EVERYONE I HAVE EVER SLEPT WITH 1963 - 1965
BLANKETS
Friday, 29 May 2009
BOOKS (P.1)
MAGMA BOOKS:::
http://www.magmabooks.com/
THREE NEW RELEASES:
TATE BOOKSHOP:::
http://www.tate.org.uk/shop/books.htm
THREE NEW RELEASES:
DOVER BOOKS:::
http://store.doverpublications.com/
THREE NEW RELEASES:
SELF PUBLISHING::: ----OPTION TO SEND OF BOOKS TO BE MADE PRINT ON DEMAND
http://www.lulu.com/
THREE STAFF PICKS:
http://www.magmabooks.com/
THREE NEW RELEASES:
TATE BOOKSHOP:::
http://www.tate.org.uk/shop/books.htm
THREE NEW RELEASES:
DOVER BOOKS:::
http://store.doverpublications.com/
THREE NEW RELEASES:
SELF PUBLISHING::: ----OPTION TO SEND OF BOOKS TO BE MADE PRINT ON DEMAND
http://www.lulu.com/
THREE STAFF PICKS:
MIKE KELLEY FELT BANNERS (P.3)
"On view at 1018 Art in Manhattan through April 26, 2008, Cut Felt Banners features collaged textile works created by Art21 artist Mike Kelley (Season 1) between 1985 and 1993. All objects in the exhibition are large wall hangings made of glued and sewn felt. They include Lincoln's Beacon, a tribute to Abraham Lincoln, and Untitled (Christian Drama/ Thursday Night Socials), a piece that reflects Christian themes and sexual celebration at the same time. This exhibition “incorporates Kelley's engagement with exposed prejudices; repression, popular cultures, adolescence and sexuality, and transmits his work in quasi-religious mystery.”
MIKE KELLEY - UNTITLED - 1990 - FELT BANNER
INTERVIEW WITH MIKE KELLEY::::
http://www.bombsite.com/issues/38/articles/1502
ASAFO FLAGS (P.3)
"Asafo flags are popular among the Fantse of the coastal area. The flag is a cloth of solid color that is about three feet by five feet in dimensions. The symbols on the flag are appliqued and occasionally embroidered. The Asafo flag has on it the British flag (Union Jack) or the Ghana flag. The asafo flag bearing the Union Jack indicates the flag was made during the time that Britain ruled Ghana (Gold Coast), and the asafo flag bearing the Ghana flag indicates it was made after 1957 when Ghana gained her independence from Britain.
The asafo flag with its symbols and colors often represents "important historical occasions in the life of the company or, unpleasant past events such as wars, deaths and defeats" (Labi, 1998, p. 101). As Sarbah (1906, pp. 26-27) put it, "the honour of his company flag was his first consideration and his service to his company was his indispensable service."
The asafo flag symbols are pregnant "with meaning by allusions to historical accounts, myths, rituals, sacred places, and prominent persons etc., and as such they were essential in the construction of a company's cohesion, persistence and feeling of exclusiveness; thus, to defend the cherished symbols was to defend the integrity and pride of the company" (Labi, 1998, p. 102)."
http://www.marshall.edu/akanart/ASAFO.HTML
The asafo flag with its symbols and colors often represents "important historical occasions in the life of the company or, unpleasant past events such as wars, deaths and defeats" (Labi, 1998, p. 101). As Sarbah (1906, pp. 26-27) put it, "the honour of his company flag was his first consideration and his service to his company was his indispensable service."
The asafo flag symbols are pregnant "with meaning by allusions to historical accounts, myths, rituals, sacred places, and prominent persons etc., and as such they were essential in the construction of a company's cohesion, persistence and feeling of exclusiveness; thus, to defend the cherished symbols was to defend the integrity and pride of the company" (Labi, 1998, p. 102)."
http://www.marshall.edu/akanart/ASAFO.HTML
Wednesday, 27 May 2009
FOLK SONGS (P.2)
British Man o' War
It was down by Cults garden for pleasure I did stray
Twas there I spied a comely maid talking to her sailor gay
Saying Susie my love Susie I tm going to leave the shore
For to cross the briney ocean on a British Man O' War.
Then Susie fell a weeping, these words I heard her say
"You needn't be so foolish as to throv yourself away
When at the age of 21 I will receive my store
So change your inclination from a British Man O' War."
O Susie, lovely, Susie, the truth to you I'll tell
The British flag is insulted and old England knows it well
You may be crowned with laurels or some other jolly tar
But I'll face the walls of China on a British Man O' War.
Oh, my love Willie, don't face those bold Chinese
For they will prove so treacherous, as any Portuguese
And by some sword or dagger you may receive a scar
Jolly sailor, do not venture On a British Man O' War
O Susie, lovely, Susie, the time has come at last
For to go down to yonder pub and drink a parting glass
My shipmates, they are waiting to row me from the shore
For to cross the briney ocean on a British Man O' War.
Willie took out his handkerchief, he tore it straight in two
Saying half of this I'll keep myself, and the other I'll give to you
When bellows they surround me and the cannons loudly roar
Then I'll fight for England's glory on a British Man O' War.
A few more words; were spoken and then they both shook hands
The sailors gently manned their oars and quickly rowed from land
And Willie waved his handkerchief till they were far from shore
Saying farewell my lovely Susie from a British Man O' War.
From the singing of the Kenny Family from Kitchuses, NFLD
Tune to be supplied by Vincent Kenny of Brooklyn, NY TN apr97
NEW ENGLAND - BILLY BRAGG (1983)
THE WATERSONS + INTERSTING INTERVIEW AND PUB SCENES
FINE HORSEMAN - AMAZING LYRICS
It was down by Cults garden for pleasure I did stray
Twas there I spied a comely maid talking to her sailor gay
Saying Susie my love Susie I tm going to leave the shore
For to cross the briney ocean on a British Man O' War.
Then Susie fell a weeping, these words I heard her say
"You needn't be so foolish as to throv yourself away
When at the age of 21 I will receive my store
So change your inclination from a British Man O' War."
O Susie, lovely, Susie, the truth to you I'll tell
The British flag is insulted and old England knows it well
You may be crowned with laurels or some other jolly tar
But I'll face the walls of China on a British Man O' War.
Oh, my love Willie, don't face those bold Chinese
For they will prove so treacherous, as any Portuguese
And by some sword or dagger you may receive a scar
Jolly sailor, do not venture On a British Man O' War
O Susie, lovely, Susie, the time has come at last
For to go down to yonder pub and drink a parting glass
My shipmates, they are waiting to row me from the shore
For to cross the briney ocean on a British Man O' War.
Willie took out his handkerchief, he tore it straight in two
Saying half of this I'll keep myself, and the other I'll give to you
When bellows they surround me and the cannons loudly roar
Then I'll fight for England's glory on a British Man O' War.
A few more words; were spoken and then they both shook hands
The sailors gently manned their oars and quickly rowed from land
And Willie waved his handkerchief till they were far from shore
Saying farewell my lovely Susie from a British Man O' War.
From the singing of the Kenny Family from Kitchuses, NFLD
Tune to be supplied by Vincent Kenny of Brooklyn, NY TN apr97
NEW ENGLAND - BILLY BRAGG (1983)
THE WATERSONS + INTERSTING INTERVIEW AND PUB SCENES
FINE HORSEMAN - AMAZING LYRICS
BANNERS AND F L AGS (P.3)
FIRST BANNER WAS MADE IN AUSTRALIA IN PROTEST FOR AN EIGHT HOUR WORKING DAY:::
"While the original 8 Hour Day banner was made of bunting, most of the early banners were either silk or calico. These were vulnerable to the weather; and many were reportedly destroyed by high winds. More robust canvas banners became common from the 1890s."
"Banners were too large and too heavy to be carried by hand. They were mounted onto horse-drawn drays and later onto lorries. Early in the 20th century, complicated frames were made so the banners could be lowered as they passed under the power and tram lines that were becoming part of the cityscape."
ED HALLS COLLECTION OF BANNERS FOR THE EXIBITION 'FROM ONE REVOLUTION TO ANOTHER' CURATED BY JEREMY DELLER 2008-9
SELECTED BY ED HALL FOR THE EXIBITION AT PALAIS DE TOKYO 26.09.08 TO THE 04.01.09
Islington Trades Union Council "Islington Trades Union Council" 2008 February 21st "2008 February 21st "
ROBERT TRESSELL BANNER FROM HASTINGS 2008 AT THE ROBERT TRESSELL FESTIVAL. ROBERT TRESSELL ------ 1898, he became a member of the Transvaal Executive Committee of the Centennial of 1798 Association, which commemorated the revolutionary nationalist United Irishmen.As a '98 Association member, Tressell helped form the Irish Brigades, an anti-British force that fought alongside the Boers in the Second BoeR War.
"While the original 8 Hour Day banner was made of bunting, most of the early banners were either silk or calico. These were vulnerable to the weather; and many were reportedly destroyed by high winds. More robust canvas banners became common from the 1890s."
"Banners were too large and too heavy to be carried by hand. They were mounted onto horse-drawn drays and later onto lorries. Early in the 20th century, complicated frames were made so the banners could be lowered as they passed under the power and tram lines that were becoming part of the cityscape."
ED HALLS COLLECTION OF BANNERS FOR THE EXIBITION 'FROM ONE REVOLUTION TO ANOTHER' CURATED BY JEREMY DELLER 2008-9
SELECTED BY ED HALL FOR THE EXIBITION AT PALAIS DE TOKYO 26.09.08 TO THE 04.01.09
Islington Trades Union Council "Islington Trades Union Council" 2008 February 21st "2008 February 21st "
ROBERT TRESSELL BANNER FROM HASTINGS 2008 AT THE ROBERT TRESSELL FESTIVAL. ROBERT TRESSELL ------ 1898, he became a member of the Transvaal Executive Committee of the Centennial of 1798 Association, which commemorated the revolutionary nationalist United Irishmen.As a '98 Association member, Tressell helped form the Irish Brigades, an anti-British force that fought alongside the Boers in the Second BoeR War.
Tuesday, 26 May 2009
PROJECT THREE
http://www.britishcouncil.org/folkarchive/folk.html
ED HALL - 2005 FOR THE BRITISH COUNCIL FOLK ARCHIVE
http://www.flagresearchcenter.com/sitemap.html
JEREMY DELLER AND ED HALL - FROM ONE REVOLUTION TO ANOTHER::
JEREMY DELLER.
"EXPLORES THE CULTURE AND POLITICAL HERITAGE OF BRITAIN AND ITS FOLKLORE"
"PROCESS INVOLVES PHYSICAL EXPLORATION OF PLACES AND METTING WITH THE PEOPLE WHO LIVE THERE"
http://www.jeremydeller.org/
JEREMY DELLER WAS WON THE TURNER PRIZE IN 2004.
DESIGNED THE TUBE MAP 2007 - MANS FACE COLOURS.
ACID BRASS!
http://www.folkartisans.com/pages/signlist.html
ED HALL - 2005 FOR THE BRITISH COUNCIL FOLK ARCHIVE
http://www.flagresearchcenter.com/sitemap.html
JEREMY DELLER AND ED HALL - FROM ONE REVOLUTION TO ANOTHER::
One of the strongest exhibitions I saw in 2008 was From One Revolution to Another, presented during the fall and winter at the Palais de Tokyo in Paris. The exhibition was part of the institution’s Carte Blanche initiative, whereby an artist is given time slot in the schedule to curate an exhibition in the entire venue. From One Revolution to Another was Jeremy Deller’s carte blanche. The exhibition took the entire venue, and consisted of large and small shows and salons, including the eclectic “Folk Archive” made together with his collaborator Alan Kane.
One of my favorite components was “1984-2008. Ed Hall. Banners” (installation view pictured here). These were dozens of banners hung through two—the most spacious—galleries of the Palais. These were beautiful and attractive banners that artist and activist Ed Hall created for “organizations committed to social and political causes.” Hall selected the banners on display, which are on loan by their respective groups represented, and also made a banner for the Palais exhibition.
If this was one of the strongest exhibitions in my mind, the reason was proportion. And I do not mean the size of the venue or the scale of the work — two much-heard criticisms about recent exhibitions at the Palais. By proportions I mean to point to the social dimensions that the project embraced. The exhibitions that made From One Revolution to Another presented recent movements, from craft to politics, that create new communities and shape the cultural landscape of Britain and other nations.
(http://blog.sideshows.org/)
http://www.palaisdetokyo.com/deller/index.html
JEREMY DELLER.
"EXPLORES THE CULTURE AND POLITICAL HERITAGE OF BRITAIN AND ITS FOLKLORE"
"PROCESS INVOLVES PHYSICAL EXPLORATION OF PLACES AND METTING WITH THE PEOPLE WHO LIVE THERE"
http://www.jeremydeller.org/
JEREMY DELLER WAS WON THE TURNER PRIZE IN 2004.
DESIGNED THE TUBE MAP 2007 - MANS FACE COLOURS.
ACID BRASS!
http://www.folkartisans.com/pages/signlist.html
PROJECT T W O
LOOKING AT THE APPLICATION OF IMAGE TO SOUND...
'THE OPRY HOUSE' (1929) MICKEY MOUSE PIANO SOLO. I LIKE THIS BECAUSE YOU CAN SEE HOW WALT DISNEY & CO ARE WORKING OUT HOW TO COMBINE THE TWO SEPERATE THINGS OF IMAGE AND SOUND WHILST ALSO TRYING TO MAKE IT ENTERTAINING
FLEET FOXES - 'WHITE WINTER HYMNAL' - MUSIC VIDEO
CHARLIE CHAPLIN 'THE GOLD RUSH' (1925)
RADIOHEAD COVER OF NUDE BY JAMES HOUSTON - COMPETITION
DEER HOOF - CHANDELIER SEARCHLIGHT
FIREKITES AUTUMN STORY - CHALK STOP MOTION ANIMATION. BEAUTIFUL.
LENS LYE.
.........
THIS FILM IS INTERESTING BECAUSE THE SONG 'DOING THE LAMBETH WALK' IS VERY STRONGLY CONNECTED TO COCKNEY TRADITIONS BUT IT IS DONE IN A TOTALLY ORIGIONAL AND ABSTRACT WAY BUT IT STILL SOMEHOW RETAINS SOMETHING OF THE CHARACTER OF THE PEOPLE THAT ORIGIOANLLY SUNG IT
'THE OPRY HOUSE' (1929) MICKEY MOUSE PIANO SOLO. I LIKE THIS BECAUSE YOU CAN SEE HOW WALT DISNEY & CO ARE WORKING OUT HOW TO COMBINE THE TWO SEPERATE THINGS OF IMAGE AND SOUND WHILST ALSO TRYING TO MAKE IT ENTERTAINING
FLEET FOXES - 'WHITE WINTER HYMNAL' - MUSIC VIDEO
CHARLIE CHAPLIN 'THE GOLD RUSH' (1925)
RADIOHEAD COVER OF NUDE BY JAMES HOUSTON - COMPETITION
DEER HOOF - CHANDELIER SEARCHLIGHT
FIREKITES AUTUMN STORY - CHALK STOP MOTION ANIMATION. BEAUTIFUL.
LENS LYE.
.........
THIS FILM IS INTERESTING BECAUSE THE SONG 'DOING THE LAMBETH WALK' IS VERY STRONGLY CONNECTED TO COCKNEY TRADITIONS BUT IT IS DONE IN A TOTALLY ORIGIONAL AND ABSTRACT WAY BUT IT STILL SOMEHOW RETAINS SOMETHING OF THE CHARACTER OF THE PEOPLE THAT ORIGIOANLLY SUNG IT
PROJECT ONE
1. 'ENGLISHNESS'
TWO BOOKS.
DRAWINGS.
OBSERVATIONS.
JOURNALISTIC.
PROXIMITY//DISTANCE.
OBJECT QUALITY.
ARTEFACT.
TEXT + IMAGE
QUOTES + OWN THOUGHTS.
PROXIMITY------ TALKING TO PEOPLE//RECORDING PEOPLE//ASKING QUESTIONS//STORIES//ANICDOTES//
DISTANCE-------OBSERVING//OVER HEARING//VOYERISM//WATCHING//ASSUMING//CONTEXT I.E BUILDINGS
PROJECT REFERENCES: PERSONAL PROJECT>>A-Z>>BODY LANGUAGE ZINE
EXTERNAL SOURCES:
L.S LOWRY.
..........
LOWRY 'THE MAN WITH THE RED EYES' (1938)
I LOVE THIS PICTURE AS SUCH A CONTRAST TO THE MORE FAMILIAR LOWRY STYLE OF PAINTINGS OF LOTS OF PEOPLE AT A DISTANCE AND IN GROUPS - INTERACTING
THIS PICTURE REALLY JUMPED OUT AT ME BECAUSE OF THIS CONTRAST OF PROXIMITY AND DISTANCE TO THE SUBJECT, BUT ALSO HOW ALTHOUGH THIS IS A VERY CLOSE AND PERSONAL PORTRAIT THE MAN IN IT STILL LOOKS A LITTLE UN COMFERTABLE. I REALLY LIKE THE STUBBLE ON HIS CHIN AND THE WAY THAT LOWRY HAS USED JUST A FEW WHITE LINES TO SHOW THIS BUT THE SIMPLICITY OF IT IS WHAT MAKES IT SEEM OBSERVED RATHER THAN IMAGINED.
I ALSO LIKE THE WAY THAT HE CAPTURES THE INTER ACTION BETWEEN PEOPLE AND THEIR ENVIRONMENT. HIS VIEWPOINT IS OFTEN DISTANT TO THE POINT WHERE YOU COULD NOT RECOGNISE INDIVIDUALS, YET BY THE WAY THE ARE SITUATED WITHIN THEIR ENVIRONMENT AND THE WAY THAT THEY ARE USING IT TELLS YOU ALOT ABOUT THEM AS PEOPLE. THERE IS A TOTAL BLENDING BETWEEN PEOPLE AND BUILDINGS. THE USE OF 'LOCAL' COLOUR IS ALSO VITAL IN GIVING A CONTEXT AND MEANING TO THE PAINTINGS. THE LEVEL OF LIGHT AND COLOUR GIVE YOU THE IMPRESSION THAT THIS IS AN AFTERNOON IN ENGLAND IN THE AUTUMN/ WINTER AND THE SMOKE RISING FROM THE CHIMMNEYS CONFIRMS THAT.
A GENTLEMAN LOOKING AT SOMETHING (1960)
.jpg)
ALAN BENNET.
............
TALKING HEADS.
JULIE WALTERS.
..............
CHARACTERS.....
PATRICIA ROUTLEDGE.
...................
TWO BOOKS.
DRAWINGS.
OBSERVATIONS.
JOURNALISTIC.
PROXIMITY//DISTANCE.
OBJECT QUALITY.
ARTEFACT.
TEXT + IMAGE
QUOTES + OWN THOUGHTS.
PROXIMITY------ TALKING TO PEOPLE//RECORDING PEOPLE//ASKING QUESTIONS//STORIES//ANICDOTES//
DISTANCE-------OBSERVING//OVER HEARING//VOYERISM//WATCHING//ASSUMING//CONTEXT I.E BUILDINGS
PROJECT REFERENCES: PERSONAL PROJECT>>A-Z>>BODY LANGUAGE ZINE
EXTERNAL SOURCES:
L.S LOWRY.
..........
LOWRY 'THE MAN WITH THE RED EYES' (1938)
I LOVE THIS PICTURE AS SUCH A CONTRAST TO THE MORE FAMILIAR LOWRY STYLE OF PAINTINGS OF LOTS OF PEOPLE AT A DISTANCE AND IN GROUPS - INTERACTING
THIS PICTURE REALLY JUMPED OUT AT ME BECAUSE OF THIS CONTRAST OF PROXIMITY AND DISTANCE TO THE SUBJECT, BUT ALSO HOW ALTHOUGH THIS IS A VERY CLOSE AND PERSONAL PORTRAIT THE MAN IN IT STILL LOOKS A LITTLE UN COMFERTABLE. I REALLY LIKE THE STUBBLE ON HIS CHIN AND THE WAY THAT LOWRY HAS USED JUST A FEW WHITE LINES TO SHOW THIS BUT THE SIMPLICITY OF IT IS WHAT MAKES IT SEEM OBSERVED RATHER THAN IMAGINED.
I ALSO LIKE THE WAY THAT HE CAPTURES THE INTER ACTION BETWEEN PEOPLE AND THEIR ENVIRONMENT. HIS VIEWPOINT IS OFTEN DISTANT TO THE POINT WHERE YOU COULD NOT RECOGNISE INDIVIDUALS, YET BY THE WAY THE ARE SITUATED WITHIN THEIR ENVIRONMENT AND THE WAY THAT THEY ARE USING IT TELLS YOU ALOT ABOUT THEM AS PEOPLE. THERE IS A TOTAL BLENDING BETWEEN PEOPLE AND BUILDINGS. THE USE OF 'LOCAL' COLOUR IS ALSO VITAL IN GIVING A CONTEXT AND MEANING TO THE PAINTINGS. THE LEVEL OF LIGHT AND COLOUR GIVE YOU THE IMPRESSION THAT THIS IS AN AFTERNOON IN ENGLAND IN THE AUTUMN/ WINTER AND THE SMOKE RISING FROM THE CHIMMNEYS CONFIRMS THAT.
A GENTLEMAN LOOKING AT SOMETHING (1960)
.jpg)
ALAN BENNET.
............
TALKING HEADS.
JULIE WALTERS.
..............
CHARACTERS.....
PATRICIA ROUTLEDGE.
...................
I. P. S.
THE IPS PRESENTATION IS THE PROPOSAL OF THE PROJECTS YOU WOULD LIKE TO DO IN THE FINAL YEAR, AND NEEDS TO INCLUDE RELEVANT INFORMATION TO SHOW HOW YOU ARE GOING TO CARRY OUT THESE PROJECTS AND WHERE THE IDEAS HAVE COME FROM (HOW THEY ARE RELEVANT TO YOUR CURRENT WORKING PRACTISE).
I AM GOING TO DO THREE PROJECTS:
1. 'ENGLISHNESS'
2. 'FOLK LANGUAGE'
3. 'ANIMATED SONG'
I AM GOING TO DO THREE PROJECTS:
1. 'ENGLISHNESS'
2. 'FOLK LANGUAGE'
3. 'ANIMATED SONG'
Thursday, 14 May 2009
IN DIV ID U AL PRO GRAMME OF ST U DY
IPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPSIPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPSIPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPSIPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPSIPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPSIPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPSIPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPSIPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPSIPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPSIPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPSIPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPSIPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPSIPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPSIPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPSIPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPSIPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPSIPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPSIPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPSIPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPSIPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPS IPS
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