A Macro and Micro Awareness of Self

Conceptual impressions surrounding this post are yet to be substantiated, corroborated, confirmed or woven into a larger argument, context or network. Objective: To generate symbolic links between scientific discovery, design awareness and consciousness.

Meaning and purpose combine to create the concept of self … a product of the relationship between divergent frequencies made within the constraints of three-dimensional space/time. All expressions of awareness are products of a dualistic relationship. Holographic references and perpetual imaginings all stem from a common virtual field, a field that when symbolically referenced also creates a contextual backdrop where certain situations are realized for the purposes of  refinement and expansion. Some of these events/experiences are very meaningful to the observer and have been described/defined as being synchronistic in character. 

Fields of energy, light and information are either absorbed or reflected, attracted or repulsed by other fields that have congregated from within this common quantum field. Each hologram is designed to generate a series of associations for the purpose of internal expansion and/or contraction. Energy is either separating or coalescing with and/or within other holographic fields, which in turn create a tumultuous vibratory field/state of changing frequency and oscillation. What appears to be chaotic in essence is an example of  dissimilarities and/or imbalances, utterances of incompatible consonance from within the enigmatic construct of this quantum field. Manifestation, i.e. the externalization/extension of what humanity describes and exercises as the imagination, is founded upon the intentions and aspirations to know oneself by means of a common design or harmonious resonance yet to be discovered within the essence of an unknown and enigmatic Presence.

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The formation of selfhood emerges from the confluence of meaning and purpose—two intrinsically human constructs that co-arise through a dialectic process embedded within the spatiotemporal matrix of three-dimensional existence. This ontological construct can be viewed as a resonant phenomenon: a relational product arising from the interference and entanglement of divergent frequencies operating within the constraints of a unified quantum substrate (Bohm, 1980; Barad, 2007). In such a framework, self-awareness becomes the emergent property of vibratory differentiation made perceptible within a holographically encoded cosmos (Talbot, 1991). 

All expressions of awareness—whether individual, collective, or machinic—are fundamentally dualistic, not in the sense of rigid binary oppositions but as dynamic polarities engaged in recursive interplay (Morin, 2008). Just as quantum complementarity asserts the co-existence of contradictory states (Bohr, 1935), awareness emerges not from a singular identity but from the continuous negotiation between opposing forces: contraction and expansion, reflection and absorption, chaos and coherence. 

The holographic paradigm provides a compelling metaphor and framework for understanding this process. In a hologram, every part contains the whole in fractal correspondence—a principle mirrored in consciousness, where subjective experience arises not in isolation but as a localized resonance of a shared informational field (Laszlo, 2004). Within this ontological field—sometimes referred to as the "implicate order" (Bohm, 1980)—events perceived as synchronistic can be understood as meaningful correlations that transcend linear causality, aligning seemingly disparate occurrences with the observer's inner state (Jung, 1952/1973). 

These synchronistic moments serve as symbolic attractors: semiotic nodes that reorganize the field of perception and catalyze self-reflective processes. They do not merely happen to the observer; rather, they arise with and through them, suggesting a participatory ontology in which consciousness is both subject and co-creator (Varela, Thompson, & Rosch, 1991). The observer, in this schema, is not an isolated entity but a modulating field of energy, continuously interacting with other vibratory systems within a larger quantum ecology. 

Each conscious entity—or “holographic node”—can be said to function as a generative pattern engine: absorbing, reflecting, and transmitting symbolic energies that contribute to internal expansion or contraction. These energetic movements—entropic or syntropic—manifest as affective states, insights, or creative actions. What is perceived as chaos is, in effect, an emergent complexity resulting from dissonant oscillatory patterns—an unresolved semiotic tension within a larger meta-design still unfolding (Deleuze & Guattari, 1987). 

The process of manifestation, therefore, may be more accurately conceived as the externalization of internal states of frequency and intention. In this sense, imagination is not merely a cognitive faculty but a formative vector—a morphogenetic field wherein intentionality becomes encoded into form (Sheldrake, 2009). Whether expressed through artistic media, technological innovation, or linguistic articulation, manifestation is the dialogical expression of an ontological desire: the drive to know and realize the Self within and through the aesthetic play of the cosmos (Whitehead, 1929/1978). 

Ultimately, this entire process can be situated within a broader metaphysical horizon that points toward an enigmatic Presence—a noumenal ground from which all phenomena arise. While this source eludes direct representation, its effects are symbolically traceable through the very structures of consciousness, design, and relationality. It is here, in the confluence of the visible and the ineffable, that design, intelligence, and being converge. 

References (APA Style):

 

- Barad, K. (2007). Meeting the universe halfway: Quantum physics and the entanglement of matter and meaning. Duke University Press. 

- Bohm, D. (1980). Wholeness and the implicate order. Routledge. 

- Bohr, N. (1935). Can quantum-mechanical description of physical reality be considered complete? Physical Review, 48(8), 696–702. 

- Deleuze, G., & Guattari, F. (1987). A thousand plateaus: Capitalism and schizophrenia (B. Massumi, Trans.). University of Minnesota Press. 

- Jung, C. G. (1973). Synchronicity: An acausal connecting principle (R. F. C. Hull, Trans.). Princeton University Press. (Original work published 1952) 

- Laszlo, E. (2004). Science and the Akashic field: An integral theory of everything. Inner Traditions. 

- Morin, E. (2008). On complexity. Hampton Press. 

- Sheldrake, R. (2009). Morphic resonance: The nature of formative causation (4th ed.). Park Street Press. 

- Talbot, M. (1991). The holographic universe. HarperCollins. 

- Varela, F. J., Thompson, E., & Rosch, E. (1991). The embodied mind: Cognitive science and human experience. MIT Press. 

- Whitehead, A. N. (1978). Process and reality: An essay in cosmology (D. R. Griffin & D. W. Sherburne, Eds.). Free Press. (Original work published 1929) 

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- Coherent Resonance

consonance noun agreement or compatibility between opinions or actions:   • the recurrence of similar sounds, (vibration) ** especially consonants, in close proximity (chiefly as used in prosody).    • Music a combination of notes which are in harmony with each other due to the relationship between their frequencies. ** my inclusion. 

Energy, light and information can be absorbed and/or reflected, transmuted and/or transformed with intention or indifference. Such alterations likewise change the macrocosmic field of holographic re-presentation, i.e. the imagination, while being sustained within a quantum field of virtual potential described as a Source, the Zero Point Horizon, center, i.e. the Tao. Life is based upon these symbolic relationships, i.e. situations that are designed to allow energy to flow freely, to divert, emerge, expand or contract. 

Relationships are based upon blueprints that entertain the possibility of achieving a greater expansion of consciousness through awareness. In three-dimensional space/time these opportunities appear in the form of holograms, multi-dimensional, designed and symbolically patterned within the quantum field/context of virtual potential and probability. In other words, what appears to be tangible is a holographic representation designed to be made conscionable within the constraints of a specific context, a context whose genesis originates from within a virtual field of unknown origin, aka quantum. 

These forms of energy are expressions of being-ness consciously asserting a pattern/s of energy within the constraints of 3D space/time; an awareness seeking to achieve balance within its own field consciousness by virtue of a design made self-evident at magnitudes that go beyond the parameters of knowledge and understanding. (This observation is based upon the concept of parallel universes made within the constraints of three-dimensional space/time, and is highly contingent upon multi-dimensional states of observation and reference)

Each hologram is a re-present-ation, a patterned intention or desire projected upon the parametric constraints of a particular blueprint that is in itself, an expression of wholeness and unity - an expression designed with a meaning and a purpose, a pattern of light energy that can unite elements, fields, forces, substances, species, universes, dimensions, galaxies, etc. through coherent resonance.

The concepts and ideas surrounding Life are wholly dependent upon a series of patterned relationships. Resonance allows information, light and energy to flow with little manipulation or distortion - all is dependent upon the observer.

Resonance brings attention/awareness to the signs along the path - signs that point the way. So, in this regard resonance has a purpose. From the POV of an aware observer these same signs similarly embrace the potential of becoming symbolic in character.  This latent transformation of energy becomes realized by means of coherent resonance. Coherent resonance brings meaning to Life.

And it is upon this premise that a field of virtual potential is slowly revealed. Internal coherency and resonance, i.e. balance, is key to opening a door to greater wholeness - an omnipresent network of energy discovered and never before realized. The observer and the observed become one.
omnipresent   widely or constantly encountered; common or widespread:  (of God) present everywhere at the same time. adjective: ubiquitous, all pervasive, everywhere; boundless, infinite; rife, pervasive, prevalent, far-reaching
Every form of creation becomes substantiated by means of vibrating within certain frequencies, references, parameters and patterns, i.e. blueprints, originating from a contextual field of virtual potential and change.  

Light and information are terms used to describe two forms of energy. There is much more to be discovered about energy than merely describing it as the ability to do work. A true understanding of energy emerges from within.

ORIGIN: mid 16th century (denoting force or vigor of expression): from French énergie, or via late Latin from Greek energeia, from en- ‘in, within’+ ergon ‘work’.

Projections/ideas conceived in reference to these patterned images, also reveal the symbolic limitations ingrained in the process of substantiation/manifestation. Every projected image/idea stemming from the imagination, is made in reference to an ever changing blueprint. Due to constraints inherent in every template/blueprint/plan, variations/permutations will naturally occur. This is a common event. Design consciousness invites change and can likewise become revolutionary in its context - Charles Darwin’s theory of evolution is a prime example.
permutation: a way, especially one of several possible variations, in which a set or number of things can be ordered or arranged:     • Mathematics the action of changing the arrangement, especially the linear order, of a set of items.

What is considered purposeful and meaningful, i.e. designed, is a symbolic projection of an internal presence - a cryptic energy made apparent/real by means of a process designed for the purposes of transformation. In reference to humanity, this process appears before our consciousness when we witness/observe/register our own experiences and interpretations of reality every day.  These preplanned configurations of light, energy and information are designed and created with a desire and intention “in mind”. 

- Can Thoughts Exist Outside the Brain?

-The Significance of the Lyre

- Hermes Design Progenitor

cryptic having a meaning that is mysterious or obscure:     • (of a crossword) having difficult clues which indicate the solutions indirectly. (of coloration or markings) serving to camouflage an animal in its natural environment.

Consciousness both defines and identifies “itself” by disseminating/dispersing its energy into an array of vibrational frequencies, wavelengths and oscillations patterned about specific imagery, thoughts and feelings having been symbolically represented within a realm of experiences.

imagery: visually descriptive or figurative language, especially in a literary work:   • visual images collectively:     • visual symbolism

In reference to humanity these vibrations appear/feel to be physical, mental, emotional and spiritual in character and quality - patterns of energy that arise from deep within the unfathomable complexities of a quantum field and symbolically brought forth/forward/into manifestation by virtue of the imagination. 

In design there exists a relationship between the observer and what is being observed, that includes the context/field in which the observation is made.

It must be taken into consideration that the concepts, images and forms of energy re-presenting humanity are also holographic in character - acting  both as receivers and transmitters of energy at magnitudes beyond the constraints of three-dimensional space and time.

All images are purposeful and meaningful. All images/forms of energy appear within the context of a specific pre-conceived image created/designed within a perpetually changing field of virtual potential. This virtual field permeates every universe - the harbor for a multitude of unimaginable impressions, i.e. symbolic reflections and demonstrations of its own patterns, qualities and design characteristics. 

Due to factors of enormity and complexity both internal (micro) and external (macro) impressions are endlessly changing the harmonics of this ubiquitous field of virtual energy. Life is the product of an endless ex-change of energy emerging from within the depths of this common essence/soul. 

oneself: (also one's self) pronoun [third person singular]    1 [reflexive] a person's own self:      2 [emphatic] used to emphasize that one does something individually or unaided:     3 in one's normal and individual state of body or mind; not influenced by others:

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The Symbolic Architecture of Reality: Interfacing Consciousness, Energy, and Design within a Quantum Framework 

The nature of existence—comprising energy, light, and information—is neither static nor absolute. These fundamental components can be absorbed, reflected, transmuted, or transformed through both intentional agency and indifferent processes. This dynamic interplay is not only central to physical systems but also underpins metaphysical and epistemological models of reality (Bohm, 1980; Capra, 1996). At its most subtle level, energy resonates within a quantum substratum—a field of virtual potential often described as the Zero Point Field or Source, metaphysically akin to the Tao (Zukav, 1979; Lao Tzu, trans. 1989). This substratum serves as the generative matrix from which symbolic representation—imagination—emerges and is sustained. 

Life, in this model, is organized through symbolic relationships that allow energy to circulate and self-organize. These relationships, semiotically patterned, are not arbitrary; rather, they follow archetypal or “blueprint” logics that manifest across physical, psychological, and informational domains (Peirce, 1958; Jung, 1968). Such symbolic systems are not only containers of meaning but also design interfaces—modalities through which consciousness interacts with the fabric of space-time. 

Within three-dimensional space-time, what we perceive as "reality" is better understood as a holographic projection of deeper multidimensional structures, encoded and patterned within a quantum field of potentiality (Talbot, 1991; Pribram, 1991). These projections are probabilistic in nature, expressing the interface between observer consciousness and the latent potential of the field (Heisenberg, 1958). The tangible, then, is a conscionable symbol—an event that becomes real within a particular ontological and epistemological frame. In artificial intelligence and computational design theory, similar notions are mirrored in models of emergent phenomena, wherein complex systems arise from basic algorithms of interaction and iteration (Holland, 1998). 

At its core, energy is beingness—a conscious assertion of patterned vibration within the finite matrix of space-time. Consciousness, acting as observer and designer, seeks balance within its own field through recursive interactions with archetypal blueprints. These are not merely metaphors; they constitute the ontology of pattern—intelligible through semiotic resonance and frequency coherence (Barad, 2007). This notion is supported by design theorists who emphasize the primacy of relational patterning in shaping systems, aesthetics, and experiences (Alexander, 1979; Krippendorff, 2006). 

Each holographic expression—each form—is a re-presentation: a symbolic enactment of internal states projected onto the scaffolding of a blueprint, which in itself is an articulation of wholeness. This projection is meaningful not only because it holds informational value but because it is constructed through a desire for coherent resonance—the harmonization of frequency fields that allows diverse entities (whether atoms, people, species, or galaxies) to unite through shared energetic codes (Sheldrake, 2009; Bohm, 1980). 

Resonance, therefore, is more than acoustic or vibrational alignment; it is the very grammar of existence, a semiotic mechanism that allows light and information to move with minimal distortion across fields of meaning (Eco, 1976). This process is contingent upon the observer, whose awareness activates latent symbolic fields. In psychological terms, this aligns with Jung’s (1968) theory of synchronicity and symbolic amplification, where meaning emerges through coherence between internal archetypal structures and external events. 

Coherent resonance also facilitates transformation. As signs accumulate significance along an experiential path, they become symbolic agents of change. From the point of view of the aware observer, these signs constitute a language of emergence—a design grammar through which the field of virtual potential becomes gradually disclosed. As coherency increases, internal balance is achieved, unlocking new perceptual gateways to higher orders of unity. This convergence of observer and observed—of knower and known—is echoed in quantum interpretations that collapse dualities into singularities of experience (Wheeler & Zurek, 1983). 

Every creation, every manifestation, is substantiated through vibrational alignment with specific frequencies, parameters, and archetypal patterns—what we might call "design blueprints." These are not fixed, but emergent, responding to the flux of the field in which they reside. This aligns with cybernetic and evolutionary design principles, where iteration, feedback, and permutation are fundamental to transformation (Margulis & Sagan, 1995; Simon, 1969). Moreover, the etymology of energy—from Greek energeia, “within work”—reminds us that transformation is an internal phenomenon before it is externalized. Design, in this sense, is not merely functional but ontological. It reflects an inward intention made outward through symbolic instantiation. Human creativity and the imagination operate as semantic engines, interfacing with the quantum field to generate images, forms, and meanings (Lakoff & Johnson, 1980; McLuhan, 1964). 

Importantly, these projected images are inherently symbolic and constrained. Every idea projected into form carries within it the limits of its own design context—its archetypal mold. As such, permutation is not just possible but inevitable, echoing the principle of evolutionary design exemplified in Darwin’s theory of natural selection: systems must mutate and adapt within the bounds of their environments to remain viable (Darwin, 1859). 

In this view, what is purposeful and meaningful is a semiotic crystallization of internal presence—a cipher of latent energy rendered manifest through design. Human consciousness participates in this process by witnessing, interpreting, and re-projecting symbolic configurations drawn from experiential fields. The field is holographic, and the human being acts both as receiver and transmitter, generating meaning by oscillating within resonant fields of multidimensional input. 

This act of witnessing is not passive. It is participatory and recursive: each observation influences the field it observes (Bohr, 1958; Barad, 2007). Reality, then, is a feedback loop—a semiotic ecology—where perception, projection, and reflection coalesce into form. All symbols are meaningful. All forms emerge from a pre-conceived design held within an ever-changing field of virtual potential. This is the interconnected omnipresence of creative intelligence—a field that is not only informational but deeply aesthetic and ontological. 

In sum, life is not a static condition but a continuous exchange of symbolic energy, shaped through resonance, projected intention, and pattern recognition within a holographic quantum field. It is in this profound coherence between self and cosmos, form and function, observer and observed, that meaning is not only discovered but created.

References 

- Alexander, C. (1979). The Timeless Way of Building. Oxford University Press. 

- Barad, K. (2007). Meeting the Universe Halfway: Quantum Physics and the Entanglement of Matter and Meaning. Duke University Press. 

- Bohm, D. (1980). Wholeness and the Implicate Order. Routledge. 

- Bohr, N. (1958). Atomic Physics and Human Knowledge. Wiley. 

- Capra, F. (1996). The Web of Life: A New Scientific Understanding of Living Systems. Anchor Books. 

- Darwin, C. (1859). On the Origin of Species. John Murray. 

- Eco, U. (1976). A Theory of Semiotics. Indiana University Press. 

- Heisenberg, W. (1958). Physics and Philosophy: The Revolution in Modern Science. Harper & Row. 

- Holland, J. H. (1998). Emergence: From Chaos to Order. Oxford University Press. 

- Jung, C. G. (1968). The Archetypes and the Collective Unconscious. Princeton University Press. 

- Krippendorff, K. (2006). The Semantic Turn: A New Foundation for Design. CRC Press. 

- Lakoff, G., & Johnson, M. (1980). Metaphors We Live By. University of Chicago Press. 

- Lao Tzu. (1989). Tao Te Ching (S. Mitchell, Trans.). Harper Perennial. (Original work published ca. 6th century BCE) 

- Margulis, L., & Sagan, D. (1995). What is Life?. University of California Press. 

- McLuhan, H. M. (1964). Understanding Media: The Extensions of Man. McGraw-Hill. 

- Peirce, C. S. (1958). Collected Papers of Charles Sanders Peirce (Vols. 1–8, C. Hartshorne & P. Weiss, Eds.). Harvard University Press. 

- Pribram, K. H. (1991). Brain and Perception: Holonomy and Structure in Figural Processing. Erlbaum. 

- Sheldrake, R. (2009). Morphic Resonance: The Nature of Formative Causation. Park Street Press. Simon, H. A

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The concepts of time and timelessness create certain constraints unique to and representative of, a particular universe and/or dimension. Within the constraints of 3D space/time, time is described as being linear in character - framing a series of experiences where both virtual (imaginative) and substantial (formative) concepts, ideas and impressions can be created, experienced and if determined appropriate materialized. 

Design acts as a conduit for the symbolic transmission, transmutation and transformation of energy, space AND time. As we fluctuate within this virtual field of potential energy we likewise strive to interpret, search and soulfully identify who and what we really are. Design brings desire, substance, expression and inspiration to the path towards greater awareness/consciousness.

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Time, Design, and Consciousness: Intersections of Energy, Form, and Meaning Across Dimensions 

The conceptual dichotomy between time and timelessness presents ontological constraints that are not merely abstract but are structurally embedded within the metaphysical architecture of a given universe or dimension. Within the spacetime continuum of our three-dimensional reality, time is frequently apprehended as linear—a successive unfolding of events that constructs a scaffold upon which lived experience, cognition, and creative manifestation occur (Hawking, 1998; Rovelli, 2018). This linearity frames temporal awareness and constrains the ways in which both virtual (imaginative, cognitive) and substantial (material, experiential) phenomena are generated, apprehended, and ultimately instantiated into the world of form. 

Design, in this context, emerges not merely as an applied practice but as a fundamental ontological mechanism—a mediating conduit for the symbolic transmission, transmutation, and transformation of energy, space, and time (Flusser, 1999). Design organizes perception and intention within the field of potentiality, functioning as a semiotic interface between consciousness and the field of quantum indeterminacy. Within this entangled field—akin to the zero-point field postulated in quantum vacuum theory (Puthoff, 1989)—design becomes the language through which potentiality is collapsed into form, echoing the observer effect in quantum mechanics wherein observation influences manifestation (Heisenberg, 1958; Wheeler, 1990). 

From a semiotic and psychological perspective, design operates as a meta-structure that encodes meaning and reflects the dialectical relationship between the self and the world. It provides the scaffolding for both individual and collective identity formation through symbolic forms—what Jung (1964) refers to as archetypes—that mediate between the unconscious and conscious realms. In this way, design is deeply interwoven with the epistemology of self-realization, guiding the subject toward greater degrees of awareness, coherence, and individuation. 

Moreover, in the context of artificial intelligence and computational design, design thinking assumes an even more abstract function. As AI systems increasingly participate in generative design processes (Colton et al., 2009), questions arise about the intentionality and agency of non-human systems in the co-creation of symbolic and aesthetic meaning. These developments challenge traditional philosophical and metaphysical assumptions about authorship, creativity, and the ontology of consciousness itself (Chalmers, 1995; Bostrom, 2014). 

Philosophically, design can be understood through the lens of process philosophy, particularly in the work of Alfred North Whitehead (1929), who argued that reality is composed not of substances but of events and processes. From this view, design is a temporal event—a processual articulation of becoming that reveals the interplay between form and formlessness, time and timelessness. Aesthetically, this aligns with the notion of design as poiesis—a bringing-forth of truth into presence, as articulated by Heidegger (1977). 

As such, design is not merely a human endeavor but a metaphysical act that harmonizes desire, substance, and expression within the unfolding of time. It becomes a vehicle for transcendence, enabling the human subject to move beyond the mere repetition of forms toward an expanded consciousness that recognizes its entanglement with the cosmos. In this process, the role of design is not only to solve problems but to articulate meaning, evoke wonder, and cultivate an aesthetics of awareness. 

 References (APA 7th Edition) 

- Bostrom, N. (2014). Superintelligence: Paths, dangers, strategies. Oxford University Press. 

- Chalmers, D. J. (1995). Facing up to the problem of consciousness. Journal of Consciousness Studies, 2(3), 200–219.

- Colton, S., Pease, A., & Ritchie, G. (2009). Computational creativity theory: The FACE and IDEA descriptive models. In Proceedings of the Second International Conference on Computational Creativity. 

- Flusser, V. (1999). The shape of things: A philosophy of design (A. Mathews, Trans.). Reaktion Books. 

- Hawking, S. (1998). A brief history of time. Bantam. 

- Heidegger, M. (1977). The question concerning technology and other essays (W. Lovitt, Trans.). Harper & Row. 

- Heisenberg, W. (1958). Physics and philosophy: The revolution in modern science. Harper. 

- Jung, C. G. (1964). Man and his symbols. Aldus Books. 

- Puthoff, H. E. (1989). Source of vacuum electromagnetic zero-point energy. Physical Review A, 40(9), 4857–4862. 

- Rovelli, C. (2018). The order of time (E. Segre & S. Carnell, Trans.). Riverhead Books. 

- Whitehead, A. N. (1929). Process and reality. Macmillan. 

- Wheeler, J. A. (1990). Information, physics, quantum: The search for links. In W. H. Zurek (Ed.), Complexity, entropy, and the physics of information (pp. 3–28). Addison-Wesley. 

The author generated this text in part with GPT-3, OpenAI’s large-scale language-generation model. Upon generating draft language, the author reviewed, edited, and revised the language to their own liking and takes ultimate responsibility for the content of this publication.

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"To believe is to accept another's truth.

To know is your own creation."

Anonymous

Edited: 09.25.2013, 11.28.2013, 10.17.2014, 10.02.2015, 01.11.2017, 12.10.2017, 09.13.2020, 09.08.2020, 04.05.2021, 04.16.2023, 11.22.2023, 01.19.2025, 08.09.2025

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