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Port steps 0-1: scaffold, the oracle, and the pure bottom Scaffolds frontend/ (shadow-cljs, reagent 1.2.0, re-frame 1.4.3) and ports everything below the data model, with the JS kept as a numeric oracle. domain/landmarks index tables, verbatim domain/ring subsample, offset, simplicity domain/geom similarity fit, procrustes, moving average domain/raster indexed scanline fill, stencil, disc, rect domain/palette the ramp, and the no-sampled-RGB rule 58 tests, 166 assertions. Parity with js/ on the identical 72-frame synthetic track: fit-similarity, procrustes-mean, fit-residual, moving-average, smooth-transforms, offset-ring and subsample-slots to 1e-9; the raster pixel-for-pixel over the whole buffer. Three deviations from the JS, each for a reason: - synth.cljs jitters from a SEEDED generator, not Math.random. Parity is only checkable if both sides can be handed the same track, and a failing assertion has to be reproducible. `:rand-fn` takes the generator over, so oracle.mjs stubs js/Math.random and js/ itself stays untouched. - raster/->rgba replaces toImageData. ImageData is a DOM type and domain/ may not touch the DOM; returning plain bytes also lets the no-intermediate-colours assertion run in node. ui/canvas wraps it later. - offset-ring lives in domain/ring, not domain/geom, per architecture.md: it is an operation on an ordered traversal, not on a transform. Step 1's "done" also names the swapped-iris vote, but pairIrises is in pipeline.js and belongs to step 7. The precondition is asserted instead -- `:swap-iris` really does move both blocks -- so the vote will have a track that disagrees with it when it arrives. One finding, recorded in full in the test that measures it: smooth-transforms buys nothing on the synthetic track. Against jitter-free ground truth, radius 1 helps by 17% on one noise realisation and hurts by 0.5% on another, so its benefit is within noise; from radius 2 up the cost is unambiguous, and by radius 5 the filter is below the true motion's own high-frequency energy, i.e. smoothing away performance. The test pins the shape of the knob rather than a preferred value. This may say more about the synth's jitter being unrealistically small (+/-0.001 normalised) than about the knob; step 6 settles it on real footage. Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
2026-09-27 14:43:34 -04:00
<!doctype html>
<!-- Host page for the CLJS build, for development only.
In production Django renders this and pulls the same bundle out of
staticfiles, which is why the script src is the /static/ path already. -->
<html lang="en">
<head>
<meta charset="utf-8">
<meta name="viewport" content="width=device-width, initial-scale=1">
<title>arthur</title>
<style>
:root { color-scheme: dark; --bg: #12141c; --fg: #c9c3b4; }
html, body { margin: 0; height: 100%; background: var(--bg); color: var(--fg); }
body { font: 14px/1.5 ui-monospace, SFMono-Regular, Menlo, monospace; }
main { padding: 24px; }
/* The preview is nearest-neighbour everywhere. A browser that smooths the
upscale would misrepresent the look the tool exists to judge. */
canvas { image-rendering: pixelated; }
Port steps 2-3: the data model and the player Steps 2 and 3 land together because the model revisions in the middle changed code from both, and splitting them now would invent intermediate states that never built. domain/channel value-at across framed/keyed/dense, plus a cursor domain/node decomposed transform, composition order, time maps domain/scene topological order, z paths, eval-frame and resolver clock audio-clocked frame derivation, outside app-db db/events/subs re-frame arrives; the playhead is document state ui/player the rAF loop; reads, blits, dispatches (almost) nothing ui/shell transport 133 tests, 1158 assertions. The scene plays at 30fps against audio, scrubs, and runs at 1/4x through 4x; verified by driving a real browser over CDP rather than by assertion. Two evaluators, on purpose. `eval-frame` is the specification -- allocating, order-free, obviously correct. `resolver` is what playback uses: cached topo order and z paths, a cursor per channel, a preallocated point buffer per node. Both run the same walk, parameterised only by how a channel is read and where points are written, because two independent implementations of frame evaluation would drift and the drift would read as a rendering bug rather than as two functions disagreeing. scene-test asserts they agree frame for frame in forward, backward and random order. Deviations and decisions, each with a reason: - raster/fill-poly! is now a thin wrapper over fill-poly-buf!, which takes a flat preallocated buffer. ONE scanline fill serves the analysis stages, which speak {:x :y}, and frame evaluation, which hands over a buffer it owns. The parity suite still passes pixel-for-pixel, which is what makes the rewrite safe. - The state mask carries ABSENCE ONLY. An earlier draft gave it a hidden bit too, per architecture.md's "hidden flag + palette index", and that bit was a dense [:vis] wearing a different hat -- two mechanisms for one question, which is how a part ends up hidden by one and shown by the other. - The palette is a parameter of evaluation, not a global. A node names a TONE; which ramp that tone is read in belongs to the timeline it sits in. - :over layers and a symbol :rate THROW rather than being ignored. Neither is built and nothing can produce one, so this can only fire on data that has run ahead of the code. A silently dropped override is a hand correction the user made once, watched fail, and has no reason to trust again. Three findings the model produced rather than received: - Presence propagates asymmetrically. An absent transform drops the subtree; an absent [:geom :pts] drops only that node, because an absent mouth outline has nothing to draw but the head it hangs off has not moved. That asymmetry is the reason presence is tracked per channel and not per node. - Z paths need lexicographic compare, not `compare`, which orders vectors by count first -- so a cel three levels under "a1" would jump in front of a bare "a2" and the layer order would mostly work. - A node stencilled by something that drew nothing is dropped, not drawn unclipped: an iris floating over the cheek is worse than a missing iris. docs/ revised alongside, and those revisions are the load-bearing part: - A scene, a timeline and a symbol are one type. The doc had two structures with the same fields and never said so. Two axes of nesting are now separated -- parent/child within a timeline is flat with parent pointers, instance nesting is by reference -- which is why "nestable" and "flat" only sounded contradictory. - Palettes are named, live on the project, and are ENABLED on a timeline as a channel. Absent inherits; present travels with the timeline, so a symbol authored against :night stays night wherever it is placed. The output index space is the concatenation of the named ramps, which keeps one buffer and one flat table and incidentally stops two nodes in different palettes colliding on a stencil. - Stabilisation is a channel, not a mode: {s, theta, tx, ty} IS [:xform :*], so the normalise on/off/per-plate toggle is which of the three channel shapes the :head node carries. Always measure and always store factored -- smoothing and velocity-minimum key selection both need the split to exist in storage. - There is no camera node and none is needed. Placement is a node transform, the stage clips what hangs off it, and project dimensions are independent of the footage. `makeXform` is therefore not to be ported: it bakes a cropping decision into every stored vertex. - Export is removed. The .take writer was for an Animator Pro render script; the target is encoding video in the browser, and step 9 now says not to port the old one. demo/swarm is 120 shapes on six orbits, entirely dense blocks behind store handles -- the shape freeze produces at step 5, and the first thing to exercise that path under load. It plays at 30fps, and bench-test keeps a deliberately loose floor under it because a performance regression here does not announce itself: the picture stays correct and merely arrives late. Co-Authored-By: Claude Opus 5 <noreply@anthropic.com> Claude-Session: https://claude.ai/code/session_01PDfHGdV39zu6rvgbBTfDaT
2026-09-27 17:28:05 -04:00
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Port steps 2-3: the data model and the player Steps 2 and 3 land together because the model revisions in the middle changed code from both, and splitting them now would invent intermediate states that never built. domain/channel value-at across framed/keyed/dense, plus a cursor domain/node decomposed transform, composition order, time maps domain/scene topological order, z paths, eval-frame and resolver clock audio-clocked frame derivation, outside app-db db/events/subs re-frame arrives; the playhead is document state ui/player the rAF loop; reads, blits, dispatches (almost) nothing ui/shell transport 133 tests, 1158 assertions. The scene plays at 30fps against audio, scrubs, and runs at 1/4x through 4x; verified by driving a real browser over CDP rather than by assertion. Two evaluators, on purpose. `eval-frame` is the specification -- allocating, order-free, obviously correct. `resolver` is what playback uses: cached topo order and z paths, a cursor per channel, a preallocated point buffer per node. Both run the same walk, parameterised only by how a channel is read and where points are written, because two independent implementations of frame evaluation would drift and the drift would read as a rendering bug rather than as two functions disagreeing. scene-test asserts they agree frame for frame in forward, backward and random order. Deviations and decisions, each with a reason: - raster/fill-poly! is now a thin wrapper over fill-poly-buf!, which takes a flat preallocated buffer. ONE scanline fill serves the analysis stages, which speak {:x :y}, and frame evaluation, which hands over a buffer it owns. The parity suite still passes pixel-for-pixel, which is what makes the rewrite safe. - The state mask carries ABSENCE ONLY. An earlier draft gave it a hidden bit too, per architecture.md's "hidden flag + palette index", and that bit was a dense [:vis] wearing a different hat -- two mechanisms for one question, which is how a part ends up hidden by one and shown by the other. - The palette is a parameter of evaluation, not a global. A node names a TONE; which ramp that tone is read in belongs to the timeline it sits in. - :over layers and a symbol :rate THROW rather than being ignored. Neither is built and nothing can produce one, so this can only fire on data that has run ahead of the code. A silently dropped override is a hand correction the user made once, watched fail, and has no reason to trust again. Three findings the model produced rather than received: - Presence propagates asymmetrically. An absent transform drops the subtree; an absent [:geom :pts] drops only that node, because an absent mouth outline has nothing to draw but the head it hangs off has not moved. That asymmetry is the reason presence is tracked per channel and not per node. - Z paths need lexicographic compare, not `compare`, which orders vectors by count first -- so a cel three levels under "a1" would jump in front of a bare "a2" and the layer order would mostly work. - A node stencilled by something that drew nothing is dropped, not drawn unclipped: an iris floating over the cheek is worse than a missing iris. docs/ revised alongside, and those revisions are the load-bearing part: - A scene, a timeline and a symbol are one type. The doc had two structures with the same fields and never said so. Two axes of nesting are now separated -- parent/child within a timeline is flat with parent pointers, instance nesting is by reference -- which is why "nestable" and "flat" only sounded contradictory. - Palettes are named, live on the project, and are ENABLED on a timeline as a channel. Absent inherits; present travels with the timeline, so a symbol authored against :night stays night wherever it is placed. The output index space is the concatenation of the named ramps, which keeps one buffer and one flat table and incidentally stops two nodes in different palettes colliding on a stencil. - Stabilisation is a channel, not a mode: {s, theta, tx, ty} IS [:xform :*], so the normalise on/off/per-plate toggle is which of the three channel shapes the :head node carries. Always measure and always store factored -- smoothing and velocity-minimum key selection both need the split to exist in storage. - There is no camera node and none is needed. Placement is a node transform, the stage clips what hangs off it, and project dimensions are independent of the footage. `makeXform` is therefore not to be ported: it bakes a cropping decision into every stored vertex. - Export is removed. The .take writer was for an Animator Pro render script; the target is encoding video in the browser, and step 9 now says not to port the old one. demo/swarm is 120 shapes on six orbits, entirely dense blocks behind store handles -- the shape freeze produces at step 5, and the first thing to exercise that path under load. It plays at 30fps, and bench-test keeps a deliberately loose floor under it because a performance regression here does not announce itself: the picture stays correct and merely arrives late. Co-Authored-By: Claude Opus 5 <noreply@anthropic.com> Claude-Session: https://claude.ai/code/session_01PDfHGdV39zu6rvgbBTfDaT
2026-09-27 17:28:05 -04:00
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Port steps 2-3: the data model and the player Steps 2 and 3 land together because the model revisions in the middle changed code from both, and splitting them now would invent intermediate states that never built. domain/channel value-at across framed/keyed/dense, plus a cursor domain/node decomposed transform, composition order, time maps domain/scene topological order, z paths, eval-frame and resolver clock audio-clocked frame derivation, outside app-db db/events/subs re-frame arrives; the playhead is document state ui/player the rAF loop; reads, blits, dispatches (almost) nothing ui/shell transport 133 tests, 1158 assertions. The scene plays at 30fps against audio, scrubs, and runs at 1/4x through 4x; verified by driving a real browser over CDP rather than by assertion. Two evaluators, on purpose. `eval-frame` is the specification -- allocating, order-free, obviously correct. `resolver` is what playback uses: cached topo order and z paths, a cursor per channel, a preallocated point buffer per node. Both run the same walk, parameterised only by how a channel is read and where points are written, because two independent implementations of frame evaluation would drift and the drift would read as a rendering bug rather than as two functions disagreeing. scene-test asserts they agree frame for frame in forward, backward and random order. Deviations and decisions, each with a reason: - raster/fill-poly! is now a thin wrapper over fill-poly-buf!, which takes a flat preallocated buffer. ONE scanline fill serves the analysis stages, which speak {:x :y}, and frame evaluation, which hands over a buffer it owns. The parity suite still passes pixel-for-pixel, which is what makes the rewrite safe. - The state mask carries ABSENCE ONLY. An earlier draft gave it a hidden bit too, per architecture.md's "hidden flag + palette index", and that bit was a dense [:vis] wearing a different hat -- two mechanisms for one question, which is how a part ends up hidden by one and shown by the other. - The palette is a parameter of evaluation, not a global. A node names a TONE; which ramp that tone is read in belongs to the timeline it sits in. - :over layers and a symbol :rate THROW rather than being ignored. Neither is built and nothing can produce one, so this can only fire on data that has run ahead of the code. A silently dropped override is a hand correction the user made once, watched fail, and has no reason to trust again. Three findings the model produced rather than received: - Presence propagates asymmetrically. An absent transform drops the subtree; an absent [:geom :pts] drops only that node, because an absent mouth outline has nothing to draw but the head it hangs off has not moved. That asymmetry is the reason presence is tracked per channel and not per node. - Z paths need lexicographic compare, not `compare`, which orders vectors by count first -- so a cel three levels under "a1" would jump in front of a bare "a2" and the layer order would mostly work. - A node stencilled by something that drew nothing is dropped, not drawn unclipped: an iris floating over the cheek is worse than a missing iris. docs/ revised alongside, and those revisions are the load-bearing part: - A scene, a timeline and a symbol are one type. The doc had two structures with the same fields and never said so. Two axes of nesting are now separated -- parent/child within a timeline is flat with parent pointers, instance nesting is by reference -- which is why "nestable" and "flat" only sounded contradictory. - Palettes are named, live on the project, and are ENABLED on a timeline as a channel. Absent inherits; present travels with the timeline, so a symbol authored against :night stays night wherever it is placed. The output index space is the concatenation of the named ramps, which keeps one buffer and one flat table and incidentally stops two nodes in different palettes colliding on a stencil. - Stabilisation is a channel, not a mode: {s, theta, tx, ty} IS [:xform :*], so the normalise on/off/per-plate toggle is which of the three channel shapes the :head node carries. Always measure and always store factored -- smoothing and velocity-minimum key selection both need the split to exist in storage. - There is no camera node and none is needed. Placement is a node transform, the stage clips what hangs off it, and project dimensions are independent of the footage. `makeXform` is therefore not to be ported: it bakes a cropping decision into every stored vertex. - Export is removed. The .take writer was for an Animator Pro render script; the target is encoding video in the browser, and step 9 now says not to port the old one. demo/swarm is 120 shapes on six orbits, entirely dense blocks behind store handles -- the shape freeze produces at step 5, and the first thing to exercise that path under load. It plays at 30fps, and bench-test keeps a deliberately loose floor under it because a performance regression here does not announce itself: the picture stays correct and merely arrives late. Co-Authored-By: Claude Opus 5 <noreply@anthropic.com> Claude-Session: https://claude.ai/code/session_01PDfHGdV39zu6rvgbBTfDaT
2026-09-27 17:28:05 -04:00
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Port steps 2-3: the data model and the player Steps 2 and 3 land together because the model revisions in the middle changed code from both, and splitting them now would invent intermediate states that never built. domain/channel value-at across framed/keyed/dense, plus a cursor domain/node decomposed transform, composition order, time maps domain/scene topological order, z paths, eval-frame and resolver clock audio-clocked frame derivation, outside app-db db/events/subs re-frame arrives; the playhead is document state ui/player the rAF loop; reads, blits, dispatches (almost) nothing ui/shell transport 133 tests, 1158 assertions. The scene plays at 30fps against audio, scrubs, and runs at 1/4x through 4x; verified by driving a real browser over CDP rather than by assertion. Two evaluators, on purpose. `eval-frame` is the specification -- allocating, order-free, obviously correct. `resolver` is what playback uses: cached topo order and z paths, a cursor per channel, a preallocated point buffer per node. Both run the same walk, parameterised only by how a channel is read and where points are written, because two independent implementations of frame evaluation would drift and the drift would read as a rendering bug rather than as two functions disagreeing. scene-test asserts they agree frame for frame in forward, backward and random order. Deviations and decisions, each with a reason: - raster/fill-poly! is now a thin wrapper over fill-poly-buf!, which takes a flat preallocated buffer. ONE scanline fill serves the analysis stages, which speak {:x :y}, and frame evaluation, which hands over a buffer it owns. The parity suite still passes pixel-for-pixel, which is what makes the rewrite safe. - The state mask carries ABSENCE ONLY. An earlier draft gave it a hidden bit too, per architecture.md's "hidden flag + palette index", and that bit was a dense [:vis] wearing a different hat -- two mechanisms for one question, which is how a part ends up hidden by one and shown by the other. - The palette is a parameter of evaluation, not a global. A node names a TONE; which ramp that tone is read in belongs to the timeline it sits in. - :over layers and a symbol :rate THROW rather than being ignored. Neither is built and nothing can produce one, so this can only fire on data that has run ahead of the code. A silently dropped override is a hand correction the user made once, watched fail, and has no reason to trust again. Three findings the model produced rather than received: - Presence propagates asymmetrically. An absent transform drops the subtree; an absent [:geom :pts] drops only that node, because an absent mouth outline has nothing to draw but the head it hangs off has not moved. That asymmetry is the reason presence is tracked per channel and not per node. - Z paths need lexicographic compare, not `compare`, which orders vectors by count first -- so a cel three levels under "a1" would jump in front of a bare "a2" and the layer order would mostly work. - A node stencilled by something that drew nothing is dropped, not drawn unclipped: an iris floating over the cheek is worse than a missing iris. docs/ revised alongside, and those revisions are the load-bearing part: - A scene, a timeline and a symbol are one type. The doc had two structures with the same fields and never said so. Two axes of nesting are now separated -- parent/child within a timeline is flat with parent pointers, instance nesting is by reference -- which is why "nestable" and "flat" only sounded contradictory. - Palettes are named, live on the project, and are ENABLED on a timeline as a channel. Absent inherits; present travels with the timeline, so a symbol authored against :night stays night wherever it is placed. The output index space is the concatenation of the named ramps, which keeps one buffer and one flat table and incidentally stops two nodes in different palettes colliding on a stencil. - Stabilisation is a channel, not a mode: {s, theta, tx, ty} IS [:xform :*], so the normalise on/off/per-plate toggle is which of the three channel shapes the :head node carries. Always measure and always store factored -- smoothing and velocity-minimum key selection both need the split to exist in storage. - There is no camera node and none is needed. Placement is a node transform, the stage clips what hangs off it, and project dimensions are independent of the footage. `makeXform` is therefore not to be ported: it bakes a cropping decision into every stored vertex. - Export is removed. The .take writer was for an Animator Pro render script; the target is encoding video in the browser, and step 9 now says not to port the old one. demo/swarm is 120 shapes on six orbits, entirely dense blocks behind store handles -- the shape freeze produces at step 5, and the first thing to exercise that path under load. It plays at 30fps, and bench-test keeps a deliberately loose floor under it because a performance regression here does not announce itself: the picture stays correct and merely arrives late. Co-Authored-By: Claude Opus 5 <noreply@anthropic.com> Claude-Session: https://claude.ai/code/session_01PDfHGdV39zu6rvgbBTfDaT
2026-09-27 17:28:05 -04:00
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Port steps 0-1: scaffold, the oracle, and the pure bottom Scaffolds frontend/ (shadow-cljs, reagent 1.2.0, re-frame 1.4.3) and ports everything below the data model, with the JS kept as a numeric oracle. domain/landmarks index tables, verbatim domain/ring subsample, offset, simplicity domain/geom similarity fit, procrustes, moving average domain/raster indexed scanline fill, stencil, disc, rect domain/palette the ramp, and the no-sampled-RGB rule 58 tests, 166 assertions. Parity with js/ on the identical 72-frame synthetic track: fit-similarity, procrustes-mean, fit-residual, moving-average, smooth-transforms, offset-ring and subsample-slots to 1e-9; the raster pixel-for-pixel over the whole buffer. Three deviations from the JS, each for a reason: - synth.cljs jitters from a SEEDED generator, not Math.random. Parity is only checkable if both sides can be handed the same track, and a failing assertion has to be reproducible. `:rand-fn` takes the generator over, so oracle.mjs stubs js/Math.random and js/ itself stays untouched. - raster/->rgba replaces toImageData. ImageData is a DOM type and domain/ may not touch the DOM; returning plain bytes also lets the no-intermediate-colours assertion run in node. ui/canvas wraps it later. - offset-ring lives in domain/ring, not domain/geom, per architecture.md: it is an operation on an ordered traversal, not on a transform. Step 1's "done" also names the swapped-iris vote, but pairIrises is in pipeline.js and belongs to step 7. The precondition is asserted instead -- `:swap-iris` really does move both blocks -- so the vote will have a track that disagrees with it when it arrives. One finding, recorded in full in the test that measures it: smooth-transforms buys nothing on the synthetic track. Against jitter-free ground truth, radius 1 helps by 17% on one noise realisation and hurts by 0.5% on another, so its benefit is within noise; from radius 2 up the cost is unambiguous, and by radius 5 the filter is below the true motion's own high-frequency energy, i.e. smoothing away performance. The test pins the shape of the knob rather than a preferred value. This may say more about the synth's jitter being unrealistically small (+/-0.001 normalised) than about the knob; step 6 settles it on real footage. Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
2026-09-27 14:43:34 -04:00
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Port steps 0-1: scaffold, the oracle, and the pure bottom Scaffolds frontend/ (shadow-cljs, reagent 1.2.0, re-frame 1.4.3) and ports everything below the data model, with the JS kept as a numeric oracle. domain/landmarks index tables, verbatim domain/ring subsample, offset, simplicity domain/geom similarity fit, procrustes, moving average domain/raster indexed scanline fill, stencil, disc, rect domain/palette the ramp, and the no-sampled-RGB rule 58 tests, 166 assertions. Parity with js/ on the identical 72-frame synthetic track: fit-similarity, procrustes-mean, fit-residual, moving-average, smooth-transforms, offset-ring and subsample-slots to 1e-9; the raster pixel-for-pixel over the whole buffer. Three deviations from the JS, each for a reason: - synth.cljs jitters from a SEEDED generator, not Math.random. Parity is only checkable if both sides can be handed the same track, and a failing assertion has to be reproducible. `:rand-fn` takes the generator over, so oracle.mjs stubs js/Math.random and js/ itself stays untouched. - raster/->rgba replaces toImageData. ImageData is a DOM type and domain/ may not touch the DOM; returning plain bytes also lets the no-intermediate-colours assertion run in node. ui/canvas wraps it later. - offset-ring lives in domain/ring, not domain/geom, per architecture.md: it is an operation on an ordered traversal, not on a transform. Step 1's "done" also names the swapped-iris vote, but pairIrises is in pipeline.js and belongs to step 7. The precondition is asserted instead -- `:swap-iris` really does move both blocks -- so the vote will have a track that disagrees with it when it arrives. One finding, recorded in full in the test that measures it: smooth-transforms buys nothing on the synthetic track. Against jitter-free ground truth, radius 1 helps by 17% on one noise realisation and hurts by 0.5% on another, so its benefit is within noise; from radius 2 up the cost is unambiguous, and by radius 5 the filter is below the true motion's own high-frequency energy, i.e. smoothing away performance. The test pins the shape of the knob rather than a preferred value. This may say more about the synth's jitter being unrealistically small (+/-0.001 normalised) than about the knob; step 6 settles it on real footage. Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
2026-09-27 14:43:34 -04:00
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