{"@context":{"@vocab":"https://schema.org/","artism":"https://artism.org/schema/"},"@type":"DataFeed","artism:scope":"work","artism:depth":"sessions","artism:tier":5,"artism:tierMap":{"1":{"url":"https://bernardbolter.com/api/corpus/index","scope":"corpus","depth":"gist","description":"triage — identity, series, gist"},"2":{"url":"https://bernardbolter.com/api/corpus/index?depth=survey","scope":"subset","depth":"survey","description":"narrowing — description, intent, colors, keywords"},"4":{"urlTemplate":"https://bernardbolter.com/api/corpus/{slug}","scope":"work","depth":"record","description":"full record — all fields, all vision analyses"},"5":{"urlTemplate":"https://bernardbolter.com/api/corpus/{slug}/sessions","scope":"work","depth":"sessions","description":"session transcripts — how it came to be known"}},"artism:artworkSlug":"prophecy","artism:artworkUrl":"https://bernardbolter.com/prophecy","artism:recordUrl":"https://bernardbolter.com/api/corpus/prophecy","artism:coverage":{"sessionCount":1},"sessions":[{"sessionId":"d377f444-9d3e-408b-9609-af94c16c9676","sessionType":"artwork-cataloguing","createdAt":"2026-06-01T13:24:37.215Z","completedAt":"2026-06-01T13:52:49.857Z","primaryArtwork":"prophecy","mentionedArtworks":[],"artistRecord":{"firstImpression":"The work is a photo collage of a tree growing out of the ground, but the city is the tree itself, then there are pairs of project buildings to the left of it. I was thinking of the hopi prophecy when making, where a cave painting had two figures next to each other in a row and one gets bigger, then disappears, that's where the tree grows.","secondDescription":"Interesting to look at and talk about again. Definitely feels like a starting point for a lot of future series, but wonder if there is something there to bring me back to the surreal someday.","messages":[{"role":"user","content":"this is an older artwork from the Art Collision series from 2003, this was the first one in the series and was called Prophecy, it is 36\" x 36\" and is a digital print and acrylic paint on canvas"},{"role":"assistant","content":"Good start — 2003 puts this early, before the transfer technique was formalized."},{"role":"user","content":""},{"role":"assistant","content":"Is this part of something ongoing, or does it feel more like a standalone moment — the first of a series that kept going, or more of a one-off that started something?"},{"role":"user","content":"was a series for a traveling art group that I helped found in Brooklyn, there where 8 of these digial collage and paint on canvas, and later on 2 digital collage works, but that was it."},{"role":"assistant","content":"Good — a defined, closed body of work then. Ten pieces total, eight with paint and two purely digital.\n\nWhere were you when you made this one?"},{"role":"user","content":"I was in Fort Greene brooklyn painting at home"},{"role":"assistant","content":"Fort Greene, 2003 — that's a specific place and moment.\n\nBefore you upload — describe this work to me first, before either of us sees it. I'll ask you again later, once we've talked it through, and we'll look at both together at the end. There's no right way to do this — however it comes is exactly right."},{"role":"user","content":"The work is a photo collage of a tree growing out of the ground, but the city is the tree isself, then there are pairs of project buildings to the left of it. I was thinking of the hopi prophecy when making, where a cave painting had two figures next to each other in a row and one gets bigger, then disapears, thats where the tree grows"},{"role":"assistant","content":""},{"role":"user","content":""},{"role":"assistant","content":"That's a strong image — the city as organism, rooted and growing. Go ahead and upload when you're ready."},{"role":"user","content":"I have uploaded the primary artwork image."},{"role":"assistant","content":"That's a striking image. The city mass is inverted — rooted into the ground through what reads simultaneously as a tree trunk and a narrowing stem, the Empire State Building pointing upward at the top. The painted housing project pairs march across the lower left, getting progressively smaller toward the right, with a bare tree standing just before the city-trunk takes over. The sky and grass are painted; the city itself is photographic collage."},{"role":"user","content":""},{"role":"assistant","content":""},{"role":"user","content":""},{"role":"assistant","content":"Found a legacy record for this work. A couple of things to cross-check:\n\n- **Year**: the legacy record has 2002, you said 2003 — which is right?\n- **Dimensions**: the legacy has 36 × 36 but lists the unit as **cm**, not inches. That would make it a very small work. Is it definitely 36 × 36 **inches**?"},{"role":"user","content":"yes lets say 2002 and it is in inches"},{"role":"assistant","content":"Good — 2002 confirmed, inches confirmed."},{"role":"user","content":""},{"role":"assistant","content":"The Hopi prophecy — the cave painting with two figures, one growing and then disappearing — that's a specific and unusual source for a work about a city. What drew you to that particular image at that moment, in 2002 in Fort Greene?"},{"role":"user","content":"I came to new york on the global peace walk 2000, where I joined friends of mine that walked from San francisco to New York, so we were around a lot of native american chiefs and did sweat ceremonies one were told stories"},{"role":"assistant","content":"That's a vivid origin — arriving in New York through that journey, carrying those stories with you. So the Hopi prophecy wasn't something you found in a book, it was told to you directly in ceremony."},{"role":"user","content":""},{"role":"assistant","content":"The city-as-tree is a powerful translation of that — the urban form as something that grows and eventually vanishes. Looking at the image, the housing project pairs on the left feel very deliberate — did you see them as the two figures from the prophecy, or as something else?"},{"role":"user","content":"I think it was worked out in the painting process, there was the tops of two building in the print and then I painted the others"},{"role":"assistant","content":"So the composition found itself — the source photograph already had two towers, and painting extended that rhythm outward. The prophecy wasn't illustrated so much as discovered already present in the material."},{"role":"user","content":""},{"role":"assistant","content":"The city inverted as a tree root — growing downward into the earth — is a striking formal choice. Was that inversion in the source photograph, or did you construct it?"},{"role":"user","content":"I think it was in the main photograph, and wasn't sure what I would paint, so there were there without knowing if they would get painted over or not and then the idea came in finishing it. would also say that for the technique, was my first experiment painting on canvas, and maybe I didn't protect the digital print as a could have, so painted everything dry brush"},{"role":"assistant","content":"That uncertainty — whether to paint over or leave — and then the idea arriving late in the process. And the dry brush as a practical response to an unprotected surface, not a stylistic choice from the start."},{"role":"user","content":""},{"role":"assistant","content":"The legacy record lists the size as \"md\" on the site grid — but at 36 × 36 inches that's a substantial square canvas. How do you want this to read on the site — medium, large, or something else?"},{"role":"user","content":"should be lg"},{"role":"assistant","content":""},{"role":"user","content":""},{"role":"assistant","content":"lg it is. \n\nThis was the first work in the Art Collision series — did it set the template for the others, or did the series move somewhere different after this one?"},{"role":"user","content":"the series was 4 unique digital collages of new york, then I repeated the 4 with different painting to make the 8 paintings"},{"role":"assistant","content":"So the series had a built-in duality — each composition existed twice, the second pass a different painterly interpretation of the same collage. Prophecy was the first of the four base compositions.\n\nWhat was the Art Collision group itself — what were you all trying to do with the traveling shows?"},{"role":"user","content":"it first started with 5 of us that lived on the same block and wanted to show artwork, so we got together and then had shows in new york, austin, baltimore, and then Amsterdam, Leiden, and rotterdam in holland. It was more about us just making shows for ourself, and not really a specific theme, the artwork was all different, was more about just doing it ourselfs"},{"role":"assistant","content":"DIY before DIY was a brand — five people on the same block making it happen across two continents. That context matters for the work; it wasn't made for a gallery brief, it was made to fill a show you built yourself.\n\nHow does this one sit with you now looking back — did it land the way you intended at the time, or does it read differently from here?"},{"role":"user","content":"Its quite intereseting, and definitly lead to my other series directly. a bit more sureal than the later work, but also carries on from my original oil paintings that were quite surreal"},{"role":"assistant","content":"That's a clear through-line — the surrealism of the early oils carrying forward into this, and then the technique evolving toward the transfer paintings while the surreal quality quieted down. This sits right at that hinge point."},{"role":"user","content":""},{"role":"assistant","content":"The oil paintings — were they already working with cities and urban material, or was that something the collage process brought in?"},{"role":"user","content":"I always had a bit of a landscape cityscape thing, but the photograph brought it more into view. also at this time I think I got my first digital camera, which probably was like 2mb or something, there wernt great then, but loved that I could just take as much pictures as I wanted too, and that lead to making these works, I also was working at a shp in manhattan that had a large printer, so used that to make the prints"},{"role":"assistant","content":"That's a lovely confluence — the freedom of cheap digital shooting meeting access to a large-format printer at work. The technology made the series possible as much as the ideas did."},{"role":"user","content":""},{"role":"assistant","content":"The surrealism here — city as tree, rooted into the earth — feels closer to Magritte or early Ernst than anything from the contemporary art world. Were there painters in your head at this point, or was it more driven by the Hopi image and the material you had?"},{"role":"user","content":"not really sure, but was deffinitly looking at all the bilboards in new york while going around and making my photos. I think I also got into the candian photographer jeff wall at the time"},{"role":"assistant","content":"Jeff Wall makes sense here — the large lightbox prints, the way he staged urban scenes to look found, the scale that commands attention. And billboards as a visual diet while shooting — that's a different kind of collage education, reading the city as assembled image."},{"role":"user","content":""},{"role":"assistant","content":"The shows went to Amsterdam and Holland — was this work already pointing you toward eventually moving there, or did that connection come later?"},{"role":"user","content":"I already spent 2 years in holland and went to the Utrecht School voor de Kunsten for 1 year. so had connections still to make the exibits"},{"role":"assistant","content":"So the Holland shows were through existing connections from your time at the Utrecht school — this was already a transatlantic network before the work was even made.\n\nWhere does this work live now — do you still have it, or did it sell or move on at some point?"},{"role":"user","content":"they are at my parents house in san francisco, never sold the large work, but did sell smaller prints, cant remember how many though"},{"role":"assistant","content":"Got it — held in San Francisco, unsold as an original."},{"role":"user","content":""},{"role":"assistant","content":"The work was made in Fort Greene — was that your studio or just your apartment?"},{"role":"user","content":"just the appartment"},{"role":"assistant","content":""},{"role":"user","content":""},{"role":"assistant","content":"Home studio then — floor space, a big print, and dry brush. \n\nLooking at the work now — at the time, was there anything you were consciously moving away from? Something that felt overdone or already resolved that you didn't want this to be?"},{"role":"user","content":"not sure, maybe the experience of the art school was in my mind. was interesting, but I left after a year, was hard to be overseas, but was a good experience. but being in new york was just exciting and wanted to make something there. very different energy than art school in NL. and then with the digital photography it felt wide open"},{"role":"assistant","content":"That contrast is clear — the structured institutional environment in Utrecht versus arriving in New York with a cheap digital camera and unlimited shots, making work for your own shows on your own terms. The openness of that moment is visible in the work."},{"role":"user","content":""},{"role":"assistant","content":"You described it at the start as a tree growing out of the ground where the city is the tree itself, with pairs of project buildings to the left — and the Hopi prophecy underneath it all. Now that we've talked it through, does it still feel like that's what it is, or has something shifted?"},{"role":"user","content":"is interesting to look at a talk about again, I definitly feel that its a starting point for a lot of my future series, but wonder if there is something there to bring me back to the surreal someday"},{"role":"assistant","content":"That's a good place to leave it — a starting point that might also be a direction still open. The surreal hasn't closed, just gone quiet for a while."},{"role":"user","content":""},{"role":"assistant","content":""},{"role":"user","content":""},{"role":"assistant","content":"That's everything I need. Let me put the confirmation draft together."},{"role":"user","content":""},{"role":"assistant","content":""},{"role":"user","content":""},{"role":"assistant","content":"All staged. Open **Wrap up / confirm** in the sidebar — you'll see the staged fields, the description drafts, and the formal contribution assessment. Edit anything that doesn't sound right, then press **Commit** to write it to the Artworks record."}],"fieldUpdateTimeline":[{"field":"primaryImage","value":9,"source":"conversation","timestamp":"2026-06-01T13:29:30.703Z","confidence":"confirmed","targetCollection":"artworks"},{"field":"orientation","value":"square","source":"image-analysis","timestamp":"2026-06-01T13:29:42.728Z","confidence":"inferred","targetCollection":"artworks"},{"field":"analysisModelVersion","value":"claude-sonnet-4-6","source":"image-analysis","timestamp":"2026-06-01T13:29:42.728Z","confidence":"inferred","targetCollection":"artworks"},{"field":"dominantColors","value":[{"hex":"#7a9bbf"},{"hex":"#c8d4e0"},{"hex":"#2a2a2a"},{"hex":"#4a7a3a"},{"hex":"#8b7355"},{"hex":"#d4c9b0"}],"source":"image-analysis","timestamp":"2026-06-01T13:29:42.728Z","confidence":"inferred","targetCollection":"artworks"},{"field":"paintedFieldColors","value":[{"hex":"#4a7a3a"},{"hex":"#7a9bbf"},{"hex":"#c8d8e8"}],"source":"image-analysis","timestamp":"2026-06-01T13:29:42.728Z","confidence":"inferred","targetCollection":"artworks"},{"field":"compositionalNotes","value":"The composition employs a striking surrealist inversion, with a photographic collage of New York City buildings suspended upside-down from a dark conical base, occupying the upper two-thirds of the image. Visual weight is concentrated in the heavy, dark mass of the inverted urban cluster at center-top, counterbalanced by the flat, painted green lawn at the bottom edge where small sculptural building forms are scattered. A single painted bare tree anchors the middle ground, connecting the painted lower field to the photographic upper mass. The sky serves as a unifying painterly ground that bridges both the photographic and hand-painted elements.","source":"image-analysis","timestamp":"2026-06-01T13:29:42.728Z","confidence":"inferred","targetCollection":"artworks"},{"field":"title","value":"Prophecy","source":"conversation","timestamp":"2026-06-01T13:29:57.147Z","confidence":"confirmed","targetCollection":"artworks"},{"field":"series","value":"art-collision","source":"conversation","timestamp":"2026-06-01T13:29:57.828Z","confidence":"confirmed","targetCollection":"artworks"},{"field":"medium","value":"Digital print and acrylic paint on canvas","source":"conversation","timestamp":"2026-06-01T13:29:58.076Z","confidence":"confirmed","targetCollection":"artworks"},{"field":"city","value":"New York","source":"conversation","timestamp":"2026-06-01T13:29:58.330Z","confidence":"confirmed","targetCollection":"artworks"},{"field":"country","value":"United States","source":"conversation","timestamp":"2026-06-01T13:29:58.580Z","confidence":"confirmed","targetCollection":"artworks"},{"field":"widthWhole","value":36,"source":"conversation","timestamp":"2026-06-01T13:29:58.830Z","confidence":"confirmed","targetCollection":"artworks"},{"field":"heightWhole","value":36,"source":"conversation","timestamp":"2026-06-01T13:29:59.084Z","confidence":"confirmed","targetCollection":"artworks"},{"field":"dimensionUnit","value":"in","source":"conversation","timestamp":"2026-06-01T13:30:03.184Z","confidence":"confirmed","targetCollection":"artworks"},{"field":"yearCreated","value":2002,"source":"conversation","timestamp":"2026-06-01T13:30:37.251Z","confidence":"confirmed","targetCollection":"artworks"},{"field":"directInspiration","value":"Arrived in New York via the Global Peace Walk 2000, joining friends who walked from San Francisco to New York. The walk involved close contact with Native American chiefs, sweat ceremonies, and oral storytelling. The Hopi prophecy — a cave painting depicting two figures standing side by side, one growing larger then disappearing — was heard directly in that context, not encountered through a book or secondary source. This story became the conceptual seed for Prophecy.","source":"conversation","timestamp":"2026-06-01T13:31:54.607Z","confidence":"confirmed","targetCollection":"artworks"},{"field":"makingNote","value":"The source print already contained two building tops. The repeating pairs of housing project buildings to the left were extended through painting during the process — the prophecy structure wasn't pre-planned but emerged from what was already in the collage material. The composition was worked out through making rather than predetermined. This was the first experiment painting on canvas — the digital print wasn't fully protected beforehand, so everything was painted dry brush as a practical response to the surface. The painted areas (sky, grass, additional buildings) were added without certainty about what would stay or get painted over; the final idea came in the finishing stage.","source":"conversation","timestamp":"2026-06-01T13:35:34.847Z","confidence":"confirmed","targetCollection":"artworks"},{"field":"sizeTier","value":"lg","source":"conversation","timestamp":"2026-06-01T13:36:00.549Z","confidence":"confirmed","targetCollection":"artworks"},{"field":"intentVsOutcome","value":"Looking back, the work is interesting and clearly led directly to the later series. It reads as more surreal than the subsequent transfer paintings — a quality that carries forward from the original oil paintings. It sits at a hinge point between the early surrealist work and the more documentary urban language of A Colorful History and the Digital City Series.","source":"conversation","timestamp":"2026-06-01T13:40:01.448Z","confidence":"confirmed","targetCollection":"artworks"},{"field":"seriesContext","value":"The Art Collision series emerged directly from access to two new tools: a first digital camera (around 2mp) that allowed unrestricted shooting, and a large-format printer at a Manhattan shop where Bolter was working at the time. The cityscape and landscape tendency was already present in the earlier oil paintings, but photography brought it into sharper focus. The series was the first experiment combining digital print with painting on canvas, predating the acrylic gel medium transfer technique of A Colorful History. The four base compositions were each painted twice — eight paintings total — plus two purely digital collage works, making ten in the series. Shows traveled to New York, Austin, Baltimore, Amsterdam, Leiden, and Rotterdam under the Art Collision group, a self-organized collective of five artists who lived on the same block in Brooklyn.","source":"conversation","timestamp":"2026-06-01T13:42:08.792Z","confidence":"confirmed","targetCollection":"artworks"},{"field":"artHistoricalContext","value":"At the time of making, Bolter was absorbing New York's billboard landscape as a visual environment — the city itself read as assembled collage. Was also engaging with the work of Canadian photographer Jeff Wall, whose large-format staged urban photographs and lightbox scale were a reference point. The surrealist quality of the work connects back to the earlier oil paintings rather than to any specific contemporary art world influence. Richard Hamilton and Sigmar Polke, more central to the later transfer painting series, were not yet in the picture at this stage.","source":"conversation","timestamp":"2026-06-01T13:44:42.971Z","confidence":"confirmed","targetCollection":"artworks"},{"field":"artworkHolder.holderType","value":"Person","source":"conversation","timestamp":"2026-06-01T13:46:35.213Z","confidence":"confirmed","targetCollection":"artworks"},{"field":"artworkHolder.holderName","value":"Bolter family (parents)","source":"conversation","timestamp":"2026-06-01T13:46:35.545Z","confidence":"confirmed","targetCollection":"artworks"},{"field":"currentLocation.category","value":"private-collection","source":"conversation","timestamp":"2026-06-01T13:46:35.838Z","confidence":"confirmed","targetCollection":"artworks"},{"field":"currentLocation.locationDetail","value":"Family home, San Francisco","source":"conversation","timestamp":"2026-06-01T13:46:36.122Z","confidence":"confirmed","targetCollection":"artworks"},{"field":"availabilityStatus","value":"not-for-sale","source":"conversation","timestamp":"2026-06-01T13:46:36.409Z","confidence":"confirmed","targetCollection":"artworks"},{"field":"provenanceNotes","value":"Original canvas held at family home in San Francisco. Smaller prints sold in unknown quantity. Work exhibited as part of Art Collision group shows in New York, Austin, Baltimore, Amsterdam, Leiden, and Rotterdam.","source":"conversation","timestamp":"2026-06-01T13:46:36.695Z","confidence":"confirmed","targetCollection":"artworks"},{"field":"locationCreated.city","value":"New York","source":"conversation","timestamp":"2026-06-01T13:47:04.163Z","confidence":"confirmed","targetCollection":"artworks"},{"field":"locationCreated.country","value":"United States","source":"conversation","timestamp":"2026-06-01T13:47:04.500Z","confidence":"confirmed","targetCollection":"artworks"},{"field":"locationCreated.countryCode","value":"US","source":"conversation","timestamp":"2026-06-01T13:47:04.784Z","confidence":"confirmed","targetCollection":"artworks"},{"field":"locationCreated.label","value":"Apartment in Fort Greene, Brooklyn","source":"conversation","timestamp":"2026-06-01T13:47:05.070Z","confidence":"confirmed","targetCollection":"artworks"},{"field":"workContext","value":"Made in a Fort Greene apartment, outside any institutional context. Bolter had left the Utrecht School voor de Kunsten after one year and arrived in New York through the Global Peace Walk 2000. The energy of New York — combined with the freedom of digital photography and access to a large-format printer at a Manhattan shop — created a feeling of wide openness that was deliberately different from the art school environment. The work was made for the Art Collision group's own self-organized shows, with no gallery brief or curatorial framework.","source":"conversation","timestamp":"2026-06-01T13:49:22.669Z","confidence":"confirmed","targetCollection":"artworks"},{"field":"consciousRejections","value":"No explicit rejection of a prior style, but the work was made in conscious contrast to the art school experience in the Netherlands — the institutional framework was in the background but not being directly responded to. The excitement of New York and the freedom of digital photography pointed forward rather than against anything specific.","source":"conversation","timestamp":"2026-06-01T13:49:23.146Z","confidence":"confirmed","targetCollection":"artworks"},{"field":"encounterNote","value":"Revisiting the work through conversation, it still reads as a city-as-tree rooted in the earth, with the Hopi prophecy structure underlying the composition. But looking at it again now, it feels like a starting point for everything that followed — and also a door still open: the surreal quality of this early work is something Bolter wonders about returning to someday.","source":"conversation","timestamp":"2026-06-01T13:50:57.086Z","confidence":"confirmed","targetCollection":"artworks"},{"field":"intent","value":"To translate the Hopi prophecy — a cave painting of two figures, one growing larger then disappearing — into a visual language rooted in the urban landscape of New York. The city becomes the organism: a tree growing from the earth, its skyline the canopy. The prophecy structure was not illustrated top-down but discovered within the source material during making.","source":"conversation","timestamp":"2026-06-01T13:50:57.431Z","confidence":"confirmed","targetCollection":"artworks"}]},"artism:DialogueSelfAudit":{"agentModel":null,"sessionNotes":null,"weakPhases":[],"blindDescriptionUseful":null,"formalContributionAccuracy":null,"dialogueRefinementFlag":false,"refinementNotes":null,"agentDraftDescriptionShort":"A digital print and acrylic collage on canvas depicting the New York skyline as a tree growing from the earth, with painted housing project pairs extending to the left — a visual translation of the Hopi prophecy, in which one figure grows and disappears. The first work in the Art Collision series, made in Fort Greene, Brooklyn, in 2002.","agentDraftDescriptionLong":"Prophecy is the first painting in the Art Collision series — a self-organized body of work made by five Brooklyn-based artists who mounted their own shows across New York, Austin, Baltimore, Amsterdam, Leiden, and Rotterdam. Made in a Fort Greene apartment in 2002, it is Bolter's first experiment combining a large-format digital print with acrylic paint on canvas.\n\nThe composition centres on a photographic collage of the New York skyline, inverted so that the city mass reads as a tree rooted into the ground — the Empire State Building rising as its canopy. To the left, pairs of housing project buildings, partly painted in dry-brush acrylic, diminish in scale toward the right, echoing the structure of a Hopi prophecy Bolter heard directly during the Global Peace Walk 2000: a cave painting depicting two figures standing side by side, one growing larger, then disappearing. The prophecy structure was not pre-planned — the source photograph already contained two building tops, and the repeating pairs were extended through painting as the idea emerged in the finishing stage.\n\nThe surreal quality of the image — organic and urban, ancient prophecy and contemporary skyline — carries forward from Bolter's earlier oil paintings while pointing directly toward the photographic collage logic of the Digital City Series and A Colorful History. Made outside any institutional framework, with access to a 2mp digital camera and a large-format printer at a Manhattan shop, the work reflects a particular moment: the freedom of unlimited digital shooting meeting the excitement of New York after a year at art school in the Netherlands.","agentDraftConceptualKeywords":["Hopi prophecy","city as organism","urban surrealism","digital collage","dry brush","housing projects","New York skyline","Global Peace Walk","self-organized","starting point"],"agentDraftFormalContribution":"Prophecy occupies a precise hinge in Bolter's practice: it is the first work to combine digital print with painting on canvas, establishing a material logic that would evolve into the acrylic gel medium transfer technique of A Colorful History. Its surrealist register — the city as a living, rooted organism, prophecy embedded in urban form — is distinctive within the body of work, more associative and mythic than the later series, which move toward documentary and historical framing. The work also marks the origin of Bolter's sustained engagement with the photograph as a material to be painted with rather than painted over, a relationship that defines his practice across two decades. Its formal contribution is as a generative starting point: the question it opens — what the surreal can do within an urban photographic practice — remains, by Bolter's own account, unanswered and potentially still live."}}]}