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== Dead Glitch ==
== Dead Glitch (Higher, Faster, Stronger) ==
'''Maja Funke'''
'''Maja Funke'''
</div>
</div>


»Dead Glitch« is a research project and a multimedia body of work that was initiated in the forefront of the global event of the 2024 Olympic and Paralympic Games in Paris. In addition to the economic and social damage that this megalomania will have or has already caused in the French capital, the project places the issue of comprehensive algorithmic video surveillance at the center of attention.
»Dead Glitch« is a research project and a multimedia body of work that was initiated in view of the global event of the 2024 Olympic and Paralympic Games in Paris. The project places the issue of comprehensive algorithmic video surveillance at the center of attention.


=== '''Faster [citius]''' ===
Urban design is updated in the Parisian gaze. What seems to be a streetlamp is no longer a distributor for romantic light, but a surveillance instance in empire green or anthracite. Some five-eyed sentries are special in their materialization of control and freedom may not seem dissuasive but rather belonging (Fig. 1). This is a security enforcement with symbolic aesthetic, in the heritage of the penetrability of the urban space in Louis’ XIV »Ville Lumière«<ref name=":0">Kammerer, Dietmar: ''Bilder der Überwachung''. Suhrkamp Verlag, 2008.</ref>.  This light is more often than not interested in non-white bodies and other visible minorities.[[File:Jxmaja deadglitch infrastructure.png|alt=Four different kind of surveillance camera applied on streetlamps.|thumb|800x800px|Fig. 1: Variations de lampadaires, Paris 2024 (''L’infrastructure s’appuie sur l’infrastructure'').|center]]In preparation for the 2024 Olympics, the French government passed a law on March 19, 2023 that includes provisions to improve security, situational (crime) prevention and counterterrorist measures (Article 9 to 19).<ref>[https://www.legifrance.gouv.fr/jorf/article_jo/JORFARTI000047561989 République Française: ''LOI n° 2023-380 du 19 mai 2023 relative aux jeux Olympiques et Paralympiques de 2024 et portant diverses autres dispositions''.]</ref> Among them is the »experimental [sic!]« use of algorithmic video surveillance to control crowds at sporting, leisure and cultural events. The trial will run until the end of March 2025.  
From July 26 to September 8, 2024, the Olympic and Paralympic Games took place in Paris and other parts of France. In preparation, the French government passed an exceptional law on March 19, 2023 that includes provisions to improve security, situational (crime) prevention and counterterrorist measures (Article 9 to 19).<ref>[https://www.legifrance.gouv.fr/jorf/article_jo/JORFARTI000047561989 République Française: ''LOI n° 2023-380 du 19 mai 2023 relative aux jeux Olympiques et Paralympiques de 2024 et portant diverses autres dispositions''.]</ref> Among them is the »experimental [sic!]« use of algorithmic video surveillance to control crowds at sporting, leisure and cultural events. The trial will run until the end of March 2025 – 6 months after the end of the Olympics, which prompted the increased security needs.  


Algorithmic Video Surveillance (AVS) consists of the installation and use of software that executes the analysis of videos to detect, identify or classify certain behaviors, situations, objects and people. The various machine-learning-based applications<ref>Such as ''Cityvision'' by Wintics and Briefcam software. </ref> are mainly used by the police in conjunction with surveillance cameras: either for real-time detection of certain suspicious or risky ‘events’ or retrospectively as part of police investigations. State-owned railway operators SNCF and RATP are also authorized to use these systems. In practice, AVS aims by law to recognize objects (a suitcase, rubbish), personal characteristics (people lying on the ground, clothing) or events (line-crossing, grouping, arson).<ref>https://www.laquadrature.net/vsa/</ref> Biometric identification allows a person to be recognized in a sample of people on the basis of physical, physiological or behavioral patterns.
Algorithmic Video Surveillance (AVS) consists of the installation and use of software that executes the analysis of videos to detect, identify or classify certain behaviors, situations, objects and people. The various machine-learning-based applications<ref>Such as ''Cityvision'' by Wintics and Briefcam software. </ref> are mainly used by the police in conjunction with surveillance cameras: either for real-time detection of certain suspicious or risky »events« or retrospectively as part of police investigations. Biometric identification allows a person to be recognized in a sample of people on the basis of physical, physiological or behavioral patterns.<ref>https://www.laquadrature.net/vsa/</ref>


While a set of actions and instructions in security infrastructure (or, in new speak: protection infrastructure) sometimes falls into the category of security theatre<ref>Schneier, Bruce: ''Beyond Fear: Thinking Sensibly about Security in an Uncertain World,'' 2003.</ref>, CCTV at least manifests the increase of state surveillance power.<ref>[https://botopress.net/wp-content/uploads/2020/11/EUD5_Leseprobe.pdf Fernandes, Alexandre Gaiser: ''Everyday State of Emergency. The Influence of French Conterterrorist Security Measures on Public Spaces in Paris,'' 2020.]</ref> Even with a human in the loop<ref>[https://static1.squarespace.com/static/64d25344dbe1c3217d71979a/t/675856793fcee029070f8988/1733842554618/Lisa+Ling+-+Accountability+in+Data-Centric+Warfare.pdf Ling, Lisa: ''Accountability in Data-Centric Warfare: Insights from a former insider'', 2024.]</ref>, responsibility and jurisdiction are increasingly shifting from humans to machines. However, the mediated image<ref>Luhmann, Niklas: ''Die Kunst der Gesellschaft,'' 1997.</ref> in the security apparatus, among other tools, is meant to control bodies in cities and causes the political, social and emotional detachment of the observer.  
While walking Paris in dérive<ref>https://situationist.org/periodical/si/issue-2-1958-en/theory-of-the-derive-73</ref>, one might sense the onset of normalization of the New Military Urbanism<ref name=":1">Graham, Stephen: ''Cities Under Siege: The New Military Urbanism''. Verso, 2010.</ref>. Counter observation reveals the banalization of a watching city. In the multimedia body of work »Dead Glitch« this walk becomes an investigative performance. In playing with the current legal situation in Paris, the proclaimed zones of AVS are becoming a stage, with the security apparatus documenting the everyday risk-management of the performer and becoming acutely conscious of the resulting instruments of recognition<ref>Boehm, Gottfried'': Zwischen Auge und Hand : Bilder als Instrumente der Erkenntnis.'' In: ''Mit dem Auge denken : Strategien der Sichtbarmachung in wissenschaftlichen und virtuellen Welten.'' Zürich, 2001, pp. 43-54. </ref> (Fig. 2)''.'' The performers journey of becoming data and losing its anonymity and privacy is highlighting these same values a vital for freedom like demonstration, movement and expression.   [[File:Jxmaja deadglitch vsavideo.gif|thumb|800x800px|Fig. 2: Surveillance video by SNCF, masking in original, cropped and sped up. (gif) |center]]And yet, as states adopt surveillance and control systems designed for warfare<ref name=":1" /> – driven by security concerns, economic interests, and political goals – privacy violations become the norm. These measures, initially temporary, often become permanent after the state of emergency, treating all citizens as suspects and placing AVS in fundamental conflict with democratic values. The title »Dead Glitch« alludes not least to the deadly potential for error entailed by trust in these technologies. »Warfare, like everything else, is being urbanized«<ref name=":1" /> and the boomerang of dataveillance is returning to state borders and war zones.<ref>Foucault, Michel: ''Society Must be Defended: Lectures at the Collège de France 1975-76,'' Penguin Classics 2020.</ref> Extreme versions of this logic are visible in the automated systems employed in border control (the European security regime)<ref>"Wie die EU mit Künstlicher Intelligenz ihre Grenzen schützen will", ''Algorithm Watch, ZDF Magazine Royale'' 24 May, 2025. https://fuckoffai.eu/<nowiki/>Accessed November 11, 2024. </ref> , AI supported military systems (such as in Gaza)<ref>"Targeted? Killing", ''Forum InformatikerInnen für Frieden'', 29 April, 2024. https://blog.fiff.de/content/files/2024/04/2024_04_29_Stellungnahme-lavender.pdf. Accessed 3 May, 2024 and "‘Lavender’: The AI machine directing Israel’s bombing spree in Gaza", ''+972 Magazine'', 3 April, 2024. https://www.972mag.com/lavender-ai-israeli-army-gaza/ Accessed April 15, 2024.</ref>, as well as in various other developments including Russian and Chinese where the digitalization of warfare is transforming the role of citizens under the Geneva Conventions.<ref>Mulligan, Cathy: ''Automated Warfare and the Geneva Convention''. Netzpolitik, 17 April, 2024. https://netzpolitik.org/2024/artificial-intelligence-automated-warfare-and-the-geneva-convention/?via=nl Accessed 11 November, 2024. </ref>
[[File:Jxmaja deadglitch infrastructure.png|alt=Four different kind of surveillance camera applied on streetlamps.|thumb|600x600px|Variations de lampadaires, Paris 2024 (''L’infrastructure s’appuie sur l’infrastructure'').]]
Urban design is updated in the Parisian gaze. What seems to be a streetlamp is no longer a distributor for romantic light, but a surveillance instance in empire green or anthracite. Some five-eyed sentries are special in their materialization of control and freedom and – other than white-bodies cuboids – may not seem dissuasive but rather belonging. A security enforcement with symbolic aesthetic, in the heritage of the penetrability of the urban space in Louis’ XIV »Ville Lumière«<ref>Kammerer, Dietmar: ''Bilder der Überwachung'', 2008. (p. 20)</ref>.
[[File:Jxmaja deadglitch videostill .gif|alt=Sped up metro travel, focussing on a robotic cat and CCTV cameras of RATP.|thumb|Videostill, cropped and sped up. (gif)]]
While walking Paris in dérive, one might sense the onset of normalization of the New Military Urbanism<ref>Graham, Stephen: ''Cities Under Siege: The New Military Urbanism'', 2010.</ref>. Counter observation reveals the banalization of a city who is watching me.


=== '''Higher [altius]''' ===
When video surveillance is not a material apparatus, but a practice<ref name=":0" />, there is place to argue for a proximity to social justice<ref>"Intelligence artificielle : la France ouvre la voie à la surveillance de masse en Europe", ''Disclose'', 22 January, 2025 https://disclose.ngo/fr/article/intelligence-artificielle-la-france-ouvre-la-voie-a-la-surveillance-de-masse-en-europe. Accessed 22 January, 2025. </ref> and bringing back in mind that historically, antifascist countermovements strenghen in response to a tightening of state security.
Historically, antifascist countermovements emerge in response to a tightening of state security, which often escalates into repressive policies and police violence. While some actors adopt symbolic and sometimes destructive anti-tech resistance, others employ more strategic, system-integrated approaches. With national, legal and investigative powers, »La Quadrature du Net«, in collaboration with local »Technopolice«<ref>[https://www.editionsdivergences.com/livre/technopolice Tréguer, Felix: ''Technopolice. La Surveillance Policière á L’ère de L’Intelligence artificielle'', 2024.]
</ref> groups, monitors and campaigns against the expansion of surveillance infrastructure and AVS’s spreading . Both work against social control and for a Polis in the sense  of a democratic city and pluralistic space as well as freedoms in the digital world.<ref>https://www.laquadrature.net/about/
</ref>


Anonymity and privacy are vital for freedom like demonstration, movement and expression. Yet, as states adopt surveillance and control systems designed for warfare<ref>Graham, Stephen: ''Cities Under Siege: The New Military Urbanism'', 2010</ref> – driven by security concerns, economic interests, and political goals – privacy violations become the norm. These measures, initially temporary, often become permanent after the state of emergency, treating all citizens as suspects and placing AVS in fundamental conflict with democratic values. The network of dataveillance veils and collective knowledge helps to deconstruct their actions and go beyond the panoptic understanding<ref>Foucault, Michel: ''Surveiller et Punir'', 1975.</ref> of surveillance to also include elements of governance.<ref>[https://www.academia.edu/28355844/Tear_Down_the_Walls_On_Demolishing_the_Panopticon_in_David_Lyon_ed_THEORIZING_SURVEILLANCE_Willan_Press Lyon, David: ''Tear Down the Walls: On Demolishing the Panopticon'', 2006.]
<blockquote>»By adding cameras, the idea of the romantic city, the city of the flâneur, has shifted. Contemporary city management seems to have different expectations of what public space is and does. Your artistic strategy to claim CCTV data by using GDPR regulations is a wonderful strategy of resistance. This is a laborious endeavour, both for you and the city, that slows down the cogs of the surveillance machine. It functions as a strong example of what "surveillance as a practice" entails, and how CCTV is so much more than mere technology, but a site of contestation.« – as commented by Ruben van de Ven  </blockquote><blockquote>»2024 Parisian city surveillance is very effective for me, particularly how you aim to understand what "dataveillance" does in crafting, and controlling, citizens' behavior. Thinking alongside Shannon Mattern (particularly her book The City Is Not a Computer), I'd argue that autonomous systems of surveillance might have changed their distribution of materials, but these systems have been equally present in urban design before the CCTV era.« – as commented by Kola Heyward-Rotimi </blockquote>
</ref> Investigative methods include, but are not limited to, monitoring of decrees, ''demandes CADA''<ref>Commission d’accès au documents adménistratives, https://www.cada.fr/particulier/quand-et-comment-saisir-la-cada
</ref>, ''plaintes CNIL''<ref>Commission Nationale de l’Informatique et des Libertés, https://www.cnil.fr/fr/adresser-une-plainte</ref>, metadata analysis, (technical) jailbreaking, public political debates.
[[File:Jxmaja deadglitch vsavideo.gif|thumb|300x300px|Surveillance video by SNCF, masking in original, cropped and sped up. (gif) ]]
The current legal situation in Paris allows exercising rights by claiming your video data when captured during AI experiments. You must identify when and where these experiments occur to actively participate. The engagement enables the creation of a performative figure in public spaces and becoming acutely conscious of the resulting ''Instruments of recognition''<ref>Boehm, Gottfried: ''Wie Bilder Sinn erzeugen. Die Macht des Zeigens'', 2007.</ref>.


In »Dead Glitch«, a performative character sits with a cat on her lap, a purring robot for people with dementia. Her appearance is shaped by the essence of two literary figures.
<references />
[[File:Jxmaja commons references.png|thumb|600x600px|Donald Pleasence as Blofeld in ''From Russia with love'', 1963 and ''You only live twice'', 1967. ''The Oracle'', oil on canvas by Camillo Miola, 1880 and ''Delphic Sibyl'' by Michelangelo Buonarroti, ca. 1509.]]
First, Ernst Stavro Blofeld, the criminal mastermind with ambitions of world domination and arch-enemy of the fictional MI6 agent James Bond. His white, blue-eyed Persian cat, tenderly stroked, contrasts with his brutal orders, violent actions, and imposing stature. As the head of SPECTRE, Blofeld represents the mastery of information, surveillance, and terror.
[[File:Jxmaja DeadGlitch Exhibition view.jpg|thumb|Exhibition view, ''Voltage! Voltage!'', Westwerk, Hamburg 2024.]]
Second, the priestesses of Delphi’s Oracle , embodying ambiguity and foresight within the world of Ancient Greece. They provided cryptic riddles, with Cassandra cursed never to be believed. Their prophecies, shaped and delivered by priests in a structured format, conceptually mirror how modern data systems process raw information into actionable insights.
 
=== '''Stronger [fortius]''' ===
The title »Dead Glitch« alludes not least to the deadly potential for error entailed by trust in these technologies. »Warfare, like everything else, is being urbanized«<ref>Graham, Stephen: ''Cities Under Siege: The New Military Urbanism'', 2010. (p. 4)</ref> and the boomerang of urban data surveillance is returning to state borders and war zones<ref>ibid and Foucault, Michel: ''Society Must be Defended: Lectures at the Collège de France,'' 1976.</ref>.
 
In the EU, migration is treated as a security issue, with the EU Commission intensively researching automated technologies to 'defend' the Mediterranean, one of the world's deadliest border regions, using dehumanized AI-supported methods.<ref>https://fuckoffai.eu/</ref> In the Gaza Strip, systems like ''Lavender'' target individuals for killing by disclosing their identities and locations.<ref>https://blog.fiff.de/content/files/2024/04/2024_04_29_Stellungnahme-lavender.pdf  and https://www.972mag.com/lavender-ai-israeli-army-gaza/</ref> Concurrently, Russia and China are advancing automated weapon systems, prompting the US and EU to develop similar technologies through NATO. This digitalization of warfare is transforming the role of citizens under the Geneva Conventions.<ref>[https://netzpolitik.org/2024/artificial-intelligence-automated-warfare-and-the-geneva-convention/?via=nl Mulligan, Cathy: ''Automated Warfare and the Geneva Convention'', 2024.] </ref>
[[File:Jxmaja deadglitch script.jpg|alt=A printed book with an excerpt of the script for a speoken-word performance. You can read the (risk) text and the code that was used to sort out the original source. |thumb|Script excerpt for a spoken-word performance. ]]
Promoting ethical technology use today does not guarantee that these guidelines will endure. As a comprehensive AI legislation, the European AI Act bans AI systems which exploit specific group vulnerabilities to influence behavior and cause harm, especially those that continuously assess or classify individuals based on personal or social traits over time.<ref>https://artificialintelligenceact.eu/de/article/52/</ref>
 
»Video ''surveillance'' is not a material apparatus, but a practice.«<ref>Kammerer, Dietmar: ''Bilder der Überwachung'', 2008. (p. 33)</ref>[[File:Deadglitch yn prototype Kopie.jpg|alt=A ceramic prototype forming y / and n, as your console would show it. The n is surrounded by a roman wreath, depicting the logo of Napoleon.|thumb|''y/[n],'' ceramic prototype, Studio view at Cité Internationale des Arts, Paris 2024.]]By considering how systems of control are embedded in our daily lives, the research project »Dead Glitch« is working on creative practices that can actively contribute in proximity to social justice and individual autonomy in the age of surveillance. It critiques the shifting responsibility from human oversight to autonomous AI systems in surveillance practices in these expanding, extrastatecraft<ref>Easterling, Keller: ''Extrastatecraft. The Power of Infrastructure Space'', 2014.</ref> visions. It acknowledges surveillance images as ''actants''<ref>Latour, Bruno: ''Eine neue Soziologie für eine neue Gesellschaft. Einführung in die Akteur-Netzwerk-Theorie,'' 2007.
</ref> emphasizing that their imaginary sphere of phantasms, superstructures, and ulterior worlds exerts a tangible, worldmaking effect on the real.
 
 
 
 
 
 
=== References ===




[[Category:emd]]
[[Category:emd]]
= Comments =

Latest revision as of 00:09, 31 January 2025

Dead Glitch (Higher, Faster, Stronger)

Maja Funke

»Dead Glitch« is a research project and a multimedia body of work that was initiated in view of the global event of the 2024 Olympic and Paralympic Games in Paris. The project places the issue of comprehensive algorithmic video surveillance at the center of attention.

Urban design is updated in the Parisian gaze. What seems to be a streetlamp is no longer a distributor for romantic light, but a surveillance instance in empire green or anthracite. Some five-eyed sentries are special in their materialization of control and freedom may not seem dissuasive but rather belonging (Fig. 1). This is a security enforcement with symbolic aesthetic, in the heritage of the penetrability of the urban space in Louis’ XIV »Ville Lumière«[1]. This light is more often than not interested in non-white bodies and other visible minorities.

Four different kind of surveillance camera applied on streetlamps.
Fig. 1: Variations de lampadaires, Paris 2024 (L’infrastructure s’appuie sur l’infrastructure).

In preparation for the 2024 Olympics, the French government passed a law on March 19, 2023 that includes provisions to improve security, situational (crime) prevention and counterterrorist measures (Article 9 to 19).[2] Among them is the »experimental [sic!]« use of algorithmic video surveillance to control crowds at sporting, leisure and cultural events. The trial will run until the end of March 2025.

Algorithmic Video Surveillance (AVS) consists of the installation and use of software that executes the analysis of videos to detect, identify or classify certain behaviors, situations, objects and people. The various machine-learning-based applications[3] are mainly used by the police in conjunction with surveillance cameras: either for real-time detection of certain suspicious or risky »events« or retrospectively as part of police investigations. Biometric identification allows a person to be recognized in a sample of people on the basis of physical, physiological or behavioral patterns.[4]

While walking Paris in dérive[5], one might sense the onset of normalization of the New Military Urbanism[6]. Counter observation reveals the banalization of a watching city. In the multimedia body of work »Dead Glitch« this walk becomes an investigative performance. In playing with the current legal situation in Paris, the proclaimed zones of AVS are becoming a stage, with the security apparatus documenting the everyday risk-management of the performer and becoming acutely conscious of the resulting instruments of recognition[7] (Fig. 2). The performers journey of becoming data and losing its anonymity and privacy is highlighting these same values a vital for freedom like demonstration, movement and expression.

Fig. 2: Surveillance video by SNCF, masking in original, cropped and sped up. (gif)

And yet, as states adopt surveillance and control systems designed for warfare[6] – driven by security concerns, economic interests, and political goals – privacy violations become the norm. These measures, initially temporary, often become permanent after the state of emergency, treating all citizens as suspects and placing AVS in fundamental conflict with democratic values. The title »Dead Glitch« alludes not least to the deadly potential for error entailed by trust in these technologies. »Warfare, like everything else, is being urbanized«[6] and the boomerang of dataveillance is returning to state borders and war zones.[8] Extreme versions of this logic are visible in the automated systems employed in border control (the European security regime)[9] , AI supported military systems (such as in Gaza)[10], as well as in various other developments including Russian and Chinese where the digitalization of warfare is transforming the role of citizens under the Geneva Conventions.[11]

When video surveillance is not a material apparatus, but a practice[1], there is place to argue for a proximity to social justice[12] and bringing back in mind that historically, antifascist countermovements strenghen in response to a tightening of state security.

»By adding cameras, the idea of the romantic city, the city of the flâneur, has shifted. Contemporary city management seems to have different expectations of what public space is and does. Your artistic strategy to claim CCTV data by using GDPR regulations is a wonderful strategy of resistance. This is a laborious endeavour, both for you and the city, that slows down the cogs of the surveillance machine. It functions as a strong example of what "surveillance as a practice" entails, and how CCTV is so much more than mere technology, but a site of contestation.« – as commented by Ruben van de Ven

»2024 Parisian city surveillance is very effective for me, particularly how you aim to understand what "dataveillance" does in crafting, and controlling, citizens' behavior. Thinking alongside Shannon Mattern (particularly her book The City Is Not a Computer), I'd argue that autonomous systems of surveillance might have changed their distribution of materials, but these systems have been equally present in urban design before the CCTV era.« – as commented by Kola Heyward-Rotimi

  1. ↑ 1.0 1.1 Kammerer, Dietmar: Bilder der Überwachung. Suhrkamp Verlag, 2008.
  2. ↑ République Française: LOI n° 2023-380 du 19 mai 2023 relative aux jeux Olympiques et Paralympiques de 2024 et portant diverses autres dispositions.
  3. ↑ Such as Cityvision by Wintics and Briefcam software.
  4. ↑ https://www.laquadrature.net/vsa/
  5. ↑ https://situationist.org/periodical/si/issue-2-1958-en/theory-of-the-derive-73
  6. ↑ 6.0 6.1 6.2 Graham, Stephen: Cities Under Siege: The New Military Urbanism. Verso, 2010.
  7. ↑ Boehm, Gottfried: Zwischen Auge und Hand : Bilder als Instrumente der Erkenntnis. In: Mit dem Auge denken : Strategien der Sichtbarmachung in wissenschaftlichen und virtuellen Welten. Zürich, 2001, pp. 43-54.
  8. ↑ Foucault, Michel: Society Must be Defended: Lectures at the Collège de France 1975-76, Penguin Classics 2020.
  9. ↑ "Wie die EU mit Künstlicher Intelligenz ihre Grenzen schützen will", Algorithm Watch, ZDF Magazine Royale 24 May, 2025. https://fuckoffai.eu/Accessed November 11, 2024.
  10. ↑ "Targeted? Killing", Forum InformatikerInnen für Frieden, 29 April, 2024. https://blog.fiff.de/content/files/2024/04/2024_04_29_Stellungnahme-lavender.pdf. Accessed 3 May, 2024 and "‘Lavender’: The AI machine directing Israel’s bombing spree in Gaza", +972 Magazine, 3 April, 2024. https://www.972mag.com/lavender-ai-israeli-army-gaza/ Accessed April 15, 2024.
  11. ↑ Mulligan, Cathy: Automated Warfare and the Geneva Convention. Netzpolitik, 17 April, 2024. https://netzpolitik.org/2024/artificial-intelligence-automated-warfare-and-the-geneva-convention/?via=nl Accessed 11 November, 2024.
  12. ↑ "Intelligence artificielle : la France ouvre la voie à la surveillance de masse en Europe", Disclose, 22 January, 2025 https://disclose.ngo/fr/article/intelligence-artificielle-la-france-ouvre-la-voie-a-la-surveillance-de-masse-en-europe. Accessed 22 January, 2025.
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