THIS TRANSCRIPT IS STILL in DRAFT FORM Paul Neagu

Total Page:16

File Type:pdf, Size:1020Kb

THIS TRANSCRIPT IS STILL in DRAFT FORM Paul Neagu Paul Neagu C466/27/01 F4529A Page 1 IMPORTANT Every effort is made to ensure the accuracy of this transcript, however no transcript is an exact translation of the spoken word, and this document is intended to be a guide to the original recording, not replace it. THIS TRANSCRIPT IS STILL IN DRAFT FORM Paul Neagu interviewed by Mel Gooding F4529 Side A This is an Artists' Lives recording made with Paul Neagu at his home in Jackson Road on October the 4th 1994. Paul I want to start by asking you about your childhood in Romania, where you were born, and about your family. Right. I was born in Bucharest, the capital of Romania, two years before the Second World War, in other words in 1938. My family was a very young one, I'm the second out of six children, the second of the third, of three boys, which means before me, two years before me there was my first brother, called Edward, I am the second, Paul, followed by Anthony two years after me, followed by three sisters in the same kind of schedule, with two years in between. So my family constituted a few years later six children. My two parents I realised soon, once I was four and five, were very young. My father came from Moldavia, which is a northern, eastern province of actual Romania, from a small village called...the region was called Vaslui, the village was called Boloshesht[ph]. He came down to Bucharest via Galatz where he was an apprentice learning to make shoes. Apparently in his apprenticeship my father had for a master, he had a Greek chap, so during those years he even learned some Greek. He came down to Bucharest and the only place where he found enough warmth and social relationships happened to be - he was a young man at the time and quite naive, without much education, he only managed four classes of school - he kind of visited quite a lot, I don't know how it happened, how he was invited for the first time, to the Baptist church which at the time was, supposedly was evidently of American import. Spiritually my father therefore found a good house in a good warm society there, and Paul Neagu C466/27/01 F4529A Page 2 it is in that church that he met my mother. She was even younger apparently, I think she was sixteen when they met, and very soon, by the time my father was eighteen they got married. So out of these very pure kind of simple, two very little education people, but with all their hearts in the right place, I mean the church took care of that, we started arriving in the world. He was by then qualified to run his own workshop, he had enough courage and support from the friends he had to start his own business as a shoemaker, and soon he specialised I believe in making shoes only for ladies. So this was briefly as much as I knew by the time I was a schoolboy. So my schooling started in Bucharest by the time I was six. Because I was born in February I went to school half a year early, therefore I was altogether one year younger than the rest of my colleagues at the time. By the time I finished my third class the war had started, which of course brought havoc to the whole industry of my father and the situation of my parents. But somehow strangely enough, if we look retrospectively, it looks like the war didn't interrupt the rhythmicity with which we were brought into the world. By that obviously, later on I realised there was something to do with the fact that they were religiously Baptist, meaning things like abortion wasn't envisaged or even allowed within the Baptist folk, so this explains why the war didn't interrupt if you like the periodicity with which we were brought into this strange world. As you could imagine, before the war and during the war and immediately after my childhood, along with the other children, was surrounded by this tense situation, in spite of which my father continued to be a progressive person, he was always a very courageous character, and as I said first of all, he continued to have children, partly because of the religious faith, partly because he was a go-ahead kind of guy. My mother on the other hand was a very tense kind of woman and very much in complementarity with my father. He was, I believe, a Scorpio; I'm saying that with humour because of course no one paid any importance to the zodiac at the time, but in retrospect, we've been kind of having funny discussion in the family, realising that my father was the aggressive character and the courageous one, wanting to go ahead and build this thing, move there, invent things and so on. He was therefore an inventive and a very creative person, while my mother was accommodating all these things, this attitude of his, they the two of them being all the time, as far as I realised, together and kind of working as an incumbent[??]. So the war came around, my father at the time had to shut down his little shop where he had, by the time the war had started in '42 he had a Paul Neagu C466/27/01 F4529A Page 3 couple of people working for him, therefore soon after that he was considered by the Communists to be an exploiter, simply because he wasn't just alone in his work as a freelance shoemaker, he was considered an exploiter by the simple fact that he had a good enough business to employ some other people. So he was called an exploiter. Of course I am saying this with a bit of cynicism, looking back on what happened, but such things have marked all my childhood, particularly when I started going to school, because my going to school after being moved, the whole family, to the province of Banat, which is west of Romania, in other words immediately after the war, after two years or so being sent in the country to save us from the bombardment of Bucharest, we, the whole family, because my father's decision was to move to the west of Romania, which was quite a courageous move at the time, therefore he had given up Bucharest where his three boys were born, of course my third brother, the smaller one of the three, was very young at the time, in '42 he must have been two years of age. So with three boys, they moved to Timisoara, giving up house, shop and all the friends they had within the church and outside the church, because my circle, or rather my parents' circle of friends was always constituted around the church, the church was very magnetic to them and their socialising and their relationship with the world went through the church. I remember as a very young boy how important for instance was the Christmas. Christmas-time around this church in Bucharest meant not only a gathering of the warmest hearts they knew, but it also meant the time when, you know, gifts would arrive, chocolates and little toys from the United States, which is just as well I mention it to explain why later my father as a Baptist when they moved to Timisoara, the town in Banat, had spent some days in prison because all the Baptists of Romania were considered illegal as soon as the Communists took over, took power after the election in '47. Once the King of Romania, Michael, was pushed out, was pushed to abdicate, which happened about the same year when we moved to Timisoara, the Baptists became a kind of illegal religion in the sense that the Communists didn't accept something which they knew came as a spread from America. At the time, I'm not quite sure about the time in which Truman was the President of the United States, he was a Baptist, and several other personalities of political ranking in the Western world, particularly on the American side, and as you could imagine, together with the coming of the Allies, such things were immediately marked as being anti-Communist and so on. Paul Neagu C466/27/01 F4529A Page 4 Were the Communists tolerant of the predominant religion of Romania which I think is Orthodox? It's true, they are Greek Orthodox, and they were tolerant because they had not much choice, they couldn't go against it from the very beginning. They were tolerant but without being very friendly, which is what happened for the rest of the Communist time, meaning forty years to go since then. It came to the point where, say ten years ago, meaning in the early Eighties, there were very important Communist guys in certain towns and villages which were able to be important members of the Communist parties, as well as church builders for instance, they were supporting building new churches, which is to do with the double faced kind of role the church has played during the Communist years in Romania, which to some extent now, after the collapse of Communism has been taken against them, in other words they've been accused of being Jewlass[ph] as it were of the Romanian faith, of the Romanian... Their accommodation with the Communists has now... To an extent... Has rebounded on them.
Recommended publications
  • An Interview with Frieder Nake
    arts Editorial An Interview with Frieder Nake Glenn W. Smith Space Machines Corporation, 3443 Esplanade Ave., Suite 438, New Orleans, LA 70119, USA; [email protected] Received: 24 May 2019; Accepted: 26 May 2019; Published: 31 May 2019 Abstract: In this interview, mathematician and computer art pioneer Frieder Nake addresses the emergence of the algorithm as central to our understanding of art: just as the craft of computer programming has been irreplaceable for us in appreciating the marvels of the DNA genetic code, so too has computer-generated art—and with the algorithm as its operative principle—forever illuminated its practice by traditional artists. Keywords: algorithm; computer art; emergent phenomenon; Paul Klee; Frieder Nake; neural network; DNN; CNN; GAN 1. Introduction The idea that most art is to some extent algorithmic,1 whether produced by an actual computer or a human artist, may well represent the central theme of the Arts Special Issue “The Machine as Artist (for the 21st Century)” as it has evolved in the light of more than fifteen thoughtful contributions. This, in turn, brings forcibly to mind mathematician, computer scientist, and computer art pioneer Frieder Nake, one of a handful of pioneer artist-theorists who, for more than fifty years, have focused on algorithmic art per se, but who can also speak to the larger role of the algorithm within art. As a graduate student in mathematics at the University of Stuttgart in the mid-1960s (and from which he graduated with a PhD in Probability Theory in 1967), Nake was a core member, along with Siemens mathematician and philosophy graduate student Georg Nees, of the informal “Stuttgart School”, whose leader was philosophy professor Max Bense—one of the first academics to apply information processing principles to aesthetics.
    [Show full text]
  • Conceptual Art: a Critical Anthology
    Conceptual Art: A Critical Anthology Alexander Alberro Blake Stimson, Editors The MIT Press conceptual art conceptual art: a critical anthology edited by alexander alberro and blake stimson the MIT press • cambridge, massachusetts • london, england ᭧1999 Massachusetts Institute of Technology All rights reserved. No part of this book may be reproduced in any form by any electronic or mechanical means (including photocopying, recording, or information storage and retrieval)without permission in writing from the publisher. This book was set in Adobe Garamond and Trade Gothic by Graphic Composition, Inc. and was printed and bound in the United States of America. Library of Congress Cataloging-in-Publication Data Conceptual art : a critical anthology / edited by Alexander Alberro and Blake Stimson. p. cm. Includes bibliographical references and index. ISBN 0-262-01173-5 (hc : alk. paper) 1. Conceptual art. I. Alberro, Alexander. II. Stimson, Blake. N6494.C63C597 1999 700—dc21 98-52388 CIP contents ILLUSTRATIONS xii PREFACE xiv Alexander Alberro, Reconsidering Conceptual Art, 1966–1977 xvi Blake Stimson, The Promise of Conceptual Art xxxviii I 1966–1967 Eduardo Costa, Rau´ l Escari, Roberto Jacoby, A Media Art (Manifesto) 2 Christine Kozlov, Compositions for Audio Structures 6 He´lio Oiticica, Position and Program 8 Sol LeWitt, Paragraphs on Conceptual Art 12 Sigmund Bode, Excerpt from Placement as Language (1928) 18 Mel Bochner, The Serial Attitude 22 Daniel Buren, Olivier Mosset, Michel Parmentier, Niele Toroni, Statement 28 Michel Claura, Buren, Mosset, Toroni or Anybody 30 Michael Baldwin, Remarks on Air-Conditioning: An Extravaganza of Blandness 32 Adrian Piper, A Defense of the “Conceptual” Process in Art 36 He´lio Oiticica, General Scheme of the New Objectivity 40 II 1968 Lucy R.
    [Show full text]
  • Downloaded Or Projected for Classroom Use
    FEBUARY 15, 2013–MAY 8, 2013 Solomon R. Guggenheim Museum Teacher Resource Unit A NOTE TO TEACHERS Gutai: Splendid Playground is the first U.S. museum retrospective exhibition ever devoted to Gutai, the most influential artists’ collective and artistic movement in postwar Japan and among the most important international avant-garde movements of the 1950s and 1960s. The exhibition aims to demonstrate Gutai’s extraordinary range of bold and innovative creativity; to examine its aesthetic strategies in the cultural, social, and political context of postwar Japan and the West; and to further establish Gutai in an expanded history of modern art. Organized thematically and chronologically to explore Gutai’s unique approach to materials, process, and performativity, this exhibition explores the group’s radical experimentation across a range of mediums and styles, and demonstrates how individual artists pushed the limits of what art could be and mean in a post-atomic age. The range includes painting (gestural abstraction and post-constructivist abstraction), conceptual art, experimental performance and film, indoor and outdoor installation art, sound art, mail art, interactive or “playful” art, light art, and kinetic art. The Guggenheim show comprises some 120 objects by twenty-five artists on loan from major museum and private collections in Japan, the United States, and Europe, and features both iconic and lesser-known Gutai works to present a rich survey reflecting new scholarship, especially on so-called “second phase” works dating from 1962–72. Gutai: Splendid Playground is organized by Ming Tiampo, Associate Professor of Art History, Carleton University, and Alexandra Munroe, Samsung Senior Curator of Asian Art, Guggenheim Museum.
    [Show full text]
  • Estonian Art Manifesto
    Estonian Art Manifesto the New Art" implies somehow an opposition against the old, which in the light of the shortness of Estonian art history strikes as a somewhat grotesque implication. The memoirs of one of the founding members of the Group, Eduard Ole contain an amount of opposition, where the expressionism, which was popular in Pallas appears in the role of the old. However, it is probably a bare necessity derived from the modernist rhetoric that demands a con­ struction of the enemy. Through the fabric of modernism that with minor or ma­ The stable political situation in Europe and Estonia re­ jor cuts has a century long history in Estonia, there runs a spectively calms the artists down and the manifesto of particular continuous pattern: manifesto! manifesto! man­ the Group remains the only early bird during the pre-war ifesto! Manifesto is not simply a phenomenon that belongs period. After the Second World War, during the period of to the documentalistics of cultural history, but it is also a Stalinist socialist realism, an artists credo or, even more, specific avant garde genre: thesis-based in its format, es­ manifesting the pursuits of an entire group were totally sentially young and idealistic towards the future and ni­ out of the question. So, the next art manifesto dates back hilistic towards the present. "Manifesto is the weapon of to the times of the Khrushchev Thaw, to the year 1960 modernists"1 as Tiit Hennoste, a manifestologist concluded when a group of young artists known as the Tartu Com­ the manifest as a genre, "a programme declaration of a pany (Tartu Sõpruskond) presented their works in a new­ radicals' group"2.
    [Show full text]
  • MANIFESTO Julian Rosefeldt PROLOGUE
    MANIFESTO Julian Rosefeldt PROLOGUE All that is solid melts into air. KM|FE 1848 To put out a manifesto you must want: ABC to fulminate against 1, 2, 3; to fly into a rage and sharpen your wings to conquer and disseminate little abcs and big abcs; to sign, shout, swear; to prove your non plus ultra; to organize prose into a form of absolute and irrefutable evidence. I am against action; I am for continuous contradiction: for affirmation, too. I am neither for nor against and I do not explain because I hate common sense. TT 1918 I am writing a manifesto because I have nothing to say. PS 1920 I speak only of myself since I do not wish to convince; I have no right to drag others into my river, I oblige no one to follow me and everyone practises his art in his own way, if he knows the joy that rises like arrows to the astral layers, or that other joy that goes down into the mines of corpse-flowers and fertile spasms. Does anyone think he has found a psychic base common to all mankind? How can one expect to put order into the chaos that constitutes that infinite and shapeless variation – man? TT 1918 QUOTED MANIFESTOS KM|FE 1848 ~ Karl Marx / Friedrich Engels, Manifesto of the Communist Party TT 1918 ~ Tristan Tzara, Dada Manifesto 1918 PS 1920 ~ Philippe Soupault, Literature and the Rest SITUATIONISM We are continuing the evolution of art. The ideas are irrefutable. They exist as seeds within the social fabric, awaiting expression by artists and thinkers.
    [Show full text]
  • No Longer a Horizon, but Infinity”
    Suheyla Takesh INTRODUCTION: “No Longer a Horizon, but Infinity” In 1964 the Algerian weekly Révolution africaine published “Éléments pour un art nouveau” (Elements for a New Art), an essay by the painter Mohammed Khadda that contended with the role of the artist in post-independence Algeria and in the formation of a socialist state.1 In the text, Khadda argued for a function of art beyond propaganda or agitation.2 The history of painting, he wrote, had been one of successive revolutions and of a continuous liberation that eventually culminated in the emergence of abstraction, allowing painting to become an art unto itself, no longer reliant on a physical subject. In Khadda’s account, the birth of abstract art was tied to the moment Wassily Kandinsky created “the first nonrepresentational work” in 1910—most likely a reference to Untitled (Study for Composition VII, Première abstraction).3 Whether or not we attribute the beginning of abstraction to Kandinsky’s watercolor alone, discussing it prompted Khadda to make compelling observations about abstraction’s potential. “There was no longer a horizon, but infinity,” he wrote.4 Transcending the limits of represen- tation, of physical reality, and thereby the bounds of a metaphorical “horizon,” the artist would be able—in Khadda’s imagination—to tap into an infinite range of “creative” experiences and expand what art could achieve.5 The promise of nonobjective abstraction, purporting, as it does, values of multiplicity, plurality, and heterogeneity, would be to encourage a more genuine expression of individ- uality than had been hitherto possible. The place from which Khadda’s thoughts emerged is one that is shared across geographies of decolonization: a breaking away from the entrenched colonial vision and a questioning of what it means to formulate a distinct national identity.
    [Show full text]
  • THIRD ART MANIFESTO 1 Third Art Both Does Not Exist Yet and Has Existed As Long As Art Exists
    THIRD ART MANIFESTO 1 Third art both does not exist yet and has existed as long as art exists. Third art is not self-sufficient. While it is an integral part of all possible realms of being and non-being it should not lose itself as art. Third art is interested in the destiny of life upon the Earth and in the universe. “First Art” is the art of serving a given culture and its dominant patterns of civilization and religion. (Classical art) “Second Art” is the art expressed as art – art that focuses on its own essence and follows its own purpose; its foundation and justification is art itself. (Modern art) »Third Art« is the art of co-creating the space of reality plus looking into the unknown. 2 Responsibility towards all existing Creating an art work upon the Earth means that the creative process evolves within the Gaia consciousness and embraced by the elemental powers of Gaia, the Earth Goddess. Gaia is the creator of life forms visible and invisible. It is Gaia that teaches the art of living, creating, and transforming in the conditions of matter. The possibility of embodying an artwork or any other work in a more or less material form is the gift of Gaia. Together with its elemental and sub-elemental beings, Gaia has developed the ability to respond to human visions and ideas developing ways how we can manifest them in corresponding material or pre-material forms. Limiting our existence and existence of other beings to material forms should not be accepted.
    [Show full text]
  • The Manifesto & the Hammer. a Review on How Contemporary
    Athens Journal of Architecture - Volume 2, Issue 4 – Pages 271-282 The Manifesto & the Hammer. A Review on How Contemporary Architecture Theories are being built By Beatriz Villanueva Cajide When Panayotis Tournikiotis wrote Historiography of Modern Architecture in 1999 it started to be obvious the strategies the theorists of architecture have followed to present the words of the so-called pioneers of the Modernity as a kind of consistent discourse that eventually never existed. On top of that, if we see the original writings of those architects we will find that, in most cases, they use the format of a Manifesto - probably influenced by the Avant-Garde artistic movements from the beginning or past century- to express those ideas. Based on Tournikiotis book and comparing his theory to the original Manifestoes it is clear how theorists of Modern architecture used these texts, that were just expressing immediate ideas on one particular matter, as small pieces in their own historical puzzle to build a theory capable of explaining the evolution of architecture since the Industrial Revolution. From the publication of the “gentle manifesto” Complexity and Contradiction in Architecture (Robert Venturi, 1966), according to some American authors like Charles Jencks the definition of an architect started to be dependent on his relationship with Modernity. In this way, Piano and Rogers are defined as Late-Modern architects because of their refusal to condemn Modernity (as Venturi and the Post-Moderns did) even though they considered themselves followers, such as Isozaki, Hertzberger or Foster. According to Piano and Roger´s Manifesto of 1975, Declaration, could be interpreted as an attempt to make Modern architecture more contemporary by defending the idea of using the technique in a way the Pioneers never could, just because technology was not developed enough at the moment.
    [Show full text]
  • Complexism and Evolutionary
    15 Complexism and the Role of Evolutionary Art Philip Galanter Independent Artist [email protected] Summary. Artists have always learned from nature. A new generation of artists is adapting the very processes of life to create exciting new works. But art is more than the creation of objects. It is also a progression of ideas with a history and a correspondence to the larger culture. The goal of this chapter is to take a step back from the details of the technol- ogy and the consideration of specific works, and to view evolutionary art in the broader context of all art. This kind of multidisciplinary discussion requires one to be multilingual, and this chapter will use the language of scientists, humanists, artists, and philosophers. While doing so we will quickly visit complexity science, postmodernism in the arts, and the conflict between the cultures of the humanities and the sciences. With this as a backdrop, I will introduce a new approach I call complexism. Complexism is the application of a scientific understanding of complex systems to the subject matter of the arts and humanities. We will see that the significance of evolutionary art is that it takes complexism as both its method and content. Evolu- tionary art is a new kind of dynamic iconography: the iconography of complexism. And complexism offers nothing less than the reconciliation of the sciences and the humanities through a higher synthesis of the modern and the postmodern. To a certain extent this chapter participates in the modernist tradition of the art manifesto. The art manifesto is a form of speculative writing where the artist-author posits a new revolutionary creative direction for a group of artists who share a set of common interests, as well as a new worldview that offers a radical break with the past.
    [Show full text]
  • Feminist Art Manifestos an Anthology
    Feminist Art Manifestos An Anthology Katy Deepwell (ed.) KT press, 2014 KT press publishes books and n.paradoxa: international feminist art journal to promote understanding of women artists and their work Feminist Art Manifestos: An Anthology Katy Deepwell (editor) Notice of Rights All rights reserved. No part of this book may be reproduced or transmitted in any form by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of the authors and publisher. For information on getting permission for reprints and excerpts, contact [email protected]. The right of Katy Deepwell as editor of this work has been asserted by her in accordance with the Copyrights, Design and Patents Act, 1988. Copyright © 2014 to named authors and artists, reproduced courtesy of authors and artists. MIERLE LADERMAN UKELES - MANIFESTO FOR MAINTENANCE ART 1969!; AGNES DENES - A MANIFESTO (1969); MICHELE WALLACE - MANIFESTO OF WSABAL (1970); NANCY SPERO - FEMINIST MANIFESTO (1970-1971); MONICA SJOO AND ANNE BERG - IMAGES ON WOMANPOWER - ARTS MANIFESTO (1971); RITA MAE BROWN - A MANIFESTO FOR THE FEMINIST ARTIST (1972); VALIE EXPORT - WOMEN'S ART: A MANIFESTO (1972); FEMINIST FILM AND VIDEO ORGANIZATIONS - WOMANIFESTO (1975); KLONARIS / THOMADAKI - MANIFESTE POUR UNE FÉMINITÉ RADICALE POUR UN CINÉMA AUTRE (1977);CAROLEE SCHNEEMANN - WOMEN IN THE YEAR 2000 (1977); Z.BUDAPEST, U.ROSENBACH, S.B.A.COVEN - FIRST MANIFESTO ON THE CULTURAL REVOLUTION OF WOMEN (1978); EWA PARTUM - CHANGE, MY PROBLEM IS A PROBLEM OF A
    [Show full text]
  • It's Not Over
    It’s Not Over (’Til It’s Over) Martin Puchner New Literary History, Volume 41, Number 4, Autumn 2010, pp. 915-928 (Article) Published by The Johns Hopkins University Press DOI: 10.1353/nlh.2010.0029 For additional information about this article http://muse.jhu.edu/journals/nlh/summary/v041/41.4.puchner.html Access provided by Harvard University (1 Mar 2014 10:45 GMT) It’s Not Over (’Til It’s Over) Martin Puchner riting the history of the avant-garde is a melancholy business. Through the confluence of unique historical forces, Wit is often claimed, an unprecedented radicalism across the arts emerged in the early twentieth century, lasting to the late thirties. According to this story, individual artists and art collectives took on all hitherto accepted artistic forms, blasting nineteenth-century reform- ism, the high modernist religion of art, and the bourgeois institution of the museum. But the avant-garde was not only “against,” although it certainly was against almost everything. Its creative destructions resulted in astonishing inventions from collages to nonsense poetry, with artists often smashing the different arts together in cabarets, little magazines, or impromptu galleries. There had been heroic attempts at breaking with convention before, and the avant-gardists sought to enlist these predecessors in their efforts, but for the most part they had to do the heavy lifting themselves. The story usually ends on a sad note with the observation that things have not been the same; all that is left for us to do is to celebrate in hindsight what we must call the historical avant- garde.
    [Show full text]
  • Manifestos—Poetry of the Revolution
    © Copyright, Princeton University Press. No part of this book may be distributed, posted, or reproduced in any form by digital or mechanical means without prior written permission of the publisher. INTRODUCTION Manifestos—Poetry of the Revolution The social revolution of the nineteenth century cannot derive its poetry from the past, but only from the future. It cannot begin with itself, before it has shed all superstitious belief in the past. Earlier revolutions needed to remem- ber previous moments in world history in order to numb themselves with re- gard to their own content. The revolution of the nineteenth century must let thedead bury the dead in order to arrive at its own content. There, the phrase exceeded the content. Here the content exceeds the phrase. Karl Marx published these sentencesThe 18th in Brumaire of Louis Bonaparte to explain the failure of the 1848 revolution1The in revolution France. failed, Marx tells us, because it was a mere recapitulation of the great French Revolu- tion, a return to a previous moment in history. Marx acknowledges that all revolutions had looked back in this way: Luther’s Protestant revolution had referred to the apostle Paul, and the French Revolution, to Roman antiquity. But while such historical borrowings and regressions may have been adequate for Luther and the French Revolution, they are no longer adequate now, in the middle of theeteenth nin century, when we need“modern a revolution” (13). But a modern revolution is difficult2After to achieve. shedding the costumes and phrases of the
    [Show full text]