Chapter 2

Listening: The Second Half of Communication

Good communication is a two-way street. The most effective exchange of information happens when both a good sender and a good receiver are involved. Being a good receiver (or listener) leads to deeper understanding, shows respect, and helps ensure accurate perceptions. Besides, really listening is just plain courteous. But active listening is often more difficult for someone than being the speaker.

Why is excellent listening so difficult? The first reason is our perceptions. Generally, the person speaking believes his or her messages are more helpful, urgent, and interesting than the person listening thinks they are. A second reason is simply that effective listening is hard work, even though we believe listening is as natural as walking or any other basic human activity. But unfortunately, effort is necessary.

Part of the reason that listening is so hard is linked to how quickly the human brain can absorb information. Our brains are able to absorb information at a much faster rate than anyone can speak, so our brains take detours. A listener’s thoughts may wander and focus on other more urgent things or he or she goes off on a mini “mind vacation” based on something the speaker says. Jargon-laced concepts as well as distractions in the environment are all common ways the listener becomes sidetracked.

But listening has its own rewards if you are willing to put in the necessary work. In addition to hearing critical information correctly and honoring the speaker, listening might even be good for you. When we listen—really listen—our heart beat increases, our pupils dilate, and our blood pressure raises just a bit. In effect, you are burning more calories when you work at listening.

This chapter on effective listening includes practical and creative activities. In “No Advice Please,” communication and presentation expert Cyndi Maxey provides an activity that allows participants to experience good listening skills. Jeannette Grace shares a well-seasoned activity that helps participants understand what works best when listening and what does not. Luciana Rodrigues asks and answers the question, “Do You Know How to Listen?” Rachel Stromberg Wical introduces an activity used in improvisational theater to teach focus.

By the way, if you are not familiar with improv theater, visit a performance; you will leave with a number of ideas you will be able to use to rev up your training. Barbara Murray closes this chapter with an activity that I cannot wait to try, “Are You Smiling?” The activity confirms that people sound friendlier when they are smiling. This 15-minute activity is a great way to close out a session on listening, customer service, sales, or telephone skills. As a trainer, you will be happy to have these listening activities in your trunk.

No Advice Please

Submitted by Cyndi Maxey1

Overview

Participants in this activity take turns practicing the art of listening following the strict guideline of “no advice” or feedback of any kind.

Objectives

  • To listen actively without adding advice or “value”
  • To effectively practice the verbal and nonverbal behaviors of listening

Audience

A minimum of two participants, no maximum

Time Estimate

10 to 15 minutes

Materials and Equipment

  • A whiteboard, blackboard, or flip-chart and easel
  • Markers

Area Setup

Appropriate for any room setup or configuration

Process

1. Review and give examples of the nonverbal and verbal behaviors of an active listener using the following examples:

  • Nonverbal Behaviors: nod, eye contact, non-word comments (uh-huh, umm), smile, eye expression, forward lean, open, uncrossed arms and legs
  • Verbal Behaviors: probing questions (“How did you arrive at that?” or “Why did your boss allow this?”), brief comments that support and encourage (“Oh?” “Tell me more.” “I see.” “Wow, no kidding?” “That’s interesting.” “Indeed!”)

2. Draw a large “No Advice” sign on your blackboard, whiteboard, or flip chart in the format of the universally understood red circle with a line through it like a no smoking sign. Remember to write only the word Advice and then circle it and draw a line through it, like this.

image

3. Allow the group to select partners and determine who will be the speaker and who will be the listener.

4. Tell those in the listener’s role to ask their speaker partners just one question, “What’s on your mind today?” Advise the listener that his or her job is to actively listen using the simple techniques provided at the beginning of this activity. Explain that the listener may provide absolutely no advice, or stories, or feedback of his or her own. For example, saying something like, “Yeah, that happened to me, too,” is not allowed.

5. Allow 3 to 5 minutes for the conversation then call time and ask the partners to switch listener and speaker roles using the same question prompt.

6. Allow 3 to 5 minutes for the second interaction before beginning a debriefing.

7. Debrief by asking the participants to describe the experience from the perspective of both the listener and the speaker. You will likely find a mix of reactions. Some participants will say they enjoyed the experience of being paid attention to and understood. For others, the roles will be uncomfortable. Stress that listening skills are learned, developed, and perfected only with time and practice. Initiate a discussion of when this type of listening may not be appropriate and ask for suggestions on appropriate times to practice listening skills again.

InSider’s Tips

  • This is one of the simplest activities I conduct; no materials or setup are needed.
  • Since participants all have something pressing on their minds, nearly everyone can benefit from concentrated, active listening practice.
  • All job types and organizational levels have a good time with this activity. I’ve used it with fire fighters, physicians, and customer service representatives.

I See You Listening

Submitted by Jeannette Grace2

Overview

Participants use both their descriptive and artistic skills in this activity to explore and practice effective listening techniques.

Objective

  • To practice listening skills for following directions
  • To experience both the sender and receiver roles in a difficult communication series
  • To demonstrate what happens when people are not fully engaged in the communication process

Audience

Ten to twenty participants

Time Estimate

30 minutes

Materials and Equipment

  • One clipboard per participant
  • Ten different clip art images, each on a separate piece of paper
  • One blank sheet of paper for each participant
  • One pencil/pen for each participant

Area Setup

Enough room for pairs of participants to sit back-to-back in chairs spaced comfortably around the room

Preparation

Before facilitating this activity, take time to select ten different clip art pictures from a copyright-free source of your choice (for example, the Microsoft Office website). Simple line drawings work best. Print each one full size on a sheet of paper.

Process

1. Ask participants to choose partners and select a set of the back-to-back chairs you have set up beforehand. Give participants each a clipboard and pen or pencil.

2. Assign activity roles. Explain that one person in each of the pairs is the art instructor charged with providing instructions. The other person is the artist who will draw what the instructor describes. Say that the roles in this activity will be determined alphabetically: “The initial letter of the participant’s first name and its position in the alphabet will determine the role of the instructor.” Give an example if necessary, for example, if the participants are named Allen and John, Allen would be the instructor.

3. Tell the pairs that the artist cannot ask questions, and neither the art instructor nor the artist may look at each other or see each other’s papers during the activity.

4. Give each instructor a different image and tell the art instructors they have 5 minutes to describe what their artist partners must draw based solely on their powers of description.

5. Allow 5 minutes, then stop the activity and ask the instructors to look at what the artists drew, based on their instructions.

6. Ask the pairs to switch roles so that the instructor is the artist and the artist the instructor.

7. Next, collect the clip art images from all the participants and shuffle them. Redistribute the images ensuring each pair is working with a different image.

8. Begin the activity again with the new instructors giving directions to the new artists.

9. Allow another 5 minutes, then stop the activity. Ask the new instructors to look at what the new artists drew based on their instructions.

10. Allow a few minutes for the pairs to examine the results. Debrief the activity using questions such as these:

  • What happened? Why?
  • What does this tell us about communication?
  • What worked well?
  • What prevented you from communicating better?
  • What could you have done differently?
  • When does this happen back at our workplace?
  • What will you do differently as a result of this activity?
  • Summarize by adding:
    • When the people involved in the communication are not fully engaged, a breakdown in communication is likely.
    • If you communicate by phone or email, this breakdown in communication is even more likely because the element of seeing what the other person is talking about is missing.
    • State that good communication requires work on both sides.

InSider’s Tips

  • Draw or select images from copyright-free clip art.
  • This activity stresses the importance of tolerance when working with others as well as the importance of open and honest communication and clear channels of communication.
  • Walking around the room during the activity will allow you to remind participants of their roles. They often forget they aren’t supposed to be having a dialogue.
  • When you hand out the blank paper and drawing diagrams, try to hand out one in the landscape direction and the other one in the portrait direction. Participants often miss the step of making sure they are both starting on the “same page”—that is, with both the diagram and the blank pages in the same direction.
  • Frustrations and difficulties (pitfalls) occur for both the art instructor giving instructions and the artist receiving communication. Common complaints and comments include:
    • Not being able to ask questions, give feedback, or see what the art instructor was describing
    • The noise level makes it difficult to hear
    • Inability to explain the drawing
    • Difficulty understanding the explanation
  • This is a variation of a classic activity that trainers have used for thirty years. I participated in a version of this activity more than fifteen years ago. I have modified and expanded it for my own purposes.

Do You Know How to Listen?

Luciana Rodriques3

Overview

Participants form pairs in this activity to explore the negative impact of poor listening skills. One of the two is asked to model inappropriate listening behavior as the other participant attempts to relate a story based on something he or she has read, heard, or experienced.

Objectives

  • To raise awareness of and improve listening skills
  • To provide an opportunity to practice communication skills

Audience

Appropriate for any number of participants

Time Estimate

30 minutes

Materials and Equipment

  • Listening Cards with a poor listening behavior identified, one for each pair of participants (half the number of participants in the group)
  • Do’s and Don’ts of Active Listening for each participant

Area Setup

Arrange room so that participants can spread out and work together as pairs.

Preparation

Before the session create Listening Cards. Write each of the suggested poor listening behaviors below on an index card. Feel free to add poor listening behavior suggestions of your own.

  • Don’t look at your partner; let your eyes wander around the room.
  • Interrupt constantly and ask for more details.
  • Don’t say a word and don’t use any facial expressions. Just stare at your partner.
  • Interrupt constantly.
  • Criticize the way your partner is telling the story; say that he or she is not clear and you don’t understand.
  • Laugh ironically and make it clear you don’t believe his or her story.
  • Tell your partner, as he or she speaks, that the story is silly and boring, and that you are not really interested.
  • Interrupt constantly to relate a similar story that happened to you or that you have heard. Don’t let your partner tell the whole story.
  • Pretend you are not completely paying attention and every 15 seconds or so ask your partner to repeat what he or she has just said.
  • Interrupt and urge your partner to skip the details in order to jump to the conclusion.
  • Use nonverbal cues that demonstrate you are not listening.

Process

1. Ask participants how many of them think they are excellent listeners. Acknowledge the few participants who raise their hands. Ask all participants to find partners and form a pair for the activity.

2. If the number of participants is odd, assign the extra person to be the observer.

3. Once everyone is settled, explain that one person in each pair must choose either number 1 or number 2 as an identifier. Ask the pairs to determine who will be identified as number 1 or number 2.

4. Find an area in the room large enough to gather all those participants identified as number 1 and ask this group to gather in the space you’ve selected. Make sure that the number 2 participants cannot hear the instructions you will give to the number 1 participants.

5. Once the number 1 participants have gathered, explain that their job during the activity is to tell their number 2 partners stories about something they have read, heard, or experienced. Emphasize that their storytelling must sound very confident and convincing, even though they will have no more than a couple of minutes to think of their stories while you are giving the activity instructions to their number 2 counterparts. Note: If you have an observer, that person observes while you give instructions to both groups.

6. Dismiss the number 1 participants to think of stories to tell and gather all the number 2 participants together in a place where the number 1 participants cannot hear you giving instructions.

7. Explain to the number 2’s that the number 1’s will tell them stories as part of the activity. Tell the number 2’s that their job is to model a behavior that demonstrates poor listening skills. Give each number 2 participant a Listening Card that lists one of the poor listening behaviors from your list. Explain that their role during the activity is to model the behaviors written on their cards while their partners tell them stories.

8. Dismiss the number 2 participants and direct the two groups to find their partners to begin the activity. Once the pairs have reconnected, tell the participants they have 10 minutes to complete the activity following the instructions they were given. Start the activity.

9. While the participants tell stories, walk around the room. Observe their reactions and reinforce instructions individually if needed.

10. After 10 minutes, tell the participants to go back to their original seats for a large group discussion. Debrief the activity, noting what you observed while the participants worked. Use questions such as the following to review the learning:

  • Number 1’s: What was your experience telling the story and how did you feel?
  • Number 2’s: What role did you play, and how did you feel during the activity? How would you describe your partner’s response to your behavior?
  • How many of you have been in a situation in which you wanted to communicate and you knew the other person was not listening to you? Explain how that felt.
  • How many of you have been accused of not listening before coming to this session? Who would be willing share an example?
  • How can you relate these simulations to real-life situations inside or outside your workplace?
  • How will you use this information in the future?

11. Close the activity by talking about the importance of active listening, using the Do’s and Don’ts handout as a basis for discussion.

InSider’s Tips

  • Contracting with the participants is essential to obtain the expected outcomes, so make sure they are willing to participate and that it is clear what they are supposed to do.
  • Debriefing is very important for the activity to be meaningful and provide a solid learning experience, so make sure you ask questions that help participants associate the activity to real-life work situations.
  • To make the activity even more meaningful, you can explore specific interesting behaviors that you observed, commenting and asking those involved to explain to the group what they did and how that felt.
  • Closing the activity is also critical. In the end, make sure the benefits of active listening are clear to the participants and that they understand how this contrasts with what they have just experienced.
  • You may use the Dos and Don’ts of Active Listening to guide your discussion or as a handout for participants.
  • I received this activity from a collection of learning activities a co-worker from Brazil sent me years ago and I have personalized it over the years. I have used it several times and I know of other HR colleagues who have successfully used this activity as well.

Dos and Don’ts of Active Listening

Active listening shows that you are listening with both your ears and your mind. You will demonstrate that you are listening by what you say and what you do. Speakers want to be reassured that you understand their message. Practice these active listening behaviors to be a good active listener and to show you understand.

Do

  • Pay attention, show interest, and display curiosity.
  • Listen for tone of voice and inflection.
  • Show that you are listening through your posture and by nodding your head.
  • Provide supportive feedback.
  • Defer judgment.
  • Respond appropriately.
  • Allow the speaker time to find the right words.
  • Summarize to ensure the speaker that you understand.
  • Ask clarifying questions to help you understand.
  • Paraphrase to ensure you understand correctly.
  • Concentrate and find relationships within the message.
  • Connect with the speaker by making good eye contact.
  • Respond verbally with positive responses such as “yes,” “I see,” or “I understand.”
  • Acknowledge the speaker’s feelings.

Do Not

  • Interrupt.
  • Say “yes, but.”
  • Complete the speaker’s sentences.
  • Assume you know what the speaker is going to say.
  • Show your impatience.
  • Be judgmental.
  • Be critical of the delivery.
  • Provide evaluative feedback.

Which of these is easiest for you to do?

Which are most difficult?

For additional information go to http://www.mindtools.com/CommSkll/ActiveListening.htm.

Yellow Ball

Submitted by Rachel Stromberg Wical4

Overview

This theater-based activity requires participants to form a circle and toss imaginary “balls” and other items to each other in order to practice focus and listening in a confusing and multiple-message environment.

Objectives

  • To improve communication skills by practicing active listening, focus, being present, concentration, and giving feedback
  • To bring awareness of the larger picture instead of just a few of the details

Audience

Six to twenty participants

Time Estimate

20 to 35 minutes

Materials and Equipment

None

Area Setup

A room with a medium to large open area is needed. Participants need enough room to stand in a circle about an arm’s width apart so that they are able to move freely. In some situations, participants may need to help you move tables and chairs to accommodate the setup.

Process

1. Invite the participants to form a circle. You are a part of the circle and will lead the activity from that position.

2. Hold up an imaginary ball and mimic its size (about the size of a tennis ball) using your thumb and index finger. Introduce the imaginary ball to the group as the “Yellow Ball.”

3. Explain that as part of the activity you will toss the “Yellow Ball” to someone else in the circle and that the person you select to catch the “Yellow Ball” must say “Yellow Ball. Thank you.” Further explain that the person who receives the “Yellow Ball” must then throw the ball to someone else in the circle and call out “Yellow Ball” when he or she tosses it to the next person.

4. Demonstrate throwing the “Yellow Ball” to someone in the circle. Call out “Yellow Ball” as you mimic tossing it.

5. Tell the participants that there is no pattern to the tossing of the ball and give the group a couple of minutes to practice tossing the ball around the circle.

6. After the imaginary “Yellow Ball” has been tossed for a while, shout, “Freeze.” Ask the person who has the “Yellow Ball” to hold onto it.

7. Introduce another imaginary “Red Ball” and explain that it is a little bit bigger in size. Toss the “Red Ball” to someone in the circle and call out, “Red Ball.” The person catching the “Red Ball” should respond “Red Ball. Thank you.” before throwing it to someone else in the circle who follows the tossing pattern established for the “Yellow Ball.”

8. Signal to the person who was last holding the yellow ball to toss it to another person in the circle. Now there are two balls in motion, both being identified as they are tossed to participants in the large circle.

9. After 2 minutes of activity shout, “Freeze.” Ask the people who currently have the “Yellow Ball” and “Red Ball” to hold them up.

10. Introduce another imaginary object that will be tossed around in the same manner. Chose something of a different size, shape, and weight. The object may be anything—typewriter, glass of water, Samurai sword, baby, greased pig, anvil, or even an octopus. The point is to make it fun and to give the participants a visual cue to focus on. Note: Make sure whatever items you choose are big enough to be “seen” (visualized) by the group.

11. Pause and introduce new items to the game periodically. Depending on the size of the group, a total of five to seven imaginary items might be flying through the air during the activity.

12. If the group is having difficulty keeping track of who is supposed to be catching or tossing the imaginary items, pause and ask, “What would make this activity easier?” Possible answers might include:

  • Eye contact (important for active listening)
  • Saying the person’s name before throwing (Is your audience ready for your message?)
  • Looking for someone who was open (Is this a good time to deliver your message?)
  • Acknowledgement/feedback of the message by saying what item you received and “thank you” (Repeating or paraphrasing the message; checking for understanding)

13. Restart the activity once you have addressed the group’s concerns and allow the activity to continue before calling out “freeze” again.

14. Debrief the activity using questions such as these:

  • What made the activity easier for you?
  • How were you able to accomplish the task?
  • What made the activity challenging?
  • How was catching or holding more than one item at a time like communicating (multi-tasking prevents active listening)?
  • How was finding someone open like communicating (getting your message heard and timing your message)?
  • How can confusion affect communication (not focused on the big picture)?
  • How was the introduction of more items like communication in the workplace (difficult to be an active listener with a lot of distractions)?

15. Summarize by asking: Do you feel like this activity mirrors your job (or life), having to juggle so many messages and activities? How do you deal with this in your workday so you can remain effective? Possible responses include:

  • Make sure the timing is right when delivering important information.
  • Maintain eye contact.
  • Focus on the message.
  • Give feedback to show I am listening.
  • Handle one thing at a time.
  • Prioritize.

InSider’s Tips

  • Participants usually discover the association of the items being tossed with a “message” and how easy it is to drop something important in their busy day of “juggling” messages and activities.
  • Learners become very creative with the ideas during the debriefing section and the learning that occurs from the activity.
  • Typically, the concepts below are identified by the participants during the debriefing. If not, you may pose additional questions such as the ones below to help participants discover the key points on their own:
    • What did you have to do to make sure you could focus on all the activity happening at once? (Leads to discussion on concentration, being present, actively listening, being aware of the larger picture instead of just a few of the details.)
    • What steps did you take to make sure you were actively listening to the others in the group? (Leads to discussion on being present, giving feedback to identify that you understood the message.)
    • What worked better for you: focusing on everything that was happening at once, or on only a few things? (Leads to discussion on the limitations of just focusing on the details instead of the big picture.)
  • This can be a team-building activity as well, as participants work together to keep the items in the air.
  • This activity is typically used in improvisational theater to teach performers to focus on listening to their scene partners and not on what is happening in the scene around them. Like many theater-based activities, this one has been used for years, and I’m not sure about its widespread use in a corporate environment.

Are You Smiling?

Submitted by Barbara Murray5

Overview

Participants learn that it is nearly impossible to hide your mood or attitude, even without obvious visual cues as a guide.

Objectives

  • To improve listening skills
  • To confirm that people sound friendlier with smiles on their faces
  • To prove that people do not sound as happy with frowns on their faces

Audience

Two or more participants

Time Estimate

10 to 15 minutes

Materials and Equipment

  • One sheet of paper for each participant with the phrase “If you are happy and you know it, your voice will surely show it” printed on it

Area Setup

Any arrangement will work. It will be less noisy and the other participants will be able to hear better if the partners formed for this activity have some space between them.

Process

1. Ask participants how many can tell what mood someone is in just by talking to him or her on the phone? Ask how soon they can make this determination? After a few responses, state that this activity will allow them to conduct their own smile experiment. Ask them to stand up and find partners for the activity.

2. Explain that one person in each pair will be Participant A and the other Participant B. Say that Participant A is the person with the first letter of his or her first name closest to the letter Z. The other person is Participant B.

3. Hand out the sheets of paper you have prepared to every participant.

4. Tell the pairs to stand back-to-back.

5. Tell all the A participants that they will have three opportunities to read the sentence you passed out with either a smile or a frown on their faces. Tell the A participants that their job is to trick the B participants into guessing incorrectly as to which expression they wore while reading the printed sentence. Remind the B participants to listen carefully and to track the number of correct guesses.

6. Once the participants are properly spaced in back-to-back position, begin the experiment.

7. After a few minutes, stop the action and ask A and B partners to switch roles. Start the experiment again. Remind the A participants to listen carefully and to track the number of correct guesses.

8. When everyone has completed the activity, summarize with a couple of questions such as the ones below:

  • How many times were you correct? Why were you able to guess correctly?
  • What does this tell us about communication?
  • What role did listening play in your ability to determine whether your partner was smiling or frowning?
  • Why is this important to you in the workplace?

InSider’s Tips

  • The participants will likely find that it is extremely difficult to sound happy with a frown on their faces.
  • It is amazing how clearly you can “hear” whether others are smiling without any facial visual cues.
  • Most participants “get it” when they realize how difficult it is to coordinate opposite emotions and why tricking the listener is not easy.

1Cyndi Maxey is a twenty-eight-year ASTD member and frequent presenter at ASTD’s International Conference. She is co-author of Ten Steps to Successful Time Management, Training from the Heart: Developing Your Natural Abilities to Inspire the Learner and Drive Performance on the Job with Barry Lyerly and Kevin E. O’Connor, Speak UP: A Woman’s Guide to Presenting Like a Pro, a sequel to Present Like a Pro: The Field Guide to Mastering the Art of Business, Professional, and Public Speaking. She has her master’s degree from Northwestern University.

Cyndi Maxey

Maxey Creative Inc.

5407 North Lakewood Avenue

Chicago, IL 60640

(773) 551.9599

Email: [email protected]

Website: www.cyndimaxey.com

2Jeannette Grace has always had a passion for helping others on their journey toward personal growth and helping other increase their confidence, celebrate who they are, and learn new skills. She is currently a consultant and partner at Integrated HR Solutions and co-founder of ShiFT the World, a happiness movement. She is living two of her greatest passions: helping companies and individuals capitalize on their talents and helping individuals become happier by working from the outside in. She has a BA from Metropolitan State University in professional communications and an MA from Bethel University in communication.

Jeannette Grace

4344 Madison Street NE

Columbia Heights, MN 55421

(763) 670.7465

Email: [email protected]

Website: www.integratedhrsolutions.com

ASTD Chapter: Twin Cities

3Luciana Rodrigues graduated from Mackenzie University in São Paulo, Brazil, with a B.S. in business administration. She has an M.S. in human resources management from the same university and is currently enrolled in the M.Ed. program in Penn State–Harrisburg. She has ten years of experience in human resources, mostly in organization development and learning. She works for Tyco Electronics as an organization development and learning manager in Harrisburg, Pennsylvania, responsible for projects such as performance management, employee engagement, leadership development, and training programs for the Americas.

Luciana Rodrigues

6633 Terrace Way, Apt. B

Harrisburg, PA 17111

(717) 805.1231

Email: [email protected]

ASTD Chapter: Central Pennsylvania

4Rachel Stromberg Wical is the vice president of training and development for Mad Cowford Improv, an organization that specializes in entertainment and corporate training. During her career Rachel has launched a corporate university for front-line managers, directors, and vice-presidents and has managed and developed workplace learning professionals, employees, and volunteers in non-profit and commercial business. Rachel has served on the board of directors for the Northeast Florida chapter of ASTD since 2002, including as chapter president.

Rachel Stromberg Wical

2421 Provost Road E

Jacksonville, FL 32216

(904) 608.1148

Email: [email protected]

Website: www.madcowford.com

ASTD Chapter: Northeast Florida

5Barbara Murray is currently president of the ASTD Great Plains chapter. She has been a dual member of ASTD for nine years, actively serving on the Great Plains ASTD board for six years. Barbara has worked in training and development for more than eleven years. She is responsible for PREMIER Bankcard Management Development, serving over three hundred managers and key personnel. Barbara prides herself in being a servant leader. She has developed and delivered numerous management development courses to serve the needs of the PREMIER team. She provides the tools and training necessary to assist the managers in becoming great PREMIER leaders.

Barbara Murray

4902 South Oxbow Avenue

Sioux Falls, SD 57106

(605) 357.3401

Email: [email protected]

ASTD Chapter: Great Plains

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