Q Is for Quicken

mock-up after work session 140414 osk + sxw

bababada lgharaghtakamminaron nonnbronntonnerronn uonnthunntrobarrhoun awnskawntoohoohoor denenthurknuk!

draft script 2010-2013 Sha Xin Wei

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A. adj. I. Characterized by the presence of life.

quick

the quick verb

quicken

part of speech adjective denition

noun
B. Elliptical or absolute uses passing into n.

1. a. Living, endowed with life, in contrast to what is naturally inanimate. Now dial. or arch. b. Of possessions or property: Consisting of animals; live (stock). Freq. in phrases quick cattle, good(s, stock, etc., and hence, by analogy, quick beast. Obs. Cf. also OE. cwicht, -feoh. c. Applied to things properly inanimate in various transf. or g. uses (cf. II).

quicken (verb) [f. QUICK a. + -EN5. Cf. ON. kvikna, kykna to come to life, come into being, Sw. qvickna; 1. a. pl. (Without article or -s.) Living persons. (Chiey in echoes of Acts x. Da. dial. kvgne to refresh. In Eng. the trans. sense is 42 or the Apostles' Creed, in phr. quick and dead.) more usual than the intr.] b. the quick, the living. Usu. pl., and in conjunction with the dead (cf. 1a). I. Transitive senses. c. That which is alive. (OE. and early ME. in gen. sing.) Obs. d. Live stock, cattle. (So OFris. quek, quik, LG. queck, quick, Da. kvg.) Obs. rare{em}1. 2. With a and pl. A living thing. rare (now only dial.). 1. a. To give or restore life to; to make alive; to vivify or revive; to animate (as the soul the body). 1. b. g. in renderings of Biblical passages, or echoes of these, occas. with ref. to spiritual life.

2. a. Of persons and animals: In a live state, living, alive. Now dial. or arch. b. Freq. as complement to the subject of intr. and pass. verbs, or to the object (rarely subj.) of trans. verbs; sometimes with intensive all prexed. c. Of the esh or parts of the body; spec. quick esh; now also quickesh. d. transf. and g., chiey of qualities, feelings, etc. (cf. II).

3. a. Of plants or their parts: Alive, growing. See also QUICKWOOD. b. Composed of living plants, esp. hawthorn, as quick fence, frith, hedge (cf. Du. kwikhaag), mound. Cf. QUICKSET.

4. Constr. with. a. quick with child, said of a female in the stage of pregnancy at which the motion of the f{oe}tus is felt. Now rare or Obs. b. absol. in same sense. Obs.

II. Of things: Having some specic quality characteristic or suggestive of a living thing.

* In a sound or natural condition; fresh; productive.

3. a. collect. Living plants, spec. of white hawthorn, set to form a hedge. = QUICKSET 1a. 1. c. to be quickened = 6b. Obs. b. With a and pl. A single plant of this description. = QUICKSET 1b. 4. a. the quick: The tender or sensitive esh in any part of the body, as that under the nails or beneath callous parts; the sensitive part of a horse's foot, above the hoof; also, the tender part of a sore or wound. Usu. in phr. to the quick. Also without article (quot. 1562). Also attrib. 2. To give, add, or restore vigour to (a person or thing); to stimulate, stir up, rouse, excite, inspire. a. a person. b. a feeling, faculty, action, course of things, etc. Also with up.

5. Of the complexion: Having the freshness of life. Obs. rare. 6. Of things seen: Lifelike, vivid. Obs. rare. 7. a. Of rock: Natural, living. b. Of earth: (see quot. 1620). Obs.

8. a. Mining. Of veins, etc.: Containing ore, productive. (Cf. DEAD a. 10.) b. Of stock, capital, etc.: Productive of interest or prot.

** Possessed of motion.

9. Of wells, springs, streams, or water: Running, owing. (Cf. OE. cwicwelle adj.) Now rare. Also transf.

b. g. with ref. to persons, chiey in phrases denoting acute mental pain or irritation, as touched, galled, stung, etc. to the quick. absol. c. transf. of things (esp. immaterial things): The central, vital, or most important part. d. With a and pl.: A tender, sensitive, or vital part. rare. 5. the quick: The life (see LIFE n. 7). Chiey in phr. to the quick. 6. = quick-mire (See D.). Obs. rare{em}1. 3. To kindle (a re); to cause or help to burn up. 4. a. To make (liquor or medicine) more sharp or stimulant. ? Obs. b. To imbue (tin) with quicksilver. rare. c. dial. To work with yeast. (Halliwell.) 5. a. To hasten, accelerate, give speed to. b. To make (a curve) sharper or (a slope) steeper.

10. Of soil, etc.: Mobile, shifting, readily yielding to pressure. Cf. quick-clay in sense D, QUICKSAND.

*** Having some form of activity or energy.

11. a. Of coals: Live, burning. Obs. b. Of res or ames: Burning strongly or briskly. Also of an oven: Exposed to a brisk re.

12. Of speech, writings, etc.: Lively, full of vigour or acute reasoning; smart, sprightly. Obs.

13. Of places or times: Full of activity or business; busy. Of trade: Brisk. Obs.

14. Of sulphur: Readily inammable, ery. Obs.

15. Of wine and other liquors: Brisk, effervescent. Obs.

16. a. Of the voice: Loud, clear. Obs. rare{em}1. b. Of colour: Vivid, bright, dazzling. rare.

17. Of feelings: Lively, vivid, keen, strongly felt.

18. a. Of a taste or smell: Sharp, pungent; brisk. Also of things in respect of taste or smell (cf. 15). Obs. b. Of speech or writing: Sharp, caustic. Obs c. Of air or light: Sharp, piercing. rare. d. Of what causes pain. Obs. rare{em}1.

III. Having in a high degree the vigour or energy characteristic of life, and hence distinguished by, or capable of, prompt or rapid action or movement.

19. a. Of persons (or animals): Full of vigour, energy, or activity (now rare); prompt or ready to act; acting, or able to act, with speed or rapidity (freq. with suggestion or implication of sense 23). b. Of qualities in a person (or animal). c. Of things (material and immaterial). d. Cricket. Of a bowler.

20. a. Of the eye, ear, etc.: Keen or rapid in its function; capable of ready or swift perception. b. So of the senses, perception, feeling, etc.

21. a. Mentally active or vigorous; of ready apprehension or wit; prompt to learn, think, invent, etc. b. So of mind, wit, etc., and of qualities or operations (cf. 25) of the mind.

22. a. Hasty, impatient, hot-tempered. ? Obs. b. So of temper, disposition, etc.

Quickening conjures the alchemical process of animating non-living matter, infusing mud and clay with a bubbling burbling vitality. By a number of theoretical-practical means, such as infusing spirit, or purifying essence, or transmuting essence, a base metal could become more noble. Thus, dark, dead, sessile metal quickened into liquid vitality and sheen, could become quicksilver, if an alchemist -- like Maria the Jewess -- prepared herself well enough.

It was typical of alchemical theory to treat the arts of the body and the arts of earth in the same logic. In the Eighth Key of Basil Valentine:
For if anything is to be generated by putrefaction, the process must be as follows: The earth is rst decomposed by the moisture which it contains; for without moisture, or water, there can be no true decay; thereupon the decomposed substance is kindled and quickened by the natural heat of re: for without natural heat no generation can take place. Again, if that which has received the spark of life, is to be stirred up to motion and growth, it must be acted upon by air. For without air, the quickened substance would be choked and stied in the germ. Hence it manifestly appears that no one element can work effectually without the aid of the others, and that all must contribute towards the generation of anything. Thus their quickening cooperation takes the form of putrefaction, without which there can be neither generation, life, nor growth. That there can be no perfect generation or resuscitation without the co-operation of the four elements, you may see from the fact that when Adam had been formed by the Creator out of earth, there was no life in him, until God breathed into him a living spirit. Then the earth was quickened into motion. In the earth was the salt that is, the Body; the air that was breathed into it was mercury or the Spirit, and this air imparted to him a genuine and temperate heat, which was sulphur, or re. Then Adam moved and by his power of motion, shewed that there had been infused into him a life-giving spirit. For as there is no re without air so neither is there any air without re. Water was incorporated with the earth Thus living man is an harmonious mixture of the four elements; and Adam was generated out of earth, water, air, and re, out of soul, spirit, and body, out of mercury, sulphur, and salt.8

But in Europe, as some of the divine powers became secularized, one of the enduring debates about alchemical practice was whether it was possible and non-heretical for mortal humans to aspire to equal or even perfect Nature. For perfection -- the perfection of the body manifested as immortality, and the perfection of matter as the transubstantiation of base metals into noble gold -- motivated countless alchemists before Paracelsus. One way to answer yes to that question, and still avoid being burned at the stake, was to reduce alchemical application to the mundane aspirations of medicine and chemistry. The other, more radical way was to disenchant the world. Alchemy thrived in a world in which nonliving matter could, through arcane means, acquire vital qualities, and in which living but mortal bodies could become immortal. Subjecting the world to rational regard also disenchanted the world as it disenchanted the art. Thus, the alchemical arts of quickening and quintessential quickening, became safer for both practitioner and client; alchemy after Paracelsus was transmuted into chemistry, medicine, economics. The last great act of alchemical transmutation was the disenchantment of the art itself, and subsequently, quick became merely mortally speedy.

Quick, adjective. Quick as quicksilver. The quick, noun. Not the quick of the quick brown fox but the quick of the quick and the dead. Quicken, verb. A woman, pregnant, feels her rst child turn inside her for the rst time, like a whale. It is terrifying, exhilarating. The earth quickens as well: it quakes.

The most ancient works of the arts of quickening, that is, of alchemy, came from China, where they were practiced by not gods but humans, for instance: Wei Po-Yang (ca. 120), Ko Hung (253-334), and in the ninth century, the daughter of Keng Chhien -- Keng Hsien-seng -- a poet and magician who was challenged by the Emperor to transmute a substance without re. She did so by transmuting mercury to silver in a silk pouch.2

But the Fathers of the Catholics christianized those older arts by incorporating them into the sermons. As St. Augustin wrote: Then he adds, But if the Spirit of Him that raised up Jesus from the dead dwell in you, He that raised up Christ from the dead shall also quicken your mortal bodies by His Spirit that dwelleth in you. 614614 Rom. viii. 10, 11 Then accordingly shall the body become a quickening spirit which is now a living soul...3 The Church added a false bottom to history, called the Creation. At the beginning of their Old Testament, God moved as wind over the waters of the world. God parted time into day and night. God breathed life into the oceans black depths. God parted the world into land and sea, and brought forth life on land. So they wrote.

More modern humans, creatures of the land, inherited Gods dominion by further partitioning the world into life, oncelife, never-life, and by naming its parts. Naming became the foundation of our arts of quickening. From intervening centuries of work thanks to Jabir ibn Hayyan4, Abu Bakr Muhammad ibn Zakariya al-Razi5, Abu Alial-Husain ibn Sina6 and other Islamic masters, the Europeans took back into their own those alchemical arts by which we gained power over the quick, the dead, and the non-living, and the boundaries between them. But at what cost?

10

We start with a crystal of concepts, that is, the following schema:

World enchanted | World disenchanted (Capitalism) God | Man Power to quicken the World | Power to quicken the Economy

In order to arrogate Gods power to quicken the World, man had to reinvent the world and his condition in two domains the art of animation, and the art of cosmology. Man had to invent an art that imitated Gods power to order and transform the elements of the world. In place of divine agency, human agency became the power over body and matter in the mortal sphere, modeled on divine enlivening, inspiriting power.

11

According to the Fifth Key of Basil Valentine: The quickening power of the earth produces all things that grow forth from it, and he who says that the earth has no life makes a statement which is atly contradicted by the most ordinary facts. For what is dead cannot produce life and growth, seeing that it is devoid of the quickening spirit. This spirit is the life and soul that dwell in the earth, and are nourished by heavenly and sidereal inuences. For all herbs, trees, and roots, and all metals and minerals, receive their growth and nutriment from the spirit of the earth, which is the spirit of life. This spirit is itself fed by the stars, and is thereby rendered capable of imparting nutriment to all things that grow, and of nursing them as a mother does her child while it is yet in the womb. The minerals are hidden in the womb of the earth, and nourished by her with the spirit which she receives from above.7 Its important the life-giving quality of the earth lies not in mere matter -mere dirt -- but a spirit in the earth.

12

We return to the ocean because the oceans noise ravishes us and washes us away.

Stanislaw Lem, On Solaris Science ction almost always assumed the aliens we meet play some kind of game with us the rules of which we sooner or later may understand (in most cases the "game" was the strategy of warfare). However I wanted to cut all threads leading to the personication of the Creature, i.e. the Solarian Ocean, so that the contact could not follow the human, interpersonal pattern - although it did take place in some strange manner. One should not speak of a "thinking" or a "non-thinking" Ocean, however the Ocean certainly was active, undertook some voluntary actions and was capable of doing things which were entirely alien to the human domain. Eventually, when it got the attention of little ants that struggled above its surface, it did so in a radical way. It penetrated the supercial established manners, conventions and methods of linguistic communication, and entered, in its own way, into minds of the people of the Solaris Station and revealed what was deeply hidden in each of them: a reprehensible guilt, a tragic event from the past suppressed by the memory, a secret and shameful desire. The Solarian globe was not just any sphere surrounded by some jelly - it was an active being (although a non-human one). It neither built nor created anything translatable into our language that could have been "explained in translation". Hence a description had to be replaced by analysis - (obviously an impossible task) - of the internal workings of the Ocean's ego. This gave rise to symetriads, asymetriads and mimoids - strange semi-constructions scientists were unable to understand; they could only describe them in a mathematically meticulous manner, and this was the sole purpose of the growing Solarian library the result of over a hundred years' efforts to enclose in folios what was not human and beyond human comprehension; what could not have been translated into human language - or into anything else.

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We return to the ocean because the oceans noise ravishes us and washes us away.

Stanislaw Lem, On Solaris Science ction almost always assumed the aliens we meet play some kind of game with us the rules of which we sooner or later may understand (in most cases the "game" was the strategy of warfare). However I wanted to cut all threads leading to the personication of the Creature, i.e. the Solarian Ocean, so that the contact could not follow the human, interpersonal pattern - although it did take place in some strange manner. One should not speak of a "thinking" or a "non-thinking" Ocean, however the Ocean certainly was active, undertook some voluntary actions and was capable of doing things which were entirely alien to the human domain. Eventually, when it got the attention of little ants that struggled above its surface, it did so in a radical way. It penetrated the supercial established manners, conventions and methods of linguistic communication, and entered, in its own way, into minds of the people of the Solaris Station and revealed what was deeply hidden in each of them: a reprehensible guilt, a tragic event from the past suppressed by the memory, a secret and shameful desire. The Solarian globe was not just any sphere surrounded by some jelly - it was an active being (although a non-human one). It neither built nor created anything translatable into our language that could have been "explained in translation". Hence a description had to be replaced by analysis - (obviously an impossible task) - of the internal workings of the Ocean's ego. This gave rise to symetriads, asymetriads and mimoids - strange semi-constructions scientists were unable to understand; they could only describe them in a mathematically meticulous manner, and this was the sole purpose of the growing Solarian library the result of over a hundred years' efforts to enclose in folios what was not human and beyond human comprehension; what could not have been translated into human language - or into anything else.

14

We return to the ocean because the oceans noise ravishes us and washes us away.

Stanislaw Lem, On Solaris Science ction almost always assumed the aliens we meet play some kind of game with us the rules of which we sooner or later may understand (in most cases the "game" was the strategy of warfare). However I wanted to cut all threads leading to the personication of the Creature, i.e. the Solarian Ocean, so that the contact could not follow the human, interpersonal pattern - although it did take place in some strange manner. One should not speak of a "thinking" or a "non-thinking" Ocean, however the Ocean certainly was active, undertook some voluntary actions and was capable of doing things which were entirely alien to the human domain. Eventually, when it got the attention of little ants that struggled above its surface, it did so in a radical way. It penetrated the supercial established manners, conventions and methods of linguistic communication, and entered, in its own way, into minds of the people of the Solaris Station and revealed what was deeply hidden in each of them: a reprehensible guilt, a tragic event from the past suppressed by the memory, a secret and shameful desire. The Solarian globe was not just any sphere surrounded by some jelly - it was an active being (although a non-human one). It neither built nor created anything translatable into our language that could have been "explained in translation". Hence a description had to be replaced by analysis - (obviously an impossible task) - of the internal workings of the Ocean's ego. This gave rise to symetriads, asymetriads and mimoids - strange semi-constructions scientists were unable to understand; they could only describe them in a mathematically meticulous manner, and this was the sole purpose of the growing Solarian library - the result of over a hundred years' efforts to enclose in folios what was not human and beyond human comprehension; what could not have been translated into human language - or into anything else.

15

Michel Serres multitude is the Solarian ocean, it clamors, sussurates always and everywhere densely at the limits of our perception, at the limits because we can only read what is legible, whereas the multitude is not the union of points but the multitude of all multitudes, illegible....

Catherine Lescault, the river-christened courtesan, is here baptized La Belle Noiseuse. I think I know who the belle noiseuse is, the querulous beauty, the noisemaker. This word noise crosses the seas. Across the Channel or the St. Laurence seaway, behind how the noise divides itself. In Old French it used to mean: noise, uproar and wrangling: English borrowed the sound from us; we keep only the fury. In French we use it so seldom that you could say, apparently, that our language had been cleansed of this "noise." Could French perhaps have become a prim and proper language of precise communication, a fair and measured pair of scales for jurists and diplomats, exact, draftsmanlike, unshaky, slightly frozen, a clear arterial unobstructed by embolus, through having chased away a great many belles noiseuse? Through becoming largely free from stormy weather, sound and fury? It is true, we have forgotten noise. I am trying to remember it; mending for a moment the tear between the two tongues, the deep sea one and the one from the frost-covered lake. I mean to make a ruckus [cherche noise] in the midst of these dividing waters. Sea Noise There, precisely, is the origin. Noise and nausea, noise and the nautical, noise and navy belong to the same family. We mustn't be surprised. We never hear what we call background noise so well established ther for all eternity. In the strict horizontal of it all, stable, unstable cascades are endlessly trading. Space is assailed, as a whole, by the murmur; we are utterly taken over by this same murmuring. This restlessness is within hearing, just shy of denite signals, just shy of silence. The silence of the sea is mere appearance. Background noise may well be the ground of our being. It may be that our being is not at rest, it may be that it is not in motion, it may be that our being is disturbed. The background noise never ceases; it is limitless, continuous, unending, unchanging/ It has itself no background, no contradictory. How much noise must be made to silence noise? And what terrible fury puts fury in order? Noise cannot be a phenomenon; every phenomenon is separated from it, a silhouette on a backdrop, like a beacon against the fog, as every message, every call, every signal must be separated from the hubbub that occupies silence, in order to be, to be perceived, to be known, to be exchanged. As soon as a phenomenon appears, it leaves the noise; as soon as a form looms up or pokes through, it reveals itself by veiling noise. So noise is not a matter of phenomenology, so it is a matter of being itself. It settles in subjects as well as in objects, in hearing as well as in space, in the observers as well as the observed, it moves through the means and tools of observation whether material or logical, hardware or software, constructed channels or languages; it is part of the in-itself, part of the for-itslef; it cuts across the oldest and surest philosophical divisions, yes, noise is metaphysical. It is the complement to physics, in the broadest sense. One hears its subliminal hufng and soughing on the high seas. Background noise is becoming one of the objects of metaphysics. It is at the boundaries of physics, and physics is bathed in it, it lies under the cuttings of all phenomena, a proteus taking on any shape, the matter and esh of manifestations. The noise -- intermittence and turbulence -- quarrel and racket -- this sea noise is the originating rumor and murmuring, the original hate. We hear it on the high seas.9

16

Michel Serres multitude is the Solarian ocean, it clamors, sussurates always and everywhere densely at the limits of our perception, at the limits because we can only read what is legible, whereas the multitude is not the union of points but the multitude of all multitudes, illegible....

Catherine Lescault, the river-christened courtesan, is here baptized La Belle Noiseuse. I think I know who the belle noiseuse is, the querulous beauty, the noisemaker. This word noise crosses the seas. Across the Channel or the St. Laurence seaway, behind how the noise divides itself. In Old French it used to mean: noise, uproar and wrangling: English borrowed the sound from us; we keep only the fury. In French we use it so seldom that you could say, apparently, that our language had been cleansed of this "noise." Could French perhaps have become a prim and proper language of precise communication, a fair and measured pair of scales for jurists and diplomats, exact, draftsmanlike, unshaky, slightly frozen, a clear arterial unobstructed by embolus, through having chased away a great many belles noiseuse? Through becoming largely free from stormy weather, sound and fury? It is true, we have forgotten noise. I am trying to remember it; mending for a moment the tear between the two tongues, the deep sea one and the one from the frost-covered lake. I mean to make a ruckus [cherche noise] in the midst of these dividing waters. Sea Noise There, precisely, is the origin. Noise and nausea, noise and the nautical, noise and navy belong to the same family. We mustn't be surprised. We never hear what we call background noise so well established ther for all eternity. In the strict horizontal of it all, stable, unstable cascades are endlessly trading. Space is assailed, as a whole, by the murmur; we are utterly taken over by this same murmuring. This restlessness is within hearing, just shy of denite signals, just shy of silence. The silence of the sea is mere appearance. Background noise may well be the ground of our being. It may be that our being is not at rest, it may be that it is not in motion, it may be that our being is disturbed. The background noise never ceases; it is limitless, continuous, unending, unchanging/ It has itself no background, no contradictory. How much noise must be made to silence noise? And what terrible fury puts fury in order? Noise cannot be a phenomenon; every phenomenon is separated from it, a silhouette on a backdrop, like a beacon against the fog, as every message, every call, every signal must be separated from the hubbub that occupies silence, in order to be, to be perceived, to be known, to be exchanged. As soon as a phenomenon appears, it leaves the noise; as soon as a form looms up or pokes through, it reveals itself by veiling noise. So noise is not a matter of phenomenology, so it is a matter of being itself. It settles in subjects as well as in objects, in hearing as well as in space, in the observers as well as the observed, it moves through the means and tools of observation whether material or logical, hardware or software, constructed channels or languages; it is part of the in-itself, part of the for-itslef; it cuts across the oldest and surest philosophical divisions, yes, noise is metaphysical. It is the complement to physics, in the broadest sense. One hears its subliminal hufng and soughing on the high seas. Background noise is becoming one of the objects of metaphysics. It is at the boundaries of physics, and physics is bathed in it, it lies under the cuttings of all phenomena, a proteus taking on any shape, the matter and esh of manifestations. The noise -- intermittence and turbulence -- quarrel and racket -- this sea noise is the originating rumor and murmuring, the original hate. We hear it on the high seas.9

17

( listen to this )
( He spoke to me of Sei Shonagon, a lady in waiting to Princess Sadako at the beginning of the 11th century, in the Heian period....[B]y learning to draw a sort of melancholy comfort from the contemplation of the tiniest things this small group of idlers left a mark on Japanese sensibility much deeper than the mediocre thunderings of politicians. Shonagon had a passion for lists: the list of elegant things, distressing things, or even of things not worth doing. One day she got the idea of drawing up a list of things that quicken the heart.10 )

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Ulhodturdenweirmudg aardgringnirurdrmolnir fenrirlukkilokkibaugim andodrrerinsurtkrinmg ernrackinarockar

draft script: please do not cite SHA XIN WEI 2010-2013

sha xin wei 2009

[12]

Etymologies and denitions from OED. Alchemical quote from The Twelve Keys of Basil Valentine: ('Ein kurtz summarischer Tractat, von dem grossen Stein der Uralten...', Eisleben, 1599), translated in 17c. P.G. Maxwell-Stuart, The Chemical Choir, London: Continuum Books, 2008, p.12-13. St Augustine http://www.ccel.org/ccel/schaff/npnf102.iv.XIII.23.html Retrieved June 2007. Eighth century, apocryphally associated with Geber. P.G. Maxwell-Stuart, The Chemical Choir, p. 47-50. Known in the West as Razes (865-925). P.G. Maxwell-Stuart, The Chemical Choir, p. 50 Known as Avicenna (980-1037). P.G. Maxwell-Stuart, The Chemical Choir, p. 51. The Twelve Keys of Basil Valentine: ('Ein kurtz summarischer Tractat, von dem grossen Stein der Uralten...', Eisleben, 1599), translated in 17c. Ibid. Michel Serres, Genesis 1995 Gense 1992), p. 12-13. Chris Marker, Sans Soleil (lm). Gyorgy Ligeti, String Quartet #2, by the Arditti String Quartet, nal bars of nal movement.

endnotes

2 3 4 5 . 6 7 8 9 10 11

12 Thanks to Flower Lunn for creating the plant screen; Tim Sutton for the tie-lapse recording; Oana Suteu for paper art and historical research; Navid Navab for sound design and programming; Assegid Kidane for electronics; Chris Wood for fabrication. 21