Linda-Iii Portugues PDF

E chegamos à linda-iii (linda-terceira!
): mais
uma vez bilingue; mais uma vez revisada,
ilustrada e diagramada; e, pela primeira
vez, bi-temática: alguns textos desta edição
juntam-se nos sonhos e nas ilusões da
música de invenção sob o tema ONÍRICO;
Cena 1: É um documentário do Itaú Cultural, outros falam sobre os processos desta
sobre minha produção, o NME e a música música e os caminhos pelos quais temos
experimental. Lá pelas tantas, me passado sob o tema POIÉTICO.
perguntam o que tenho feito (o ano é 2012). A escolha dos temas veio naturalmente em
Falo, olha, estou para começar a escrever nossas conversas, a partir do que temos
textos sobre música eletroacústica para tido escrito semanalmente na nossa
leigos, acho que isso faz falta, os compositores, revista online, e assim configura-se mais
parece, querem esconder o jogo. como uma inclinação para a leitura do
Cena 2: É ano novo e eu estou em Berlin. que necessariamente um enquadramento
Costumo fazer promessas de ano novo, e a litero-temático aos autores. Serviu-nos,
promessa agora (o ano que chega é 2014) ainda, para pensarmos em quem convidar
é: escrever, regularmente, sobre a tal da para complementar nossas ideias, ser a
música eletroacústica. Ouço os fogos de cereja do bolo desta edição.
artifício, ligo para amigos e uma semana Sobre o onírico, convidamos a falar o
depois a linda está no ar. Parece que gostam Rodolfo Caesar, que para além de
de nós. compositor é ídolo de muitos de nós, na
iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii sua postura por uma música nova e muitas
iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii Cena 3: o fim de ano se aproxima (o ano
iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii vezes desmistificada.
iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii ainda é 2014). Olho para trás: 23 edições
iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii quinzenais, além de 17 especiais sobre Sobre o poiético, convidamos a intervir o
iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii a música experimental no país, uma Henrique Iwao, grande amigo e um
iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii série recém-inaugurada com as grandes provocador maior ainda.
iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii pessoas da música experimental daqui,
iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii uma edição impressa-inédita e três edições Esperando que os textos falem por si (mas
iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii compilações-bilingues lindas. São mais de que você também, por ventura, queira
iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii 200 textos, sempre inéditos e fresquinhos. falar com os autores, usando o email no
iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii linda iiiiiiiiiiii
iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii São sempre novos autores, novas ideias. final da edição!), desejamos a todos uma
iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii Novos desafios. agradabilíssima leitura!
Ti a g o d e M e l l o
ÍndicE do ONÍRICO ÍndicE do poiético
Lemos o som morto e agora (45-47)
(10-14) Sonhar com ela Sérgio Abdalla
Rodolfo Caesar
Composição analógica: fita magnética (49-51)
(17-19) O som da razão produz monstros J u l i a Te l e s
Lilian Nakao Nakahodo
Circunstancialmente eletrônico? (52-57)
(22-24) Sonhos som sonoros Luis Felipe Labaki
Luisa Puterman
O século ruidoso (62-65)
(26-29) Conversa com Luis Carlos Csekö Bruno Fabbrini
Daniel Puig
É preciso saber programar para fazer música
(30-31) Da nota aos céus eletroacústica? (69-70)
Francisco de Oliveira C a i o Ke n j i
(32-35) Esquilo Coragem e construção e cabelo (72-74)

N a t á l i a Ke r i Lucas Rodrigues Ferreira
(36-40) Sonhos de voz e máquina Conversa com Vania Dantas Leite(76-79)

Alessa Daniel Puig
iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii
iiiiiiiiiiiiiiiiiiiiiiii
iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiii
iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
iiiiiiiiiiii iiiiiiiiiiii
iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiii
iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii iiiiiiiiiiii iiiiiii
iiiiiiiiiiii
iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiiiiiiiiiiiiiii iiiiiii
iiiiiiiiiiii
iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
iiiiiiiiiiii iiiiiiiiiiii COMEÇO DO ONÍRICOiiiiiiiiiiii iiiiiiiiiiii COMEÇO DO ONÍRICO iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
Sonhar com ela Vários anos atrás, numa roda de conversa
com amigos, propus a ideia de que a
música eletrônica para raves seria feita em
o surrealismo traria um desenho político
inadequado ao ex-católico Schaeffer: de
um lado, o fascismo na versão mais vulgar
combinação com a química, visto que se de Salvador Dali e, de outro, o trotskismo
dizia que a droga correspondente, o ecstasy, e o anarquismo do momento inaugural nos
induzia ao comportamento em loop, propício anos 1920/1930. Isso poderia dar um rico
RODOLFO CAESAR para o abandono circular sincronizado tema para monografia, o que não é o caso
com a dança, a soma de tudo levando ao desse breve apontamento. De qualquer
especial para esta linda-iii transe. Um dos amigos presentes saiu- maneira, manifestando adesão, repulsa
se com a afirmação, na minha opinião ou indiferença aos matizes interligados e
indiscutível: “Sim. Do mesmo jeito que a contrastantes nessa estética, e a despeito
música eletroacústica sincronizou com a do próprio Schaeffer, que foi pioneiro mas
maconha.” Concordávamos com o potencial não proprietário, hoje podemos supor
onírico e imagético dessa música. que um canal de ligação entre a musique
concrète e o surrealismo, suficiente para
APRO X I M AR
iii iii iii iii iii iii iii iii iii iii iii aproximá-lo da música eletroacústica, está
A M Ú S ICA ELE T ROACÚ S T ICA em sua matéria comum: o sonho.
DO S ONHO : para isso vale uma Para Freud, sonhar é uma atividade egoísta,
primeira medida: começar pesquisando por porque lida com a realização de um desejo
que motivos o próprio Pierre Schaeffer se oculto, insinuado na situação de isolamento
empenhou para evitar que a música concreta, individual. Surge aí uma primeira ligação
inventada por ele, fosse confundida com com a escuta acusmática, na qual, se os
a estética surrealista. Provavelmente ele ouvintes estão todos juntos, é em um mesmo
...Entretanto, poucos consideraram a velocidade infinita do tempo do sonho, o tempo estaria tentando se distanciar de algo que, isolamento, causado pela individualidade
que vira do avesso, que flui ao reverso. Pois é verdade que sequências muito longas de naqueles anos 1950 e 1960, manifestaria de cada escuta. Essa condição, na qual os
tempo podem ser, no sonho, inteiramente instantâneas – e podem fluir do futuro para concepção estética longe de corresponder olhos ou estão fechados, ou semi-cerrados
o passado, dos efeitos às causas: ‘É um dia claro de inverno, e as ruas estão cobertas de à sua, do mesmo modo como ele se afastou ou perdidos, desliga os ouvintes do que
neve. Prometi passear de trenó, mas tenho que esperar por um longo tempo. Então me do expressionismo, conforme os breves acontece em torno. Introduzido inicialmente
dizem que o trenó está pronto na estação. Apronto-me para sair: coloco o pesado casaco parágrafos no livro La Musique Concrète2 . nos lares da classe média por meio dos
de peles; um saco de pés está aberto, e finalmente me sento no trenó. Mas ainda há Sem detalhadas explicações, acredito que aparelhos de rádio3 , o modo de escutar
espera, até que finalmente os cavalos impacientes são atiçados. Os sinos das rédeas
1
começam a sacudir sua famosa melodia ‘yanichar’; eles soam cada vez mais forte – até que F l o r e n s k y, I c o n o s t a s i s . 1 9 9 2 .
2
o sonho desvaneça e eu descubra que o som forte dos sinos provém do meu despertador. S c h a e f f e r, L a M u s i q u e C o n c r è t e . 1 9 6 7 .
3
Pavel Florensky (1882-1937)1 I a z z e t t a , M ú s i c a E M e d i a ç ã o Te c n o l ó g i c a . 2 0 0 9 .
socialmente apartado possui algumas gerado a partir de itens da totalidade A convite da escuta acusmática, o ouvinte Quando Freud lidava com o roteiro de
peculiaridades de destaque: a redução da sonora. Emprego a palavra “sons” para entra naquele estágio intermediário um sonho relativamente coerente, longe
importância do papel da identificação visual designar as entidades que se beneficiam entre o sono e a atenção desperta, lugar de se satisfazer com essa enseada
da fonte sonora, e o estado semi-desperto do canal auditivo de entrada – evitando me privilegiado onde residem, sem fronteiras, de inteligibilidade, ele despedaçava
do ouvinte com relação ao entorno. Assim referir aos sons “sonoros” das músicas que os sonhos, os devaneios e os delírios, onde tudo e recomeçava a partir dos restos,
ele se encontra dispensado da atitude fetichizam timbres e sonoridades. se rompem as amarras entre significados prevenido de que “uma elaboração
de vigília relativa ao mundo exterior e ao e significantes, entre causa e efeito, entre secundária” (sekundäre Bearbeitung)
espaço social da sala de concerto, pronto Para descrever a especificidade dessa escuta, sujeito e objeto, entre antes e depois.
acredito que será interessante lembrar se interpunha ali ao trabalho do sonho
para um mergulho solitário em devaneios Conforme descreveu Pavel Florensky, no enquanto tal. Quando, a propósito do caso
estimulados por conteúdos. das duas categorias freudianas implicadas sonho a ordem temporal consegue se
na análise do onírico: o deslocamento e a Schreber, por exemplo, propôs o termo
inverter: um efeito pode anteceder à sua “racionalização” (Rationalisierung),
iii iii iii iii iii iii iii iii iii iii iii A
DI F ERENÇA condensação. Segundo Freud sonhamos causa. E, se a ordem do tempo pode ser introduzido em 1908 por Ernest Jones,
F UNDA M EN T A L EN T RE O conteúdos latentes, metaforizados pelo invertida, também a do espaço teria esse
S ONHO E A E S CU T A deslocamento, em que um ou outro foi para evocar uma compulsão defensiva
dom, especialmente a partir da inversão ou uma formação reativa que pusera a
ACU S M Á T ICA é que, no caso do personagem condensa, isto é, mixa mais de de sua representação visual: a perspectiva.
primeiro os conteúdos geralmente são um desses personagens num só. máscara da razão - e por isso mesmo
O trabalho de Florensky, de resgate da próxima ao delírio.5
- à exceção dos que se assemelham
Além do que, como afirma Tania Rivera no importância estética da perspectiva inversa,
ao exemplo de Florensky na epígrafe iii iii iii iii iii iii iii S AINDO
O S ONHO
prefácio à recente tradução brasileira do deveria ser estudado pelos compositores de
- produzidos unicamente pelo próprio DA CENA ELE T ROACÚ S T ICA ,
Traumdeutung de Freud, a questão mais música eletroacústica, que provavelmente
indivíduo. Diferentemente da maioria dos É ELA QUE M PERDE . Com sua
tangente é a da representação: ficariam impregnados de uma escuta crítica
nossos sonhos, o de Florensky é mais lenta conversão aos modelos admitidos
à “naturalização” da estereofonia realista: a
específico, pois recebe estímulo de um ... tudo isso é secundário diante do fato pelo justificativismo universitário, tem
reconstrução espacial do espaço físico: sua
som externo, tal como ocorre no concerto de a literatura e as artes compartilharem sobrado pouco para ela. O sinal é óbvio em
representação (do real).
acusmático. Nesse último caso, geralmente com o trabalho do sonho uma importante duas de suas principais vertentes. Uma em
os conteúdos resultam da colaboração operação crítica sobre a representação. E quem sabe um dia a música eletroacústica que os sons se limitam a exercer funções
entre a platéia e os sons criados pelos […] A linguagem, no trabalho do sonho e se beneficie de uma correspondência representativas, e outra na qual eles se
compositores. Evidentemente se poderia na interpretação que visa a refazê-lo, é para a imagem sonora do que faz com a apresentam bem ao contrário: prestam-
dizer que essa escuta não difere tanto das densa, literal e cheia de nós e “umbigos”, visual o filósofo-historiador Georges Didi- se à escuta do que “são”. A primeira se
músicas “não-acusmáticas”, porém os pontos cegos que desafiam e vão além Huberman. Sem entrar nesse assunto, expressa através de variantes da noção
recursos disponibilizados pelo microfone da significação para nos atingir como para efeito desse texto, vale citar sua de Paisagem Sonora, pela qual o realismo
e a situação de penumbra permitem – verdadeiros acontecimentos, exatamente ênfase na importância de Freud para estereofônico, desenhando os lugares de
em escala significativamente maior – a o estabelecimento de uma noção de praxe - inclusive do sujeito e do objeto –
como na poesia e na arte.4
exploração de um mundo inesgotável interpretação - não apenas de sonhos - em confirma as boas intenções ecologistas de
que a força da inteligibilidade é discutível. seus autores.
4 5
T a n i a R i v e r a n a I n t r o d u ç ã o i n F r e u d , A I n t e r p r e t a ç ã o D o s S o n h o s . Vo l I . 2 0 1 2 . Didi-Huberman, Diante Da Imagem, 2013.
Na segunda ela expressa uma estética dissolvendo-os no ar, já então transformado
epidérmica – e aqui não valerá mais citar em esfumaçada matéria musical. Ao longo
Valéry com seu “le plus profond c’est la peau”6 de quarenta minutos a gravação original
– nem mesmo se o tímpano não passar de vai sendo temporalmente espichada -
uma pele. Pois tanto a do tímpano quanto através de um coeficiente de estiramento
a de Valéry não são de fato bidimensionais, crescentemente lento - deixando a
e sim peles que não sobrevivem sem as “consistência física” da imagem inicial
camadas mais recônditas de músculos, se transformar em partículas granulares
nervos, ossos e órgãos, e tudo mais o que quase-aleatoriamente dispersas no
está fora do corpo. A pele fina de que falo espaço. Ambos os processos – temporal e
é uma que se apresenta como personagem espacial – resultam de um mesmo patch de
principal em uma determinada narrativa granulação realizado no programa Csound.
da história da música ocidental, que, para Em sua dimensão máxima de quarenta
nesta se manter, acredita-se forçada a minutos, essa peça só foi apresentada uma
fetichizar a bidimensionalidade: algo assim vez, em São Paulo em 2008. Fiquei feliz de
como um “som” cuja “sonoridade” se saber que expressiva parte da audiência no
apresenta categoricamente estética. Ibrasotope esticou-se no chão para dormir.
iii iii iii iii iii iii B E M

QUE EU T EN T EI ,
M A S S ONHAR NÃO É DE PARA MAIS INFORMAÇÕES:
ENCO M ENDA . Cito um dentre
diversos esforços empreendidos no sentido • Didi-Huberman, Georges. Diante Da
inverso de ambas as vertentes, nesse caso Imagem. 1st ed. Coleção TRANS. São Paulo:
um de meus últimos trabalhos: Fuga III, Edtora 34, 2013.
de 2008, co-assinada com Busoni e Bach,
• Florensky, Pavel. Iconostasis. New York: St.
composta a partir da manipulação de um Vladimir’s Seminary Press, 1992.
trecho gravado: alguns minutos da Fantasia
Contrapunttistica que Busoni compôs a partir • Freud, Sigmund. A Interpretação Dos
de Bach. Um dos propósitos dessa peça, Sonhos. Vol I. Vol. 1. 2 vols. Porto Alegre:
em oito canais irregularmente dispostos L&PM, 2012.
pela sala, é o de remover, em longo e
• Iazzetta, Fernando. Música E Mediação
quase imperceptível processo, a virtual
Tecnológica. São Paulo: Perspectiva, 2009.
presença física do piano-com-pianista,
• Schaeffer, Pierre. La Musique Concrète.
6
“ O mais profundo é a pele”. N.E. Que Sais-Je? Paris: Éd. du Seuil, 1967.
O som da razão produz
monstros
Lilian Nakao Nakahodo
linda #22
Passo ao lado de figuras geométricas enormes, coloridas, que estão no chão de pedregulhos. Crianças
brincam ao redor de um quadrado amarelo, atravessando-o de um lado pro outro. Caminho e entro
embaixo de uma árvore com a raiz exposta, que está suspensa no ar. Olho pra cima e vejo o céu,
azul azul, cheiro de mato, muitos pássaros cantando. Sinto que completo essa cena. Tranquilidade.
Adiante, encontro um jardim de letras que germinam e formam palavras que nunca vi. Então, entro
em um galpão branco, com 98 alto falantes espalhados e algumas cadeiras em semicírculo. No
centro desse conjunto, uma mesa com um gramofone. Caminho e ouço passos me circundando. Não
vejo ninguém. Ruídos estranhos.... “OK... it was... it was... it was a very bizarre dream, one of the
strangest...”, diz Janet Cardiff…
Opa... Até Janet Cardiff por aqui?
Oniro não é um deus. Como um Exu mais Releituras do passado ou visões do futuro?
requintado, é um intermediário enviado Com mensagens nem sempre claras, esse
pelos deuses para manifestar-se como daemon chegava aos homens de forma
mil personificações aos mortais. Ilusões ambígua, através de portas de marfim ou
ou presságios? Iniciáticos, mitológicos? portas de chifres, tanto de dia quanto de
noite.
Daemon... Alto falantes seriam um tipo de daemon? Nesse galpão branco, alguns alto falantes
flutuam. Há pessoas ali, sentadas, imóveis, num estado contemplativo. Me lembro de uma cena do
Tarkovski, em Nostalghia. Continuo caminhando por esse jardim de caixas negras. Sons de uma
fábrica aparecem. Janet segue contando seu sonho pra mim, mas ela não está lá. Homens começam
a entoar um cântico tibetano e, de repente, estou em outro tempo. Passo ao lado de cada um deles,
tentando entender o que falam. Eles me ignoram e seguem cantando. Juntam-se a eles outros
instrumentistas, que constroem uma sinfonia incompreensível pra mim. Clímax. E então... silêncio.
A instabilidade e a ambiguidade, no sonhar que adoramos. Há também aquelas que com uma riqueza de detalhes sonoros tão técnica, contamos com a contribuição da
quanto no recordar dos sonhos, também reproduzem o lado mais apoteótico da expressiva como temos com imagens. arte em releituras criativas.
povoam o mundo dos sons. Algumas dramaturgia dos sonhos. Aí, reconhecemos Enquanto não temos essa desenvoltura
músicas inspiradas pelo universo onírico as justaposições aparentemente ilógicas,
transmitem um clima etéreo, construído as elipses de tempo e lugar, a psicodelia, A ópera dá lugar a uma balada com ares pop. A praia é inundada por um bando de corvos em vôo.
com sons bonitos, reverbs de cauda elementos e associações estranhas ao Sinto a asa de um deles fazendo cócegas no meu ouvido esquerdo. Um violão folk acompanha a voz
longa, chorus, transições suaves e pedais nosso estado mental em seus momentos suave de Janet. Não sabia que ela cantava. “Crows did fly / Through the sky / I hear their cries /
mântricos. Parecem reforçar a conotação, mais despertos. É a linguagem dos seus Strange lullaby / Close your eyes and try to sleep / They wait for me in the middle of the night / It’s
digamos, positiva, que a palavra provoca símbolos que nos encanta, através de hard to believe it now / But I know it’s going to work out right / Dreams will come / And when they’re
no uso ordinário. Como o pão fofinho imagens e sons carregados de afetividade done / It won’t be long / Until the dawn / So close your eyes and try to sleep / Strange noises always
polvilhado de açúcar com recheio de creme, em simbiose com nossa vida psíquica, make it difficult to sleept / The dogs are barking and it echoes down the street / Crows did fly / I hear
pessoal e social. Sonhamos em 1a pessoa. their cries / From far and wide / Echo through the sky / Strange lullaby / Crows did fly / Close your
eyes and try to sleep / Close your eyes and try to sleep / Close your eyes and try to sleep.”
Começo a ficar agitada. O sonho de Janet começa a virar um pesadelo. Querem arrancar a perna Fecho os olhos e tento lembrar a experiência gravura de Goya, O sono da razão produz
de um rapaz! ela conta assustada. Janet é, na verdade, um gramofone. A pessoa que ia arrancar a
na instalação sonora The Murder of Crows monstros, e fica no museu do Inhotim1 , em
tal perna diz: “We don’t really cut it off, we just scare the shit out of them. We need people with two
(2008), da Janet Cardiff e seu parceiro Minas Gerais. Um lugar que parece, assim
feet”. A partir disso, o clima muda. Uma música suave começa a soar. Vento, ondas e gaivotas me
George Bures Miller. The Murder of Crows mesmo e só por existir, surreal.
transportam para uma praia vazia. Até que a música se transforma numa ária grandiosa. Arrepio.
tem como uma de suas inspirações a
Acompanhada por um piano, uma mulher canta com lirismo: “Where is my leg, where has it gone?”
E um coro responde: “where is her leg, where has it gone? She’s lost her leg, where has it gone?”.
“Onde está minha perna”... eu estou vendo isso mesmo? iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
Há muitas dessas histórias em que fulano O lance é que o universo onírico é, por
concebe uma música enquanto dorme. Como constatação pessoal quantitativa, um
LILIAN NAKAO NAKAHODO iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
é musicista, editora de áudio, professora e iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
Giuseppe Tartini, que disse que concebeu universo de visões, de imagens. Dali,
pesquisadora, formada em Produção Sonora iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
sua melhor obra quando desafiou o diabo Tarkovsky, Kurosawa, David Lynch, Fellini...
pela UFPR, com mestrado em Criação, Teoria iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
em um sonho. Até Paul McCartney, que esses influenciam até o jeito das pessoas e Estética pela mesma universidade. Esteve
sonhou com uma melodia nova e acordou, sonharem, acho. Leminski, que era um no Inhotim em julho deste ano e pretende soundcloud.com/lilian-nakahodo
preocupado, achando que era um caso de grande fã do cinema americano, disse que
criptomnésia. Bem, comigo, o máximo de seus sonhos pareciam ser dirigidos por voltar para ver os outros 2/3 do lugar. soundcloud.com/johncagepreparado
sucesso que um sonho me trouxe – bem Hitchcock, Ford, John Frankenheimer e iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
diferente de Yesterday - foi algumas horas de Coppola. Interessante seria conhecer alguém iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
descanso enfeitado. que dissesse ter sonhos “aparentemente”
(isto é, sonoramente) assinados por Randy 1
R e s e r v e u n s 3 d i a s p r a v i s i t a r. F i c a e m B r u m a d i n h o , a 3 0 m i n u t o s d e B e l o H o r i z o n t e , e v a l e m u i t o
Thom, tipo. Porque não é fácil ter sonhos a p e n a. h t t p: / / g o o. g l / g w j Z 0 u
Especial: Música Experimental no Brasil
[?]
Você sabia que, quinzenalmente, pode [?] A música de invenção não é um privilégio
conhecer um pouco mais sobre a música dos centros mais abastados, nem de uma
de invenção no Brasil? Sua história e seu elite sudestina: estamos por toda parte
presente? Seus autores e seus sons? e não somos pouco! Conheça mais sobre
[?] essas pessoas e ouça suas músicas em:
Desde fevereiro, uma série de textos está [X] http://linda.nmelindo.com
sendo feita especialmente para a linda. [X]
Amigos de todas as capitais do país foram
[x] [X]
chamados para nos contar como as coisas [X] [?] [x]
realmente vão por lá. [X] THAÍSE NARDIM iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
[X] [X] [... ] iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii [x] iiiiiiiiiiii Jonas Feliz iiiiiiiiiiii iiiiiiiiiiii
iiiiiiiiiiii Francesco Meneguzzo [...] iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii [x] iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
[X] iiiiiiiiiiii Heather Dea Jennings iiiiiiiiiiii
iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii Beto Mejía iiiiiiiiiiii [x] iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii Alessandro Santana
iiiiiiiiiiii MISSIONÁRIO JOSÉ iiiiiiiiiiii iiiiiiiiiiii [x] iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii Paulo Rios Filho
[X] [x] iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
iiiiiiiiiiii iiiiiiiiiiii Eric Barbosa iiiiiiiiiiii [?] Bruno Abdala iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii [?] iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
iiiiiiiiiiii Valério Fiel Da Costa iiiiiiiiiiii [x] iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii Thais Montanari iiiiiiiiiiii
iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii [x] iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
iiiiiiiiiiii Flora Holderbaum iiiiiiiiiiii [X] DANIEL LEMOS iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
iiiiiiiiiiii iiiiiiiiiiii FRANCISCO DE OLIVIERA iiiiiiiiiiii Lilian Nakao Nakahodo
iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii Dámian Keller iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii Magno Caliman
iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
Sonhos som Sonoros iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
Luisa Puterman iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
linda #18 iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
Por favor considere um devaneio sonoro
iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iii
iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iii
Dois anos atrás, numa época em que o estado de saúde de minha esposa fazia-me incorrer
construtivo. Um ambiente incerto em muitas despesas, mas ainda havia alguma esperança de melhora, sonhei uma noite que
irrigado de possibilidades disformes estava compondo uma sinfonia e no sonho eu a ouvi. Ao acordar na manhã seguinte, pude
permeadas de reflexos inconscientes. lembrar todo o primeiro movimento, que era um allegro em lá menor. Ia sentar-me na mesa
Isso é frequentemente acompanhado por para escrevê-lo quando pensei: Se eu for, serei levado a compor todo resto. Minhas ideias
uma trilha sonora original, uma mixagem sempre tendem a expandir-se e essa sinfonia pode muito bem ser enorme. Passarei talvez
confusa e uma masterização inexistente. três ou quatro meses nesse trabalho e durante esse tempo não farei nenhum artigo, ou no
Talvez sejam apenas sons que no breve ato máximo uns poucos e minha renda diminuirá. Quando a sinfonia estiver escrita, estarei fraco o
de despertar se tornam música. Ou não. suficiente para ser persuadido pelo meu copista a mandá-lo copiar e com isso imediatamente
Se sim, de onde urge tal ímpeto imprevisível entrarei numa dívida de mil francos. Assim que tiver as partituras, atormentado pela tentação
e que é de certa forma incompatível com de ouvir a obra tocada, darei um concerto, cuja receita mal cobrirá metade dos custos. Perderei
os mecanismos de registro e reprodução? o que não tenho e ficarei sem dinheiro para cuidar da pobre doente. Estremeci com tais ideias,
Se sim, que memória alimenta a fascinante larguei a pena e pensei: e daí, amanhã já terei esquecido! Naquela noite a sinfonia tornou
ação de compor em estado REM? Se não, a aparecer-me e ressoou obstinadamente em minha cabeça. Ouvi o allegro em lá menor
como Richard Wagner, Paul McCartney distintamente. E mais: pareci vê-lo escrito. Acordei num estado de excitação febril. Cantei o
e outros tantos compositores relatam tema para mim mesmo; sua forma e caráter agradaram-me imensamente. Eu estava a ponto
incontáveis sonhos sonoros? de me levantar. Mas os pensamentos que tivera antes voltaram e me seguraram. Quedei-me
ali, empedernindo-me contra a tentação, agarrado à esperança de esquecer. Por fim adormeci
Se sim, como ignorar tamanho potencial e quando tornei a acordar, a lembrança da música desaparecera para sempre.
aprisionado nos confins de uma imaginação
onírica? Todo compositor sonha som. As (Hector Berlioz)
vezes ainda zumbi o imprime, mas muitas
vezes apenas esquece.
Bom seria experimentar a liberdade de não iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
conviver com a teimosa sensação de uma iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
quase melodia órfã de contexto. Talvez o iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
esquecimento possa ser um mecanismo de iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
defesa. O corpo pensa. iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
Música não dorme. iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii LUI S A PU T ER M AN
iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii vive e trabalha com som. Suas pesquisas e
iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii projetos exploram histórias, possibilidades,
iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii problemas, lugares e outros aspectos sobre
iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii composição e percepção sonora.
Conversa com
Luis Carlos Csekö
iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii Daniel Puig
iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii linda”1
iiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii Ter alguma interpretação da nossa
iiiiiiiiii
iiiiiiiiiiii
iiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii atualidade musical é importante. Nós,
iiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii da linda, estando no Brasil, queremos
iiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii saber do que é que se trata e do que é
iiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii que se tratou a música eletroacústica por
iiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii aqui. Por mais que sua tradição advenha
iiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
iiiiiiiiiiii principalmente da música europeia,
iiiiiiiiiiii
iiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii entendemos que as histórias locais são
iiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii igualmente ou mais importantes do
iiiiiiiiiiii
iiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii que as universais, e entendemos que o
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii melhor modo de pesquisar nossa história
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii local é através da história das pessoas
iiiiiiiiiiii
iiiiiiiiiiii envolvidas.
Daniel Puig, então, propôs-se a Neste trecho da entrevista com Luis
entrevistar grandes pessoas da música Carlos Csekö1 , o papo girava em torno
eletroacústica no Brasil. Não os nomes, do seu processo composicional: as
mas as pessoas. A diferença é que, se mudanças no seu cotidiano durante o
iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii você por acaso não conhecer o nome, não tempo de compor, a peculiaridade de
iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii poderá, depois de ler a história, negar a trabalhar entre as 02:00 e as 07:00 da
iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii importância das pessoas. manhã e o processo pelo qual escreve
iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii Leia mensalmente na linda! suas partituras, nas quais utiliza uma
iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii notação num misto de tradicional e
iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii não-tradicional e indicações de tempo
iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii cronometradas…
iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiCsekö, foto de Joana Traub Csekö
Luis Carlos
iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii 1
iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii Entrevista feita por Daniel Puig em 16 de outubro de 2014, no Catete (Rio de Janeiro)
iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
… eu descobri que havia algo de manhã cedo, e investi nisso. Ao invés de chegar e dizer “ah, é
muito esforço”, sempre achei o seguinte: se eu quiser compor, componho. Se não, simplesmente
não componho e está acabado. Ninguém me diz no pé do ouvido: “vá compor, tá na hora!” Boto
dois despertadores pra acordar, acordo assim estonteado, não sei bem onde estou, que é
justamente isso, essa sensação de estar em suspensão, praticamente uma sensação onírica
que é interessantíssima pra mim. Eu não sei se para os outros, mas pra mim, ficar assim meio
aéreo... iiiiiiiiiiii iiiiiiiiiiii
iiiiiiiiiiii iiiiiii
iiiiiiiiiiii
iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiii
Como é isso, com o onírico? iiiiiiiiiiii iiiiiiiiiiii
iiiiiiiiiiii
Olha, às vezes até parece que estou sonhando. E não sei se é verdade, não tenho mais como iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii página
iiiiiiiiiiii da partitura
iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii Noites do
da obra iiiiiiiiiiii Catete,
iiiiiiiiiiii de Luis
iiiiiiiiiiii Carlosiiiiiiiiiiii
iiiiiiiiiiii Csekö iiiiiii
saber, averiguar. Sei que eventualmente tiro umas cochiladas rápidas, na prancheta mesmo, iiiiiiiiiiii iiiiiiiiiiii
iiiiiiiiiiii
ou então, quando a situação está meio complexa, deito com um timer de dez minutos e quando iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiii
o timer toca, acordo e volto a trabalhar. Geralmente está tudo resolvido, tranquilo... iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiii
O sono ajuda... iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiii
O sono ajuda: alguma coisa acontece. iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii
Tem uma situação em que surgem umas imagens, das mais cotidianas e das mais banais: eu iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
andando no meio da rua. Não é um lugar belíssimo! É um lugar comum, eu andando numa iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
calçada esburacada... Sempre achei que isso eram diversões, que não estava me concentrando. iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
Depois cheguei à conclusão que isso simplesmente espirra de algum lugar. Estou forçando iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
tanto a concentração, e é uma concentração muito pesada, que de algum lugar espirra um iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
iiiiiiiiiiii
negócio desses, que é parte do arquivo e que aparece do nada e pronto, tá acabado: apertou iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
iiiiiiiiiiii
demais e sai um bocado de coisa que você quer e que você não quer também. iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
[Referindo-se à revisão do que escreve.] Porque, durante esse tempo também (estou falando iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
iiiiiiiiiiii
de uma concentração enorme, parece até que é algo meio… [gesticula com as mãos acima iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
iiiiiiiiiiii
da cabeça] …), eu cronometro o que estou fazendo, depois vou escutar os períodos que eu iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
iiiiiiiiiiii
cronometro (de cinco em cinco segundos), sem cronometrar. Então começo a cronometrar iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiii
iiiiiiiiiiii
no início, vou escutar e o cronômetro fica rolando. Quando termino de escutar a passagem, iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiii
iiiiiiiiiiii
clico e vou ver se o que cronometrei coincide com o que escutei. Ou então, faço o contrário: iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiii
iiiiiiiiiiii
vou ler cronometrando, e vou lendo internamente o que está acontecendo, só que com um iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiii
iiiiiiiiiiii
cronômetro. Outro processo é o seguinte: vou decorando aos poucos e vou escutando a peça iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiii
iiiiiiiiiiii
de cor na minha cabeça. O tempo todo, toda ela e à medida em que ela vai aumentando... Antes iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiii
iiiiiiiiiiii
de dormir, no final do período de composição, tento pegar no sono escutando a peça toda. Aí iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiii
iiiiiiiiiiii
eu durmo. iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiii
Da nota aos céus iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii
iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii
iii iii iii iii iii iii
O cantochão, os órganos e muita música por
vir abriram mão de parecer com qualquer
manifestação sonora deste mundo para
inaugurar outros universos sensíveis.
[De uma conversa com meu amigo
Eles ora se fundam sobre a “perfeição”
Max sobre o antigo e perene
matemática de alguns intervalos musicais,
Francisco de Oliveira Há cerca de dois meses, na UNIR (Universidade encantamento humano pelos céus:]
ora sobre fórmulas melódicas e rítmicas
Federal de Rondônia), dei minha primeira não haverá um dia sequer em que você
próprias a suas convenções de notação, ora
linda #18 aula de História da Música, abordando os olhará para as nuvens e dirá: “não... hoje
ainda (para saltar os séculos até nós) sobre
primórdios de nossa atual notação musical, os essas nuvens não ficaram boas...”. As
séries, espectros e cadências de engano.
avós e bisavós da partitura moderna. nuvens mudam todo dia e o tempo todo,
iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii têm formas absolutamente singulares e ... mas... quanto das proporções acústicas
iii iiiii iii
iiiiiiiiiiii
iii iii iii iiiiiiiiiiii
iii iii iii iiiiiiiiiiiiiii
iii iii iii iii iii iii iii iii iii iii Lembro que, ao estudar pela primeira vez esse
formam, a cada momento, desenhos que,
iiiiiiiiiiii iiiiiiiiiiii assunto em meu primeiro ano de graduação, de uma 4a ou 5a justas, quanto de uma
iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii em si, não somos capazes de compreender
iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii Hucbald, Guido d’Arezzo e companhia soavam permutação serial ou de um plano
logicamente. modulatório em Beethoven são, em si,
iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii como nomes mais ou menos dispersos,
iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii ligados a fatos mais ou menos dispersos Também as estrelas, umas mais brilhantes apreensíveis ao ouvirmo-los com nosso
iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii que eu precisava saber para cumprir com a que outras, mais ou menos agrupadas aqui corpo humano?
iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii disciplina de História da Música. e ali, a mil distâncias e ângulos, umas com Não seria a composição musical uma espécie
iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii relação às outras... também as estrelas de astronomia inversa?
iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii Neste momento, tendo voltado a estudar esses
formam no céu um tal desenho cuja lógica
iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii personagens após uma graduação inteira, Quanto que não está implicada na atividade
nos escapa. As regularidades do Sol e da
iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii um mestrado e, principalmente, muitas musical a articulação de um salto deste
Lua (esta um tanto mais complexa do que
iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii horas de vôo composicional, sinto uma maior mundo para os planos metafísicos?
aquela), contudo, nos dão a pista de que
iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii empatia com relação àqueles nomes; sinto
o que vemos no céu da noite respeita um iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii compartilhar com eles de alguma experiência.
rigor formal; o mesmo efeito tem sobre nós iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii Sobretudo – ou, pelo menos, dentro do que
a consistência estética das nuvens. F RANCI S CO DE OLIVEIRA
iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii consigo formular –, fico admirado que as
iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii primeiras experiências de música escrita, as Diante dos céus, temos acesso sensível é compositor, doutorando em sonologia pela
iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii primeiras obras da tradição musical ocidental, a uma inteligência da qual nosso corpo USP e professor no curso de música da UNIR.
iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii sejam tão distantes de qualquer manifestação humano não dá conta.
iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii sonora presente no mundo in natura, sejam tão iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
distantes de nossos impulsos musicais mais
iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
primitivos e estejam tão distantes de serem
iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iiiiiiiiiiii iiiiiiiiiiii
bonitas (ainda que possam ser belas ou, em
iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii
especialíssimas ocasiões, lindas).
iiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iii iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii i
iiiiiiiiiiii foto de CORE Y S EE M AN iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iii iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii i
iiiiiiiiiiii iiiiiiiiiiii iii iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii i
iiiiiiiiiiii iiiiiiiiiiii iii iii iii
iii iii
iiiiiiiiiiii iii iii
iii iii
iii iii
iii iii
iii iii
iiiiiiiiiiii iii iii
iiiiiiiiiiiiiii
iii iii
iii iii iii
iii i
iiiiiiiiiiiiiii
iii iii
iii iii
iii iii
iii iii iii iii iii iii iii
iii iii iii iii iii iii iii iii
iiiiiiiiiiii iii iii i
iii iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii i
iii iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii i
iii iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii i
iii iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii i
iii iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii i
iii iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii i
iii iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii i
iii iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii i
iii iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii i
iii iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii i
iii iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii i
iii iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii i
iii iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii i
iii iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii i
iii iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii i
iii iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii i
iii iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii i
iii iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii i
iii iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii i
iii iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii i
iii iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii i
iii iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii i
iii iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii i
iii iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii i
iii iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii i
iii iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii i
iii iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii i
iii iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii i
iii iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii i
iii iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii i
iii iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii i
iii iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii i
iii iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii i
iii iiiiiiiiiiii
iiiiii
iiiiiiiiiiii iii
Esquilo Um esquilo com um rabo lilás bocejou. Se ajeitou um pouco na cama, porque o cobertor
escorregou e descobriu suas costas.
Era preciso sair com calma para não acordá-lo. Mas o que não esperava era trombar num
piano. Não estava ali antes, mas tudo aquilo era imprevisível.
O esquilo levantou-se irritado mas não quis sair correndo atrás de mim.
Natália Keri
Cheguei à cozinha a tempo de ver os últimos preparativos do bolo de aniversário do caramujo.
linda #18 Era um colosso cor de rosa e branco, os bichinhos dançavam e estavam fazendo os últimos
escrito a partir de Poème électronique1 , de ajustes na coreografia. Pena que não poderia ver a festa. Minha missão era ir até o rio. Lá
Edgar Varèse saberia o que fazer.
Atrás da cozinha felizmente ainda tinha uma canoa. Fui pelo córrego remando sem pressa,
porque estava bem seguro.
Quais são as palavras dos sons? Que iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii Ao desembocar no rio já sei que devo aportar, ir à pizzaria e me oferecer para fazer algo, sei lá,
frases eles formam? Que tipos de texto iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii lavar os pratos ou até cantar.
advêm de músicas feitas de sons? iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
iiiiiiiiiiii iiiiiiiiiiii Mas todos estavam no aniversário. O dono da pizzaria falou que o único posto vazio era o de
Quando pensamos em produzir uma iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiii cliente. Comi uma napolitana e dei a azeitona para o esquilo. Ele ficou feliz.
revista sobre cultura eletroacústica, iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
decidimos que não poderíamos iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
preenchê-la apenas com palavras: os iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
sons se faziam necessários. iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
Convidamos Natália Keri a pensar que iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
palavras vêm de que sons, as estórias de iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
iiiiiiiiiiii iiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii NA T ÁLIA KERI ,
cada progressão sonora, as pontuações de iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii paulistana de 27 anos, é formada em
todos os silêncios. Também convidamos iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii jornalismo pela Universidade de São Paulo.
dez compositores à escreverem músicas iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii Está cursando mestrado em Ciências da
que seriam vertidas em texto. Essa iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii Comunicação na mesma instituição. É co-
contribuição já se encerrou, e está dando iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii autora do livro “O poder e a fala na cena
lugar a um livro-CD_duplo, que sairá no iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii paulista”, de 2008, sobre censura teatral,
começo desse próximo ano. iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii vinculado ao Arquivo Miroel Silveira. Trabalha
iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii com comunicação desde 2005, atualmente na
iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii assessoria de imprensa da Prefeitura de São
1
O u ç a Po è m e é l e c t r o n i q u e , d e E d g a r Va r è s e , e m h t t p : / / g o o . g l / e b R S X C iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii Paulo. Colabora com Tiago de Mello desde
2
Le i a o u t r o s n o v e c l á s s i c o s d a M ú s i c a E l e t r o a c ú s t i c a e m h t t p: / / g o o. g l / Wu X f N n iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii antes da fundação do NME.
Sonhos de voz e máquina Mas se minha voz está fora e à minha
frente mim, isso me situa em algum
lugar atrás dela. Como uma projeção,
baseia-se no livro de Maurice Merleau-
Ponty Fenomenologia da Percepção. Para o
filósofo francês, “a voz falada é um gesto, e
a voz permite me retrair ou me afastar seu significado, o mundo”3 . Portanto, é no
de mim mesmo. Isso torna minha voz gesto fonético que se materializa o mundo
uma persona, uma máscara, ou uma tela da pessoa que fala.
Alessa sonora. Ao mesmo tempo, minha voz é um
Por isso, a voz pode ser considerada uma
adiantamento meu, um descobrimento
linda #23 no qual eu estou exposto, exposto à
extensão de nós, do mesmo modo que
quando um bebê chora tentando alcançar
possibilidade de exposição. Eu posso me
alguma coisa e sua mãe vem pegar esta
abrigar atrás da minha voz somente se
coisa para ele. Neste exemplo, o choro
esta voz for minha. (CONNOR, 2000, p.5)2 funciona como um braço estendido, a voz
A voz é considerada nosso instrumento Ele discute as diferenças da voz como atributo seria um jeito de sair de si mesmo. Franziska
iiiiiiiiiiii
natural. Ela pode ser usada para promover hereditário em comparação com outras Schroeder4 escreve sobre o conceito de
iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii características físicas das pessoas como “exteriorização” do antropólogo francês
iiiiiiiiiiii iiiiiiiiiiii a comunicação, seja na forma da fala
iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii cor dos olhos, cabelo, tez e psique. A voz, André Leroi-Gourhan, no qual existe uma
iiiiiiiiiiiiiiiiiiiiiiii ou na linguagem musical através da voz
iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii cantada. Na canção, ela é essencial, e, para ele, é o único atributo que autoriza sua transferência de nossas capacidades para
iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii na música com suporte tecnológico, ela é produção, de maneira que “falar é realizar algum tipo de suporte externo. E até mesmo
iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii um desafio. Um desafio talvez porque ela trabalho”. Ele relaciona voz a produção de a ideia da prótese, da extensão, da adição
iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii ao mesmo tempo revela nossa natureza esforço, que não somente que se tem (eu ou aprimoramento de características.
iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii humana e expõe as características inatas tenho a minha voz), ou se é (eu sou a minha Ela sugere que o instrumento musical
iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii das máquinas. No entanto, assim como as voz), mas algo que você faz (eu faço a minha seja considerado como uma prótese do
iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii máquinas, ela também está fadada a suas voz). Ele a coloca como fenômeno, a voz performer e sendo assim, a voz também.
iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii transformações, da infância à adolescencia falada como um evento no tempo. Connor
iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii até a velhice, quando cessará de existir.
iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii O professor de literatura inglesa Steven 1
C o n n o r, S . ( 2 0 0 0 ) . D u m b s t r u c k : A c u l t u r a l h i s t o r y o f v e n t r i l o q u i s m . O x f o r d : O x f o r d U n i v e r s i t y P r e s s .
iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii Connor1 escreve sobre o fluxo direcional do 2
tradução da autora
iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii exercício e da experiência da voz. Essa situa 3
M e r l e a u - Po n t y, M . 1 9 6 5 . p . 1 8 4
iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii a pessoa que fala no espaço em que ela 4
iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii ocupa, no entanto sempre atrás. A pessoa
S c h r o e d e r, F. 2 0 0 6 . T h e v o i c e a s t r a n s c u r s i v e i n s c r i b e r : T h e r e l a t i o n o f b o d y a n d i n s t r u m e n t
iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii u n d e r s t o o d t h r o u g h t h e w o r k i n g s o f a m a c h i n e . C o n t e m p o r a r y M u s i c R e v i e w, Vo l 2 5 , n 1 / 2 ,
vivencia o mundo exterior pelo som de sua
iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii própria voz. Sobre este fluxo de dentro para
Fr e b r u a r y / A p r i l 2 0 0 6 , p p. 2 7 - 3 5 . Ro u t l e d g e
iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii fora do corpo ele escreve:
5
h t t p : / / g o o . g l / s Ti z C Q
Um exemplo de “exteriorização” da voz na Bicycle Built for Two7 (1961) de Max Mathews, voz de Marilyn, seus traços pessoais, para voltar no tempo, numa situação onírica
música eletroacústica é a famosa peça de pode ser interpretada como uma canção que seu status mecânico se confunda em entre realidade e lembrança. O conteúdo
Alvin Lucier I am Sitting in a Room5 (1969). inocente se não fosse pelo fato de que nossa percepção, nos fazendo sonhar emocional em sua fala é compartilhado
Sua performance é um diálogo entre voz a voz foi completamente sintetizada com a imortalidade de Marilyn Monroe. conosco e reconta aquele momento
e espaço. Nela, a voz desencarna, como pelo computador, em um dos primeiros Simultaneamente, máquina se torna voz e histórico.
Connor sugere a voz fenômeno, para experimentos com tecnologia de síntese Marilyn se torna máquina.
Voz e sonho não são estranhos um para
encarnar na sala ressonante. Isto situa de fala. Nela, o computador sonha em O trabalho com voz de Trevor Wishart na o outro. Não é a toa que uma vez que a
o performer no espaço. Um experimento emancipar-se do status de máquina por música eletroacústica nos dá outra tecnologia entre na jogada, na forma de
de voz na qualidade de sonar. A pessoa sintetizar para si uma voz. Mas o resultado perspectiva interessante no imaginário música com suporte tecnológico, apenas
reconhece o tamanho da sala onde está de sua voz é muito precário comparado com da voz, máquina e sonho. Ele próprio realce esta relação pré existente. É pela
pela extensão de sua própria voz. O mundo a extensão da expressão vocal humana. um improvisador vocal, fez de sua peça voz que nos tornamos participantes ativos
externo se materializa, como que num
Outro trabalho interessante é Marilyn8 Globalalia9 (2004) um estudo extenso no campo do som. Uma parte nossa
experimento à maneira de Merleau-Ponty.
(2012) de Phillipe Parrero. O artista em do fenômeno da voz como material desencarnada, semelhante ao que muitos
Eu estou sentado em um quarto sua video-arte tenta ressucitar Marilyn sonoro. Wishart utiliza como material chamam de alma.
diferente do que você está agora. Estou Monroe recriando três traços únicos da composicional sílabas de 26 línguas iiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
gravando o som da minha voz falada e individualidade de alguém: seu ponto de diferentes, processando e transformando- iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
eu vou tocá-la de volta para o quarto de vista, sua letra cursiva e sua maneira de as em estúdio. A voz, em seu trabalho, se iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
novo e de novo até que as frequências falar. Um estudo detalhado da voz da atriz torna tão maleável quanto argila, sendo iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
iiiiiiiiiiii
ressonantes do quarto se reforcem de foi feito utilizando algoritmos para imitar possível então a construção de qualquer iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii
iiiiiiiiiiii
maneira que qualquer semelhança com seu timbre, qualidade vocal e entonação, paisagem imaginária. Nela, revelam-se as iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii
iiiiiiiiiiii
a minha fala, exceto talvez o ritmo, seja combinando coisas únicas associadas à propriedades disformes da voz. iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii ALE S S A
destruída. O que você ouvirá então, serão persona dela. é compositora formada na faculdade Santa
as frequências ressonantes naturais Meu último exemplo é a peça In her own
Marcelina, e com pós-graduação em Studio
do quarto articuladas pela minha fala. Em ambos os casos, Bicycles Built for Two time1 0 da artista sonora Katharine Norman. Composition na Goldsmiths, University of
Eu considero esta atividade não tanto e Marilyn, a fala produzida pela máquina Nela, a mãe de Katharine relata o período
tenta escapar de sua condição sub alterna e em que vivia em Londres durante a Segunda London.
uma demonstração de fatos físicos, mas
mais uma maneira de suavizar qualquer inata. Em Mathews ela, desajeitada, sonha Guerra Mundial. Ela conta estórias daquele
com humanidade através da síntese vocal tempo e sua voz nos induz a vivenciar e alessamusic.com
irregularidade que minha fala venha a
ter. (LUCIER, A. 1969).6 e em Parrero ela incorpora outro alguém. iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
A máquina rouba as características da iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
iiiiiiiiiiii
6
tradução da autora iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
7
h t t p: / / g o o. g l / P b o 4 9 8 9
h t t p: / / g o o. g l / 0 f X R O 2 iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
8
h t t p: / / g o o. g l / B h W 2 d Q 10 iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
h t t p: / / g o o. g l / y 8 g 3 4 e
PARA MAIS INFORMAÇÕES: iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
• Connor, S. (2000). Dumbstruck: A cultural iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
history of ventriloquism. Oxford: Oxford iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
University Press. iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
• Merleau-Ponty, Maurice.Fenomenologia da
percepção; [tradução Carlos Alberto Ribeiro iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
de Moura]. - 2- ed. - São Paulo :Martins iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
Fontes, 1999. iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
• Schroeder, F. 2006. The voice as iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
transcursive inscriber: The relation of body iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
and instrument understood through the iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
workings of a machine. Contemporary Music iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
Review, Vol 25, n 1/2, Frebruary/April 2006, iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
pp.27-35. Routledge. iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii FIM DO ONÍRICOiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii FIM DO ONÍRICOiiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii COMEÇO DO iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii INTERVENÇÃO
iiiiiiiiiiii iiiiiiiiiiiiPOIÉTICO iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii
iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii IWAOiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii
iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii
iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii Em branco, e a partir de agora,
iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii intervenções de Henrique Iwao sobre
iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii todos os textos a seguir.
iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii Sobre o poiético de que falamos, nossas
iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii produções, nossos produtos.
iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii FIM DO ONÍRICOiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii FIM DO ONÍRICOiiiiiiiiiiii iiiiiiiiiiii De Henrique Iwao, 7 Parágrafos,
iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii
iiiiiiiiiiii iiiiiiiiiiii em 7 tomos.
iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii
iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii
iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii
iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii §0
iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii Eu, autômato orgânico, maquinismos. Se
iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii eu puder compreender mal esses textos
iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii já é um começo. Lê-los com pressa. Intuir,
iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii mas a intuição aí agindo contra a noção de
iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii experiência. A intuição como a experiência.
iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii E essa experiência como produção não
iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii apenas de possíveis desentendimentos,
mas como produção de produção.
iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii FIM DO ONÍRICOiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii FIM DO ONÍRICOiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii
iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii
iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii
iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii Lemos o som morto e
agora
Sérgio Abdalla
iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii INTERVENÇÃO
IWAOiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii linda #22
iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii Glenn Gould, em suas “Perspectivas da Pode ser uma mudança no olhar a geradora
iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii gravação”1 , nos diz que a gravação tem de tudo isso. Estávamos ali, viemos para cá,
suas perspectivas – ou que as tinha à e agora nos demos conta da perspectiva.
§1 época, 1965. Fala das perspectivas, dos
E a gravação ela mesma já pode ser ou é
prospectos. Falemos aqui da palavra
perspectiva; ela mesma implica distância (e
Uma cadeira surrada. Um tanto de afeto. prospect, em inglês, em sua semelhança
portanto mudança de ponto de vista) entre o
A imagem de uma cadeira de madeira. para com a perspectiva.
gravado e o gravado. E agora?, os dois têm
A imagem da cadeira de madeira. Por
A perspectiva da gravação (ali, ele fala de o mesmo nome, o que fazer?
que a cadeira era tão baixa? Pensemos
nas posições dos cotovelos, do pulso, no gravação de som, unicamente, ao menos
O gravado (aquele que já existe e que está
movimento dos dedos. Perspectiva da em tese) deve ser, de alguma forma, uma
sendo gravado) e o gravado (aquele que é
cadeira. Melhor: foco na cadeira, seus perspectiva, uma projeção em geral. E isso
resultado da gravação).
rangidos - Gould move-se, sua bunda. pode ser a decisão de que há mais de um
Foco: experimentar transpor mentalmente plano; pode ser a decisão de que nosso E o som anterior, que gravamos, não
a microfonação para debaixo da cadeira, próprio plano, ponto de vista, já é múltiplo passa a ser, de qualquer forma, resultado
esforçar-se para acompanhar o som, tal e afetado por mais de um, sempre mais de da gravação? O que sabemos dele
como ouvido embaixo da cadeira. Pensar um; pode se referir à decisão de fundar uma posteriormente à gravação depende da
microfonações. Como o som é ali. Que tipos profundidade nas coisas, ou uma distância gravação, assim como dela depende o
de movimentos são necessários para que nas coisas, ou um espaço entre as coisas registro, a outra versão, a perversão, a
certos sons sejam produzidos. Partitura de que lhes dá seu próprio plano a cada uma. versão posterior desse som anterior.
ação - Suíte Inglesa de Bach, por exemplo.
Catalogar as passagens mais funcionais,
que de fato resultem em rangidos. 1
E l e p u b l i c o u u m t e x t o, q u e s e p o d e l e r a q u i : h t t p: / / g o o. g l / 6 h d W t 4 , e d i r i g i u u m r á d i o -
d o c u m e n t á r i o, q u e p o d e s e r e s c u t a d o a q u i : h t t p: / / g o o. g l / v 8 a X 1 q. O d o c u m e n t á r i o é d e 1 9 6 5 ; o
t e x t o, d e 1 9 6 6 .
O interesse pela mídia e suas características, Real. “Bem-vindos ao deserto do real”2 , a A gravação, aí, existe somente como futuro, para esquecer sua origem, sua identidade,
seu modo de operar, põe em segundo plano música pode nos dizer ao receber-nos por e não teria o aspecto de documento. Ou e ser reproduzida já e unicamente já. Nisso,
o artista com suas características – ou ao dentro. “Como vocês podem ver, não há seria um documento sem referência, que em que diferem uma partitura e uma
menos o coloca entre aspas, ou atrás de nada pra se ver aqui.” A realidade mais real de alguma forma não diz o que documenta, gravação?
uma parece, ou debaixo de um véu, o que da música, mais próxima, mais despida, e só tem um vetor para o futuro, sem
quer dizer que talvez ele até aumente em é, para nossa tristeza e talvez regozijo na retomada de sua situação originária. Ainda
persuasão, pelo aumento de seu mistério. violência, ela mesma um efeito da gravação. assim, uma inscrição, porém não mais um
Talvez o músico vire um sujeito místico, sua testemunho.
Do gravado, que é ao mesmo tempo o iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
face oculta pelo tempo (sempre indefinido,
presente passado e o atual fantasma, Como não testemunhar, porém, nossa iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
advoga Gould) que se passou desde a
temos um corpo mecânico e morto. A nova própria falta de memória? Como não querer iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
gravação. Ou, ao contrário, um contato iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
muito direto, escutas quase coladas a imagem do homem e do mundo é também marcar como aqui e agora as presenças
a do som na gravação. Temos um corpo envolvidas, e envolvidas para que delas se iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
seu corpo, uma análise muito minuciosa iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
de todos os seus movimentos, tornam- mecânico e morto. Pode-se reclamar dessa esqueça, na gravação?
morte, cadê a vida de antes, antes…, mas iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
no desinteressante, puramente biológico, O som gravado é o som gravado. A iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
nem sequer vivo, simplesmente mecânico, não podemos esquecer que a imagem de
ambiguidade do nome resiste, não sai de iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
iiiiiiiiiiii
um robô, um objeto da natureza, enfim, um antes depende desse mesmo registro,
cena sem maiores artifícios. Fiquemos com iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii
iiiiiiiiiiii
sua humanidade vai-se embora junto com desse mesmo fantasma. E, se não podemos
ela. Então o som posterior é o som passado. iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii
iiiiiiiiiiii
sua presença de artista performático (o esquecer que o passado é uma imagem
Com a gravação, mesmo que não cessemos iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
iiiiiiiiiiii
artista que faz ao vivo), e o que fica é seu presente, a gravação está aí e nos ajuda a
que questionar “como?”, algo de novo iiiiiiiiiiii iiiiiiiiiiii S ÉRGIO A B DALLA
espectro como máquina retratada por outra lembrar. O contato com o mais íntimo e o
aconteceu com o tempo. Talvez tenha sido faz: peças eletroacústicas, instrumentais,
máquina e lida por ainda outra. Imagens de mecânico do som e do que se grava garante-
um novo olhar para o som, para perceber audiovisuais, improvisação; edição de som
máquinas. nos a leitura dele como documento.
que, a partir de agora, ele sempre esteve na Confraria de Sons & Charutos; live-
Gould fala, tanto no rádio-documentário morto. O prospecto é de que o som continue electronics na Filarmônica de Pasárgada. Foi
O músico à parte, presente ou não: com a
proximidade de tudo, nós dissecamos a quanto no texto3 , que a performance como a tornar-se assim, de agora em diante e de dos grupos Basavizi, Dito Efeito e mal.
música. O que há dentro dela? Ou: o que evento histórico morre e merece morrer agora para trás.
havia dentro dela? O corpo dissecado está para dar lugar à gravação como evento A música mecanicamente inscrita e morta é
soundcloud.com/sergio-abdalla
morto. Se procurávamos vida, acabamos fora da história que existe somente como nossa única imagem presente do passado, e iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
com ela. Slavoj Zizek fala da paixão pelo um provisório para dar lugar a um objeto. é a atualidade maior possível, que está aqui iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
2
P u b l i c a d o n o B r a s i l p e l a e d i t o r a B o i t e m p o : h t t p : / / g o o . g l / GUG I x H ; e s s e R e a l , a q u i , é u m j o g o iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
e n t r e o R e a l d o p s i c a n a l i s t a J a c q u e s L a c a n ( h t t p : / / g o o . g l / e x GG 2 2 ) e o r e a l n o s e n t i d o c o r r e n t e
(não colocarei link para o real no sentido corrente).
3
C f. n o t a d e r o d a p é n º 1
IWAO iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
Composição analógica:
fita magnética
iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii Julia Teles
linda #18
§2
Entre os dias 12 e 17 de agosto estive vontade de saber como era compor música
É possível dispensar o ouvido ao editar
no Musiques & Recherches1 , no interior eletroacústica fora do computador.
sons. Ao lidar com áudio. Caso curioso
em que som não é som. Dois usos. da Bélgica, cursando Composição Chegando no local do curso, vi que teríamos
Estabeleço correlações. Estou falando Eletroacústica (Analógica) com a dois estúdios à nossa disposição, com
compositora Annette Vande-Gorne. A gravadores e tocadores de fita magnética,
do caso digital. Meu olho funciona em
proposta era estudar a parte teórica da mesas de som já conectadas a caixas de
parte como outro ouvido. Representação,
composição de manhã (como pensar os som, um equalizador gráfico bem antigo,
referente, transdução. Imaginação de
sons, tipos de tratamento, entre outros) dois aparelhos de reverb e delays (digitais),
transduções. Nada de novo - é como
e realizar os trabalhos práticos à tarde, além de outros aparelhos mais simples para
auditar partituras. Casos fáceis: aumento
apresentando os resultados em um ajudar a fazer loops, variar a velocidade de
de intensidade, localização de ataques concerto no último dia.
percussivos, silêncio, compressão. Com os execução da fita, etc. Éramos quatro alunos
espectrogramas, outros jogos. Depois, há Decidi fazer esse curso porque achei que seria utilizando os dois estúdios, por isso pudemos
casos mais especulativos. Cada vez mais. curioso manipular esses equipamentos trabalhar quase ininterruptamente e
As sonoridades resultantes passam a ser antigos. Não sabia se manipularíamos também conversar e ouvir o que os colegas
resultados de operações guiadas por um fita magnética, que tipos de periféricos produziam. Os gravadores e tocadores de
ouvido que desentende o outro. Há perda, (delays, reverbs, equalizadores etc.) fita também funcionavam independentes
deslocamento, confusão. Grosserias, estariam disponíveis, se usaríamos ou não da mesa de som (com fone de ouvido), o
reduções simplistas - identificações de sintetizadores. Achei que, independente de que facilitava para editarmos os materiais
como fosse, seria interessante conhecer enquanto os colegas trabalhavam em outra
famílias de perfis e troca de amostras de
o histórico do trabalho composicional coisa. Trabalhamos nesses equipamentos
lugar, umas com as outras. Finalmente, o
e experimentar um pouco, ver como as por cinco dias, em média 7 ou 8 horas
som é o resultado de grafismos que não tem
coisas funcionam. Eu sempre tive essa por dia. A partir dessa experiência, então,
como premissa a produção sonora. Mas e o
amor pela tesoura, pelo tato que passa pela
1
tesoura? Isso me motivaria. Mais tesoura h t t p: / / g o o. g l / G q D m M p
do que olho, ou o olho para a tesoura.
comparo um pouco esses dois processos – que deveria limpar os materiais, jogar sons para esse número de gravações (que é a Cada tipo de ambiente, portanto, tem prós
o da música digital e da música analógica. fora. Cada vez que gerei sons (fossem eles quantidade de fitas virgens ou rolos para e contras. Misturar os dois também parece
sons recém-captados ou já transformados), reaproveitar que você tem), mas a fita é um uma boa e rica possibilidade.
A primeira grande diferença está na reouvi e selecionei somente o que de fato suporte bem versátil, podemos regravar
visualidade do processo – quando gravamos me interessou, todo o resto joguei na quantas vezes quisermos e juntar trechos iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
um som em fita magnética, o material lixeira, sem dó. Ter muito material pode de fita que não serviram para nada para iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
sonoro está fixado a um material real e ser um problema, especialmente no nosso criar mais um rolo para gravação. iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
palpável (a fita), ao invés de ser um arquivo caso, em que tínhamos que compor algo iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
digital, abstrato, dentro do computador e em 6 dias. Por isso é melhor ficar com Em muitos momentos do trabalho com fita, iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
representado na tela. Ao mesmo tempo menos materiais, somente os que julgamos suspirei e pensei: “ah! ainda bem que existe iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
que temos esse lado material, deixamos o computador, e logo volto pra ele!”, pois às iiiiiiiiiiii iiiiiiiiiiii
iiiiiiiiiiii
realmente interessantes, do que com rolos
de ver o som em si, a representação de sua vezes é difícil lidar com algo tão manual e iiiiiiiiiiii
iiiiiiiiiiii iiiiiiiiiiii J ULIA T ELE S
e rolos de sons que não vamos utilizar. Na
waveform, como estamos acostumados em música digital, é possível acumular milhares artesanal, às vezes dá super errado: a fita é compositora, thereminista e editora de
programas como Pro-tools, Logic, Ableton de sons em um mesmo projeto e não temos enguiça no gravador, acaba rasgando e som em São Paulo. Faz parte do coletivo
Live. A experiência se torna mais sonora que nos desfazer de nada definitivamente, perdendo trechos, ou a fita se desprende teatral 28 Patas Furiosas e do NME (como
no sentido de que toda e qualquer edição, podemos somente ocultar ou mutar. Ao da bobina e dá uns nós e a gente tem que compositora e produtora), além de trabalhar
seja tratamento ou montagem, surge contrário, temos mania de guardar tudo enrolar tudo de novo, manualmente. No como autônoma em trilhas sonoras e edição
somente a partir do que ouvimos, e não do pois esses sons podem servir para alguma computador, (quase) todos os problemas de som para filmes.
que vemos. Não podemos prever variações coisa no futuro. Portanto eu sinto que usar poderiam ser desfeitos com um simples
dinâmicas, nem saber exatamente em que a fita magnética nos obriga a fazer decisões ctrl+z. Por outro lado, usando a fita soundcloud.com/juliateles
trecho do som estamos. Isso leva à segunda composicionais mais definitivas durante não temos a luz branca do computador
diferença: nossa memória precisa trabalhar imprimindo uma certa sobriedade no iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii
todo o processo. Podemos, sim, mudar iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
muito mais. Pois uma coisa é saber que de ideia e tentar refazer algum som que processo e cansando nossos olhos (e não
se gravou um som X em determinado ter isso me deixou muito mais descansada iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
jogamos fora, mas pode ser bem trabalhoso. iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
rolo, mas para saber como o som se e disposta para continuar compondo).
desenvolve, quais trechos ficaram mais Ao contrário do que eu pensava antes Também é uma vantagem ter todos os iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
interessantes, imaginar possíveis mixagens dessa experiência, é possível gerar faders, knobs e outros botões à mão, ao invés iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
e transformações, etc, é preciso conhecer diversos materiais, experimentando e de usar o mouse para controlar parâmetros
bem os materiais. E rebobiná-los diversas gravando diretamente na fita, sem ter que e automações (claro que usar o mouse não
vezes para ouvir pode acabar tomando um necessariamente planejar e mapear tudo é regra, existem também outros tipos de Ps: Realizei uma peça durante o curso,
tempo enorme. antes de gravar; é possível improvisar controladores). Assim esses movimentos terminando-a para o concerto do dia 17 de
e gravar os improvisos, usando a mesa soam muito mais naturais e podemos agosto. Ela se chama Août/Magnétique.
A terceira diferença também está de som e outros aparelhos (periféricos) prestar atenção somente no som enquanto
relacionada com a anterior: desde o http://goo.gl/9Whdr1
como instrumentos, e as possibilidades realizamos esses movimentos, ao invés de
começo do processo com a fita, aprendi se multiplicam. Claro que há um limite ficarmos reféns da representação gráfica iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
do software, o que acaba acontecendo. iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
Circunstancialmente sem um referencial direto no mundo
acústico. Há, na maioria das composições,
em todos os discos, linhas compostas para
E isso pareceu ter mudado com a chegada
do Synclavier. Em diversas entrevistas
realizadas depois que começou a trabalhar
eletrônico? instrumentos acústicos sintetizados ou para

samples desses instrumentos. Ou seja,
quase sempre há ao menos algum elemento
com o sintetizador, Zappa ressalta a
liberdade composicional que o meio lhe
proporcionou, justamente por não ter que
Luis Felipe Labaki fazendo referência a um instrumento do, se preocupar com o intérprete: contanto
digamos, “mundo real”. Isso não quer que ele pudesse formalizar as informações
linda #19 dizer que não haja sons que só podem da composição em dados a serem inseridos
ser produzidos através de manipulações no computador, o Synclavier a executaria
De 1984 até sua morte em 1993, o principal justamente por St. Etienne, a única faixa do digitais – há, e muitos – mas, especialmente com perfeição. Isso abria a possibilidade
instrumento de trabalho de Frank Zappa disco que não foi executada no Synclavier. em Civilization Phaze III, arriscaria dizer que de composições cada vez mais complexas,
foi o Synclavier DMS, um sintetizador- estes são minoria em comparação com os principalmente em termos rítmicos. Ou
workstation caríssimo na época. Zappa lançou Minha relação com o trabalho de Zappa no sons/samples de instrumentos acústicos. seja, mais do que a sonoridade específica do
uma série de discos com obras executadas Synclavier sempre foi um pouco ambígua. Há, inclusive, peças que utilizam apenas meio digital, o que interessava a Zappa era
no aparelho, começando pela inclusão de Digo ambígua não no plano do “gosto/ instrumentos tradicionais sampleados, ver como esse meio poderia executar obras
algumas faixas em Boulez Conducts Zappa: não gosto”, mas por sentir com alguma como I Was In A Drum, ou A Pig With Wings. que dificilmente – ou de maneira alguma –
The Perfect Stranger (1984), dividindo espaço freqüência um estranhamento no momento poderiam ser executadas por intérpretes
com três composições executadas pelo da escuta, que me parece ter menos a ver Zappa nessa época não escondia o humanos.
Ensemble Intercontemporain conduzida com as composições do que com a execução aborrecimento causado por uma série de
pelo maestro francês, passando por destas – se é que, no fim das contas, é experiências negativas ao lidar com todo Em uma entrevista à revista “Keyboards,
Francesco Zappa (1984) – um álbum com possível fazer essa diferenciação neste tipo de músicos de carne e osso, fossem Computers & Softwares” em abril de 1986,
obras de um compositor italiano (quase caso. Vou tentar explicar. Acho que é uma eles instrumentistas de uma orquestra ou Zappa disse:
seu homônimo) do romantismo que ganhou questão, no fundo, ontológica. de uma banda de rock. Sua última turnê
com uma banda, em 1988 – que, aliás, O que eu estive esperando desde que
ali “sua primeira gravação digital em 200 Não há espaço aqui para detalhar a comecei a compor música (…) era por uma
anos” – até Civilization Phaze III, sua obra incluía também o Synclavier no palco, usado
evolução de todo o trabalho de Zappa com em improvisos coletivos – foi interrompida chance de escutar o que eu escrevi sendo
final, concluída quando Zappa já estava o instrumento, e portanto eu gostaria de tocado sem erros e sem má vontade. O
gravemente doente e lançada apenas ainda na metade por conta de atritos entre
focar nas composições presentes no seu os integrantes da banda. Para além de Synclavier resolve esse problema para
postumamente em 1994. último trabalho com ele, Civilization Phaze mim. A maior parte das composições que
conflitos pessoais e da dificuldade inerente
O exemplo mais conhecido de seu trabalho III, tanto porque o que vou falar não se em, bem, gerenciar pessoas, mais um eu tenho desenvolvido não é destinada a
com o sintetizador, no entanto, é o álbum aplica a todas as obras sintetizadas. Mas aspecto contribuiu para que ele chegasse mãos humanas.
Jazz From Hell (1986), que, curiosamente, um ponto curioso precisa ser ressaltado: à conclusão de que a conta não fechava:
em todo seu trabalho com o Synclavier, o E reproduzo aqui também um trecho de
lhe rendeu um Grammy de “melhor apesar de toda a enorme quantidade de
foco de Zappa não foi a criação de obras uma entrevista presente no documentário
performance de rock instrumental”, dinheiro e esforços gastos, sua música
baseadas em sons puramente sintéticos, Peefeeyatko (1989), de Henning Lohner:
nunca era executada com perfeição.
FZ: Uma das coisas sobre compor para em cada nota, com a amplitude certa ligação entre as notas, especialmente em Em tempos de Sibelius, Finale, Logic etc.,
o Synclavier é que cada um dos sons, em cada nota, mas de modo que você passagem melódicas de muitas notas). Mas, elas não soariam um tanto incompletas,
dos samples individuais que estão lá, possa também, no momento em que por outro lado, o resultado final da dupla um pouco como o “Play” do Sibelius tratado
contanto que você possa controlar a estiver mixando isso, criar um ambiente composição+execução tampouco pode, em como obra acabada? Seriam elas apenas
produção do sample em si, você pode separado para cada instrumento, com eco teoria, ser reproduzido fora do meio digital. temporariamente, circunstancialmente
idealizar esse som. Então se eu tiver digital. Por exemplo, se você imaginasse eletrônicas, algo como partituras
É claro que as peças de Civilization Phaze III aguardando o surgimento de seu intérprete
uma linha de clarinete, por exemplo… uma composição em que você tivesse são objetos artísticos “íntegros”, finalizados:
esse seria um exemplo hipotético, uma orquestra inteira atacando um ideal? E se esse intérprete ideal e idealizado
afinal, trata-se da execução ideal (ou que, porventura surgisse, será que se perderia
digamos que eu tenha feito uma sessão acorde forte, com todos os diferentes em determinado momento, pareceu ideal a o propósito inicial da composição no
de sampling e tenha conseguido gravar timbres de orquestra, perfeitamente Zappa) da peça, escrita, executada, mixada Synclavier – ou seja, realizar aquilo que
o mais perfeito clarinete. E que cada balanceada com um violão clássico, você e fixada em um suporte. E, considerando a parecia irrealizável de outra forma?
nota de cada registro do clarinete tenha não conseguiria isso nunca no mundo mixagem como elemento composicional,
sido perfeitamente executada. Eu então real, mas você pode imaginar, escrever, é claro que apenas essas versões podem Talvez, mas elas são o que são: se Zappa não
construo uma coisa chamada patch, que executar e escutar isso usando esse meio. ser consideradas, digamos, “definitivas”: possuísse o Synclavier, dificilmente essas
diz para o teclado do Synclavier quais Isso abre possibilidades para qualquer apenas nelas há a impressão estereofônica composições viriam à tona da forma como
dessas notas devem ficar sob quais compositor que queira permitir que uma desenvolvida por Zappa naquele momento as conhecemos. Além disso, Zappa poderia
teclas. E eu então escrevo um concerto plateia ouça algo que ele consegue ouvir e, oras, apenas elas foram realizadas ter optado por usar o aparelho apenas para
para clarinete. Bem, no mundo real, você na sua própria mente mas que a física diretamente por ele. Qualquer consideração escrever e imprimir partituras e esperar
nunca vai conseguir uma performance acústica não te permite fazer.” que vá além disso será um exercício de sabe-se lá até quando para que alguém
completa e perfeitamente gravada de imaginação, uma vez que ele não está mais se dispusesse a tocá-las, mas preferiu
O estranhamento provocado pela proposta aqui para retrabalhar ou modificar isso que registrar as composições diretamente no
cada nota que você escreveu, com um
de Zappa está justamente nesse ponto de já foi fixado. Pois bem. Synclavier.
sample perfeito em cada nota. Isso
intersecção em que ela se apresenta: por
nunca aconteceria no mundo real, mas Mas, apesar de tudo, o fato de serem (É interessante também como esse modo
um lado, os sons usados pertencem, em
com esse aparelho você pode fazê-lo. peças escritas com uma abundância de de trabalho se tornou padrão no campo da
sua maioria, a instrumentos acústicos,
HL: Mas isso é mesmo tão desejável tradicionais, e acredito que houvesse, instrumentos tradicionais me traz ao composição para publicidade e até mesmo
assim? nesse plano, uma preocupação em ponto principal do meu incômodo: afinal, para filmes. O ritmo acelerado de produção,
reproduzir o som dos instrumentos da essas peças são eletrônicas? São peças a falta de verba para se pagar uma orquestra
FZ: Por que não? Ninguém nunca escutou. maneira o mais fiel possível, para criar eletrônicas para instrumentos acústicos? de verdade e a qualidade cada vez melhor
Vamos ouvir isso. Esse é o objetivo. (…) a impressão de uma “execução ao vivo” dos samples fizeram com que compositores
Eu quero descobrir o que acontece se (Poderíamos perguntar: ‘E se não foram pudessem depender apenas de seus
(mesmo que seja preciso reconhecer que,
você pegar esses sons idealizados, uma feitas para serem tocadas por instrumentos próprios home studios – muito mais baratos
sobretudo nas flautas, clarinetes e violões,
biblioteca inteira desses sons, e fizer acústicos, por que fazê-las soar como hoje do que seriam na época em que Zappa
isso não se concretiza completamente: é
instrumentos acústicos?’, mas a resposta comprou seu primeiro Synclavier, aliás – e
uma orquestra imaginária, idealizada, muito fácil perceber que se trata de uma
Zappa já deu lá em cima: ‘Por que não?’) é provável que a platéia nunca perceba a
tocar não apenas com um bom timbre linha de samples ao se prestar atenção na
diferença entre uma performance ao vivo e assim. E, no fim das contas, quanto menos iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
o arranjo virtual.) “ao vivo” é a gravação feita por Zappa? iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii
Enfim. Parte dessa questão toda veio do fato Termino com uma sugestão para que iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
de que, nos últimos anos, alguns conjuntos busquem as versões originais de Reagan iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
têm realizado arranjos de algumas dessas at Bitburg e Put a Motor in Yourself, do iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
PARA MAIS INFORMAÇÕES:
peças. Em 2003, o grupo alemão Ensemble disco Civilization Phaze III, e depois os iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii • Entrevista à Keyboards, Computers &
Modern lançou um disco (Greggery Peccary arranjos feitos para essas peças pelo Software: http://goo.gl/QF0VVX
and Other Persuasions: The Ensemble Modern Ensemble Ascolta e Ensemble Modern, iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii • Peefeeyatko, documentário de Henning
Plays Frank Zappa) que contém, entre outras respectivamente. iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
coisas, cinco peças antes executadas no Lohner: http://goo.gl/nl9sqF
O estranhamento não desapareceu, de modo iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
Synclavier, duas delas do Civilization Phaze iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii • Reagan at Bitburg, versão de Civilization
III. Desde 2007, o também alemão Ensemble algum.
iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii Phaze III: http://goo.gl/YDhMh5
Ascolta vem realizando alguns concertos iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
tocando peças do Zappa, incluindo também iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii • Reagan at Bitburg, arranjo do Ensemble
algumas para Synclavier, como I Was In iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii Ascolta: http://goo.gl/nfFZ16
a Drum e Reagan at Bitburg, e até mesmo iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii • Put a Motor in Yourself, de Civilization Phaze
algumas outras peças compostas no iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii III: http://goo.gl/gcPs6d
sintetizador inéditas até o momento dessas iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
apresentações, como Samba Funk (incluída iiiiiiiiiiii
iiiiiiiiiiii iiiiiiiiiiii • Put a Motor in Yourself, arranjo do Ensemble
no álbum póstumo Feeding the Monkies at iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii Modern: http://goo.gl/N9N9CT
Ma Maison, de 2011) e Overture to Uncle Sam iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
(ainda não lançada, assim como os arranjos iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
iiiiiiiiiiii iiiiiiiiiiii LUI S F ELIPE LA B AKI iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
da Ensemble Ascolta). iiiiiiiiiiii
é formado em audiovisual pela ECA-USP, onde iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
Para cada nova obra de Synclavier arranjada iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
também atualmente faz mestrado. Trabalha iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
e executada, parece haver uma aura de iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
como diretor, montador e compositor de iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
conquista, de desbravamento (“yes, we iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
trilhas sonoras. iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
can!”). Algo como se, uma vez executada na iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
íntegra em um concerto por um conjunto, vimeo.com/luislabaki iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
a peça finalmente ganhasse vida. Mas será iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
que é esse o caso? O risco aqui é cair em um iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
juízo de valor metafísico. A versão executada iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
ao vivo é melhor por… ser ao vivo? Humanos iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
vs. Máquinas? Não, acho que não pode ser iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii INTERVENÇÃO iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
IWAOiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
§3
Contraposição a partir da proposição Ele estava lá, para ajustar a equalização, a Eletrônica ou acústica, importa? Um sampler
“desenhar uma linha reta”. A. Tocar um som intensidade, a posição das caixas (afinal, a como instrumento musical. Microfones por
intenso, periodicamente, sempre o mesmo peça não se escuta, ainda). Estava lá para todos os lados, amplificação, captadores.
h t t p: / / g o o. g l / o Ka V W 2 e h t t p: / / g o o. g l / t A l 4 9 g ( N. E. )
objeto musical (discussão de Cornelius proporcionar a experiência de uma escuta Um som tipo midi (lembrem do soundblaster,
Cardew sobre a peça X for Henry Flynt1 , que quer ser apenas uma escuta. Ou ainda: mais de dez anos atrás) junto a um som
de La Monte Young). B. A velha piada do que sonha ser escuta isolada de outras tipo vinil. Fenerich reimaginando Mahler2 .
músico a jogar paciência. De um lado o mito experiências. A orquestra, tal como o computador,
da necessidade de performance senciente. iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii interpreta a partitura. A edição toca o vinil
De outro a ação complexa, irredutível, a iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii tocando a orquestra e toca o computador
surgir de instruções simples, e o papel da iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii tocando o midi.
performance humana nesta. iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
h t t p: / / g o o. g l / 6 F H o a u ( N. E. )
2
1
Fazer música contemporânea – por natureza Casa das Caldeiras. O grupo busca dialogar
experimental – é (paradoxalmente) um com o ambiente contemporâneo, saindo da
desafio em nosso tempo, e fica ainda maior rigidez do formato “sala de concerto”.
se aqueles envolvidos em sua produção
assumirem posturas isolacionistas. Por Essa expansão é a fundação da linda, + de 50 compositores + de 80% de obras
uma revista semanal que fala da cultura ativos inéditas
isso, o NME (Nova Música Eletroacústica)
faz questão de se posicionar como um lugar eletroacústica e experimental. Além de seus
de produção, difusão e diálogo, com foco na colunistas regulares, que publicam textos
música e cultura eletroacústica. O grupo quinzenalmente, a revista convida musicistas
busca sempre expandir os horizontes da de todas as partes do Brasil a falarem sobre
a cena contemporânea em suas cidades,
NME
produção artística contemporânea e seus
muitos públicos por meio de novos formatos colaborando na criação de um panorama – já
e locais de apresentação, construindo pontes há muito atrasado – da música experimental
entre artistas nacionais e estrangeiros e seus no país. Complementando esse panorama,
públicos. artistas sonoros de diversas formações e
origens participam da revista, ajudando a
Em quase três anos de vida (a se completarem romper as barreiras de um experimentalismo
em 18 de agosto próximo), o grupo propôs ancorado essencialmente nas academias e
renovações no cenário musical paulista. estúdios de música.
A série NMEchá (agora em sua terceira
edição) convida compositores a criarem obras Esta edição bilíngue continua a expandir nossos
inspiradas em diferentes infusões, que são horizontes para além das fronteiras nacionais.
servidas ao público durante as apresentações. Esperamos mostrar uma face diferente da
A instalação NMEolhos, que ocupou praça música brasileira atual, ao mesmo tempo
pública na Unicamp durante mais de dois em que apresentamos aos brasileiros uma
meses com um sistema de som de 10 caixas, amostra da extensão do horizonte criativo da
tocando obras compostas especialmente música contemporânea no mundo de hoje.
para a instalação por meio de um software Três anos já, e continua lindo!
inteligente. Já o concerto-instalação
NMElounge uniu música eletroacústica, {:
paisagens sonoras ferroviárias e o universo + de
sonoro das pistas de dança, sendo o evento + de 10 álbuns 60 concertos em
principal do núcleo de artes da festa Caldo, na lançados 5 cidades diferentes
O século ruidoso Em 1913, durante o movimento da vanguarda
futurista, o artista e compositor italiano Luigi
Russolo teve uma percepção (a)temporal
e alavancas que geravam uma série de
timbres, emulando os sons coditianos de
uma cidade, possibilitando transportá-los,
e, dando a ela sua devida importância, manipulá-los e reproduzi-los dentro de
acabou por se tornar o papa de toda uma teatros e ambientes fechados. Num trabalho
geração. Antes de falar mais sobre ele e pioneiro, e polêmico, ele formou uma
BRUNO FABBRINI sua produção, vale escutá-lo: orquestra de Intonarumoris e apresentou
no teatro de Milão sua obra, Risveglio de
linda #20 A vida antiga foi toda silêncio. No una città (Amanhecer de uma cidade), ao
século dezenove, com a invenção das mundo. A orquestra era formada por uma
máquinas, nasceu o Ruído. Hoje, o Ruído série de Intonarumoris que geravam uma
triunfa, afeta e domina soberanamente ampla variedade de ruídos, e eram divididos
a sensibilidade dos homens. (…) Os pelo compositor em diferentes grupos.
ruídos mais fortes que interrompiam
este silêncio não eram intensos, nem Recebido sob uma chuva de vaias no teatro,
prolongados, nem variados. Exceto pelos o compositor ouviu gozações e miudezas
furacões, tempestades, avalanches e de todos os tipos, viu boa parte do público
quedas d’água, a natureza é silenciosa abandonar a apresentação, e mesmo assim
teve uma certeza: havia vencido. Lidando
(Manifesto da música futurista – 1913) 1
com essas novas nuances de timbres,
Se suas pontuações acerca da natureza são transportando o som das ruas para o
duvidosas, não resta dúvida que mais de um ambiente musical e afirmando que o ruído
século depois sua afirmação sobre o ruído é era o futuro da música, Russolo chocou o
precisa: hoje o ruído triunfa, afeta e domina mundo e parece ter antecipado boa parte
soberanamente a vida dos homens. Ao da produção contemporânea, já no século
menos, por via da experiência pessoal, dos passado. Não custa lembrar: na época não
homens que conheço, vivendo nas grandes existia tecnologia de gravação portátil,
cidades. e toda a instrumentação que compunha
as orquestras utilizava instrumentos
Russolo, ainda em 1913, com a ajuda de seu consagrados, que dominavam as salas de
amigo Ugo Piati, inventaria um instrumento concerto com exclusividade já há mais de
musical precursor dos sintetizadores, o século.
Intonarumori, ou entonador de ruído, uma
espécie de caixa paralelepipedal com uma No futuro próximo, o italiano seria
traquitana interna formada por botões admirado por Cage, Varése e uma série de
1
T r a d u ç ã o d o a u t o r.
compositores ligados à música eletrônica, por cidades como Genova, Londres e Paris,
eletroacústica, noise, experimental e ainda difundindo sua percepção e combatendo a
escreveria um livro chamado A arte dos ideia de música como algo oposto e alheio
ruídos: aos sons e sonoridades que escutamos no
dia a dia. Por fim, além de enfrentar uma
No século XIX, com a invenção das
série de detratores, Russolo foi literalmente
máquinas, nasceu o ruído. No presente, o
bombardeado: radicado em Paris durante a
Ruído triunfa e reina sobre a sensibilidade
segunda guerra, todos seus Intanorumoris
dos homens… Todas as manifestações
foram destruídos em um ataque aéreo
da nossa vida vêm acompanhadas pelo
que atingiu o galpão em que armazenava
ruído. O ruído é portanto familiar a os instrumentos (hoje existem apenas
nossos ouvidos e tem o poder de remeter reproduções baseadas em seu projeto
imediatamente à vida cotidiana. Enquanto original). Ele morreria dois anos depois, em
que o som, alheio à vida, sempre musical, 1947, deixando um legado que nunca mais
objeto em si, elemento ocasional sairia do vocabulário musical.
desnecessário, se transformou para o
nosso ouvido no mesmo que representa iii iii iii iii iii iii iii iii iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii iii iii iii
para o olho um rosto muito conhecido; iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii i
o ruído, em contrapartida, ao chegar Pra quem quiser escutar Risveglio de una
confuso e irregular nessa confusão que città, segue o link: http://goo.gl/A57Vz0
é a vida, nunca se revela inteiramente e
nos deixa incontáveis surpresas.2 A primeira imagem, no começo do texto, é a
charge estampada no jornal no dia seguinte
No livro, o compositor faz uma classificação a estréia da obra, em Milão.
de seis grupos de ruídos, dividindo sons
como trovões, explosões, apitos, assovios, Na sequência, mais algumas imagens do
rangidos, vozes, choros, gritos, choques compositor e seu invento.
com pedras, metais, madeiras e outros iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii
iiiiiiiiiiii
tantos. iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii
É notório o fato de Russolo, numa só tacada, iiiiiiiiiiii iiiiiiiiiiii B RUNO FA B RINNI
ter percebido e dado atenção à escuta cresceu músico, formou-se em audiovisual e
ruidosa, inventado um pré-sintetizador, cinema, compõe, decompõe e recompõe sons,
e transportado os sons da cidade para o palavras e imagens. Integra o Baoba Stereo
ambiente musical, rodando com Risveglio Club, o Invisibili(cidades) e o NME.
2
T r a d u ç ã o d o a u t o r. iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii A primeira impressa a gente nunca esquece!
iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii linda, a revista sobre a tal cultura eletroacústica
iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii à venda, por R$15, em http://goo.gl/WPOIPV
§4
Sim, há carros, aviões, helicópteros,
máquinas diversas - mas, especialmente:
alto-falantes, espalhados por todos os
lados (tocadores, televisões, rádios etc).
Se há saturação urbana e poluição sonora,
há sobretudo saturação dos indícios de
presença humana. Tanto que nem os
percebemos como tal. Viram ambiente.
Música de notas e/ou ritmos musicais
e falas: nós aqui estamos, nós que
dominamos. Um caso na Ilha do Marajó.
Andamos 40 minutos sob o sol escaldante.
Ao chegar na praia encontramos, além da
vasta paisagem de areia e água salobra,
um único sujeito e seu quiosque, tocando
reggae com muita intensidade, a caixa de
som virada para o mar.
iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii É preciso saber programar
para fazer música
eletroacústica?
Caio Kenji A programação de computadores (por meio de
linguagens como Pure Data, SuperCollider ou Csound)
iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii linda #21 é muito utilizada no meio da música experimental com
iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii o fim de obter novas sonoridades ou interações com o
material sonoro. Nesse contexto, algumas vezes me foi
perguntado se para compor uma obra eletroacústica era
§5
necessário aprender programação. De pronto, toda vez
Luteria digital: a difícil arte de equilibrar o que algum questionamento similar surgia, respondia
tempo gasto na criação do instrumento e na que não era necessário, afinal conheci ótimos trabalhos
utilização do mesmo para fazer música. Na dessa natureza feitos, por exemplo, em editores de
(benéfica) falta de um projeto, fuçar. Não ter áudio. De fato, muitas ferramentas para o processo de
uma meta composicional não significa não composição desse tipo de obra já foram “programadas”
ter outras metas. Na ausência (ou falta de – como efeitos e rotinas realizadas em vários tipos de
predominância) de metas musicais, metas síntese e modulações – e podem ser encontradas em
sonoras. Resolver pequenos problemas. Se softwares de edição/produção de som. No entanto,
formos perguntar aonde está o problema, para quem opta pelo experimentalismo como forma
talvez isso indique onde subsiste um de criação, ter acesso à customização das próprias
projeto. E viver de modo que a questão da ferramentas e da manipulação de seus parâmetros
composição musical desapareça, pode ser muito útil. Estes softwares de edição/produção,
momentaneamente, é favorecer uma visando o mercado, normalmente operam justamente
relação que ainda assim não resolve o com os procedimentos mais usuais e mais passíveis de
desequilíbrio evocado. serem comercializáveis e, portanto, frequentemente
não servem ao experimentalismo. É claro que o uso não
iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii convencional de softwares, comerciais ou não, também
iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii é uma forma bem pronunciada do lado experimental
iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii (vide o texto Esculpindo sons no Photoshop1 de Rodrigo
iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii Faustini, por exemplo).
A utilização do processamento do som em necessariamente vinculada às limitações Inauguração da loja online do NME!
tempo real (live electronics) é um bom de um software. Nesses termos, e caso
exemplo, pois a ideia de captar um som e aquele primeiro questionamento (é http://loja.nmelindo.com
alterá-lo na sua reprodução imediata, por preciso programar para fazer música
mais simples que possa parecer, é muito eletroacústica?) gere uma conversa em
aberta em questão de possibilidades e que caiba falar disso, minha resposta seria
dificuldades. Aqui uma grande utilidade acrescida de: “Não, mas seria uma pena
da programação nos serve para poder ter não passar pela vivência”.
mais controle do quê, quando e como é
processado. No caso do live electronics, é
comum se criar uma série de condições por
meio da programação para que as alterações
aconteçam apenas nos momentos e nos
iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii Relançamento:
sons desejados. A automação controlada
por decisões básicas tomadas a partir iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii H e n r i q u e I w a o : vídeos 2003-2013 (DVD)
iiiiiiiiiiii
de uma série de condições previamente iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
estabelecidas é o papel da programação em iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii CAIO KEN J I R$15
qualquer contexto. Não seria diferente para é artista sonoro, utiliza Pure Data e
as artes. Arduino para fazer instalações interativas
O live electronics é só um exemplo, mas multimídia. Já se apresentou em concertos
praticamente tudo o que se deseja realizar de improvisação livre e live coding.
com o material sonoro, que necessite do Eventualmente compõe músicas. iiiiiiiiiiii
processamento de um computador, pode ser iiiiiiiiiiii
realizado por meio da programação. Sendo iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
assim, a forma de se pensar a criação passa iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
a incluir o “pensar a realização” de uma iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
forma muito mais minuciosa, o que talvez iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
seja uma das situações mais ricas – caso iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
haja afinidade com o ato de programar – iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
para quem se propõe ao experimentalismo, iiiiiiiiiiii iiiiiiiiiiii
uma vez que a especulação não está mais iiiiiiiiiiiiiiiiiiiiiiii
iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiii
Lançamento:
Música d a s c i n z a s : ambiências
1
h t t p: / / g o o. g l / s 9 Q 4 w R sonoras para baixar o seu astral (CD)
R$15
Coragem e construção e
cabelo
Lucas Rodrigues Ferreira
linda #18
Há algo de corajoso em escolher notas e se propõe a algo e confirma a sua própria

jurar por aqueles intervalos quase como existência ao fim, não expõe Babbitt ao
se quem escolhesse os ruídos estivesse ridículo.
escondendo os afetos. iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii iii
iii
iii
ii iiiiiii ii
iiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii
iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii O segundo quarteto de cordas de Babbitt é
Podemos definir ruído como qualquer coisa composto de forma que só existam uma ou
que não evoca nada além de si mesma? duas classes de intervalos no início: a terça
maior e a terça menor, se não me esqueço.
De forma que qualquer coisa que se repita No curso da música, gradualmente são
suficientemente criaria seu próprio adicionadas as outras classes de intervalos,
significado. em pesos iguais, até que todas apareçam. iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii
iii Por algum motivo esse objetivo é alcançado iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii
ii iiiiiii ii
iiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii da maneira mais complexa possível. E é isto iii iii iii iii B OULEZ I M PRE S S IONA S UA S A M IGA S CO M iii iii iii iii iii iii iii iii iii iii iii iii iii iii
Talvez eu veja um certo tom sarcástico tudo o que podemos tirar da peça. iii iii iii iii S EU KI T DE M ÁGICA NA ÚLT I M A DAR M S T AD T iii iii iii iii iii iii iii iii iii iii iii iii iii
em Milton Babbitt. Algo que permite seu iii iii iii iii iii F ERIENKUR S E A F T ER - PAR T Y. iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii
iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii
distanciamento pessoal da sua obra. Fazer iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii
uma música que permite sua própria
Boulez esconde a calvície com um COMBOVER. iii iii iii iii iii iii iii iii iii iii iii iii iii iii Todos os esforços foram dispendidos para encontrar o autor da imagem iii
defesa, fechada em si, como um objeto que
iii acima e pedir autorização para sua utilização. Caso você seja o autor, ou tenha alguma informação iii iii
iii sobre ele, por favor, entre em contato conosco. iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii
iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii iii
ii ii ii ii iiiiiiiiiiiiii
iiiiiiiiiiii ii ii ii ii iiiiiiiiiiiiii
ii ii ii ii iiiiiiiiiiiiii
ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
Morton Feldman tinha uma vasta cabeleira.ii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
Há um documentário da HBO sobre iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
combovers. Combover (literalmente iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
“pentear através”, em inglês) é um tipo de iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
penteado elaborado para esconder a careca. iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
Para um combover de sucesso, é necessário iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
que diferentes partes do cabelo restante iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
sejam cultivadas deliberadamente até iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
diferentes tamanhos, para que então sejam iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii §6
distribuídas em camadas sobre o escalpo iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
e fixadas com spray. Parece um processo Composers doing normal shit. Cientistas e
iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii suas motivações. Penso em como, segundo
bastante complicado e bem definido para iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
se fazer todas as manhãs. o livro Caos, de Gleick, Feigenbaum
falava “conjuntos de Julia” mas nunca
ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
“de Mandelbrot”. Contra o Método, de
iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii Feyerabend, tem exemplos curiosos,
Um combover muito bem executado ainda iiiiiiiiiiii
iiiiiiiiiiii abordando Galileu. O capítulo 1 - Literatura,
assim não faz ninguém menos careca, no iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
iiiiiiiiiiii iiiiiiiiiiii do Ciência em Ação, de Latour, finalmente
entanto.
iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii tornou compreensível para mim a escrita
Talvez até exagere a calvície. LUCA S RODRIGUE S F ERREIRA de artigos como produção humana. Isto é,
é guitarrista e compositor de Santos que mostrou-me como existe sensatez nesse
iiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii tipo de ocupação, só aparentemente tão
iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii trabalha com aplicação da tecnologia à arte.
Possui especialização em Sonologia pelo inóspita. A questão das alianças. Entre
iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii humanos. Entre não-humanos. Entre
iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii Conservatório Real de Haia (Holanda) e é
humanos e não-humanos. “A natureza
iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii graduando em Música pela Unicamp. resolve apenas questões já resolvidas”.
iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii lucas.nmelindo.com iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
Conversa com
Vania Dantas Leite
iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii Daniel Puig
iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii linda”2
iiiiiiiiiii
iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii Ter alguma interpretação da nossa
iiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii atualidade musical é importante. Nós,
iiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii da linda, estando no Brasil, queremos
iiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii saber do que é que se trata e do que é
iiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii que se tratou a música eletroacústica por
iiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii aqui. Por mais que sua tradição advenha
iiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii principalmente da música europeia,
iiiiiiiiiiii
iiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii entendemos que as histórias locais são
iiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii igualmente ou mais importantes do
iiiiiiiiiiii
iiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii que as universais, e entendemos que o
iiiiiiiiiiii
iiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii melhor modo de pesquisar nossa história
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii local é através da história das pessoas
iiiiiiiiiiii
iiiiiiiiiiii envolvidas.
iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii Neste trecho da conversa1 , Vania fala das
Daniel Puig, então, propôs-se a
iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii suas impressões acerca de fazer música
entrevistar grandes pessoas da música
iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii eletroacústica hoje: a relação com o
eletroacústica no Brasil. Não os nomes,
iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii passado, com outros compositores,
mas as pessoas. A diferença é que, se
iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii com a técnica e a tecnologia. Ao final,
iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii você por acaso não conhecer o nome, não
poderá, depois de ler a história, negar a chama a atenção para a importância
iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii da preservação das obras, como um
iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii importância das pessoas.
dos problemas da relação atual com a
iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii Leia mensalmente na linda! tecnologia.
iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii Vania Dantas Leite no Estúdio Métamorphoses 1
Entrevista feita por Daniel Puig em 14 de novembro de 2014, no Rio de Janeiro
iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii d’Orphée, de Anette Vande Gorne, em 1986
Bom, Vania, pra terminar, o que você diria pra esse pessoal, como eu, e mais jovem ainda, que iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
está querendo fazer música eletroacústica, fazendo de fato…? iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
Diria o seguinte… olha pra frente! Não olha muito pra trás, não. O que tá feito, tá feito. Por
exemplo, a nona de Beethoven jamais deixará de ser a nona de Beethoven. É um clássico,
adorável de você ouvir e tudo, mas não tem nada a ver com a gente. Tem a ver com aquela iiiiiiiiiiii iiiiiiiiiiii
iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiii
época, com aquela coisa, tem a ver com a gente na medida em que a gente gosta de ouvir. iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiii
Fazer é uma outra coisa. Acho que o pessoal da música eletroacústica às vezes fica muito… iiiiiiiiiiii iiiiiiiiiiii
como é uma coisa assim muito ligada aos meios acadêmicos, talvez só aos meios acadêmicos, iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiii
existe essa preocupação de dar satisfação ao outro: “porque eu estou fazendo isso, porque iiiiiiiiiiii iiiiiiiiiiii
o Schaeffer fez, porque não sei quem fez…” Acho que tem muito essa preocupação de ficar iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiii
preservando, de querer provar que sabe aquela linguagem, que você é daquela tribo, e falta iiiiiiiiiiii
iiiiiiiiiiii
alçar vôo. As pessoas tem que alçar vôo… faz! vai, faz o que você acha que tem que fazer! Você iiiiiiiiiiii iiiiiiiiiiii
iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiii
já tem o conhecimento. Já tá dentro de você, não precisa provar pra ninguém que você tem iiiiiiiiiiii
iiiiiiiiiiii
esse conhecimento. Agora, pensar em repetir menos o que já foi feito. Claro, prestar atenção, iiiiiiiiiiii iiiiiiiiiiii
iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiii
porque isso não é uma coisa fácil de fazer. É ótimo você analisar as peças que deram certo, iiiiiiiiiiii
iiiiiiiiiiii
os compositores que são realmente bons, mas não tentar imitar ou partir praquelas mesmas iiiiiiiiiiii iiiiiiiiiiii
situações, porque a música é criação. É criação, e se você não souber o que você pretende, iiiiiiiiiiii iiiiiiiiiiii
e não fizer algo seu e diferente, não vai pra frente. Mas tenho muita esperança que ela vá, iiiiiiiiiiii iiiiiiiiiiii
porque vejo que entre os jovens que estão fazendo música eletroacústica tem muita gente iiiiiiiiiiii iiiiiiiiiiii
boa, que tem essa preocupação com o novo. Hoje o mundo é muito diferente do que era na iiiiiiiiiiii iiiiiiiiiiii
iiiiiiiiiiii
década de 50 do século passado. É outra coisa, outra situação, outra difusão. Então, aproveita iiiiiiiiiiii iiiiiiiiiiii
iiiiiiiiiiii
os meios que estão se oferecendo. Acho a internet uma coisa fantástica, acho muito bom tudo iiiiiiiiiiii iiiiiiiiiiii
iiiiiiiiiiii
o que está acontecendo e vamos aproveitar essa época tão rica em tecnologia. Tudo tem seus iiiiiiiiiiii iiiiiiiiiiii
iiiiiiiiiiii Vania Dantas Leite com seu Synth EMS, em 2014
prós e seus contras. Claro que isso também tem um monte de problemas. iiiiiiiiiiii iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
Sobretudo, uma coisa que me preocupa muito é: como que a gente vai guardar essas obras, pro iiiiiiiiiiii iiiiiiiiiiii
iiiiiiiiiiii
futuro. Porque os suportes vão mudando com uma rapidez enorme! Eu vejo como já consegui iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
iiiiiiiiiiii
perder algumas obras, porque foram feitas em fita e a fita não foi copiada logo, digitalizada, iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
iiiiiiiiiiii
e hoje em dia não tem mais como recuperar. Isso, acho uma questão que merece realmente iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
iiiiiiiiiiii
muito estudo e muito cuidado: como preservar essas obras para o futuro? E não digo nem iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
iiiiiiiiiiii
um futuro longo… um futuro próximo! … com essa corrida da tecnologia! Aliás, já existem iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
iiiiiiiiiiii
congressos dedicados a isso, todo ano. iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
iiiiiiiiiiii
Direção artística do NME
Ti a g o d e M e l l o , diretor executivo, diretor de edição e diagramador Autores:

S é r g i o A b d a l l a , editor e revisor de português Alessa, Bruno Fabbrini, Caio Kenji, Daniel Puig, Francisco de Oliveira,
Julia Teles, Lilian Nakao Nakahodo, Lucas Rodrigues Ferreira,
L u í s F e l i p e L a b a k i , editor e revisor de inglês Luis Felipe Labaki, Luisa Puterman, Natália Keri e Sérgio Abdalla
L u c a s R o d r i g u e s F e r r e i r a , revisor de inglês
É l c i o M i a z a k i , ilustrador do onírico (capa e também pp. 6,7,8,9,15,16,25,41,42,43) Convidados especiais:
Henrique Iwao e Rodolfo Caesar
Entrevistados:
Pa r a f a l a r c o m o s a u t o r e s o u c o m a r e v i s t a : Luis Carlos Csekö e Vania Dantas Leite
n m e @ n m e l i n d o. c o m
E não deixe de nos acompanhar em:
linda–iii, 23/11/2014
h t t p: / / f b. c o m / n m e l i n d o NME, cultura eletroacústica linda desde 2011
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii iiii
iiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii iiii
iiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iii iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii iiii
iiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii

iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
linda iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii linda
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii linda iiii
iiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii

iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
linda iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii

iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii

iiiiiiiiiiii
linda iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii iiii
iiiiiiiii
i iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iii iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii iiii
iiiiiiiii
i iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iii iiiiiiiiiiiiiiiiiiiiiiii
i iiiiiiiiiiii iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii iii
iiii
iiiiiiiii
i iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii

iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii iiiiiiiiiiii iii
iiii
iiiiiiiii
i iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiii
iiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iii iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiii
iiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iii iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiii
iiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iii iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii iiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiii
iiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iii iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii iii
iiii
iiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iii iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii

iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiii
iiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii linda iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii linda iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iii iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii iii
iiii
iiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iii iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiii
iiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii

iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii

iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii

iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iii iiiiiiiiiiii
i iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii

iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
linda
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
linda
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii

iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii linda
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii

iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
linda
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
linda
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii iii
iiii
iiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii

iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii iiiiiiiiiiii iiiiiiii
iii iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii iii
iiii
iiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii

iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii ii
iiiiiiii
iii iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii iii
iiii
iiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii iiiiii
ii iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii

iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii

iiiiiiiiiiii
iiiiiiiiiiii iiiiiiiiiiii ii
iiiiiiii
iii iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii iii
iiii
iiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
ii iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii iiiiii
iiiiiiiiiiii
iiiiiiiiiiii ii
iii iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii ii
iiiiiiii
iii
iiii
iiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
ii iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii iiiiii
iiiiiiiiiiii
iiiiiiiiiiii ii
iii iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiii
iii
iiii
iiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
ii iiiiiiiiiiii iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii iiiiii
iiiiiiiiiiii iiii
iiiiiiiii
iiiiiiiiiiiiiii
iiiiiiiiiiii
i iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii

iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii

iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
ii
ii
iiiiiiii
iii
iiii
iiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
ii iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii iiiiii
iiiiiiiiiiii iiii
iiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii ii
iii iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiii
iii
iiii
iiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii iiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii iiiiii
iiiiiiiiiiii iiii
iiiiiiiii
iiiiiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii ii
ii
iiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii iii
iiii
iiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii iiiiii
iiiiiiiiiiii iiii
ii iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii ii
ii
iiiiiiii
iii iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii

iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii

iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii iii
iiii
iiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
ii iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii

iiiiiiiiiiii iiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii iiii
iiiiiiiii
ii
iiiiiiii
iii iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii iii
iiii
iiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii

iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii

iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii iiii
iiiiiiiii
iii iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii ii
iiiiiiii
iii
iiii
iiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
ii iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii iiiiii
iiiiiiiiiiii iiii
iiiiiiiii
ii
iii iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii ii
iiiiiiii
iii
iiii
iiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii iiiiii
iiiiiiiiiiii
iiiiiiiiiiii iiii
iiiiiiiii
iiiiiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii ii
ii
iiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii

iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii iii
iiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii iiiiii
iiii
ii iiiiiiiiiiii
iiiiiiiiiiiiiii iiiiiiiiiiii
iiiiiiiiiiii
i iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii

iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
ii
ii
iiiiiiii
iii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii iiiiii
iiiiiiiiiiii iiii
iiiiiiiii
iiiiiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii ii
ii
iiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii iii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii iiiiii
iiiiiiiiiiii iiii
ii iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii ii
ii
iiiiiiii
iii iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii iii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
ii iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii iiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii iiii
iiiiiiiii
ii
ii
iiiiiiii
iii iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii iii
iiiiiiiiiiii
iiiiiiiiiiii
ii iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii iiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii iiii
iiiiiiiii
ii
i iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
ii
iiiiiiii
iii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii iiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii iiii
iiiiiiiii
ii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii ii
iiiiiiii
iii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
ii iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii iiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii iiii
iiiiiiiii
ii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
ii
iiiiiiii
iii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii iiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii iiii
iiiiiiiii
ii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii ii
iiiiiiii
iii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
ii iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii iiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii iiii
iiiiiiiii
ii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
ii
iiiiiiii
iii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii iiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii iiii
iiiiiiiii
ii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii ii
iiiiiiii
iii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii
iiiiiiiiiiii iiiiii
iiiiiiiiiiii
iiiiiiiiiiii iiii
iiiiiiiii

Linda-Iii Portugues PDF

Enviado por

Dados do documento

Título original

Direitos autorais

Formatos disponíveis

Compartilhar este documento

Compartilhar ou incorporar documento

Opções de compartilhamento

Você considera este documento útil?

Este conteúdo é inapropriado?

Direitos autorais:

Formatos disponíveis

Linda-Iii Portugues PDF

Enviado por

Direitos autorais:

Formatos disponíveis

E chegamos à linda-iii (linda-terceira!

(32-35) Esquilo Coragem e construção e cabelo (72-74)

(36-40) Sonhos de voz e máquina Conversa com Vania Dantas Leite(76-79)

iii iii iii iii iii iii B E M

eletrônico? instrumentos acústicos sintetizados ou para

Há algo de corajoso em escolher notas e se propõe a algo e confirma a sua própria

Direção artística do NME

Ti a g o d e M e l l o , diretor executivo, diretor de edição e diagramador Autores:

Você também pode gostar