qHSjc6Ufr3s37Xu0LYl9Rbh/ZvgPKQLj+dGBaPV07ENdGuzASUEJKJBfPBQRsgM5bEtADrj5vAkMA6jfWEbg/z6rs7QgIy6HTb3Vnal/WrX91e/4szXZrZVNdDAKkJbkFERdRXGprHF07O9agA7YA0jqn7F4flfP3Totl95atxvHPRb/a31tIPN/Xz9agt72xq8UkIOYT4OzzszLgp8UZuCE9BCnnfN6Wb+rIvB/neAtHxh4gTxL3GR1597lcjqoviZvrIcAbvbyOqCNw9QSh+yK1pF25t/KIKgJzbyqf5B1Iu1+V6RV9AfmWjTmJPLKKkCKdiKe6+EYuqyOizihde/Oqm6ssz+WRsrX44QHD3nu4EbfiV4z0i4l92Btyyle2Wp9unX2w4I892a81i8/qYnKlzUusfUeO2otp/tHNUeYf4ZN644qvdmKO/Uba6vwVh32IKx/0nb7nS+u3B/a/kXggECBs/RGJfrR/AeGq/Mj+1Zzv2bYg9hXl9pLtABI4nlLf6sZsW2V9ymwruzgSUGJIEklHAFKgisj77WCfN5E4MPXzyH65yJuS+Xzf9Xcvys62fa1u3Gfo7LZPNrWpB0L2jWCSQKN4aLcP2hxzi5cx2tjUFolns7XMWcmvR/o1MRBH49jPnvWdgfPMF34mfDX+rDefXnvb/lJ591i59dUBMPIj5VigBegAG4kMkICy/EO8yJlGxH4m7q07IvcLbd7W+3TuTdt49Uhcm9/v8HN2D5rI2hrsL4nXhogi8co0UnIv6JUeUPgcYblD9rYgvaSjrH8BvfHazAvUla/GNUZMAX3krU6qRzQRTETkjE656qtNnrsP3RX2+Mg3celBrK8cxaz49IXCPu2fj3zrISFf9k5aK9K0n8jwjGWxotu/snG1FSN2NjaRce3rlz7zauMLf7U3XlksslPZ2vJAfPIvfO2s82193jZrrxhn3W+f0wOBJczAbtu+ovwIpB6t+Wj+V/e/BGif0Zf/2QoYgfAp9a1uzLZtObvGuTiSkkiWkguoAioXEbh5OwKCgBRoInOCzH3SdEF///33P/yznn14OKStZV1fgFp/dXv+DM1u+901tCEwF9G+F5ACquJhXOOVsxnQ1GZfAY2+2hufH/T68lL5UQzMNYa2Ptu0PQAAZ9n++JN0Bls//VJv/Zd8vOozNxET67EF1CLxckyeRdw0QtKGBIEeAJR/3sB9HqcReW/cSLpP7Ug9EpefCJs2jyaI/CRxeU2W1BFRIvcjemV74B+9JK5cX0R1R+L22V6NsffmKAfyxgTsykvijdGmT6yMDeyviCuCoct/OeKcknJbfYl070bn6myNkWvW5pMYiFO/MKjcF4xihOzt13i+81l+5NOuvffTOnw33v5OiSRpY/ik3LjaI16aPWsnxchcZWvqU6+Nn/rMr31tWju7yvZpv3KbL51ldWPMpwmblfMxv3bdL/9jL49I+FF/IHKnPzr/zu73ar8CwG1bP7a9ckD5Ue0iAnQXR8KWTCVebx0uo6drn9SBKcBE4D6hezPy78rZ8lfZ2MrP1bunry5vfliLH+0VMLgMLqNy+1fvMgdu+s0rztmojTbG3Ow1dvXGQfkz9s+ONbLdvgCFc8yf9tj46vbdPrLRmK3n67Y9KvPLvI0Xn5AU8BJ/YFZ+RYARGqK0D/09ONKkt2sEnSBtBO/HPRG3t/E+r+vvTVyu7mdzJC2/VxB7BISE6ouQ+LXCXwKsT0JGtPZ8JfrsufmRuLGRc6Cvb8UdNU6clsDUk9ojCnGX42l3vty90lek3n0pf5yxcdawH3sRrx6OxFqMix0yFzt7Wf/N5w/8OCU/0mKC7MIr+y1eS9zbrlw8Km9c2GLTGFqcwkR9yqQ52opjuKFOGsNOWCo21iXlhHL7YI+Ymw/ZYXP7rfck8f/7v08B0gDurfoRCK69q7FLEB8tLxFJDskisSSYSybhAJNL6AnbLxtF5N6ElI3hs7dul/vK593TV5dPEhcjfiGwHlgAQkCkXR2QBSSRXURXnNVXjAsAlRu3+ozHZ+yfTWtk29ouu3NzhnzSRjoT46u397Vx2jz9bK1Hmk1zxck66nwCaAGw3AL4vaEpR2LajDPe52/k7QGS9vDYW3Ykjbz9OKdfftMfifcpHcn7ebgvSr15I5vW37frRyRubHJF5ifZ2oc7ciWBfORfjJxjhCRW2lfYigSNTSKz6tlxpyMFZyFX5Lo8iRzL4+q0+7J55DzLIefqjI1hz9r2LjbwIiK/iqcx9mxP9mGvbJxrL6HX1z6Mtxdzz32rrxQHY5PssKFMxImwHR7qFyvSuFMbk5ivTDunfWDhh/3yjR/sNI9eH+prn61p/pPE/8dJ3MVzAZMupksiUUvkkl3CuXBAzy8eAVQg6e1GO9LsMzmbVyB/EsJX1iNxa/DFfgGP/QVa6tqJ/QOLQEKdFKfdT8B1N6+Yrt75yp+xd3Y21vbjsgMJYPCIxNvb2njk59l/V2fTHq3ROnwDaIFY4IYEz7czOSX3gJUvQB4ckTkS9iYu93xW7zfSvX0j60Re9pa+JO73OjyI7i+2vZXEI+9TL5nzf6WHE3tu38irunLErxzhuIfi4P4Zu3PUIynjlcVr22ujjVm7CAFJdR/Kf/WIU04l3Qm6u1OOa4vgrMGH3sg9MMEMRN5Xj307F0djzbFfPhH23MfWp/OxfmOU7UWc2mNxWd3ejQvf0pFjWrs7FHkq59eOYWvFvHyh1Z2Jc6M7j3xpPPtJ9quvzqZYPUn8SeJ/EHgXEdh2USTLJk/J2JsTEvfWAxBdej8L9+d6A+8rcP8M4nqtDSRuLD/4BGR6QHEZgYE2ew6UFrgiHnOv9qJ/48V2Novn6tPGa/fx0rj2lm1n9x4Sb/6VPte/GnPVZu/mFidjxB2QlUsBGrID5Mh0wTzS7+sP7S1a3nnTRuL9bkbEjtyRt69DyNu4PqX3Ju6XND0Q0MglYvGAqkwiHG+TKz1sLGFfle3JXhL1iByga1cHxhGv9saITUBP75jmRAoRlfZs6GtO7XRzzUE+7nhk2QPsPvzJKffjSvaOKMt/tpwb/LC+2IhnXz6KK53oF2MxMSeSzTd2+RE28ZOPSURufCRXTFYXz+zLwxVzwz3tlcPBCL12mi12s908df2EDxt3e7xbd9eyXmu2N/bMte6TxH9xEr8Czm1bArkqB676mqes3YXtQtMuSckIZFw2gArQJJQ5/cuGbF3pkxC+R50f9gUA2gsyWXCqT3+AceV/bfxmU5yM33kbV2OS5qY/Y+9ssZ9N+3DpAYhLv2DM18Ybt35qX3+yd7Ybs30vldkvTnxUlkeBW0BKAzhg3xsxwpNv9gDwEIB8iww8QCLk3saRts/pRLtP7v5IDCKvTTvRjsD9XJxmt7fESCXCiVyWxD1s8JWPK5H1nW5sJG3cSyS+oB8JIOhEXEgkpazPOmyb31jrnNJc91fOOJslRTmSLIGXN3S5TavvfWDLGXa2YrgPSZWLubrY8p/f9iU3+MaWe5a4b/m6OjI3x1wi31ZqXxKtzN/yrjY6Yq2fhiER69psfnmu3vkVc3rtV84+u+zbB7la39gniT9J/NvFWxLYy9gFdmEkkkR0wQCYyyYRXSrkDcwjiYD7CuD1fW/hh30FMC69yx4w2ad9aLdX9fbSXPOT9pVNcwgb5gVyjU83L/0Zcci/bPLdWQEQF9+eOsf2xB9tC8Lmn/5k8669/jvNvrnt35cR/gC8BSYAJreQTLlFA3/70IeUIk5g79M6cvb27RcslZEz8bkdQfdnXCN0fcravYETBO6z+pI44ibIJRL3cIGEeguPgCPGCHo1f43T1rhTIyv7jHDr166s3T0jjWn89tVvTnc0W+tT5bUtxs4EKTgX5EE2r7sTL+V3JG5MOeeeRWL2JB5i6AzTS+Laekjio32VL2zlU7q73N3VHpFHsPIrkrXX9htxpiPQtPbGRqI7tjjtOs3VVkzNsQ/7p+Vz+zKmNZSNZcP8SLy1V3dOTxL/AYSygHgHfrW/ZWxzVgeed3rJpnnGdgn3qTdiKAklnHEIvJ+Dq7PD7+ydevf0vcp8sC/7BS4uuktfXPhtr9oj4t1Hc894aWePLaJsTOOzn/6KWLS3bPOhs3Lp80t755Pf+dpez/PI5l17/XeafXOtZwwSF2NAtQCoDsiAG6BDNIA8EEdW2qojR+SLlPtcrozYEXgk7m1dGWn31k0jb2/aiHult28Eg7BPEkcwpIcJ/pCIEUGt2IO6MRFv5GxObXT7bp/V6e4cXVm8ml+7urWsmY+nb9XXJ/PYYNNZyBs5hAyJHHIvyqHNG+fqfLURObZinvnOGzlZh3+9lYvxxr0Y6y925sCbfOqe8qe7bA1lwmd7uCNz+yRskkjTnEhYHIicNFYf2TmRLL+u5hZLurMpzmyyvaLN2Pxhd21bQ727Y89PEn+S+B+kE9F0EffCupRdGJfSxd1P5/rN0w60gXVv59pWTkL4yvquG9Dw1R5cdmsbo8/+Air1/NJfTNpnsWqey0TYMFZ7eseuP8qt8RGd/9nmg4se8OSXdv43fn298yWbp3+1P9JiYK4YGCsnxBhILcAGjDS/ERcSAngE8QD12vQDewQcUSPmfvkNcSN0fRF4b9z9Mpv5EQg7vY0jlN6+r0i8t8TIkEY2EScfE2toXyIOzLW3v9qyhWDNSUckYkPECdgbY27SnHzJR/VEG7tL4uZli/0lEYThrNyXcqicdrbOtXyXX1dinnNnh9/WFpsepDoTZyy++jpvfvNNDPjFH76wZy26+6ddWf5bp7o5CFBbObax3P3uOOOLvXbSPHOsk9SvvXzOLjv2IPbOKhudf9pa5jaP7bWrrK0zof8gcZdrBQiT8/Ke9cZ9lW69037tr9EBTYlX/TVzz3XP+mtsfGRMvr5XRyQ7XxzOi2ZcUpzoR76LR2Nao/r21fa9tZzOD/uxR3sHKpFYQAAMAob2Xvw2JmfZHOBE2Kyf3WKy+jNjYH9sW5PmLz+67Mq7p6szzt98zD9xq+29mi32d11x4RegohOApA3ABXjKAK56pBS5Rbx9/kbkkTYC7hfXjEPifiGOIG0k0Txv3itnu7GIZd+s+RRZa4/ckU5+Vs5fc4i6Mc1Rt8/APR050wF9GuBnL51dtq1dXTlfa9enbX1snYgrgnJGkXh3Qk6UO3vGzjdpztbZRFT2Yf/i3sNSMaa1I3k+FjM+mxu58Qtpy/HutLI2fcp8IOonmSNXOUci+Eg0PyPRzqS6cexlkw1t5az9ldPKzsReaPvRVrxbk+31pTrNH/tqP+3pf4LEAckJQgHVIw3IXpJH8z/af/r9kXoXziV0qSKxLmX9u8Yj/yNI45rXnO2r7XvrfAhk2negsrEICPQZbz/6TylOaXEMTH42Eg/g2lN7yffV9rvnI3ad6Xs1e9bYdfkiXsCKToCUtsgpsAvA1Qkgj7SQwBIs8kXk/bJahK4NiRMEjiTYam7kwZ4y0bfSmIDYfAR4EuSS4vq7hJz/9euLOGkAfyf6k7WpvLHixx2JW5fYC2ms+dbNfiTnbJwT4nB+znNzp3LnbAxxHxpfnR2kxDaf+SG2++BU3JE7/9oHzbfIkh1EWZ5b7yTxiNwYY8sz67c/dkgESuej8crWJMrazKXrN0c//zqLbGybGOs/STxf8oGtbLOz+9w9PUn8wed0QPaSLOh9Rfm94Nk8PikHpF2udOPSb91DJNk67GRj+2r73rq9ByARdSBE1wcASH3mBkp3WoGN5E0AACAASURBVFzN6QmZrQW04rr6M2Pw6E08cGtPu4/8TPNxfXN+6/d7yuyx37rKYsQvwBSB0wALgAE8QBexAO6VCEh/Y/U3Z4k8Evf23ed0/YgBkEbYyHul9vRJ9hHf+sKf6utvoB1wB97qtdmHNzi6fvOUifZTGl/7zrN+vvCLv7u//K9N3fjimF/WQCbOxfmUT87QmcqJ8ifdWV9p85Zk5QD79irGfV5H3uq0M7CHpHjS/EN+CM4DRuQmn7SpJ/r5r926xFza3so/bUuoO7bx2sSkvur24hzEkb9XZ8PvZOPcmq1/knjxt4+VhyT+EoF9j75A5Vyr9rfoQOgtc851z/pbbL1nbD5/RAeiLlCXrwuXT+e+qtd/p42rLx+rb19tn61b807bpz33hO5CK2s3p5isBj4v9Z9j17a+YhvInb59ZgxeQ+L8a08nsOZr+13fnN/p+1vr7LHd+pWBEFBaEgeugBEwAzmksmCnHDgCdiAPJCMa4AcUERMy6M3bp/TEWzhiMIatk5y1L3FHcrXRtSE+NpJIUz2/t8y3UwL59kEvGV8RuP0mC/hAX/vOtz6/IvH20R7aT6S+RG4Prc82onJe7pA83zPdPDrL5Zw5cnElUmXf2s6mryXKztFD1+nnErqYyRu+RW7s5mskTuvXLtfknz2l2SiGtDqJoIv12bZ185yxvYhxOauez3RxNlaMN4dbh27t1uB3e7MP5f96En+JSF7qC8yMeUka91X6EWieF+asu0An6bDJX/tCAuRuj4/2ZV5j8rX69tX22bo173TA0UUGINrEyZwzNgFT9gKgjeOCUPZra37nkJ3VnxmDRyQOtPiWX7uP2tbX9c35rd/vLbPfWmwoX5E4UAJagBCwBYARIcDTBgQBJAJGPkAcEBNl/UBfv5+rIoEIIVIwv3ERGluRnTY2zrZzLH/WT74md+3tR38gbr8RZuVT29sK4AfuK4A/IjLWGhFIe7KvSHH3s+SSj/nEprOJGOV9Z1r+XGljzjvSXdGOhAhy4i9/nJWHrRVtzlN/Z0Lbmxjyz/mzJbfofO3uR+L16Sf78FjM2SuuS6pb1l+9sebxh198VRZLvhZ3ZW179vYekbOxdrdsj/wllf8nSPyKTLRdtS+IKTfuTp/jP7v+CDivLs62uUSJdvb4GHmf+tzno/1sDPO1OdtX22fr1rzTAQYd8AQ+5mg724uT/mJZDBt/2r2ysXbWv8+Mwa9I4uICUAEREAWqibaIHLBFLBFexKgdGCJlbQCNAELgqI1E5JE4DUzN10+3BuBNak9ba6X21gHKpPnVt237mrea3yewn22RTOQaeawG+ohgY2Ft/kck6SXF4rC+t06k5nyclfPrTm3ud0+6Y3tfItO9O5077fw6c+fm4Wu/qETk+d552Bs/7VvulFdyC6FfifXKPdo88Sq+7VdctZPItLq+JVz92ejc1Z2h2Io1UdbW2GK8RN5a1tgyP8v1yk8S/8V/Jh7J3OnIA3GcBK2+JF7/W0hmiXrXar232HrP2Na80wFNoNK44hXI1K+9Masbb1xz6NO+/ke23rPPuzmPSBxw8vPO/9rb967jbDcG7y2zXUzYVxc34BmQBrTANSIHXoEqDfiQXoQEEL2tqQM7oEYHfEAR0EcISMCbuXlAlj1zyRJXAFxfhJ3e8ZHwOae5+rO986zdfrKx+qq/trSYRCjIZKV2MTCeDxFJJEhHhPryOX/5Y24k4zzEOCJ3ZkvIey+6B9tWeefIz/PsrWNd/jg7Pwrxi4kIvS8rnaM9OE9jzbHv/ER25Ze82nWWxCsbb+7GUV0MxaD2jYf+RL/1i7n4Nbf4izdf9bGzYixhgy12+VReF3t7cgb66IckviB/VQ74v0oHKqf92h9pPje3sdX11XanG3un7+Z9Vvsj4FwQvirz2z79MRZSPPjHtnpt7fEtvpvT+Hytvn21fba+2vO2RbLadm11QBOwRDLtId0c9ezuvJMks0tn49TZ/Azt7PKN5ptL7sK75Kd/67u9t6f8XZ+c3+n7e+obE/bZuCLxAH2JPBALTIEh0AbiSJkAxcDbeGAN3LQZDzhP8Eda9S05s1U9wNW2Yl4ER6uTnRspIhay4wLwBfvtz15a30o2V0csEUFaDPSZzyd7Er/Ir73m79Wa1mGjGJdbYuzMksi5O0XLt1O0N1afcgTLlvO3hvX4i7yRuAe2fjTSWzmSJ/ZkD/Zp7/LFw5y7sETOdlKftflgbW3mRci0vYsBf0jxiGitpdycYk93bnf5wfaKOdbINn+WsNtL7fQfJB6A/2p6Qeeq/NX7uVrzM9sWNBdwuxjbf6771Xv/DPunz2e9/d21648kxGTJiH8BSvEqhtUXaOpb3fppfeYGRC4+AFDXZ9z62rzV2//RMrv5q8wXl97lVk52n/mfz1d+84u9R/41plxQ37bs1E5bj18Bt7I4Bqb8Uu6tGjETYAlAl3i8panrA/yk/YsBQASSQBTQIwEC+O9IeglbOWJbIDaXWFs7sOYbvfPPudtnbvbN27FsAXT6lAX9+mpbAol02OZrxK0ckRcL9dorq+/eToIp5kgxAozYnaFz3bxTrr3z3vuz/eWGNcXIQxgyR96dobI97b6MtV/xMFcOlRP8zC6tbk0+ROy1l290Z2y/5ZLYlp8RrnpjrK1snDNiQzzPM9+Y7kOAeWu3PUTeETv/niT+4BfXAqc7/QjkPqP/BMBAO/ANNHetO39/tvb1+arc3revto1DpHzGJGDQfzVe//axveNaK60vEox8AqvWvvK1+fT2f7TMXusq8yUSU07aZ3FqD+31yq+rttPfxpRX6ttmfG1pa/ILYAbi6pX5ClQjCUAVqAJRQA0MCSBHNMYGqsYGdsraA1NjI85IU31tVq8fKSTNb/1snf3NXZ3dUxtj/o4F/AA+kl4dYdOtm25cY9jQtwQdgfcWGxHS2mjj+RnpsMGmOG6slasXd+fqPO9yrrN23nvmxpP62XGOzs+++IXIPbh5K+9tXHsPHnse5kSESJCtk8itFXHXR7tD1qXtXRzZEAPnxG65tWuIRbEXq+IvjpF4570xZYOYQ7KZ5ov1rUmT2p4k/guQ+B0QAsMTVNUD1F9BX/m/bQH/2Rb5LFDUlo6oGlN7eglNW2vRjdm22rMb2NDWyMbp62lj+z9azqfW4AvgISdA7n4r7z5PX9g82856Y8q1/DBOG11b2pqB5wL+gjrABYgBV4AZKEYwgBFoArQIxRz7N4fNiCCyoQElkAeoa+sE2kgxDXibs4Rx1Z594xNzTtHX/MaZ2171tX46oshW89LmkGxEIkvg3mi33o8c+krB1hWJRyzFsTg4AwQYGXZPyrW0u0LkQFJb7eVCdedp73xE4P18XH0fPPK3OIiTGPBVXiyRt8YdiTderlTmgzXEgE/lXYRqHWPE3trKxbEHI/U9U/5F3mn2s53vfEjqU//lSTzw+FH6BLXvVQ8Qz/V+VBzeu+7p/1k/96mOBAIEIOCiq0dIygsKja1/9fa1Vtq4ymlt2V8A0nY1vnmrzz1+tL62+QRcCJDa+ORje9g6G6cfV213Yzr/fDFOG11b2vr8Ap78jMgDVX2IAFDpB7wEKQO0iAkYAspADvABQfN6Y2GTDWCnLVuB7QmykXggG1muDqQDY2OJeqSqbk7t+pLGpLNTP22N9pl9bafsnKvy+hqRe3ONsJUTZBgpIvfIOX/sh08rYt6DgJh2pmJ+dQflXLL9lZ19Uj7Q8oF9sXBGvX33eZ3v/IjEN7bFsjyRA/xklz7FWsbYA5FPtbFrHXlmTGRKyzHx4KNxnZsyv/JNe+eoXFwjcJqv2ZS3+UKX2/rJDyfxfrHqvTrw+FH6BLXvVW+/rVc9XTyr/6w6/+90wK+/ciTUxaeXkJS1AYMAwxyyNrKz7fXf6eZk3xq7/t28bb/b63vb1zZ/uvTAiW/rH/+TjRkb5/pXbXdjyq98MU4bXVva+vzkH7AChuoJf/VFugA0CVQBHfAzP1BbEgeoAM68gM86Abf+yAigIqoroG1M2poRYyBdnY3II3BuDH2SbGO1n/1sWnPnV9aX1PYa3R6RUIS9pB0Z92aLKIuJudY8CUccjTHXWYh35xEJO9dysPu4uhyly4E0e86NdI7OmT/8i8TtQ33fdo0R43wXz/KFvXIqEi83aqetaY/GKLMvPvJPXY6xSZS1W09MaOeyJF6bWHZmyuUXzYY9smft7rP1SPHVT54k/ot8Tg8k0y+RdH10439WfZLCWQ/40yeJLhEtOWlf4NCXjXTjt6/1G3NqY7MdOLXO2jnnbb01PkM717UNiFxyAnjy7SpO5/5Pf9g92856Y8qvfDFOG11b2rpix7/AMNBOB5oBOK2NKAeY9qlOnyQOWAM92tyIAkADSHMAJyAFsEkAu+CqfEfigfLONzY76frTkYz+2uiAvbbmp/UTayS1pY1ln24Me73JIr39xbYl8cg9QkdK2XFmS1zWY1ebc4hc9szOuyIfVzqXzl+dOLNItYcCZ2k/PYzwMT+1LZHbfzHmpzPkZ+TIR/azXY7R2sotdXsrRvJGvRxSJ/yyXvESM7FRzw9ttRfTM882xvlrrUSMa3+S+C9A4gEkvQR9RdKP+tfWz1A+SeGuvgTg8nfZlyQi2CWsLWdjdUSm7Vx7x1VujUCHDoz07bit106f63yk7gybz/Ydie8+K6++8uuqrbXSjSmX1LfNuNrS1nV+gBHwAcpAm//atQVYNMAEtvoiYEAXCAN2oMZe85QDOuPYLm+U2QkM2QLAgD6ABb6RXwS+YxoXEOtTTrJVPc1ussBeGx3hbFvzV+dffpm360Ym/LdHfdZEdL1VInOCCJF3BK5tSdG65lvrJJ3sF3NxdQ6dj3MT8845LRfcH/XOhlbX3rza2GCTfWvyqf20h/Vb/IrxxjU/5U0kbg3r7ZrK1qPtpwcE6y+JFw/+RNidST7khzG1nfHsPNnjY34Wz9bkS22/PImfpHXWA5ev0oHZV+nT7/bXv/u+62/c2f+z1V8btyWALrwLbT8RRYAQOZnzGhLP9ulL7atbIx8Cm13T+LO+Ns51PlJv/8VATFz0SG8fMPiUH/mX1n76cdV2N6a8yr5x+VZb2poBJpIFkNr4yn+gyv8AzBiA1dv0SyQeaQM5pAUMtQXW1kqsZRwxZok8kA1UV0eSjQHK9denjZz1ANzc5tNnu3l8b1w6u+ld91zLHKRjrL2Jp/HaEQ1B0gSBeyvv87S6uWyu5CdCMp+tCCdfrBPJiHtELt6RsXtDyr/uk/7GyAdzzVM2xtmtvfbEH+R9PoQUtzT/i62YdE9ad3MjnyJ5Y63DhrK92Wc+FNuIXlw6k9ZPF7/1xfhiqMy/ct86xZImfCA/nMS7/E/98t9o/2+NT8C+eonCJa+u3MWi6zNXOcJa3Vx61zCebNtd2bjW7bKr50O2ruzt+l9d5r+9R4QuOn+1tTflfKdrP30r3872s978jcFVHLYtH4ExcKKLJR2JI24CWI0DavrsCXgBuAA98A3kAznzAru0OcXFeuboA8bAMwCtDlgjMgC+ssBrXPOVjQPWJPBubva016YcuUYW2984WvvaVb8by5cIoT2xYX7/5jqNxBEhYtfPT/OJsjYkldRHb9yWfMS2c3J+kaIzEH+inMjfpLZ07Wl22bc/e+JXb+T2oaytB45iV5z5zFf5wub6o85X+SpHjDXf+PJF2dpnbDob463Fh85HX/6Yl090cSyPiql1ymXavajtSeIf/Jwe2D31+x5CIoFTRxYL/spdZhfLmObp03ZKdnasOcav7excaeNOoFG3VnbS5/xd/6vL1uZT4HNF4vw0Jv/z9/StfD7bz3rz23+6duMrp60PFPkHkAAlf/TnP3Cu31jjEJCy/QVkkYP2hL3mA9tT9LFhLf5a25zWWADd8hKWcgRHV268fqB8J5FuwB6QB/D0zm2N1fqr79i1nf18N14bEukN3Fv3+Skd6fDBeHPtizZ3fWz9tDFIzVkhmYjGWYp75yX+7rLYk+716sZsm7L2xJmz6exOIu9hZEn8jE3+ms9O+UXLCZp/tBiIsz3JqTRC3bU3dmLV147imQ/FjE1tnWc5RBtDiycfN5fV+fUk8SeJ/9BffgvY73SkENi6xC6V8YimefqB8oq2JZ3GvkVn9wQa9UjAmOS0vet/Zdm6fOAXgANIgFNde2s3Lt/zt/70Z5E4O2y2Ds0nAMk/oKTMn3xrDwBKv/0EmtrUARjwjBy010ezKQbmGbOinQ1r5ls+sdvbagAKRIH0SkC75LnjkYN6WrmxgThQr43Wro0E6vWbnz02CR8qn/azc2oEE3n36Tnd2zjdG6z1d938XP/az47dmEXknUVkeZLzVd25kLPP+SWdN/vOjr/22R4icQ8uG1vj2puzlU/5WF5Zw/rWMMb4yFuulGfmtq71xEQMlD0g8cXaxhSnzk9b8VTWvn3O2L5O//LxSeJPEv+hJB5pBKYL9oE6sO0i04Gvn/s3BlFpTyLVO7vnOnf17LZ+DxHnOq132tn9fUV51+NDgHNF4kuoxu7c07fXkvjG94yBvtbccXwEfgAzINTGHzbENtC2D2WAZSxQNRegqQdkEfgCu7b6A1v2lAPn/Cp2+tiNyANUAK6NKNcegdEAeMlV/RQAnixwG6c90q2vseldI6C3ZusYtz4ps4lMlrwRtU/nK/6ASn9Ipc/qffZt/bV9tZa29ZFv4nUSeWfgHDrr7pZcuJIdV7lzV2fL+coN67Z3e7D/RDzys7itn0uW7MpHtrXbi/ywTrnJB21stAb7xlobgZ8krt94wgf1fKo97Zwjceu4NwmffusXoO50l/mp3/e5+Bm3l+MGRJMllQghUHepu1DGmSO2jYtU6drW3nvL2W19PijvOq1Hn+u0t6/Su571+QZUAIyLrq591985lbdfubw92+/q2Uk3jp3K9fEJiEfigSE/xVW/OBN7aTxC1mY8UliCPslAvThYS5koRyBXZ2kt4/gGIAEoMF6JwIEs4I3YgHHj6QXnBekljoC7sREPrS3bq7Vb2xpXdrOfzUgckXjrXgLv75FH5hG5+r6R93BBn2+0+ZDOv+JDi58zE9NIsDOhnVdn6AxeknKD7mw7y9qsYT0+id0SubI2fetrZ7cPHNnlm3yTF/JvfeWDfbFVnJTZs04PUK1JG2f9YlRf88zVh7z5U+yss8KnJ4k/38T/AOyA+3vrQJ4G9MA8WVB3sZeQGhvRpo2JMK70ud7VmNp2fRe6S609H1c3L71rfUW5dfjAJ/4BxQBHXbtxG9/mpU/fyoGz/a6enXTjIvHaaecI+PJROT+LdyAOLJXtqXHmATdamz7zibG0ec0JcGvTTqq3dufIhj62gee+fQPWBNAC3UR7ZB8IB84RhrF38yOc5hhbW+QQ+GdHf7J+tIY+cxBXb+LIeYlc+fykrt7Pys1DRGxEhnS+5GN+q+eLNmXxEJtICRk6P4RIOsfOqvOXD2dOdMbO7Zx3nr31Oie+tAe+51uxzMcI04PA2t984kO+8d/e2jc7CdvFrPh0HrR+7fU5t/ygl7Aj89Vi+CTxJ4n/cBIP6AE/kA9MI6YutLoxxhvXJTq1cZFGtqrTEUzrbd9ZDkCAQ8Kf1sh++py/a31FuXVpvvIR2LjcgFL5zt/19fTttSR+nh2b2apv11HmZz72VqOtvSgn9qMc4dqLfQHN5hpTjtDqjbdO/Wd7RE0Xo+KYHXEE5pFB5LhAe7btWCB9Jc3Rt+UF9Ppo7RFPZNE8+moNbRFGb4P9Alsk3pt4pB2Z93NcGolHfqvzhz4lUqL5EalF5MhJXJ3lErrzch6dWXlA7xlXNpaY19za2JAj7CM+Pmws83/j2bn2sJGPyDy7NNt8ki9ypDOwjvXsr/VeIvHONV/YKUb5sKStHLHzjTxJ/EniPy2Jd4G7sAggcnF5ukiNS+uLTJSrRyaRDF3bnW5tayXaspn99Gln1/qKcuvS9s9HgBP5RGL6Grvl/D19K85n+1mPqLWftvTVZu3K1geEAJZ/xTMb+Unra7w56oAL0Nnnnolx+rUtqKtrJ2zURwfO+s51s8NPwGlNIBvQA1RAq702daLe2MoBPSJBHEse9QH1CNC4bEc+9a1t9ltjbRsbgZwk3udz/yMYIu9tnK4cgZu7JM1mpLOkbhyprTF8Wn/tSYwi8ohSnJ2Hc+lcnWnSGZ66czK3+RGtvnKtMyyW7ekqpnxMnLP7lM00P+Q00m6PjaPNd8bFpXV23cpipl+cyqErzZfiZQ1rP3+x7UnifxBjwP2ZWpKfwL/1BU5jqy8gd1nMizR2bHPS+t4q2W7v+XgFINpa60rv2tl5r2aruadvrSM+wIpfdG8fAYp+fhqfv2s3++/RnYe5+ZOd+nZd6/MzYOUrn3cPzTcWKOsj5gSgzQf4287WSuPN7yzp1ks3p3HFSd0a+zYXaUZGgX26/tfowH9JTpnoI0v4bAburbdjm2sOUohAvE37mThiRtL97Ls38X4Gvm/ixi4pZwvxWMf6/Gn91oyY0vxon/ncHvatUozl7BKx+Cd7fpU7tzu9DwbOUd2a/C6u+R3JqudvfiJP/vGtfOthg03E2kNJ5NrDJltiUSyVrdX5qFuzmLYmnV3rn2K9J4k/CfxLCTwQD5SvNLAM/AP7QHYvrz7zs9nYwDa9tt5Sznb28zWwyBdaW+ud+lwzO+/V7DWXb+tfa+Ubv4BZIPIrkDgg5L84tg9le9FnDzTgBKCB6NkXiLNRefV5Zuqtt3OU9e14bdZbIo+47ohaP7nrr33HRHDbF9EgAu37JhZJaNe/Yl4k6i0PgSyJ9yae7u27z+oI3Pglnn3DthZ/Ec36bT/WjqQirEiKr41vfuS0JBj57hltuTPaM74qlzsRr/zpHK1ffPOXtrc9l3yONPlGyk1lNom26saT1uk8di3xjcStI57i0dx0MUpv+/NN/EnkX0rkEdCdjojowHsBNjBdMmOr8Uuia+ut5dO/5gcWJ4DsupWbs/q0+9Y6W825I/HiRQMyQALgaeDFdz6ytb5m9yP66qEie/XtutbnJ78CQz7XXry1BYYRNw2U9TU/cNa2Z6ReG5vtv7NpvXNO9XNOPospIAX0wBjYJ0uileu704A7klhyq90aiIY9/c5VXMSBaDO29ehItE+0SCIS7007vZ/PTwJfEs+PiMgaV37b565vfHP1ta/2uvUIzB4jxM4x3fmka3+tli/yyDlag08bs9PXPTc+I0/+0fKAncS5sE3YNkYffZ7RrilexUYMikOEfep84Ad5kviTxH8oiQf4AT2w7ILSC76NpRu//QE03dhtuys3Nt24gH59Uib6ksavztZHNZvZuCJxfflHAzPAERACrY3j+pzdj+iImo32n736tLcuzc9IGCABPT4WV+PVA8MlbvszLht3JG7+jt045me+GHtKazS2/RVfgL7EuWWgnCwJ3JUjslMbnx32relclyy0GRcpND7iRkrI3Od0JL2k7W07MldOkHfSmzi71mGvt0f+tl77V7d2n++XxI0pBu1VvbK9ILBIChE6+86YFn/SeVW/0zsuOz0A0dayJj/4bn8Ref6m+RnB0vzN1x6srFHe6rMHJGzu7rU9X7XV13rWSthqTbbJk8SfJP6lJB7xBOiB4QmOASrwdPGuQDRyaO6Vbkz6aszZ1ti0/vUnn9Yv/eSRrWy+V7Pf3GJZvb78o4HZr0TiQAno8X1jKtb2cQK5/RlLAmVtgfWps1usNnZ7xuc8dXNp45qnbN3AGQgnS2SRW313ujlnf+3ZoY0B5kA8AfTGRkDpSDyNlK9IPOI+9R2Js2csIuePB4SIOgLsocE4ffXzrX2lIyyESCIp8XX+coNEvHvmL537nqdx5l3ZYNs6EW3xay/2yFd6SZWv1Z0FG9lH6Pz3wMVuY41vj9qdJbunbEwi73Tx6SHd2k8Sf5L4T0HiAWbgCSwB75I/INV2JwHt6rux236OX3Dn1/q2/uVjttbOZ5XZztYViWtbfwEWAHG5XXTgFRGxZWx+Z/cjes/njEN9u26+8gvYEf41t36AyH/76C0nMDfePtVpoo2c56V+td/1ac93bbUObbw40cbz3/qBa0Ad6EcGkdWdNu6K3LY9W3RkEvCzq33JEgGpI1OCcL0ZI9WrN++TwLduLmHTmuz5Obox6hG0/nw+129M/fmsfhIWkoqgECMpTzp/sSfnWZUDq8sP4yPZ5qe1W0eu8Yd/7cEeO7tI2Jl33tr43EMHO8rJjo3A7S8pJrR12DOn+8v2KfVl40niTxL/UhL3lwCvyCcQTS+QKgead3P1r5xE1Lwdc1U+5xkTkQADvqxvtRkTOZhz2mn9s/2t9bV92tSnLX/5CbR+JRIHoPwWl2JvPwDWPgDVSeIB80ninVU6MFfvrHad2nd8tpurrtz8fDRHez4CVuALhAF/4BwB3OnAW795SxrZiFAiSmP1qdeHXCPL2muL0CNkhJ5E6neaDWPZsKY3dP8szWd5vrYWnb+713xoXGPyX7ySSE4sxTVCpIk8OIm8c7rTneepI3BaDrJrDWvzwx52T/y1X31Jfke65iLc/OdvbbXL5/Zlj9lavWPNXxsReu1sPUn8SeJ/kGwk8Zm6P+fLZgQWEAJGEiAuYBprzvkQYG4SIGc3vf439k43J1vGrU8L8AGFtnw3fm0o7/pn31vraz+72dCnLX/5JYbAwSUHGECK38a0t8rZ+Yi2fvPZP/3Vt+vmK796w+JzY5pvL70hGWsMTfTZk/5yRl37ynlebCf5QVc2nr2XbDY+bQ+BspgD44gY8C+h3ZWNJ5FCdeMjOyQakZ5tiBJB0xEPbXzkmdZmXHOWvPt5+WrjkHi2vYH/4x//+PY2zs/8aq323H7Mqy/f8l+9vdq72EWIclceJ2L8HhIvB8qP6uWTHEoickTJH/Fvf/men3R75HPSHvhd/iq3qW5liAAAHvZJREFUn/ZRzrSmfutmJ639isQjen0PSfzvf//7NyAFpsourYsiiQOVp37574P/N8fn/9u5k2TJkmIJwwzoBKjVMGTMBFbE6nnypciPaPk7J+I2mUkVGQMXcze3Rr0zjXOriaTv5FngK34V2x5Vd6oiS7LNPzLYef3isDVm136vz8ZZm3x2Xiy47gp6azjxbYy39hfr+uw6V69vbjHo2weYKxw9/AiJzel3tfYz12fH1leM8sOpeCluilnE3B1gDy/sFViSXfdFXwzjvQPtRfuRj9xh0a8ttvAVT2w1T4zy6xcLPvdeQeWDZBRdekSFABT6Je9Iq3lFP0I4SRsBpmNfi5BJOdhF4hFmejKdWPKLg5j9WRyJI2Zf2H2pk/ulLn7N3F//+tcvTbzFIA9dRIeI5GKzGI2zY/uo2U/tisydf+diz7XuR+POsvtwzjvP9TN2J53p+YOs/W8f4baWiJte49sPjrCLWTMHt7z69K0vwi+/2Pq9Z+N0+byJxLv8LrTWxXeBK0Iv+eMS+aOz766QZ5Hch6Uf0VRgjU//5pLrt7b1s2ucDLP5dKSxvB77Pm5jucrH5sS3cd7aD8dpH+4T32KUP7xwwas4KAqKh8dPF+Zsw34V+8Tx2bH1FUM+zV5+hMT3PBTbz5J4uMiwtTedtb2Ut3l6uTXr+Omnn75IdZEtkrTvirszUOgjbjLCikx3LhIgI4xTirstsr4j8WzFEbe87PsKj8QjboROZ15/fwjo9z+IQSbibg7xIxqyNbUOtsUj0y8+MdqnCGzJMII8Sdx5bOvud5bnnPn9EWCeTtzekDXAYh27zvbSXOu0f/aNHdIVww8Z/QiXpI/I5YrIyfrWG3GTjftCLyb8T0kcUbvYNsKDdGld2L68KkIv+SLxuztQsVQIu0v7oNytimfFMpnvFtrmyHz117Z+to2TYW1MZitmD/oOJ7x3OTfms/4VjsVylYOu/coW5oitAuThV8haW35XcZ9h/ci89eUXBnuqeFXQ4Ia/s2xNsEeYpHHn0Vob559Mz05f7rCEI1xJ+vaHFEtR5SeGWNVD+On5mGNPV35EhIAU3Yiggm+ssVliiMgiCPN02SSXBOmM+1LWX1399I0jHKQTiSPsJXB/Vkf2+ZTXF7w564M1Io58W2/r23VFhvDCcP74yJavFmnJFZE7E3utLQnv/ej8Ow8y3cr8u19idO/MySm3s9uzCGdnZY/so72xh8bN2Y+IuDXs3Zentehr1sgme2/aWJwInA7WpyTugjMU2EVF4tqLxF+krYi9pVUkK4w9IvdK3wMzV3FdmS+5+vr88l3b+tk1Toa7cXYnxrBWDDYfn/w/Kk8cxQnPVQ66cPDnA59C1C95D16zx+Y23qP9Kv/XlpvfnqonFSa4d3/lZs8OfvMV2c7DWOFrnH8yPTt98dqrsJxrTE+2v/31UUFGOObUPrnFsw455ZBLTH1FPwKK1E4SN44YFX0NOSxBpE9mn6TXR4rk2kXscPeVTS5RX5F4ZE6KIWaxSF/iWsQW3kic3n7RR9Rha33hjsTFXRv+mliavYzI3Zs7Iu/ck51N41O6X2dbG2cqF+LcdcFmvfYIbusirdee9lcO6+zHCEKu9T7Fd4ciceN08m6z7m3m2D4lcZe5JDbEBXaxKz4v+TYi+1H3qUJZYdxHFcHQXRELn/xJ47Pl98x24+h3HhtXrMXnMRvXzG++M+eZ4y3jxbH2u87V65sLi/dIB6MHrRhEjgpFawjro7hnnq813pz6sC6J64fTuuyJ3HSROJkNWaFL35zY+lq++vIWNzxX62su2f4iG19ZsMphb9no91Gjb/8RjqKvyCIeYwSwJNeYTou0TrmkF0FHgJHHjrMxhxjhjsSXvCOZk8QjVf7Fh0m/2PYBidOnI2FtLcZ8yt+PgOKu36O+HO1b+4oII7NIzrm4E858W3fhTrpv3ZkrP/P08jjTztL5+XG2P3Ssw3ojcdK67cvV17g1uC+a+KQ1dLfp6meTHalZ95tIvED7wDyACtBL/rhEflUIV+fO1DyWWo/KuHlFcX3PfoX1Sj6zPee7s/TiwdBjDhsZ3nBu7jPmR8aLY/0f5QkvzPz56Ss2HrXH3S99azBX7OIa59vct5DlW2kvw6kg67fXuyZ2FTUyG3p9ugqv8bb0+cnfesPylvXy5wejIt4eK8DFg0f7wx/+8O8//vGPX0j9L3/5y5eC7xz6c2yEnURQkTxy2C/2tYnIk0t6YtCf5BiBLnnqR+RkfWSjv1/NYi6Bbp+tP6fDCMvmXoz04aNf23yyb37Xps+/3PZnidzdsb/OInJzTs6stneifudFugvunL757k3SvDnxelfugXPTYGtdEbi9sZfWRGfeXsHOh//iXvzhtg7EDROdfq25N5N4i7CQHn6PwK9UF/nVftw9eFYI3ZtnzSNyp57F6t5dyfVtvrhXsbuz/Myz3Ud8Pnjzj+Jt/vf0F8f6tYYr7OGFJx/9s9goctaxduyLKXf+30ruOuovzpPE2YSLnYJVYW4trbVCS3ZeyeYUQLqNG463rJkvu/49IL7lCIeCLN9vf/vbL7b0v/vd776QssK7RL5f4Agg8r4i8CXyyIxc4mNzRYCROBLRj2j6c2/EvWQekSP7fMQuB+xIyDx/43IvKYc1X3ZaayxemPI1rvHVisWnGEuGCDEyXyLv3nQPOjPyqh7tfD4kW3P6Yp5EDguMcLcv/XNxentKb7418IE58k66K+6rXKR8vZUlcHpjfuTTL/EeFLkX2cX2ZyT6V/tx9+BZIdzHsY9HoasIkorjs1gV3yu5vs0X9yp2d5af+X2sHlG4wxzeYm++z/QXx8YpzxV2uvDkQwcr7B424lDgrINtdmQx5V79t+gvVv1wKlIKomIGL5zwmw+XsTlN4WotxTS23j0vutV/lMQ7Fx8q5bCPYSTtcbj+9Kc/fflHjX//+9///c9//vPLnovReTiLCBsZKehaJEVGXCuzS669fjEivyRiROBIJCJHJsb7p3SkToeUa32Rs9ePZOVC4sZ8rCPc2cAeVhIeNhGX87YXCN385hKD/ZJ362UbifdFLmZftkuK3Rmys+tekM6udjW/96d50l0SE3lag9xwLUZr8CXe17g9tcaInK118Hd/vIGauyRP+eWDs7zs2GjhoHsTiXehX/LHJetnZ39FAIptj6dHE/mY06787nT5rLyzfY9evAp0OJPhJctbbHtS/1tJOc/Y4YWpOTp73ePu1324w5ovqeV/J5+de/P8i7lxd74cMClWipFCBjPs5sPJpmJWITWm15yPsQJX4evM8jOnGS+mcIbnrTK/sIlrDf50rqD7c/o//vGPf//rX//6ovfRAxN81ohoEE8kXkGPCMglKLZ0zbNHcEvUS/hXfQSOQCJw5NJ/IobMEUwkTkY47PnuDwDx4aMTg20Ys0dicIabD515uPlHuO5oxLx7woc/XbH0a+0HO7orMrff9n3vh/PaO9I9YZe+84oozdW6T+aad+7WBKd12hPEbW/ttb1qj+0Bu86YROb2oZgRulywlNN6amxb14vEX39F+Gp/RTkLYQVvH45LqQA2R55+j8brV/+R/VvnxIoY9jGH11y4N2aEs7qv3b/ao/DCFEnSweuBVwg8+nCHNV9Se4a3+M+kOMXcuOXdPDBFgH2NGPPLPpsKKMmGXrNW4+b1O7v0FUDjxbT9xfWWPt/N70tdfHv9m9/85ksehV2/+0PC4lwQWIUfAdVX3LWTlIwjxGyQV0T+SCIVJII8NGQSuZDIJgJvzIZP5CNGRCwXDGz9X9sQ+RJYRM0mzHzow2GOj3XX7Il70N5Y865V/o0ZidOd+1Us52HPl/Cck7b35NSZo+vudL/IdBEuuednne1nP4gicGPzrd8ewB5ed+Mk6XCU75yH6cu9e/Y4X/Ovr+9Hd+Cq8Cl0tR4MWQFujrzyv9OtX/072/foxaowL97FbP7EG+G8J9d7bc+c/MMLU2dDD69Cs4893GHNl7yKfeIr/jMZrjNueTcuTBUoRUwBU5AWDxvrYVch1ac/5+i1zk5/C7jxxt7+4rrqn7bG5S+fryl9OOX6/e9//+UfPVoX+3zMKcgIS/H3Bcm3r9mIar8sFfpaxMiutiSOcM+GOGqI9CSZxohZW/JBQOLLWx59Nv3/0+EwJy+JcBdnPzjCwKZ1srNWd8CdtTf2zJ5EcvzP1tr525v9UcC3OyVeb8F96HycQ2d3Jc1v6/6R3auIVa7wWpsfRr7Ayfbbfumbb83WDXf+pC9yeOXYVq5kc/Cwf/05/fU1/h8ieFaor+bPwlfRSvZIKr7pT7+3jPNd+Ra/ZzbinYX5xG2e3ca6Iqid/xr9M6eY4YWpHHSRRIXLow93Z5cvqeV/J/N7JvO/i7u59GFVjCq4+rse/c6ggmpM3xx9hTlbcoutuOzO/OF9JtcvW7pw6Gv+mbi1KM7mFOTmkvSwOB+2fYkq5hFfpES3LSInsyWX4JCEtkQeeZKIZBsdou7Pv+R+ibMVS86IE2Z5+UbQ5TXOLhnexbl98cVDhPYMiZN+6Gj2oPzrV3y+bOy7Bp9YfO1zMfXdhe5Ld6pz3PtTv/PqnnWvxIlQ4S0PHPYMifuX28j20zphtpZwwto9oNMXqzz65UnK3TrY0b9I/EXiX4XEK1QrPQIPoodCNl9BfI/Md+V7/O9sxQtrDzh5Yt8YvwQSDx+8HnUFpeLSnkfCrbU93PVc9fN7JvO9invqjOFVjBQuhVYxosuW3LWd59F6K8bNV3ArtCSdeIux/jO5ftmGET6x/Um9/P5lX3bymqfvDPgZm7Nma4+kFHf9WgTd2PxVY6dFahFdxBqhR+Kklh7pIJq+wCNu89mGUR6YkSQsSIiNXPLCUP4ku8W4PzL0y8dXHmQWCbvD8sljrnUWm6STI98IsnuFzCNyd8zeeye1zqjzS9Jr3a/uFT8xamJHtvqwWJO/aiDyJXF4I/LwWivMrduaI+zecOMTO0x0LxJ/kfinSLyCtrIHcMpsKobvlfmvfG+MK3vxYO0Br9w1sFv/XwKJe8jw9qA9fMWkwgU/3GFtreS5nl1b/Wfk3Tz7Ym7cOx3MCmLFVqGyhvDm1/6zb47Mv/Uba8biiqe4KnJ0J6bW90yG47RLL4e+YgwXQrcmGIzJXRedMXzOSvFW0GuNFXskhxTe0pYoIzn+kSZi0ZbAI2l6ZKPtPCLnH4nCpK9FntmYC3M6vhGXOX1z4egHQDiTbO2HPPbS3obhJHK2Ydk97IdAX/RXhNjdcB5ad+iUzZPOk18tjMX37pyhtbSnu972F27nyr8W5t4v6X51j7tLiweOF4m/SPyrkrgidde2kCqKEctZIO/GFc6Vd7bv0YsH8/l4jXctn8X/HkzZnjnpw7uYPWwP2oNXUCoqbNi31/mSWnnuZCT9TIbrjNs4mZ29VZQqXHAb02ebPM+gdWe/51ah/RYk3h7sXvk30P3b6XTmYUI8xn/+85+/jGHqHKwp/PQKNfvIOyIiFfnIeeUVqS+5RYYIc4kzMqFHJn0lkndf4vzDpw+nhoQ0ueqXS+wlaPPhYx+R6beuYsEWbrrytS/tiTn5ir17wjZyjcTtc28iYowcvRtncd6j1elrzleLxN3f8w6LC7f1WUvSujsDuOFkF9Z+sIinD3uY5ZM3TIvnReIvEv8uJF5BrgBeFcTm7mQxVt7Zvke/hXUfsv5JIBvXGnb8LfqwnXHDGxkkPfLISyHRN8c+rPmS2hn7HHdOzyS/Ym7cdOEovr2F9yyA9Pkk+dbo9PMntXQV2vahAs2v3NtPdyfDYH73IHskLodxGJG6vgJc4TXevMU1z04hj4giIXuj2EdUEd6VZIPUIoyIOmLtqzACRSYRN+mfhzdmE+HwP0l8sS6R6vOTi4SFDl5rsj44V79r2zVkQ6e1N8n0pPjp6yPH7lZftvb5bL0T59Bd6m6tbkmTPhLnLz7C1W9ObmtfXNbUvtCzWZz22d6uDl5xu8eLsbv+zUncn5cetX0Yr/4v79+Er1hdSedV4VpZgdqixf/qfIt7zqXfWB/tn7mNxVrMd/1yhid54r0bZ/9RKT/fjW8c/qQHjbgqUvp0p7/xqdvYH+m3to0d5uZWsrPfCpLiVJFVANcOFuO1r5jyLQaZjfkKLJmd+Y39tfvih6FCC0v9ZPcs+/AigSXHvtAUe0QVqRkvIUZafdWRdAgk0kAcNeS9ra9x8xF/RCNGJBmeSCZckbTx5k0fDrH7Kt24zbe+yNmYvZha+mT6U7Y/4e09rIy43Q/vRNN3/7Q9N/1Hzbnyj8D5y7V/AUDWzgV269Xgpuvc2tfGCF2cvsi9kd50d0hu+V4k/voS/xlBnEX8WbHrQiUrTsn1P2NXpNmcc/kV5zPyjG8sXpgfyfKGJ3nivRtn/1EpP9+Nbxz+pELjkVesFCW609/41G3sj/Rb28YOc3Mr2dlzRQjO/zUSb20Rd3LvWXtF19lF5Ao5MqqdxT99RICwtuVvPjJEzEve+nR9NUeydJrxkm3ksmQDB2zy6JORckQVdjhqzfHJvvxkuPx1QMxtrT25c/XNwat1t1Z6IxG5N6O5hxF5pO3c6t9JvsVCqMb95cJeySV3RA6jPamF1fl1biR7fmJF5P1QgKs7BteLxF8k/jOCuCviZxHeIlRxSrdy/a5iN3/Opd9YH+2LtfGNxQr3I1nO8CQ33qN+9h+V8vPdHMbhT3rMCsivjcT7clGwrGH3yZp3rVtUt5A5v92HCjKZXfu48b92PwzdJ7m3pV/Z+tjBax8Uf8U9glT4jZcA0rE92xJ6JIkYEffVlzfiXLKPxOlOskEwEY5+GBefnOlJ423NWcPmjcjD6s/7bDS5ztzlzEbcjW0+Ekz6oWSPeyeIMRKOxN3JO9I+9Wz50TtXYzmQsJzFl29/pMFp7bDDuc06nSn7xb0k7r7IKd+LxF8k/jOCWLLYfgXvLFQuLt3Zsl+58eo33ziZ/oz7kbFYxSWNxdlietcvX3iSG+9RP/uPSvn5bg7jxd+DjsQ99gjs9N/1bMzP9Fvbxg5zcyvDDrciVEFVlNYOJuO1r4jydWbJbMxbe23nN/a36Lf+sNzdqdWzDYu+/Vgij8AQp0IfGa5+Sbt+xM4OYSDIk8QjULKGQJfEl5AjnMhUrnSwlSsyJcN7J8MAH5vibSyxI7bWZVyLAPnU0iHTsyHGyDySJb0f98YZaN21R9L96t3lK5Yz7MdCsbODB3b7E96VrXVxw+ydlAM+fTFfJP4i8Z8RxF0xr5hugXKBjbdVkK7kVezszrn0G/ujfbE2vrFYW0zv+uUMT3LjPepn/1EpP9/NYbz4nYNHXZFQNIw7n/Xf9WzMz/Rb28YuZ3Mrww6fAgmvpr92MBmf9uz4OrNkNuYUt9rOb+xv1W8Pknf3Kn34wsPP2SnYCjeiRFwKeqQZ2RmfRBbh0TePIJDl/jl9v77NiRmhniRuLsIpvthaZLkkVJ+PmI9aRF/8xS12ernaB7K1haN9OGWkn38xIvJ+QC7RLlG6T4+a83M2cModcZN+KPRjwdvsTna2sPCxzvZM/8QamYu5cfS1F4m/SPxnBHEW8y0uV4UpHZntnTxjV6TZn3PF2Pgf7Z/xjcWqkD6S5QxP8sR7N87+o1J+vhvfOPyKiHZF4tZ1+u96NuZn+q1tY4e5uZUndoVIEbUOONZWf+0rqGytL5nNf5vET+xXdwvmGrz68OfLp3VENuQWfcVfsd/iv2SQnp0+Ikbc+6VtHJkvia+OXhNDfC3i2X75sjFGbP1AKE55+sFQrI2/vpF4642UyQg8ySa7iLC5JD+kaD+1SBexnkSOdLtvd9JZiQOzHOJ0nyNrOcSOxJun33MNexh3rTD7QXDGF/NF4i8S/xlBnMVccdl2FqXmKkDJ4jQm061sfnX66Yv/GXnmNhbvXMvVuLzhSZ5478bZf1TKz3fjG4cfASgwv1YSt+eKmmYte/bt2blW62XLN5mNuYolufPF+54SrrB1v2Cq7VqyTbJX/CODvsgiMEV/yc8YiUaCCDMdMjSOuCPz/ereL2a2S8JiilW8ciAuOZds2TSf3vjEJh//Yu4PgLDm3xxbPhGc8dl2Xn9bBLkkfkXk3SHn86g5I7ZL0vqN+xJ3hnTd9ZXyO9vF1rh1kjAXh+zHwYvEXyT+M4JYstCv8KysyCTPorgxdm719ZtvnExfjs9IsYpLGou3a7rrlzc8yY33qJ/9R6X8fDeHcfiRgSITiVcojK3p9N/1bMzP9Fvbxg5zcysXO4yK4P8aibef7cnerwj8Su6Z2TPn6Ewjnf5Eq6gjr8gxckuHBJFk5Bep9gUcifsTe1/eJ4nzoUOk4pRDn04OBNmYPRstXX75NheeHa9t/vJE5HzoI2lER7etGNnYp0ckHslG5L0f99G9fETg5rLrfI3lhE0sZLvtjN/5wuGMO199ccJP0oUzEqf7fyR+/jfdXcY76X92UDt93zK+i/tr0Vv7rjPcFa3m0ifv9M1/bxne5FXx6aKu/CxOeeTcOMYV+nCc43x2/sTeXPpksazjLKS7Nv27GIv3Ub+cp036M985zi/7lbBVZK5I3NrY8CnOrifdZ6TYxTzlOXe1n3BbA6w7XyzYirNnde6TcfNi7g+D4u4+FPPZ2tk9am/1bz2L07obd45hzZ60LuTQFxuCULy1CC7yIiNIJHuO6bT8+hKPyHdOHATYV2FxxdTYmt8cxaUzd5K3+XIUh8xuCZeOrbz6S2p8xNLyZUcf2cGN7IwXy+5f5Emnj2S7O3wjaTr3qvvanaV3RuzM+c/i/va3v33ZM2cZaa//3s/Ol92J03rbm0gcxv1R4E58NRKPlN4rnz2CX/r8HYnD7fG3H+c67vSn3fcan4Vqi8ij/mfxiS33xjGmPwvajvMJ2yP8V3NiaRV+Mt3Ku/iL91G/3KdN+uLfyfyyT2Zf8VcYFJKKhrF1sONTnPxW19xH5Iln49/Nhck8nBXE8BaDhImd/rOzMi9WRVLh7FzL2RqL2fhOtoY7eeeXPr/W1N1qLcbhhv1qD8xbi7NVtCMeEoFtU/Q1hBapkZEnUoxE6fvzel/hzbE3H3kiweKUj03k2Nz6mYuE+IQrm7Bmw34bn2z1dy5fedPr0yNDe4OY7ZcxEmRHPiNx70iLxPXtf0Tcm+uukWydnRyInI9z6z3m627u/SxG5xvu8LbuJXFrisjZf5rEI6OPyi77r1We6z7X0fxb9afd9xpXbJIVnWfys/jO4ioeDPRnQdsxG7bhC3cyffHTk8UWb4upcW39r2K8dd3lPe3Tn3nOcXYr16aCUmGoaNC3X3zLn+/qmvuIDFdxk+mT6ZPp4YbVOYSXjXkSpvqdVbadFdncFkWFMdtitsZiNr6T4byTd37p1w+GEzMdjJ3j7sFpa68iF8X7quBHboq/ZrwEuySNICNvMoJfG/5Lkidplod+W3o5whQWdvrhy5YsVzLf06ax+bWlj6QR3+5ReqSuGZtvrI8cvSFt+xG5M+jOOjN3DKmK5SzNiePszPE7fYthvtb5G8vbDw9xa3Ria3Jq+t+ExPvz+vmVGqGt7LL/WuWuRf9cR/Nv1Z9232u8xUbfhXxL+yw+OeTbOOXfgsZux/mE0Xhb+uKfc1sgz/761l9//cX7qJ/faZO++Hcyu+Rp1+OvoFQ0jNsvvuXPf3XNfUTe4UqfLO8pw4/ImsuHhIk0F1FHzK2PjAgrkMls+RdvYz5b82K56r/Hv/WR3bn67cOuKZvVdc4KvQKeVOgRWOSI2JDYEitCPdsS91Wfv7jiRajiauUqb7lW3w+CfJPFJK9axJxcm9YGQ3HosgkfGQGSSDDyiyTJWuRoT8/Wj2Mk6251XvThoeseOjMxIun8upfJ9OtLJ24kDVcYk3TpP03iXeLIivyRSLz1J3cftt98srnG/215FqgtOI/6n8Ut9hZX8Ywrbpu7YrY+zT/CfzW3BbJ+sa7kGeOt687vtE9/lWt1j+zgVjQqHB5/v/oVheKIUf4rXXMfkXf40otZX+5zryte9OazTeZvrrWSG6d9EKvimMy22K1RfLrGdzIcd/LOL/3pJ+c28+EPa2trvcbF4Wttirwi7ryRheJ+EhniiliTS+JXpH3q2EeUkaS4EWg6cgk6/fkvxq3N4k1P8o0Y5Vm75iLlndOvnQTO3n7Zq8ixGPYuUiQj+myN9e15pOsM3Df7LycbOmP65uj4rF++2V1JNloY4IrAF6/+VyNxl/Yk8J9++uk//0w40jpll/1/RZ7ra3yu705/2n2vcUUiWaFpfCc/i08esTeOMb3iFY5znE/zJ7705NVchTK59uuT/oyxeB/18ztt0j+T5V8ZZrJCrxB49JE4fT5ylP9K19xHZPiLm0xfTGNzi90Y7sjLOL8k/3xba/Zi7Zz1b8G8in3iaXwnw3En7/zS3/mtfs9x96f1tk4x27O+1Kw3Ql9iRSzGSDgCT9JF1s/+nB6JR6biRuIRboR9JU8SZ7N+4qWLyI3DXy7jWgSNwOjyyydpnn8tEkeMkaK5iJtMT2bXvH3ufblrka88zogOmfcWnR9dbYm8u9kZ51Pc7ric4ZCnFib4/w+Fg3JgMa7jngAAAABJRU5ErkJggg==" /><br />
<br />
<br /><br />S-a spus și s-a răspus: epidemia de depresie va ucide cel puțin la fel de mulți oameni, dacă nu chiar mai mulți. Pe de altă parte era previzibil să se întâmple și era previzibil și dezastrul psihologic.<br />La țară, în veacurile trecute, omul muncea la câmp și nu era singur, nu trăia nimeni desperecheat sau fără familie. Orașul alienează. Orașul e un generator de distanță, de neînțelegere, de disonanță.<br />Cu ocazia aceasta mulți am aflat sau ni s-a reconfirmat cât de puțin însemnăm pentru alții și cât de puțin înseamnă ei pentru noi. Noile stiluri de viață, e limpede pentru toată lumea, ne mențin într-o stare continuă de provizorat, de experiment, de ”căutare de sine” și criză. Așa zisa deschidere e de fapt risipă. Așa zisa menținere a orizontului liber e de fapt un amplificator al singurătății, un releu.<br />Iluzia acestei deschideri și a nenumăratelor opțiuni ne făcea să resimțim mai puțin acut și demoralizant această spoială de implicare, spoială de comunicare, spoială de sentiment care ne mențineau iluzoriu împreună cu ceilalți - nesemnificativi.<br />Când orice întâlnire înseamnă potențial un risc de a fi contaminat, lucrurile devin dramatice. Mie mi se pare de bun augur pentru umanitatea cea tembelă că trece prin asta. Unii realmente nu învață decât din suferință și nu se maturizează decât constrânși. Orice în viață are consecințe. Acum sunt nevoiți să fie responsabili. Pare că natura a conspirat să dea o lecție morală celor care refuzau să priceapă că joaca nu durează la nesfârșit, că viața nu e numai ”fun” & ”funny”. Că nu sunt atât de invincibili și de ”lupi singuratici” și de ”liberi”. E o lecție despre dependență. Despre necesitatea de a o valoriza. Izolarea ne arată cât de vitală ne e coexistența. E vital să nu fii singur în această perioadă. Cei care, din nenorocire, sunt, și anume la modul categoric - n-au nici măcar șansa de a avea pe cineva peste mări și țări care le asigură minimal un sprijin sufletesc - o duc foarte greu, foarte. Nici nu îndrăznesc să îmi imaginez.<br />Oamenii fug unii de alții, prea puțini sunt dispuși să își riște viața sau pe a părinților bătrâni pentru o aventură. Vor garanții. Nu mai vor legături ușoare, frugale, experimentale. Falimentare. Charisma singurătății s-a evaporat, nu mai e așa de amuzant să fii de capul tău. Poți să umbli creanga, dar n-ai companie, ești cu adevărat singur, la modul evident, au căzut aparențele, voalurile, euforizantele care îți dădeau un confort oarecare. Nu iese unul din bârlog, fac pe eroii prin rețele, dar nu ies.<br />Îmi spunea un prieten că asta înseamnă o societate ”de seră”. Oamenii devin totodată mai superficiali, mai inconștienți, mai răsfățați și mai fricoși. Natura avea reglajele ei fine. Odată dată peste cap lucrurile o iau razna. Climatul de seră distruge mecanismele de adaptare. Prea multă frică perturbă instinctele.<br />Doar atingerea virtuală nu ajunge.<br />Mi se rupe inima și pentru luminații și pentru zevzecii care acum se luptă cu depresia. Bineînțeles că o bună parte dintre ei nu își merită chinul, sunt victime colaterale ale trăitului într-un regim care, deși pare protector și îngăduitor cu drepturile individuale, ce îi răpește individului e mai mult decât ce îi oferă. Cred că aceasta ar fi o bună definiție a societății de consum.<br />Paradoxal, individualismul nu i-a făcut pe indivizi să aibă o voce, ci i-a amuțit. Nu mai are nimeni răbdare să-i asculte pe alții. Nu i-a apropiat, ci i-a îndepărtat pentru că nu prea mai sunt mulți dispuși la concesii. Nu mai au răbdare. Libertatea îi face să se tot sustragă oricărei situații incomode. Tot cred că vor găsi pe cineva care să li se potrivească mânușă... Viața trece și ei așteaptă.<br />Singurătatea acum e mai grea tocmai pentru că nu mai există un viitor cert, predictibil. N-a existat niciodată nimic sigur, doar iluzia că ne putem face planuri, iar fantasma aceea ne hrănea sentimentul că suntem totuși conectați. Și eram. Unii ne bazam pe avioane, pe faptul că nu erau așa de greu de acoperit distanțele. Nu mai e cazul.<br />Nu prea mă pricep să încurajez pe nimeni. Cert e că de virus nu se scapă. Sunteți conștienți? De virus nu se scapă. Vom fi dependenți de vaccine, dar frica va rămâne, va trebui să trăim cu ea. Acum culegem ce am semănat, fiecare.<br />Virusul a făcut să crească mult costul tuturor lucrurilor: al comunicării, al atingerii. Chestiuni care deveniseră aproape gratuite. Asta face decadența - produce surplus și superficialitate - toate valorile își pierd valoarea. În situații de criză, însă, prețul fiecăreia crește teribil. Lucruri pe care unii nu dădeau doi bani devin esențiale. Ceea ce aveau la discreție cândva e de câștigat acum cu mult efort. E un principiu valabil pentru orice fel de criză și pentru orice tip de valori.<br />Va trebui pur și simplu să fim mai exigenți, mai atenți și mai responsabili, mai treji, mai asumați, mai vii.<br />Eu am trăit mereu cu gândul că pot muri oricând, n-am simțit mare diferență. Am iubit mereu sub spectrul urgenței, cu sentimentul că totul poate oricând dispărea, pe viață și pe moarte, cum se zice. Nu s-a schimbat nimic. Oricum când știi că ai trăit-o - dragostea - și anume în doi și nu doar ca pe un vis e mult mai ușor de murit, mult mai ușor.<br />Aș vrea să pot face ceva ca să îi alin pe cei care suferă acum de singurătate și depresie.<br />Acest articol l-am scris în solidaritate cu <a href="https://www.facebook.com/anne.bruno.5648?__tn__=%2CdK-R-R&eid=ARDkktrT81P4D2eA5oBMY7d8LhKKHlTFMgopOW9pP3j0SYL69VCuJCZ07mkO1LWPuFj65zwbbOQbU09q&fref=mentions">Anne Bruno</a>. Am zis că nu se supără dacă o fac cu vorbele mele.<br /><br />acesta este mesajul ei:<br /><br />”toti am trecut pe acolo<br /><br />Depresia ucide și singura soluție este să vorbești cu cineva care nu te judecă. Fac un check-in emoțional pentru a ne arăta sprijinul reciproc. Am nevoie de șase persoane care postează, nu distribuie, acest mesaj și arată că vor fi mereu acolo când cineva are nevoie să vorbească.<br />Sunt destul de sigura de cine o va face. Aproape sigura.”<br /><br />IBsmaranda dobrescuhttp://www.blogger.com/profile/07884621658494272587noreply@blogger.com0tag:blogger.com,1999:blog-11047330.post-71662325277707009662020-08-16T18:55:00.000+03:002020-08-16T18:55:31.083+03:00ARTUR LUNDKVIST : Temple<img alt="Image may contain: tree and outdoor" src="https://scontent.fotp3-2.fna.fbcdn.net/v/t1.0-9/117651874_10159214688869925_4964038527936088039_n.jpg?_nc_cat=105&_nc_sid=8024bb&_nc_ohc=WYKYTsPnbaAAX9WyWmB&_nc_ht=scontent.fotp3-2.fna&oh=67969ec215062cef5b9e554cfa371803&oe=5F5D4433" /><br />
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<br /><br />Temple. Am văzut atâtea. Lumea e plină de temple<br />(ar fi fost mai bună sau mai rea fără ele?)<br />Temple precum prăvăliile cu încălțăminte scălciată scoasă în stradă.<br />Temple cu cerșetori și pelerini rugându-se printre excremente de porumbei și lilieci. Temple umplute cu ochi pictați, cu flăcări printre fluturi și panglici.<br />Temple unde vacile sunt mulse printre roiuri de muște. Temple în care sunt sacrificate capre și în care se beau licori din sânge descântat.<br />Temple cu oglinzi de buzunar atârnate de fire, lame de ras și becuri (uzate), mănuși, metale ruginite, becuri arse.<br />Temple prin care furnicile trec ca niște linii negre în toate direcțiile.<br />Temple cu clopoței cu sunet delicat al căror clinchet înfioară albastrul cerului.<br />Temple cu gonguri de bronz care răsună ca niște tunete.<br />Temple în care cornurile bubuie ca niște tunuri ale căror ecouri se rostogolesc între munţi.<br />Temple cu zeități înalte cât copacii, cioplite în trunchiuri puternice și pictate în roșu și albastru furios.<br />Temple cu zei care se împerechează, cu zei spălați de ape curgătoare, cu zei din porțelan și păr de cal, cu chipuri din piatră albă sau neagră, care scot limba sau își arată colții.<br />Temple sub formă de sprâncene de gânditor, de cuiburi de viespe, de femei în extraz erotic.<br />Temple sub formă de corturi făcute din lemn sau din arbori din piatră.<br />Temple cu rugăciuni scrise pe frunze vii, temple cu tablouri luminate electric, temple unde păcătoșii se luptă cu focurile iadului pictate pe ziduri.<br />Temple, temple, temple! Atâția zei și un Dumnezeu atât de absent!<br /><br /><br />Zei tangibili și atât de asemănători cu oamenii, uriașii sau animalele, zei care se înfruptă din bucate și beau pe rupte, procreează și se bat, plini de lăcomie și furie, unși cu toate alifiile. Zei buni și răi, atrăgători și înspăimântători, dăruitori și hrăpăreți, încoronați cu nimb de aur sau șerpi otrăvitori.<br />Zei cu puteri asupra vieții și morții, vanitoși, însetați de sânge, avizi de putere, formați din toți curenții oceanului uman peste care plutesc ca niște râmășite de naufragiu<br />sau lustruiți ca niște pietre de râu de cascade, toți nefiind altceva decât năluciri țâșnite din dorințe imposibile sau reprimate, chipuri ale dorinței măcelărite și ale lepădării de sine.<br />Templele și zeii!<br />Dar templul cheie și singurul Dumnezeu plutesc în vacuitate și ignoranță<br />Ar fi un spațiu prea deschis și amețitor pentru conștiința umană<br />Și o nesfârșită absență care să vorbească despre singurul Dumnezeu posibil.smaranda dobrescuhttp://www.blogger.com/profile/07884621658494272587noreply@blogger.com0