{"id":173727,"date":"2026-05-20T10:00:14","date_gmt":"2026-05-20T14:00:14","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=173727"},"modified":"2026-05-25T17:19:26","modified_gmt":"2026-05-25T21:19:26","slug":"unfinished-on-theresa-hak-kyung-cha","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2026\/05\/20\/unfinished-on-theresa-hak-kyung-cha\/","title":{"rendered":"Theresa Hak Kyung Cha\u2019s \u201cPerte Loss\u201d"},"content":{"rendered":"
\"\"

From Perte Loss<\/em>, 1979. University of California, Berkeley Art Museum and Pacific Film Archive; Gift of the Theresa Hak Kyung Cha Memorial Foundation.<\/p><\/div>\n

In 1979, Theresa Hak Kyung Cha submitted a proposal for a two-channel video performance titled <\/em>Perte Loss to the San Francisco\u2013based collective Video Free America. The performance, she explained, would explore multiple valences of the French word<\/em> perte: \u201closs, articulated as memory, time, image, etc within the duration of the piece.\u201d One channel, representing the present, would consist of moving images and words in the present tense. The other would represent the \u201cmemory for \/ of channel #1\u201d and would consist of still images and words in the past tense. The artist herself would mediate between the two channels, appearing behind glass as \u201ca video image\u201d and incorporating performance, still and moving image, and both live and recorded sound to evoke the process of \u201cgiv[ing] life to what is <\/em>fixe, mort, by remembering.\u201d<\/em><\/p>\n

Two months before she was scheduled to perform the piece at Video Free America as part of a group show of \u201cVideo Performance Art,\u201d Cha formally withdrew from the exhibition due to a lack of both financial and philosophical support. \u201cI have no desire or need to make compromises on the conceived project, for it to completely transform itself into no longer the same piece,\u201d she explained. She would not live to realize the piece in its originally intended form.<\/em><\/p>\n

The brutal fact of Cha\u2019s rape and murder in New York in 1982 is an irreducible part of the encounter with her work, yet it is not the only way Cha\u2019s archive prompts us to reckon with incompletion. Cha experimented with an aesthetics of fragmentation and ellipsis; ideas and forms recur and evolve across projects, inviting us to undo the commonplace divisions between unfinished and finished works and to instead see them as part of one continuous creative practice.<\/em><\/p>\n

While <\/em>Perte Loss was not intended as a textual piece, its script displays the fascination with language for which Cha is well known. She experiments with the visual spacing of words on the page and employs repetition and recombination to evoke gaps in memory and the longing to recall what has been lost. <\/em>Perte Loss begins by naming days of the week, months of the year, and the minutes passing by on a clock in multiple languages: English, French, transliterated Korean, and, in her handwritten addendum to the proposal, Chinese script. Each linguistic track operates at a slight dislocation from the other, a gesture she frequently explored when working with multiple languages\u2014here, the Korean days of the week are paired with English months of the year; next to them, Chinese characters name the months of the year again, but August and September are left out. A supplementary text, likely intended for the vocal track of <\/em>Perte Loss, extends this interest in verbal permutations. She writes:<\/em><\/p>\n

you are missing<\/p>\n

you don’t know what<\/p>\n

you are<\/p>\n

missing<\/p><\/blockquote>\n

Cha reimagined and expanded the ideas in <\/em>Perte Loss in her proposal for a feature-length film, <\/em>White Dust from Mongolia (1980). The film centers on an unnamed amnesiac\u2019s process of retrieving memory and speech. In Cha\u2019s script, the dual channels of <\/em>Perte Loss are reinvented as two simultaneous narratives that meet over the course of the film. One, set in the past, takes shape within the mind of Character #1, the amnesiac, and suggests that the causes of her amnesia stem from Korea\u2019s traumatic histories of Japanese imperial and U.S. military occupation. The second narrative, set in the present, follows Character #2, who \u201creturns\u201d and \u201cgives memory\u201d to Character #1, establishing her identity in an interrogation and reintroducing speech through linguistic instruction. In the final scene, the amnesiac\u2019s retrieved memories appear as filmic images projected in an abandoned movie theater; she walks toward the screen, physically entering it.<\/em><\/p>\n

Cha did not complete <\/em>White Dust from Mongolia; her plan to film in Korea was interrupted by political unrest in the wake of President Park Chung-hee\u2019s assassination and the massacre of student protesters in Gwangju. But references to exile and linguistic alienation under imperial rule, and imagery of an unnamed woman\u2019s hypnotic suspension before the cinema screen, echo across Cha\u2019s polyvocal literary experiment <\/em>Dict\u00e9e (1982).<\/em><\/p>\n

Rather than suggesting a teleological development toward a final masterpiece, Cha\u2019s unfinished projects exceed such ready-made routes. Cha\u2019s outline for <\/em>Perte Loss ends with \u201csheets of tissue paper strewn across the floor\u201d stirred up by a changing wind, heralding an \u201calchemical process\u201d of transformation. Alchemy was also Cha\u2019s favored analogy for the artistic process itself: The artist\u2019s \u201cvision belongs to an altering, of material, and of perception,\u201d she wrote. To traverse Cha’s archive is to register the force of an artistic imagination that is itself not \u201c<\/em>fixe, mort\u201d\u00a0but constantly mutating.<\/em><\/p>\n

 <\/p>\n

Transcription Notes:
\n(words in parentheses denote Cha\u2019s handwritten addendums)
\n— indicates original page breaks in proposal<\/p>\n

 <\/p>\n

PERTE LOSS<\/p>\n

Dimanche encore\u00a0 demain lundi encore<\/p>\n

Mon\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Lundi<\/p>\n

Tues\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Mardi<\/p>\n

Wed\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Mercredi<\/p>\n

Thurs\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 jeudi<\/p>\n

Fri\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 vendredi<\/p>\n

Sat\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 samedi<\/p>\n

Sun\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 dimanche<\/p>\n

Jan\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 wuhl \u00a0\u00a0\u00a0 ( \u4e00\u6708)\u00a0\u00a0\u00a0\u00a0\u00a0 (\u5341\u6708)\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 (Repetition\/ Rhythmn [sic])<\/p>\n

Feb\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 wha\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 (\u4e8c\u6708)\u00a0\u00a0\u00a0\u00a0\u00a0 (\u5341\u4e00\u6708)<\/p>\n

Mar\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 soo\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 (\u4e09\u6708) \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 (\u5341\u4e8c\u6708)<\/p>\n

April\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 mok\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 ( \u56db\u6708)<\/p>\n

May\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 kuhm\u00a0\u00a0\u00a0 ( \u4e94\u6708)<\/p>\n

june\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 toh\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 ( \u516d\u6708)<\/p>\n

july\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 il\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 ( \u4e03\u6708)<\/p>\n

aug\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 dissolves-movements in the present<\/p>\n

sept\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 intercut frozen time<\/p>\n

oct\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 superimpose<\/p>\n

nov\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 intercut with images or black.<\/p>\n

dec<\/p>\n

quick cuts<\/p>\n

real time<\/p>\n

digital<\/p>\n

8:00<\/p>\n

8:00<\/p>\n

8:02<\/p>\n

8:03<\/p>\n

Lost Loss of time (relative) everyday having the same value -worker<\/p>\n

Everyday with differnet [sic] value meaning with change of context.<\/p>\n

passage of time\u00a0 -time interval everything always in the past.\u00a0 the present is. mere<\/p>\n

aknowledgment [sic], confirmation of the past. simultaneous time, synchronous time,<\/p>\n

as opposed to the present always a result of the past.\u00a0 someone’s present is always<\/p>\n

the past of the other.<\/p>\n

Loss- memory, therefore image therefore language to describe the image, to recall.<\/p>\n

the passage of time as each moment complete in itself absolute present each movement<\/p>\n

of time.<\/p>\n

waiting time-different value all together.\u00a0 fades to black.<\/p>\n

—<\/em><\/p>\n

two monitors.<\/p>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n

1.<\/p>\n

 <\/p>\n

x<\/p>\n

 <\/p>\n

2.<\/p>\n

i am behind the glass also as a video image image between the one representing past<\/p>\n

and two representing present as mediator as marker<\/p>\n

present remembers the past; gives it life to that which is fixe, mort<\/p>\n

by remembering, gives it voice, language, and image.<\/p>\n

time delay between 1 and 2 is very slight, same images, except one is still\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 other moving<\/p>\n

done with super 8 – time lapse of curtain, the light passing day in living room<\/p>\n

    \n
  1. *\/*\/*\/*\/*\/ 2. ***********<\/li>\n<\/ol>\n

    black or white leider [sic] between<\/p>\n

    1\/2-1 sec. imge raccord [sic] with<\/p>\n

    previous dissolves or cuts.<\/p>\n

     <\/p>\n

     <\/p>\n

     <\/p>\n

    Monday, tues, wed, thurs, fri.<\/p>\n

    repeated cycle, do away with sat and sun when they do not really exist- or<\/p>\n

    repeat the cycle by eliminating one by one the days of the week.<\/p>\n

     <\/p>\n

     <\/p>\n

    Thin sheets of plexiglass-moving layered image shake image<\/p>\n

    reflected image<\/p>\n

    Sheets of tissue paper strewn across the floor<\/p>\n

    wind<\/p>\n

    wind on gauze.<\/p>\n

     <\/p>\n

    Change breath \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 sequence to begin when the past is going to become present-<\/p>\n

    change wind\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 it begins to move also. the wind begins to move-alchemical process<\/p>\n

    North<\/p>\n

    East<\/p>\n

    West<\/p>\n

    South<\/p>\n

     <\/p>\n

    Fingers tied with string pulled out<\/p>\n

    —<\/em><\/p>\n

    Changes breath<\/p>\n

    changes wind<\/p>\n

      \n
    1. speed 2. volume 3. rhythmn [sic] 4. pauses 5. outside-outward-exterior<\/li>\n<\/ol>\n

      toward reflection, contemplation larger than inside the glass. -movement.<\/p>\n

      movement of relationships.<\/p>\n

       <\/p>\n

       <\/p>\n

       <\/p>\n

       <\/p>\n

       <\/p>\n

       <\/p>\n

       <\/p>\n

       <\/p>\n

       <\/p>\n

       <\/p>\n

       <\/p>\n

      (the end as continuous time on 2 monitors snowing)<\/p>\n

       <\/p>\n

       <\/p>\n

       <\/p>\n

      Katie Kirkland is an Assistant Professor of Cinema at Binghamton University (SUNY). She is a scholar of contemporary experimental documentary, with particular interests in feminist, transnational, and performative practices. Her writing on Theresa Hak Kyung Cha\u2019s <\/em>White Dust From Mongolia can be found in\u00a0<\/em>Another Gaze and\u00a0<\/em>Film Undone: Elements of a Latent Cinema (Archive Books, 2024).<\/em><\/div>\n","protected":false},"excerpt":{"rendered":"

      \u201cTo traverse Cha’s archive is to register the force of an artistic imagination that is itself not \u2018fixe, mort\u2019\u00a0but constantly mutating.\u201d<\/p>\n","protected":false},"author":2685,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[68844],"tags":[2114],"class_list":["post-173727","post","type-post","status-publish","format-standard","hentry","category-unfinished","tag-unfinished-books"],"acf":[],"yoast_head":"\nTheresa Hak Kyung Cha\u2019s \u201cPerte Loss\u201d by Katie Kirkland<\/title>\n<meta name=\"description\" content=\"May 20, 2026 \u2013 \u201cTo traverse Cha's archive is to register the force of an artistic imagination that is itself not \u2018fixe, mort\u2019\u00a0but constantly mutating.\u201d\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link 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