Revue Web


Jacques Derrida : the ’perchance’ of a coming of the otherwoman

The deconstruction of ’phallogocentrism’ from duel to duo

31 octobre 2007

Abstract : That the questions surrounding woman, women, gender, or even sexual difference may be found at the heart of Jacques Derrida’s deconstructive work is already quite significant. In itself it is the signal that they constitute an obstacle within thought concerning the tradition, and hence within the tradition itself, in other words within our history. Let’s recall that without opposing an indoors of the "library" to an outdoors of the world that would be heterogeneous, separate, deconstruction as practiced by Jacques Derrida beginning with great texts of the tradition is a reflection upon the world and upon life, within the threefold temporality of past, present, and time to come. By appealing to the voice of the other, he thus engages the perchance of a reorientation of discourse, history, and the tradition.
Résumé : Si les questions sur la femme et le genre féminin se sont trouvées au cœur des pensées de Jacques Derrida, c’est en ce qu’elles constituent un point d’achoppement dans la réflexion sur la tradition, donc dans la tradition elle-même. Sans opposer un dedans de « la bibliothèque » à un dehors du monde hétérogènes, séparés, la déconstruction du modèle phallogocentrique est une réflexion sur le monde et la vie – dans la triple temporalité du passé, du présent et de l’avenir. Partant du constat que la tradition s’est construite et bâtie en partie sur une exclusion des femmes, et déconstruisant cette histoire, Derrida ouvre un espace propice à la venue de l’autre. En en appelant à la voix de l’autre, il engage le « peut-être » d’une réorientation du discours, de l’histoire et de sa tradition.

  • Texte en PDF

Masquez la colonne info


Corrente, Partita in A minor, J.-S. Bach. Soprano saxophone, Carole Dely



With JD, Jean-Luc, Philippe LL, Michel D., those men and women who have accompanied me and accompany me still.


"And why not invent something else, another body ? Another history ? Another interpretation ?"3 Jacques Derrida, Pregnances


The title I've given this paper - "Jacques Derrida : The Perchance of a Coming of the Otherwoman" 4 - indicates first of all that my subject will be "woman," as one says. I shall take it upon myself to talk about the woman, or women, about the female gender as distinguished from the male gender. It is worth noting that this subject has been in vogue for the past few decades in the Western world, that it is a new, even unprecedented subject, as though not enough, perhaps nothing at all, had been said about it in the past, as though our time wished to do it justice. This ties in with contemporary history as a whole, with the historically recent women's liberation movement, whether one places its beginning in the 19th or 20th century in various European countries. To reinstate the woman, the question of women and of the feminine is like a contemporary watchword. In our time therefore one might think, here and now, that it is still a relatively virgin subject, hence new, after the image of a new land just beginning to be discovered or rediscovered. A new ground whence something as yet unknown still could come, something different, other... perchance. In this sense, we shall set over against or distinguish this new feminine terrain from another masculine terrain, recognized as dominant in history and the tradition.

These few remarks I just made may already seem arbitrary, thetical or polemical, stamped with ideology, to the point of thinking in terms of a certain "war between the sexes" involving a feminist clan against another one called phallocratic, and so forth. Let us understand that speaking out on this subject, whether it be the fact of a man or a woman, can hardly remain innocent. It is inscribed within a history, within a long tradition. And as soon as it is posed, the subject seems already always polemical. For instance : what is the woman's place in philosophical thought ? Within creative thought in general ? In politics, in political and social thought ?... And if she seldom appears in actual fact, what is the woman's share of responsibility in this regard, and what is or was that of men ? But then who are "the men" and who are "the women," do these two categories really exist like two clans, two adverse clans ? Wouldn't it be better still to take care to distinguish individuals, singular individualities and personalities, to speak instead of "certain women", "certain men" ?

All these questions are difficult, complex. And the greatest difficulty is that one cannot completely escape these questions, however much one might wish to. For after all, perhaps "the question of women" is no more pertinent than would be "a question of men" (for instance with regard to the recognition of their individual freedom). Apart from socio-historical circumstances, by right if you will, why would woman be more of a question than man ? One might think there's a great deal of prejudice tangled up with all this, in such a way that it's become difficult to untangle the true from the false, as the philosopher Descartes would say. And prejudice can always impede the search for more serious thought, or one free of too much passion. But here again, the debate could be endless : perhaps one ought to demonstrate what was just said, which could appear as a thesis, a matter to be defended, as one speaks of "the feminist cause" to be defended... while waiting for "the masculine cause" to become one as well, yes perhaps, why not... and so forth.

I briefly recall this general context by way of introduction since it's the one in which I myself am led to speak. I'm speaking about this context, about it - understood both as from this place and as the subject I speak of. But now, my title indicates something else : though my topic is the woman, more specifically I shall talk about the question of a coming of the woman considered in her otherness and authenticity - the "otherwoman" - phrasing it in the form of a perchance. With Jacques Derrida, this word "perchance" always beckons toward the unpredictability of "what happens", of what comes, the incalculable coming of the other. Hence it is precisely from the angle of Jacques Derrida's thought that I shall approach here the question of the woman and the feminine, in the present and within the tradition. My talk's theme or questioning may be summarized as follows : why did Jacques Derrida devote a large portion of his work to thinking about the woman, the feminine, and what he calls "the deconstruction of phallogocentrism ?" How did that come about, and where was he going with it ?

In the time granted, with regard to such a vast theme, I shall be satisfied to resituate the question of phallogocentrism in the general context of Derridean deconstruction, and I shall apply myself to presenting a few examples of deconstructive strategies locatable in the work of Jacques Derrida. The aim of my talk may be hardly more than to seek to make tangible a certain atmosphere, hoping that already will be something.

That the questions surrounding woman, women, gender, or even sexual difference may be found at the heart of Jacques Derrida's deconstructive work is already quite significant. In itself it is the signal that they constitute an obstacle within thought concerning the tradition, and hence within the tradition itself, in other words within our history. Let's recall that without opposing an indoors of the "library" to an outdoors of the world that would be heterogeneous, separate, deconstruction as practiced by Jacques Derrida beginning with great texts of the tradition is a reflection upon the world and upon life, within the threefold temporality of past, present, and time to come - "to come" understood here as what may be yet to arrive, which Jacques Derrida sets in opposition to the "future" of what is predictable and calculable. The work of writing, of speaking out are always inscribed within a tradition already there beforehand. Whether one refers to it directly or not, one speaks with that tradition in memory. As for Jacques Derrida, he preferred to refer to it, to the point of wanting passionately to call it into question. That memory is collected in the books produced over the centuries and that are left to us. In that way, for us they are like a mirror of the past world and history preceding us in time, and to which we perforce belong. In a sense, all one has to do is recognize it. And thus, for instance, here and now one would have to recognize that this great library of the world comprises a vast majority of male authors. Without even seeking an explanation for it, or looking for causes, all one has to do is recognize it. That's the way things are, even if one cannot rigorously explain why they are that way. Moreover such a task of elucidation is quite difficult to accomplish, namely for the reasons and/or motives to which I was alluding in the introduction.

In an interview published in Le Monde de l'éducation (September, 2000), Jacques Derrida gave the practice of deconstruction of phallogocentrism this sense of a just recognition of the facts. Let me recall the context of the interview : Antoine Spire calls Jacques Derrida's attention to the fact that the feminine cause mobilized his work early on, that sexual difference is present in many of his texts. He responds, and I quote :

"I speak mostly, and have for a long time, about sexual differences, rather than about one difference only - twofold and oppositional - which is indeed, with phallocentrism, with what I also nickname ‘phallogocentrism,' a structural feature of philosophical discourse that will have prevailed in the tradition. Deconstruction goes down that road in the first place. Everything comes back that way. Before any feminist politicalization (and, although I've often associated myself with it, on certain conditions), it is important to recognize this strong phallogocentric underpinning that conditions just about all of our cultural heritage [my emphasis, C.D.]. As for the properly philosophical tradition of this phallocentric heritage, it is represented, certainly in different but equal ways, in Plato as well as in Freud or Lacan, in Kant as well as in Hegel, Heidegger, or Lévinas. In any case I've gone to some length to show as much."

It follows from these words that the deconstruction of phallogocentrism - but perhaps one could simply say "deconstruction" - is not a feminist or political stance, in any case not initially. And it is not a stance first of all because Jacques Derrida wants precisely to avoid the clear-cut judgment of a twofold opposition between man and woman. No doubt things are more complicated than that, one could no doubt think about them otherwise, rather than think of sexual differences in the plural (perhaps of a mix of genders between men and women, to the point of rethinking homosexuality too, whether feminine or masculine, and so forth). Let me repeat Jacques Derrida's words in order to underscore them : "Before any feminist politicalization, it is important to recognize this strong phallogocentric underpinning that conditions just about all of our cultural heritage." Thus for instance, in point of fact, or in any case those facts historically attested by the authorized books of the tradition, those that enjoy posthumous recognition, Jacques Derrida remarks during a filmed interview5 that philosophy always has been linked to a masculine figure : "the philosopher" is a man, he also can be a father, but more rarely will be a woman or a mother (including in a symbolic sense that could apply just as well to a man).

We can support this comment with simple historical data : from an academic point of view, that the philosopher might be physically a woman doubtless will have had no tangible reality before the tradition of the 20th century (Hannah Arendt, Simone Weil, Simone de Beauvoir...). But it is necessary to observe that these women philosophers found themselves in a situation where they had to think beginning with an ancient and overwhelmingly masculine tradition, built upon "a strong phallogocentric underpinning", to use Jacques Derrida's expression once again. In this way, that henceforth women may, since the 20th century, practice more freely our work of creative thought or literature does not settle all of the problems and questions, if one might say so. Here and now, we still live and think against the backdrop of an ancient heritage, marked by a certain exemplar, a certain "structural feature [...] that will have prevailed in the tradition." We're still bound to it, whether one be a woman or a man, but no doubt in a different manner depending on whether one is a man or a woman, each one otherwise loyal and/or disloyal with regard to said heritage. That is why Derrida's deconstructive work, patient and responsible, shows itself to be of utmost importance. This contemporary practice of attentive reading and rereading, hence at once loyal and disloyal, that consists in unearthing the strata of our cultural heritage, in disjoining its elements in order to understand how they fit together, allows one to open a space in the heart of this complex, otherwise. To the point of the possibility, or "the impossible", of an unforeseeable coming of the other, yet to come... perchance.

Thus, if phallogocentrism is a major theme of Derridean deconstruction, which questions and has an impact upon the tradition, this clearly stems from the fact that between a masculine presence and a feminine presence the imbalance is flagrant (within the tradition understood from philosophical, moral, sexual, fantasmatic, political viewpoints, and so forth). One may even go so far as to wonder whether that tradition was not in part constructed upon and beginning with a certain exclusion of the woman and of the feminine. The question remains open - and we're no longer at that point today. In this sense deconstruction reveals and questions a form of imbalance, it targets an appearance of abnormality.

An obstacle within the tradition, because women seldom appear, seem never to appear as such. In Politics of Friendship6, Jacques Derrida presents a genealogical reading of the canonical model of friendship in circulation since Aristotle, by way of Cicero, Montaigne, Kant, Nietzsche, till even nearer to us. He makes it evident from this angle that the friend is always a man, never a woman, that friendship always concerns couples of men. The other forms of friendship, between men and women, or else between women, did not leave equally legitimate and exemplary traces within the system of authority and legitimation these great treatises constitute. Women remain marginal, or even significantly eclipsed. Jacques Derrida picks up the thread of a certain model of friendship, the virile model of virtuous friendship thought out by Aristotle. Friendship par excellence, the highest form of friendship concerns men who have relationships of resemblance amongst themselves. As a result, these friends will have found themselves to resemble one another, in a non-fortuitous way, as "brothers". This then begs the question as to whatever became of the sister in this narrative, in other words the woman, the other of the male ? One could say it is a question of democratic concern, in somewhat the same manner that today one speaks of "parity", that is, of a concern for equal representation of men and women in political assemblies. But the question is all the more of a democratic tonality that "fraternity" itself is naturally associated with the democratic ideal (as in the French motto since the Revolution : "Liberty, Equality, Fraternity"). Jacques Derrida points it out : "Rarely has democracy been determined without confraternity or brotherhood."7 It follows that in the history of democracy, hence involving political stakes right up to the present day, preference will have been given to the phallocentric model of the brother, native land, and the nation. Jacques Derrida observes that all the great philosophies of friendship - androcentric or androcentered - are intertwined with this political question. Thus, if men living democratically are like brothers, originally brothers of the nation or fatherland, all that seems to remain for women is the possibility of an assimilation into this model (but when ?... I mean, since when and from what place does this problem arise ? Since the liberation of women ? The time of deconstruction, in "the library" and the world ? Or else well before all that, as from the very beginning ?...) : the sister is a case of the brother, a species of the genus brother.8 Is this andro-centered model suitable and adequate in order to think today about the citizenship of women at the heart of a political system, rigorously speaking ? Jacques Derrida poses the question in this sense, inquiring : "what are we saying when we say brother ?"

Concerning political thought with regard to the friend and the enemy, Derrida in this same book questions the thought of Carl Schmitt. Schmitt's main idea is that the political space opens up beginning with the moment one can identify the enemy. The real possibility of war is necessary in order for the political sphere to get organized. I shall not go any farther into Schmitt's thinking and the profound and detailed analysis Jacques Derrida makes of it in Politics of Friendship, but I shall quote a passage that seems to elucidate perfectly a certain general situation of traditional and cultural discourse. Jacques Derrida writes :

"Let's come back to Schmitt and give ourselves plenty of room. What a macroscopic view can put into perspective, from very far away and high up, is a certain desert. Not a woman to be seen.9 A populated desert, certainly, a complete desert in the middle of the desert, and some will even say a desert pitch-dark with people : yes, but with men, men, men, for centuries of warfare and with suits, hats, uniforms, frocks, and with warriors, colonels, generals, guerillas, strategists, and with politicians, professors, theoreticians of the political, theologians. You'd search in vain for a woman's face, a feminine silhouette, and the slightest allusion to sexual difference."10

Carl Schmitt thinks out a world populated by men, without the presence of women. Whereas Plato, at least, made room in the ideal Republic for women as guardians of the city, Jacques Derrida notes that there is not even a woman soldier in Carl Schmitt. Granted, Schmitt is talking about the reality of war, and in point of fact women usually do not participate up front. For sure, but this is symptomatic : nor does Schmitt talk about the acts of resistance carried out by women in certain conflicts that took place in Europe. So the question arises : why is a certain reality of women's actions - moreover whether they be positive or negative - not taken into account by a theoretical discourse on war, acknowledged as worthy of reflection ? One could say the same thing concerning friendship, reversing the deal : that the great treatises on friendship generally don't treat of friendship between women, or between men and women, doesn't mean these latter don't exist or never existed. It just needs to be recognized that the tradition which left a certain mark of authority in books conceals this aspect of reality, or in any case doesn't take it into account, as though it were insignificant.

Consequently one can better understand the meaning of deconstructive work. On the one hand, deconstruction is a questioning about an entire architecture of traditional thought : it analyzes the stratified structures forming the discursive element in which we think, namely with a view to permitting and opening other possibilities of discourse, of arrangement, which in particular aren't necessarily systematic in the sense of philosophical systems, closed upon themselves. Deconstruction is a reflection upon the system, upon the system's enclosure and aperture. Thus, if within the tradition that presents a certain systematicness of thought (for instance in the twofold opposition between man and woman), the political is firmly anchored in a phallogocentric propensity in books as well as in history - what can one do ? For Derrida it is about rethinking entities without any longer excluding. Here and now, it is necessary to invent other names, attempt to carry ourselves beyond these politics, in the hope and the dream that something new might yet come, occur... such as, for instance, "a democracy to come", to pick up on the title of another book.

Now I shall make two remarks on the topic of the deconstruction of phallogocentrism, in relation to the possibility of an aperture within the enclosure targeted by deconstructive practice. Firstly, in deconstructing traditional discourse, such practice leans heavily upon the analysis of masculine texts naturally bearing the imprint of phallogocentrism. This is the form of deconstruction previously observed : by analyzing the compressed strata locatable in this or that discourse, it is about opening up a space within the vault that might attest a certain concealment of women. Secondly, if taken under a certain angle the tradition tends to exclude women and femininity to the benefit of discourses of male dominance, this is more than likely linked to the fact that, throughout history, it is the men who have written the most. The desert of women in certain books is linked to another desert, that of women who write, talk, invent, and create with their women's voices and vision.

To finish up I shall illustrate these two points beginning with two texts : Choreographies11, an interview published in 1982 in the American journal Diacritics, and Pregnances, a book published in 2004, after the death of Jacques Derrida.

In Choreographies, Christie V. McDonald asks Jacques Derrida some questions, evoking to begin the words of a maverick feminist, Emma Goldman (1869-1940), who addresses the traditional feminist movement as follows : "If I can't dance I don't want to be in your revolution." With similar regard for freedom and for dance, what concerns Jacques Derrida is the phenomenon of a women's liberation movement that would merely repeat history, a certain concept of progress and of history. Within this schema, within this programmed and programmatic line, nothing veritably new can happen, in the sense of something unheard-of, unforeseen, and truly alive : "everything would flow away, slip by, be swallowed up in this same river (homogenized, sterilized) of male history, with its old procession of reappropriation, ‘liberation', autonomy, mastery, in short the procession of metaphysics and technics." Hence the risk is that feminism might model itself after the phallogocentric exemplar in an inverse manner, taking up again its norms and representations (and a "gynocentrism" of thought - I propose this term symmetrically - would follow after phallocentrism, to go from one selfsame excess to another...). To a greater extent no doubt than many feminist women, Jacques Derrida is on the lookout for novelty, unpredictability, and surprise, in the image of the dance movement desired by "the maverick feminist" evoked at the beginning of the interview. He says so explicitly in these terms : "Who exactly is she [Emma Goldman] ? Without having the context, I try to imagine what she wished thus to manifest."

One understands that if Jacques Derrida refused in a certain measure the assimilation of his remarks with a feminist stance, it is insofar as he offered resistance to any phenomenon too commonly identificatory, fixed upon itself (and this is just as true in other contexts, for instance concerning the Jewish question), in which a space for the dance would be missing. Be it the dance of and within thought. According to him, this attitude is perceptible in a certain reactive feminism, which produces a repetition within the schema of continuous historical progress in motion toward great "autonomization" (a strongly metaphysical inclination of thought if ever there was one) - instead of seeking to invent something else. I shall quote another excerpt from the interview that expresses this idea :

"Perhaps the woman doesn't have a history, not on account of an ‘eternal feminine' but because one can, all by oneself, all by herself, resist, step aside (to dance, precisely) from a certain history in which one inscribes in general the revolution, or at least its ‘concept,' history as continuous progress, despite the revolutionary split, history here directed by the woman moving toward reappropriation of her own essence, of her own difference, toward her ‘truth.' Your ‘maverick feminist' said she was ready to break, and first of all out of boredom and a taste for the dance, with the most authorized, dogmatic, and serious consensus since it claims to speak in the name of the revolution and of history. Perhaps she was also thinking of another history altogether, with paradoxical laws, non-dialectizable discontinuities, absolutely heterogeneous islands, irreducible singularities, unheard-of, incalculable sexual differences, women who went ‘further' centuries ago, apart and dancing in a lone step, others who today invent sexual idioms apart from the great feminist forum, with a reserve that doesn't necessarily prevent them from signing up and taking militant action on occasion. But I'm speculating. It would be better if I came back to your question."

That question asked at the beginning of the interview was to define what "the woman's place" could be. Now Jacques Derrida's answer is that he would take care precisely not to seek to define such a place, as people traditionally have wanted to do moreover by assigning the woman's place "at home or in the kitchen." In the same way he says he does not seek to define a "concept" of woman ; he doesn't need one. Jacques Derrida steps aside from the essentialist metaphysical tradition that wishes to answer the question "ti esti", "what is it ?" He takes it upon himself to displace the question : "Why is it necessary that there be a place for the woman ? And why only one, utterly essential ?" On the contrary, it is about introducing a displacement into the very idea of place, understood as essential as well as assigned. One must displace the places, change or transform the landscape and the traditional categories through which we think, or through which in any case men and women have thought for a long time (but who are - or who is - "the men" and "the women" ? I've come round to this question asked in the introduction...).

This displacement operates in the deconstructive move put into practice by the reading and rereading of great texts of the past. But in the end, to end or to begin, in this whole story does the woman herself not have a word to say ? I'll come to my last point and the conclusion.

The book Pregnances presents the situation of a woman painter, Colette Deblé, who brushes paintings inspired by great works of the tradition (photos of C.D.'s art appear in the second half of the volume). She mimes the history of painting while making visible a displacement, repeats the great representations of women by repainting them otherwise. In so doing, she is more or less ironical toward the phallocentric tradition, hence without being satisfied with "questioning" the tradition. She speaks through painting, images, and colors ; Jacques Derrida speaks this painting with words. He thus takes on the voice of another, which he understands, but without substituting himself for it. In a way, a woman says of her own situation as a woman : "I have no history," or "this version of history is not mine but yours... and I'm showing it to you, representing it to you after the fact, with other eyes, a woman's eyes." Jacques Derrida shows great refinement in this book, for instance when he speaks of the woman's body proper (corps propre) but without saying what it is - using the double meaning of the word propre (that which is washed, cleansed or clear, and that which is appropriated, authentic, like the vision of a body that comes back to one-self).

"A wash [painting] not to announce one is going to wash up, of course drenching oneself with water, the story of women drenched in water with a view to reappropriating, putting on, but finally, the naked body, the true body, the woman's body proper, clean (le corps propre de la femme)."12

As though outwardly the thinker wanted to wash the female body of certain stains of history, in search of the body itself but for the other ; by fending off the contamination of the strange, foreign glance, that of the other, hence even his, through self-erasure. For to speak of the woman's body proper, clean, without saying what it is, nor seeking to depict it, is to leave the other (the otherwoman) the freedom to see herself such as she does within herself. Finally. And Jacques Derrida scribes and describes this invisible vision using a vocabulary deliberately chosen right down to the images, on the whole of feminine consonance.

"It's full of proverbs, pieces of words, suspended outcries, echoes to inflect or let float. Made full like a pregnant woman or the cargo of a ship about to sail (en partance)..."13

Perhaps no philosopher or thinker shall have made this move before. In the past, they will indeed have said that the woman is this or that, that she is such and such, but the judgment often was made starting from the male model, by default in relation to it, through opposition (quite often negative) to it. However, or now : "a sex does not have an opposite, you see, there's the truth, you have to know how to get used to it or handle it..."14 That's incredible when you think about it ! Never will the woman have been asked simply what she herself might think of herself, how she might see herself, or even how she saw herself in the glance of the male other, good or bad (just as the question will end up being posed to know how men see themselves through such and such a feminine discourse and glance - the man, the men, certain men...). If the discourses of the tradition have spoken about women, it is almost only with a male glance and from the locus of a male utterance. Well, they came to be the authorities.

"Forget about the quarrel she's picking with them (...), the quarrel she's picking with the whole history of painting, with these painters' patrons, with so many hands and maneuvers of men, with all these masters who have set on stage and represented (eclipsed, sublimated, elevated, veiled, dressed, undressed, revealed, unveiled, reveiled, mythified, denied, understood or misunderstood, in a word verified, it comes down to the same thing, in truth) : the woman's body. That sustained everything. Ever the female medium and surface, the female sex subject [one easily hears the echo that plays on ‘female sex object'], the woman will have been their subject, no, Colette Deblé's, despite appearances."15

In Pregnances and other books, in the days of deconstruction the words of Jacques Derrida about the tradition will have had to play in turn the authority's role. To come therefore to circumvent legitimately the trend of a certain unique voice of authority - all the while keeping respect intact.

"Through the paternal memory's onerous layers (at once Veronese, and Tintoretto, and Titian, and Rubens, and so many other leaders of schools, established showmen and directors), she sharpens an unparalleled vision. Never restoring [a work] when she sets it afloat again, tampering with the original (it's forbidden in museums but all it takes is for the guard to have his back turned)..."16

The original. The woman's body proper, clean, at issue earlier, perhaps also her own manner of painting, speaking, or yet perhaps her own turns of thinking, dancing, living... perchance... Now I come to my conclusion.

What will Jacques Derrida have done with regard to this old story of phallogocentrism, and what deeply thought-out desire shows forth therein ? Desire to open a space, to make oneself available in order to let be, leave open a favorable space for a coming of the other. Or even several comings. He requests this plural advent, yet to come... He seeks to have women enter into the tradition, into philosophy, or even into the academic dictionary, beginning with the relevant fact that she appears to be excluded as such. A sort of imperious injunction, as much as a friendly and loving invitation so they will become, in turn and otherwise, equally legitimate and exemplary figures. And so, a question arises : if the woman tends to have been excluded from philosophy, eclipsed within the tradition in general, if she finds herself again in a position of relative exclusion withindoors, within "the library," whereas she indeed exists in her outdoors, in the world, and otherwise today than in the past, what is philosophy and what is the tradition ? Or what shall they be once the woman in her name is therein reintroduced ? If that which was excluded is reintroduced within what excluded it, what happens then ? Will there still be "philosophy" ("metaphysics"), the same one ? In its name, Jacques Derrida doubtless cannot answer. It would be necessary for Echo to take up again the words of Narcissus, appropriate for herself his saying in order to say something else, according to the story dear to Derrida present in Pregnances. The woman must answer for herself. Whether she thinks, paints, or writes, she must share her visions and words, her own, more and more. There shall never be too many plural voices. After which, too, one will be able to better envision this so-called "question of the woman," I mean its sense and pertinence, by better and otherwise turning round upon the past of her history, indeed of all human history, in the present.

"In this sense, one can see, through the murmur of these drawings, a gentle and disarmed critique of the sententious authorities who preside over the great historicizing histories of women, indeed of the representation of women, over the great narratives perfectly sure of what these things are, history and representation, man and woman, and their stabilized apparition in a picture, without qualms about what the outline and color of a scene, myth, or story become when a woman figures therein other than as a figurant, when she takes shape therein or gives shape to, when she sees herself drawn or painted - or drawing or painting..." 17

If one were to attempt to imagine the dream or musing upon it, what ideally would have been the thread to follow in order to accompany the contemporary departure from phallogocentrism ? By not, or no longer, excluding her, but on the contrary inviting her to come, take back a place, her place, the one the tradition perhaps had refused her while developing itself into that particular tradition (the one that will have validated the phallocentric model, the figure of the man, the brother, without valuing the sister if not reducing her to a brother, and so forth), it would've been necessary for the "philosopher" - the man in a sense representative of this tradition, affiliated with it while at the same time setting himself apart from it - to invite the woman herself to speak, of herself. That is what Jacques Derrida will have done through deconstruction.

Starting from the relevant fact that the tradition in part structured and built itself upon an exclusion of women and of the feminine, and deconstructing this history, he opens a space favorable to the coming of the other. By appealing to the voice of the other, he thus engages the perchance of a reorientation of discourse, history, and the tradition.

"Another voice... May yet another voice come at this hour... an order or a promise, the desire for a prayer, I don't know... not yet."18

English translation by Wilson Baldridge




P.P. : Feu ELLE 

Son œil fend la Nuit. De haut en bas perce le voile d'Ombre qui la cache et la recouvre la pointe du regard aiguë précise. Le passage est frayé. Elle ira traverser cette fente incisée dans les apparences jusque là-bas de l'autre côté sa Lumière l'attend. - Rien ne pouvait la retenir dans cette aimance.

La chaleur touche sa main dans l'ouverture elle a passé une épaule sur sa nuque glisse la Lumière l'autre épaule est passée, puis son corps entier s'y réchauffe. De l'autre côté de la fente lumineuse elle s'y attise pleine positivité d'être à la ressemblance de son nom. « Elle » sonne et résonne dans le silence. Elle s'y engouffre entièrement elle y plonge elle s'y réfugie. Elle y brûle peut-être mais le Feu dans son esprit ne la détruit pas. Au contraire. Le Feu est elle, ils ne sont qu'une. C'est elle. Ou deux en une.

Est-ce alors par ce Feu que tu as vu ? Comme si tu voulais sortir le monde de toi, le tirer à toi, le réveiller et toi du rêve d'un monde à moitié englouti que tu faisais, depuis si longtemps, trop longtemps ? Car après tout, qu'est ce que « le » monde ? Le tien, « ton » monde ? Et à qui appartenait-il lorsque tu as voulu le leur reprendre ? 

Pourtant ce pouvait être un don. Rendre die Welt à elle-même, puis dire en le pensant que rien n'est plus pareil depuis.




1 This paper was first presented in French at the International Phenomenology Colloquium at the Catholic University of Porto Alegre, Brazil, June 2006. A first version was published in Sens Public in July, 2006, without the post-pensum.

2 Wilson Baldridge is professor of French at Wichita State University. Translations of Michel Deguy's poems at 'Electronic Poetry Review'.

3 Jacques Derrida, Pregnances. Wash Paintings by Colette Deblé (Mont de Marsan : L'Atelier des Brisants, 2004), p. 13

4 The deconstruction of "phallogocentrism" from duel to duo... "and more than two, always more than two..."

5 Derrida (2002), a documentary directed by Kirby Dick and Amy Ziering Kofman, United States, 2002 (1:24).

6 Jacques Derrida, Politiques de l'amitié (Paris : Galilée, 1994).

7 Politiques de l'amitié, p. 13

8 Just as, in the French language, woman may appear as a species of the genus "man," the expression les hommes seeming to assimilate the totality of the human race, men and/or women.

9 In this day and age still in time of war, note that certain televised images surrounding the protagonists may give a similar impression, also varied depending on the context and the regions of conflict, to a greater or lesser degree...

10 Politiques de l'amitié, p. 179

11 Correspondence with Christie V. McDonald published in Diacritics, Johns Hopkins University Press, 12.2, summer 1982. French version in Points de suspension. Entretiens (Paris : Galilée, 1992). The text is available on the Internet, at the site Derrida en Castellano.

12 Jacques Derrida, Pregnances, p. 8

13 Loc. cit.

14 Op. cit., p. 20

15 Op. cit., p. 10

16 Loc. cit.

17 Op. cit., p. 13

18 Jacques Derrida, Feu la cendre (Paris : Éditions des Femmes, 2001). An audio recording of the text read by Carole Bouquet and Jacques Derrida was released for the first time in 1987 and was re-released in 2004 as a CD (same publisher).

Répondre à cet article

# robots.txt # @url: # @generator: SPIP 2.1.26 [21262] # @template: squelettes-dist/robots.txt.html User-agent: * Disallow: /local/ Disallow: /ecrire/ Disallow: /extensions/ Disallow: /lib/ Disallow: /plugins/ Disallow: /prive/ Disallow: /squelettes-dist/ Disallow: /squelettes/ Sitemap: Sens Public

Revue Web - Home

Dernières Publications

Beth Kearney

«  Traversé de fantômes  »

Résumé : En prenant l’exemple d’Y penser sans cesse de Marie NDiaye et de Denis Cointe, l’auteure démontre l’influence mutuelle du visuel et du textuel, ainsi que les divers échanges possibles entre les supports artistiques. Tentant de comprendre les échanges intermédiaux au sein de cette collaboration artistique qui a donné lieu à un objet livresque et filmique, l’auteure décèle trois moments fantomatiques, mettant en lumière une présence-absence oscillant entre les supports : l’effacement identitaire (...) lire la suite...

Jessé Souza

Bolsonaro, raciste en chef du Ku Klux Klan et des petits blancs du brésil

Résumé : Six mois après sa prise de fonction, le gouvernement Bolsonaro est confronté au dégoût d’un certain nombre de ses électeurs. Les preuves du complot pour écarter Lula de la vie politique viennent d’être publiées par The Intercept. Elles encouragent les opposants au gouvernement, mais obligent aussi (...) lire la suite...


%PDF-1.4 %äüöß 2 0 obj <> stream x[[+~_;KKj yX 6aK~TRtkgBխRS]Ia붞!X}?E?^>_ZO?CzEua;K߷Qo5ιq$,t˷i]2ƟY2Ȥ>(,]1$~GiŅJF|lqI EG. >>:23EfVt^GjRdż(MO)}^i8rÃL$1_ikW@GD_f4Tv~qf/|~qwvIJZ KP! VT' W51]6 4i'DȺzO@ZWO?XM$8&KWZ7Q>&9hrJG;lW9MQ",:*z6BA2{'쨑0qsFU~"of8yY)+3ÇxL%`@?3fl.}x$4lvkL;Z?@ llcls\2,6I&9F:sG< 3j*(كq+Él*dY5ĤO g*mޙW"{%QC?kTmȁevZ;bA ެoy7iK9:ωg.? Bb,By,3)"xP@e5I3<2E*HR18w\Y:.2YA2xw6ˍc 1Z8ۚ(>xtƥ B5% wc{{J2k:o7GzkfjBXGq:uLyͪ~PϠJ̢"\ܒ^(}}hvHe@&UY-*wȹQfe7!0P%*<<= цha{=ӷyCZJsI[M*gxb T@( AL8FiVj-©##0ehWE+Jv9B3AH,!8I1խHK'hpڲ_urhK0@L12iZ9m3tSytPQ8||h29D{(5dQCDUi'Aw,ܭcW%c GCWp-`H;p C_g8sf:44`A fJPa.j%(osu\m- @\f8!y,D7pUcХH<9 ]"|:p 4F7B3Йΰg9N'{øsSeC^+8ˠ+w 3̴WI]%+WIW"IPUZO9Dt/Σ35}el}KNm n}dӎNPۖQ]q`M-*s 1 R|@̳hs2S_psإd9<mlGNkSϗv'\4;݃_E+DzWIJZ_- a~K]mj"[.[FRQ{#9=S-vU.2&5K^e?g͞aX#FEN}fh~QoW`例j)U}&UcPrqa 6jI?͛~'Tr$N8"|ԟ[V9(G*+oc]/2:JVĿtt]EzCB+wۺ*`T|(0slfܯv)銪rٰFpPGj$aiu; BsQoG‰w(c9UXG({o|6ʦG~8C\/딎/w{}vTݿB@ĉ]}Қ\1M1͙I'rr }VO-EjWhIXv.Sz.ћun>eV>iNe#m0K5xR+EE,;]QX@z,A6?s?8kc,Lu% lMiE=F 6FM OM`m o\vex "~.k5Yt=/mXA.P^݋k[jv \C?֮{$aI++M(#Qw$Q7yF(0#.^|rB}؃]¾_ ="O6{*-mq-Jʇ}z(\Wؙ|L SSO\e ]ө+t4\G"7 ŊJKIz;iំ!hÿы Z4L_r."$`7'øI^}d5=Lp`|q?.ᷟv#ZWYYVO]7Zi}%?n>| O' endstream endobj 3 0 obj 3350 endobj 4 0 obj <> stream xOgGVJa0NCvAWA34 '<\$ L6 .xd`$@VV@@C O4L "0E.wSNsZt~nT B!B!B!B!B!$/ŧ??:O?~xs/[@m9ћҋƟn/]"l{_|Iɑ&vqN֯K0u I9ZL'gA/wjւ-BȘ~4jnh` sg)Z!Ug5W!MYE~ SjHuBqV> ў'g n]mz@r"0-+++ LAv NP3HUN!]a)z/.sb%d0MqAWR3oXor&S!5cVT 9JU|5>ۧӉ'4 9JuC !UT|@BΓTGD,Bv:>9XBT+BHQR%S !!0'Qn|tw-yOxCIJV[ol](53W+2g˵.!z '`.Iƭ;g[k@??PK wǐP{٦XQ6Bt:9w?޺PhjCĺx0fyНlgYCWFUx#zPa^x?^Aa <Qյ-IW"1TMPoȳq)՗_9͇A7,kF+ҽ ժIVj) RP?j,IB5&U]?9DB=@{}Բި}'}^J{OӮB/2!>M+5Pվ:lAR*UȰ3N0}JCt\9VT?ha5'XVh/JSF[E!OE{:i[&7uJ*̓ XGFXS*Ce:jU7` ыWrU[y J$)A49SC@|D+ieJS-_ɮ>/#hz^ILÇ/շ KwɈfTMkenpj+$r2gtpBX0ɯ:e*_&| TBWDN R sR=>4Tв~iZA6KAJM +(%ui? C[¸3pnpZ 9ӆ^wdTx廠 o[Vz1EIݦewhWʩAC 'wbu[!Jم|"iw?G?[XcQ)]6v]sE%VA(FR>Z9 TUlRB˖f7ڛ` O-%x0Ь7n/ UG@1Elg9檛jsVji PT4 X-aElM+R"Ňuܝ7ik:s 2QtL9QbؗWnb~Q c:&6KPc+rAtC||= y!!9N/TEhIzTX^97x` w%j1Js'}bpsJsor&U9IBoԉ캎MTҡrQcUHLu>Iy r)C*>װ !DpJvu~qsl:nx^B9UR(^K1l&hiZ38wC!IW+T9B^ęKGUAQڸSw*a4Aj%hxm| M?^s/^g*)];@7z\o J:4lfՆlɥ3 ̺r)Iyy!½*G8ZCM.JU."OdKN02~9 }0n|tÍV=x4˩BrYيRe{m0 ߓRmokԃRUD5SS&|Ko>mP{ >ߙ8_Ÿ^A ߄hH dAaTV :[gmR8=tKM˹"T%IA8 oN8VRcEJ`4nT(:$PplE2'}N`W9Q+])C2uc*z~"<*o4/{6Nq`и/>@'+URC2織-E9OFRm庴|2몚ѡR]8]G;[TNCꪹ}*UwQroVp *]9߲JuѱXu lWI%xO&'T^B8>pQ=$RU(':Lo$F!ޙ2rβgTeh+p15_ DϷcp7ҕC q~~s|͵kJ<%Gћo}}ԕ+WB/_ YU髜 P P~O}q 8hԄ7T<@߷h8=X36NMӹFuT&eS5Z)z㍏6\L=/6OM|zz&S͕}<#kKz(H)p%?ٮR +0lxqzhy$ ǫ+8B/_o}t+) jjLejdE ԾWtjxmTR ̈́/rxx;Tc*7G4䃥}87z6KR^꥗N0wC%Ra Mt=sԪvhD͛7~b>yȣWGF~)J$3<_B\pGH!7M*ioA.liSzB2̥_tI3]?p9rnPɟ4]aAx\VQ6r'+W󽿤gi[īJf[L+ZE! P? 5fe)ͪRsrrr4q*_ٮ^QU!չFhO+͕>T>#m-Ju6d[z bRo={G@nJʙĈƟzJ%/,s٪y$6h)?:gP4d*˚#fY9v2Iݮ%S*+l<_$RZⱫ+r)ܗ;jztíJ|JʔX5#^=*lLu[,4R&e:z0h*cSFV7єP'DR)joHE\7~w%Ԙ9Wz?Ka?-uH8SkM% z`SXJR)CJ4~aތ7ZFxM?y$٭Raxd' ޒ\*Y~p Lz]jH6zעFA&;T\X a^-Tx_!QE<`/>a Nsz4Q|xqtM } :8zaĿE/\J(IiQ*ɱNJIO k|J`dk?u<$ޤ4QvnY?a8ђRC(Db[lYE!1G+jkw~)CMxj1Bt+Mq)'k6٤DiB5V,UBOQ++U֬)h,thB.h?=Xz1BՕ7\0sNCUE~5J(&e%<@ 7JЦTkrRj[}yj23/a#ϴ^ S9gRt|4g~_ԛ}Jvj`z)U~2!!C#]W)*Y~ˆAX2k(vMC@9j Z&xw} gY\4hve L)=/ Iamo޺) [5KHRGjb5:TdxZ&J&߲zz?~>yVp ܚOlʐ'*`i-'c` (C3ӱKC?q7nK]6(ֈ@RM["?vq!ϤIċFš7Еөu6,Į't-X7|R(T**5.J5AwIYeTloJ 9ѝ gT)j4t0JYxoJ%TĽ>.tT.TrjRVeޔJfQv )UԵlTk~/-9|:P|ِRE3R-ؖRE٤R-C֩TD*fڕRuR-;9jRm+JAs~cRy AeIeRz*]S(U҆BP|%~Tr 5j*U(zBTRe:nWIm-Ju||͡7_$T*_Tzݕ7&DEK917ljT*_6TYCψS)UVTlH^KKea1l_\6Tʳ5g]!Ig P|qOy) S²x{a Tޔ*9| cJ{}:#:-J)@-d/IvT C&]`Q|T6Ke;H́*I (xFwj:T*j~V T*_*+fM|`P W*W &og3{&5nJ  F> stream x[Kkzh n!& d6QJU}g n_#_=%=OP;o?fNؚ˿󭸓?gTaޯ?E۪)룡72[xH%ׯz&s;wGnؾ_Gn Oms8r_n_o?/RЈJWoNwZ<ӻq=ÇҤ}[2]DV!֦V׿ffm ڄnBMȟ +Qr{$$֞lo;$o$ 3&[ש@F4Qc`RAQxfe3@Xrs%N~fwmO`i.!X^?pF&7Ͷo8 Q_(6ZdEcE/j)I'EV֑sQDObUwfv}Ov@Td{xG;VDeqăAsMMl+ $Y\yh݆FL|Dsk7&C \ţל(ԧ=UL46 `Ģk7xmQ@*bZ {1~Ȅݤ'ZHsb9pŗh?P&]c`z)?[ܦ$f~l;H2/)UGmi_oVCev䥽T٫MwDw0NͬC'4Bos{f+Ŕ(A]0!Yt(u`h l[p/ZBD@:Y6r,W0x.d:.w\_Z65ZըEyJv]e4UľXuU7mnv,[ Fens=7vJKڢ+fCW[uf! `&VX^ d6,4}l=E̼J_a]34䨒OOFx៏9XWcO>μu*;zHh*2?tⲀ-kFrymMfmULN 0sWrP|[:>܃iIIxUۺm%M,J|ؓ}(AF,6?k;6s O Khd'YRl^)REL .2 ed|-ja&LJH3 J? Vp:k4!k-6du^'ah3ٻ>4f@3 l=0iu\qwK ".M Uh"m#80 \ ~ P0lEP 4w;S#I*CKKF| D yi8f8t" C=s ?bR¨!Mj W7<  e5杒`B",}tcI$5pKʻH%, T.م9v]t0g۝7M{elɛ2{] x?NlKcG]М Ņ4IH0+1`ەC8-j௃)J/+NyLv* oԢYq+dE9iY Q^!ܨ`d8)J2g Fj[ }r{D:EC촓m:wZ{(?>8jO/K1ZLY8z8s?rZrc/НGօyW\sI΅9a2W g]?2K<|3S.9 {3%<&{?E&$ĸ791x[p[ #E)LM2"vo#gFz!s k@oGh endstream endobj 8 0 obj 3768 endobj 10 0 obj <> stream x\Kϯ賡ʧ$( - l^|E|,̪_#5۴o~۟|z?>~1/o?OfϿ_M_mC~xo,p5b~? z\70Lq͸pkLtXv]՘_xW~Ǔ֛%s7}l/m\uūyuy߲u*GI~q^ysƽF~f*3F@"_ Ȼ)r.N(T-o粤CYHH?;qĨ:v`VVmN23lg;5 Le7I66g<7S\71>H\iL~ap{KbINiŭIe#۴M{! -=L;{n:śkkk~(ڶ1186 ׶T0Sp$ W k,/?w챓 wVʐKzY Wzt5үMlYa*csRSc :&(/zH*Vxڔ!4U%w=rKgY14bgF{:GSz.> "¢"l# t*4K6gh&CbTڑMV(j$E] i* #F^ RCf["/- ;DuوQ(q9^#05v#,'5Fӊ_`Uڎ$3hYI[DzX0WMzؤu?ɼvVh=;$ǡN nh^Cg|h{gL,'s;}<捰ɛmfɈ@\&gH !lӱh(hGn8]9WTkb&m4:{cC`\;l[16ϕf~MGCSܓvxaA )T63$C R"`gsH ׁ }aװfߊPD5:"VN.]}KJa%JdfpGw36IYdϪ\Εtټ#BsW#lL>UozfNt"r3LbV,ScغF:`߁رt9M6q[|c4vIG0B##ߞC.Ķ4E'i~s5u DEY1{' xOGgdZڛF!MmZZp KSHfYjLș2:?VzYd#]GZpqg艡AjJLLM̫^ Q83&NDJ j8ؗ°nD><٣KydlGmfLpQ?eO&xFQ$xb{fɎҊ@+64P js3Dl>-6[Qyф].A .?6g19p>5+`VX 3bۏd[,p#$yjS+SP/= \ﳂُ`9;Eۆ[Ԧ:0?O虀]nhҙW/>EP` qfUʼ|=P0g y9E {& hwmXD?zے+[/D ^eWyNwēgY,dҵ'7#B4-PsjOr&^4_:#%|wehKIq,ƀG1;d@ѯK * s\Mf g!T~(Ȥ0ɍkv/wǡR`:^$~> 6ȢE *87ڑ[o>%Ǣ2ߕF 1]ΐJq-Ā^+㎕Ae+im&6mZF[]Ԅ/@h͉5( ky~nF̦ ʼnŽCWkю Φ Ue1eց m>t e(4@sX.5=2eHM^2 e{ SP 2M ';risŒpYA5ٲifɒ*ERo䁃iyb'ɕc _:k3ڥm~GR !;"=9}aK%>p4eTʷMDo?'je;64DM ;<8WiZU(7M,%ݨ p sg 5Negl%j]5kwtn:3-&+ u No- K0dM%/lV l/! :X7#t %XT*eHnkұ'Gjh.i!fF][!s ͳՉ9yKBE"U4 g1 ĕ<D ` F.47SQvGUx/"?&Rz-]**8eBͳ7i;q~KkMT}.1;t1}e@*O!Ea ǂ;~a{l ͸d߳ki!j^H45OI/g, =K9Ţmr'2q8yA޵VzNc;qyy@?ck>v9;Y} H-x6kdq3пrmmie~4^kcbMa ߧ1/n[de4-d`Yo\YVZ7TR gL%j4 ڿ_Wl?Pccٶ{a"N>uCeˊ~DIQ3MAoSCU$s3u6  ʒN'Ŭb BYb('99T%K1TvllȳA"1݉;]S*8mKtReۑƩ@Zl1@:U#*0c_>υO}ҏS]6w+ݡX:pO6 "bg+i˶WzȖUA;«/ՂsʆgG {m'B;'%5&;' FmH]c5< U<=sE!cΰp\5ilmhxҎڕcfy0'+ͿQˇݟ *:|hUzTf,ZKE2YgB0ȑ˂>d/g؀@ c3NEUyQ>=(AkϤsD \ZY (a\z{Wyٮ"b4)U=>bs#)!V(ڃ> #Mw(U>(KE&9Qq q%/1О)oс4ڎ}:f{*QD9 = %2a`+-HB ctfmW7VO Kj -%)l^䅹c֗0hAL6Rf4\k ayeN BStF8Low7|;9X 4tM endstream endobj 11 0 obj 4699 endobj 13 0 obj <> stream x\Kޟ_@OeEvdq.$ߏ%dM8gmJzӛۿ.o^7^~叿O_7[,>/w173߿[umM~pYf}~7]|ܦy<%h+=AEۋpnh{:&^t@Nm|RyL> D! p9bli#Ş5;MV:ڌ100=RkfG F㔩$2RWaxYWs,J4>^T &DQ,lf%p Kg೦w9J˵CU8Xo=8m@u\~oAs-vr֐88oҵKt O$c*zXtϖ1YTwdb >a]bR93|X vHeQlRD''rNVp9"ؗ . Ϟpoeu^eNK=9YxD<ʏr(D34+YGY|:M="fx5$:w>,?QS=d3LNs OOdX5Ѐ4ˎ~Fljs"vUq2`̓Z-%E_-a5=MApvz}8YNfuuQN|pD 0R]!bH%ZQ@>`wW?Anu@X9^P=9`צzUf2^n/xYk7_h(&B}!9R F8F S WTX">8 D3Z0H+|tJ VΕ D{{O vFʸT(K*%\z!˨-CnR0>ɹ[ F:RDQ>@uZ *pVt+_ :n6Å!Ykpf/o;Ou:*Xij_:ITi'wAl32^~bd7@1޺btW'g ð*UyjsQ?%!2iԩJ.: +lJZGƎ [[*,lrUo3tF?25ϞvPFI9Ƚ,0.Q>Fj3ڥWsP pO똶ȲQa>F=jNGq\gUnnESXHZэWꞴfB+/;1ᚏCMC0Q:Cc34~$ϾJؗf"TbE52"Ȓ<4?v^8jmrXa9mݛ ~E"WO'?U*hk:S fwm%J!fԩ}o fEqqB+c%-g}<R^X_KZZ c-(lzt OH*Y 14!{Xp{hT-4ijgE}phiˉ0ׇs>ͽR*-! [ڼkǃ:Xhu?nd0?02p+Nh93MݽN{v^<#q4Brt>L?2"%Is4_p}ηd4'(%UC>xF$̓3?UڡUDrn=LܔI/Ej-@KFcn:[H3̻ #6aymmTɚE>]@b;MX^[p.T(^E'hF۩0u 6G_B~(Өڷ҄́v {g`OvvlbEC{)6S{sm6'?͌7Mn"1lS.%l6 B6gHݶ5u-?:UˏX/lQR쮾 /N%呷i*LS. }tU{f]Jr,=+mP2|̩6y9f4J&}0 o>=L}^7FkSh-gX~hgS:?0ٸ6`Tڏ ~wo endstream endobj 14 0 obj 4150 endobj 16 0 obj <> stream x\K ձm2@l  {ٿIHagtۖDQߴWu)s{`x}://pg~wsR嗋rܾ܎R_Mz65.jY߾i8U&_eLnkUpTڴ[:guQj=W{K=]̴hK?2}n:NTtS[ԩbOdyuo/V5LRHH@ \6[?C0ӏۚsif;s鶲qaMeQ86VS7׼\fmlg]RNjʻ1~5`*!C—"xq'os^[|?rs(J^2$ 5#qϔV3rc:O :'CY:زY"pm`KChE7np7![Bë<o/SoK/\lZ<@ZfGdXgy,c#ћl oq=Ӱ`5qe ;]"ZoLzcrS53>>r $+!FR;e6(ISD% HCbj-nMl5=')MfmtNB#>kի'5L? * [VF&}Q`= VCNX.,lIDI<w#u `?gYV6tzs;Ybc+lP%g˵5kz7סGP}/OK8GiMZC%2qɭc3rj-0\ ЭfҐ94P|ǪA%niVIQ c P8}Ϸ2`۪&!1nCǬD:1;HP.5yQn.r'Tj ٦,D2FxkQXg:l|E}yXTΖx: >$+prAz+xALv03]I-׌gH8-Z2cb.| F!&ܡ#g2Ԏ(b+=j&F1\3Kf@Ŧ+)lP.gmPy2Z*?C~ŃQV s;nRxf&kta˅d0TGKJBǒD"Ǫ~ jS)XWܨ tHgF 8A,SwG`ߒ';BbO5<^)9rlwܺ g`Gg|3 E/ӽ~۲`5VȰKhlUb'QV9A ]JʬVs8FswHΊr9HY_Ȅ1-?Zt%ʶZ|Wl\ l۠3.NdSEIt6K;U"%Xö g=bO:5qL%= Lr9=RpH5wNr+O4mܚ1F!7\˦*xcN~'('Z|#PJd'V[ʱ-%qX۳,~u./d n*B.t2%'Eh#SLLȽؙ!Ta]_O2:i蚇Oص24^6Z:7x^WBVPTt2fCN47Պ955Y>0H^:%Ghr&7tg[$ً?hellxMB…#OքbFZsYUJKm6 =Ѯra/jqg\D#QY-۵vWcjAB5>%N[5Ԅ*43Jg54& h̶Yq)196qtx }w#ׁ*tIەޡO8ޏ%ۓsQ9Z ЋQMTG;*;фMTI:]%]W4H]ψR+xVE\uU f ĖB_bU*vGa#NSߢ^{Qro301iS>%]Z6)-iot7xizu.z<|!#Tl.o6͜\ oaQS\QŵBJ'*H _Wg;JY N9{~d1;HR>AD#P8}<˿>%D{zn}!O+ľԤF6v_IGf0R9;dlk~^J>GBB¹1KUhT&Οnh_lѼ$+P /}Z^JnQ^I٦d:qxv{xAE `z򞑩4yRx)U&Waڭ|VOAzPq87ܳ'=v^xgi2d4j{ E!(u EQTm)U7:nk%9RvϤvVʔykވɵWiRۙ{| ldoUVRPгGago ɱ%1]&Xlo0i tZCY&~k!ЉMQ(&\j~RUޕpK?ҧJRHF`_> M].[5'e@SrŔ -mF0&G&Rk|{c|~:U7>@ĕ_{YI >F)} œJ~`? :xGܒE~yMwK endstream endobj 17 0 obj 4932 endobj 19 0 obj <> stream x\K+_uNj0Yd7p!!d2UV09nIUOVO7sߏ^yo_tO~?e˺/rc.?_??RXm#֛ۇz7f} no?ҝ*.}s棁P0}?nL۾^׆܍y\}ZnGzrL[MCuOn2A||ŧe*Dnb.θLj{q,2:HDO[1e'eU8;`g[1_̔v\l\5m'mdobۼaTطx.ypOoq{Y+d"Si l .oe?G[ruKUP34SRwEĻm1[h|!Hz*6f"%f6_vӲL-l'Ыt<Ǯ@Oۙ-st*lQ di  CW5{>Dڭ+G)񽶥|ǣSo|0mlnś﬷GN+ad\ҳixigXdx֎C Sg `л"WSm"j/oڨo;%b{LdA5{,| }n{ϾW"7äoᏢ q̧z:CuN!!7m2$O24&_>[NOzP^Lm x6alC/l(Y6W " eBAkLdzvwT. EՆ/̚w53QkWrrfu+06̐7]ʤatc =ZEPNDN*/E"ڇrښtHZB"Spô~e:_c.!+>uG5=GFީ:~s"$IQβ'lveٕU,OB-leTwkYg5QYk'@+B 8ь B ο0 d<|Զn 'HchVH;lxG#.[K01ŵޒ:P x=:bbI*RiWhq b4){xi%eOưkPt}X93kge=ft~*N(oFA-5:?8VW\6DoUdƺ.~;[`Cm_%S ,> c^%=,3) ˔V  [bjA[2mhۊ:0P\ϰ!uarZH"-E:2;_H>A&h973lNRƋ#7e~=  p$U{A8Cu!̇,JҢRr,ؗ*0n@!uZc-dfO6Aݣ 0w2UX^0\3- CNȨ(md<,˪M,mYV|4$Clkh͓f7N8Z6^3[͙OΫ*7Д"c6;CTT-@5(e[SZuFBFF"$T gTZ{Pf =G5ʮ-X`p Ϩ/A"bC^2 ΐiðS#J )@*XlNCUg> :ER_v[3AD9uQT$\A֮xꞴEj1:LMS[a $iTZ婚4 n7ռm"4 Od(#|+L2 f*+U'X.@6Z[A\0HS':m,n|1e` hgFswW4wA7 ܦ 8Վ)UTiz=ԕ Tlö 3x**z}jUͧnM`́Ħj*ԏyٰ(T!(ʍbI8gϸj(7rN Dyz on8z| ϖ1t Fg[eK\nl|UJOԤ 9&.A0=b9o*A2/4Y*WN?"J[ WS xxZe^t-AlԮ @f}7Q`N4[MXe"G뤅]'^mc"5 Ic46K&`{=ngNޏb̷G>M{,mgW>:]q4ݗdk/}8؈pWp#vgw(\sͅ%UFY|5}ՠX<ƊJ/Ğ6@u>04+/tl2;tb0nw܀C#8 ~)m:J?K6G[7UQyuް,T- )JMzg9ִA$?x2^?[0y_ɽ^З] 3qX٥^M^[Pgzm]Pg6ύn,J'dgHPm)Jei (FEM'D1_H~]]O% b hWw_CI s5 qw<oa{6* ,:pՊS|߷t\4֘FtY&Wo#yJ%sLP-2eyrJgSnIlu-q XB EVNH|'3ж}9EغD_TK"(N` YNa` ѳ~Qx ΀g]/aGQ7N7$@L%"`)8_.P.H@,^YޜdDkײVX+0 ! 8.3ye#1BLwis6m86:\S^{FԒ,v~cՓ?*Mzan  \2H]h%OͽK!N֜Yin>˾'=M﷘ZʫiL#gb>qD7񯷇[u͕*pc^|6WigӛhqLUoeG*(h2@7[H[V>L.udoOS.5f=+갢SW:0O4/BkPy! d=CI؜yeg-˞ީ|^8^`_cx 9&WG+ID Xc4ͯ6;'l&_rfL|k9{ӏ_.?< endstream endobj 20 0 obj 4761 endobj 22 0 obj <> stream x\KϯX25Ջ. dq.@X:oI' tۖtt]?i7[/_.|[L-_%l?pq?ۯm%&\_-|s>z{î*qݦxwik8Oi^s\nq}_͹5ަt7_)L3myom?m{A}kWUܣΕ|ZxqL뛢M}% ?Pgp!Meyӹ3 3k ocy `?}3)3atkZ M.y.3ynu&ʣ5Ã6ȁ/PP뙂B|wsN=V@Mʋ::\.m:ȟʛT-xwc46gWaCePH4 _Bdot)ABm "cT,.)kL19򳙿ESb>S;oaK`u'sV-Uy#uaM_(k0yy1kc͊r-9:8oΩEc[izIT`ނq`DA18N]WsAɀ5ΐY{gzґӃn֪jRi:ܮ_dώ86>vХbe%H;FK2q.D)Ըz HSbΖ%/#Ng/bVծ<(tB4ƫ.&Aft^xSr~ a~UZ+8l @÷O )G& ϜrǹQr} lSI%"kU}Qc28荥Gy+)/zTp9#*dڨhp^suIbrKf<1VшJHbIY 띛k}5.Ea$eD=>%Uŀsݠ%T Q2tTQH 49d8,j6c VDZP_)`jNbkdg xw>*5s egЏ ^)꒶ր LpH Lt-KO'Sm2j»)jpg@^(b&. 20*u~mfW9.cf1P;ܝM}3()+gn9Đ2{V=oU%7؅=@L?-+PBV=7Qo";$pCѩO IdATIR~'mkkyM;fD+ң_y֣a / <͡`Z4MEX1yt:YHI N>bC'Y'qM96C23R]Qު5b Y7|- BA`*uIT E5z6[bgz#mCRWeppMr. m;5%D0|sX]o*$}3.93)l|Mrtw#Y^wb kjkqFo';`2'e' EUϢ_?3p Q64>*&%/NZ}'7=)QCS?.[jRIͺQAvT*8tŖCVZOT4HTĠy{{p?L-BNTJCXoJQ"f8ΌqbܑgAjy'M$"tp6|7G"jmޫ,%+1m-j%T:Y3:j wDC 8tتDž#/e-zPaB"Vjz݄1ZjUh7w]4WMEG+a6E9䰩zvJN1Ͳ85)xB-& zJ~^eC{Eϸ83pݝH`o1f}L[kE|:uhm.=& CQ"h_UJeIP\38Guh]kBUikmBFQ$Z[iY:Fn=SS< +AaMO+zc/ٯ$e`4;h@b}Hq|6 PVݗÜSђD`o;⡹ Xk6H6!ОgTko+} .tgv-Jxw=śU$*0sžP[$4ovIXK.ZsN|q^1/No\<GCY~GG; f74cM!q.und=fEncWnyok<Vӌ<{`PH5yneҍ7<ʣWz D]pW-C iuZ̺@/e`}(ԋ g&<=䄞qn@.>]'#rѻH f3X(ue";׃ y'm )ٗ«y[2]3_O>b+Eo>l|?g ]kݙb952K_= I+Upl524 L7UQDc9~ 4Qy8(QT9"cB4JwEzX.C Ls\v =(ιljT@8 X.c4GӺ .l`n4l ?_JbH׷\/~ ) endstream endobj 23 0 obj 4896 endobj 25 0 obj <> stream x\I_ݱfz8,e@&?TJ.5>դ~Za /i?}/O>ݓ1O?v3??He=ҋۻv3n&כYfq:T!n涄aލkuEm]ks%nxqvL[~9ܖ{G~N3.]Liei(Dɿؘ6dq/@YH e5;% aŒJu?5he!3#6>{_.:q(`2Ve_Jh$+;^Xv,k.'KF}>چڗI#ZbꯈMճlAI= *Cغ-d@s" .ϫOVZ:ܠ˝$?MiVe\UydRezGqGC+mZiLbzʝ !juMq0̬V_ص~6$C[('6>Wfպ1l\g"$:ml*7.VgG]>:<R)0\E$o¡|-W# h$;wTφL? hM;}e糢ӓ"Z7EO12}S& bfR JI.YNm6#?>t՚V8 !yMZo6̑0VC c Eg1HbXcO39lVk>fm;TE:u$"ZL53}K3i6}297ly8:jVn0!d Z09YziUg]V{}t$]{E k p8GtՓ_e8G]5ɷt YxTU# ʊ"* IT)R J#%s4U1+QёUW90  Jsimoy 8Sj-qL1P^ހ! ϧV.bJHk26[|ӊWu ={˂MN#72J$ZA6$|OTsȺwgUI$)I۽3;gP@򨤾9`%dOs~Secoq9WWi=AA7` tюAg~ ;IP*$+˫BQFTtSO ෻k)A.ӏꆠDF!ǞvMǨ-e9):4اbVz:5_[ĿJ醊o3tNWFTXu5i0Vݺ!k<,i%FWxF!7 r6M/YYcB0;\LH{L#0 &{MCPa=ʳ$] 2N{mLRFyLOj*μ㴾nb@T kVU:]Vsp=Įlctf!i;]pCZ"pM "^x[Ϥ65kZf߿yM V59~Cݑ.=ĘOׁw}gC^*NW0i]Z!3 y~kG]lf~ӡ?u]9)ךQ]of3Z|Š4Z,>tqaE9伸_+L9P;>q6'gf oJ'BhHTBsx:r1!{ٗ|Ѷk[.ƨbZaUozI|_DSM=Ϝ$~ZwQg`<0!%=|P~wBn!k9M5Ls~mH{JeMlUp!rM)&)dPPg="ycjbU {BZySբ- kM]GLmʺ @mlB8pkƕ|K14xOFQ:Lg=|[ }L`qh\c9i@Fg?>pʟʋT[80?ʎ@Dš:lKh&(P/)PCV: `0h1݇oC_3.l]S}/ ǞUKk:v~. װjk6ޕ``8 "ٳ*t)|G\VZWrdHڧį {Ҟo_I=[t$Ï҆\6vg>`:=g3+Xh<;v3Yz:g+92 ܁>d%ק endstream endobj 26 0 obj 4697 endobj 28 0 obj <> stream x\K_qց>isN" Y %$GR^le&aےJe/?B m׿ojח_7.~͘\M}Ƿo?#V!?_M]լj[tثOө*q?_3% Kܡ~3n))׵b.ěTY./nI7KnK._x5rMP4tbSM36ɿ7g{@ZMj閐B0no9rfkyv.[9Œr|qĨ6v` VkM{I[flgM]KBl7` +ƺ r?6O}&o,`GTs=nS^ nZY\V(t ([WqL\pY&miy9a{E(,QPTNet4XdBS]l\,OR7띞:{gQY*!VUfdLv.\B+mʝ)zRE,e>!T~cdY/lԮVk@IGBQQ[׆^]Wm +Ϊ,q0xF:9 bQܟ:-$Kbm;.9:c͙ Hqv_:}ԷyX0yD(CY'ؕ6;Nт2b AAJ 'bDΙfϱ#{Mi驰Iy "S{z UZ:Xo^tRVKb~BoL볭֕o { fj`W}G!=_z>쌯`q-b3y sQd"G"DFsc ]"~–(Je"#mD wk\(8 R1ΰu18@aC"ڎ̔aGMZ7@+uB(bi\ŵdÔl'WҲn pi"4KZϤ)DX4}?v^ ɡBET!RG!5h~Vr> #EņȀ4f ڕ㞨͞kv ڕLg`w+;XP) ͝F =T{͑[Uv7=g#9'qokaZ֡n n}9 =v0c`mzߦ!Fۑ6 dwHo4*o~tpn2\ę+125$svsa #n3,\{-ٙEQ |ҥ؟1>!Թ1Z¡TC E:x q*2Pż5>bTL0Fҋ)v25bF_&٪gPI &ȓ+Wg@|qsௌ#PpNT0'Q:>ߥO ." 3OGVwtpG"}9uR.JdWړ_,*ͩLP`/(L9Ǡ0vJ1R)Yݓc/KVP]e"?f{&mpUw&D-~kUhhOA%XUIaJOD X^N8ZOTVV}Mʺ>UD-:+;-"<*0gc\Ş]fB~׼L\_{uU㾤QFCnk\N)PLB^gW| !JL"Or& )$zwiS(IVJKԬFlZk0tc`2)ӭ&DbXcv7S< CS$3OnH@Php!mKji3~sz8aF_G U!ذ'yܶvXyL5LK{1hZѨ^0pP˵$5-KZg9)$Zw9^H㉰Pqk 3Qd aժBu<򥱶;(:4`KYY5(RH"ȓ~5rX#PΐjEi/r ׏MUI $k QxfUz, lG֠ VYzJx%*!էZ:=!l'RvAx[\iI+0?]lFS%(s]s@<}#pϔ MUPs:5`̧ZamIUN~}l}?5S hx]+}&ҵ_]48 #E|]Cl@ĜϿ;%TK[wE*I2 365)})N GdwKݳEinMݖ}ê]['eUMl,2qꢄp#=uQuA.ZU6֋/+uȎt<hQ1$ݖN4&q?bEgH!Ɇ=N'DvDs,w)}vN`gS/58A63#{qop,Cе8%+]E]u+rUȈ=I`yk$'¶A]ǥ4`yG|6_}CH:f0^&Ӯ2l,mbFL}]3a2RG!xʽM5$fcr͹IƯVy!K'0 ,=UiXhO3E? 0Sؼh][:Uu#ͥlpWdP>ut8C>lEuZLǽ'^W p"42*o{Ҥ9" >1^ُR(dE5KB5"ZL߮/AVZ,۽n6o%[~7~#}}~}Ӽi\*M߼Fsw֍̍IUV ^u.Zi\duqA `_o9"_m" &}|:mM_^9Cz@`j<w}v?;b l aǘ>xD)VV~ZL4:V0 ?Vf. ۙ֙wsKWz% =@a=fٵ1m+3'P1;V1$7'5V̮g5ݏϋw RrhJS8Bg8I=R"Ȯx H%tcwXb]'Bb8 kg' ;r7BUd-- ⒫GmPJ٠Ý Ğ1)Wh޻EO|@:@N;&"-WP{O}Kcq>4cDZ : ӒOmKp,6@3*%Viʣπn|O4N(P_퟇Fc<7x͵ͧ. %|m#o[Q->I廑푒^k H 0!*|h,x51|ˍYhWB= B, v|>9"qBR Xoh/12VDm:WE$͊O45AA%!_ڥyH&/$ ;R7ѦLC$Qg"l}mQ T^ 9pI!5H@ۛJWX$ۃٶώL͎`6/Sz\$#?ȳWys?~WWC lXű!_z _M nHgX 1%̿>mt{sC |m .&uTj{W(l6![jJgd/q_l_yθ5ϖou$>ɜyYߪ/7 ̆O]!&Lii>1 p A wQx4/R>bLS4ra˟ؔaޚ]T^0I0V|%gq͗M }PeL%Pe}B.w \_^dl4X)q嗾&0Y ZZy_|M&!B/l ]z5aq-CW&|V2JYa '{*I"v 탮ߒ|-™WP>z;+ ز61 +Kp‚q3l}g;9XfOk ^G÷ x endstream endobj 29 0 obj 4823 endobj 31 0 obj <> stream x\ˊ߯ڊTJz/<6llV"NCf+)yFe]Vg.v.קm,/{!ǍxK=bqo}ȯ7r_omN7.mrwMh<wepC}uYWݯ6-.Ov}hηo A O!2y*7ߌ_6w%6앦4}+N Dje;Z)BiKy#95pęW 􅫹(jn|&̷?Х(qgYN{ f% (dBBADgDǂ^YcfJ;Cq6^ 谬lVN!Q-&M^D-[q_lTɈ d6f#LfsOӳ(d~|t5q9[8E<T`=3SzB$QH# dʯw^ps0%˯GHa 3t601/5"J]QX'mz0pZbA9V2]6A϶ BgZȲ)& ;S}BC-l^x0j8r/)x-ӊM$o9<81_5)NxJp^WwS{( x#)w hND?DE%Wßxyc06:&lX5W 4;"qlfV=j|)*|{/-nq2keTZf*@Gt؟":jyNZ3yi{ͬOgߞ9j3N .jur jݗ q؛!?p6Q䁠ӕ.ANOFؿjoق0._(ffXh89-٣my әy!) ]}|ʙٮkX9NP/[%`)n[%/\/cXdrTsII<{0L-bx 3^*(Kjw! l\HsI^:!_2q8aI<'z6p*fu1';Ly*̷F]|0(@``/Ypd8%L=_/T{oO­Sg i$JQVYrE5^̛ՎN1ʰ!@ V8B^C2zEo^ʡeK+)m*[9$_gv şgh`ӯ~p.@Pd3аLvi ERU$uL^_`#%4yz.oj#3aMlpvy%UΦ/$I20UE3 ˺yZVBAZ9BW ~Ž0RMBWF.x0}E'b]łW$t% 0G{GO>"uc0Ad>W99XҫgEശORZGEe7q Sk9@e,J qd5üp^3qhI8lodhNjS w쨉+$RI: wt++޵L(>bʽ(- D3^3qCVt'ZocL-v]T˃#X@YSZx,Vpᛚ5T\%cwv!pFU>2r֓xQ˼ڧ,T ah#Ab=S,zO 5rwܷ2 [g)ˊMfz"r /Eâ$rC5',)ΠVTɎ}[$ɯ \C4Lܦx\!L>,J/6$jhei-OngQ̫f՟x|3Kx3E'֊QJQC9Sh8=RB),L]OBJBjEy'b]O+?Uٛ[D ]0P {8a"7ĠH=`Qu& X֨L"Fh2 v9J=ۙ;Y z}&[>iѰ*CpkЗ o.@l<[ĈBqF2|xl")Y̆c4Z %ӓ[Ƽ*lk!1\)Dؗ(@XOL$M-Uű%[uǵ^י4=ַX d qI9SL0(l,-3l<'g)ĉӛ͙1r`α M UdJhUkm$zs|Tz/f+Hc4~vUUm]W, ζ0<%ȬD8@c/$_lFK~ -5JT&&njŮJ+Mk[D LRbnO/{͝Y\2T '_Lޱaeeh+Lt0c\“GIϯD\6TP/$ǰIڥ$UqԠGh;,1[ͱw[,q&VO6![.V͗Y˄|5%I GB%:)#q)A 7ucgokj`lJToO<8cv9ݥ?JFtdc<6:#mUsueI~5Z+pK{^$k|u4X:ّŸH  K%FwneLۓ~ OHIܘP|ly4f=ۼ\O$O\6=J#A`?s6VF( G Se .g^dRSU͠W*6-ΐ9oMсX%ͭY[=lBjQ UZZjx! >3g8T-Ԫ'w M.>2d PG_F:a3:jC-ͺ&Wr /˹_Lz0 *X*U_zȬvfw ا_ seRkݣ `*o:T>ͻe+wGD}8v8;_ȕ5Y(9xݦe֙ e33,gB*Z?q(QFnpuɷScDI6'qORMhߚn?/?n?i%.u3uו"S]_m=5kʡT؇Z-uWv~i :祔/Ά/j,^,r|l .|6}U>kǤ3\3`>(g5X?"%wݰB&_Vs;D~ORaˉF#5^ڲENRPnQ մ2uSM'TAف4ˠAW& $' _T}$8TG}рB 5 1pf!!}=JV0;x}D endstream endobj 32 0 obj 4750 endobj 34 0 obj <> stream x\K;6Evd@ &?eIk[wǞ?o?w}[/Ϸ?M[ޖEK݄.oo##w O.}u7w퓼Nky. 4P؅J~K!V/ו>]nϧ.^z?(aO8Q'.$ZfڷD'e5ZNBD^{δMܙvwOk Ofڔ|e`;5o &fӑ9YV] ۡ#$OP;w5mSh k>-4OgY3sڢ5lDU""ٝلDgR 9L\9~aHd%28X2W |=C6^h66ȧ͖ { N2n]p [{9%lp, jt@|+ir`9dRpuA®L !Yl^q>JZZ4鍏]*=J@3TXIQ+̠ DLzwEgsְԠDxe&*k(ɠ J7*o;a,Ѫ;,sR6l\oZn7Ό)pGƓsY?Y I#]4G6~_rsPHkZ70PJ4MVrD e7VT"l/+ImJjnT0YUKҘc\ΌTAtZ^~-΀hq4 !Ag<+E-Z(m̔ՕPgt0P 9[B}9T)cΊcV=eDnCAi⒞K2EDV?C.hA( <"E=uS\>k͑S.L%FUAի дU̫^UbmU' :G; SX5| (S:4uY0U@z/I*GTH$\G)rH,/!s=wkx8TdU>+dVo'Cc=IZL-t 4܄'MׅIup- ?QI9o!1n)6ye3WybI4 Zè6Қk_E5WJnOO\!(潐e聙2=Uch6X; N@Tg-?e.c U@ ܱ6}Ȗ߃FkU^QՅ#p2}\-aUUf qc56x`g\Lt 2=1wZK?$eNPFLyG1DîPbBIRiȜ!c~/{>+SdlfkKk ki`Џ'; [ręǛwՖ3e.AoFh*l}WuYD~[sΉӘ4d E͂҅PQWkHҙ,*#x*R#$n:RDEe$?=Q+>K,7mnk_.:0ᑸ ]Y{Yg ٕHo!huh9V/*ǙQk@K rЎѡ.\ԗGFuʎRς!oܗET(_%QMawunxݣD1e<\J685s2|$6]=/9T&!1@*`T'B Bir zݙo-ƪ2Bơv뽴$h]DiKK'y$LCW1*RiVvTt enzO/uObȟd.{ԧ6ak ѥ\q+etWͥnGi(Pd+ܕp4 Xg;85ȃ~X\) yTWKnW))缏 Q~q;Qeq-{U>y1Ib5Sx%ԡáju5HuVfH WnzϠ7qA'e~S:h("F\q<.ZFU6('9AD8hWx=nBmJ)E{MʠW:sow2󣍭^6*R!`|zs8puG-ȢuT\UuDz艤U7/xmVBTlh^!RH9H) ȃPX7~Ȗ7ܻWq:}M$!겧XXU\ B.!<8&t[A.MUUtdeK}1a)?7  Vh?3SW FpexE$w{7UmbyշѫǨl@vJ{yzF|\A/-k2cϗӠE⤮ t-X(X2*Z(3E2ojRl#k/AVMd/B7d(:x{c!X,fE(lRĠoYÅ6QOPa<9݆Oji vNu?+|ѯ>(]OGH8ڦE"}A˄"ȡ0')rI&֒BRʶG~}m/ѷgp ]+˟ts#)}xtK%'U82{i2ȸ.Xɹ JJBTJu0 V$AĽeW@T-*є< :#os9^TϭlNfv0!lGV'yL` > stream xɪ+u;T` "Y4٥;H G4T6 ޫΤ3J\?>-Şէ=ӿr?>pZW9)uUۏ|<|Xe3֋S~*;Zo]v;뫺CP~_f'ou?gӵRh:l٫?b,qP9uWL@^it( ;}~I2WqU-m$ |@ SSr/Ifer!Av@KHMG5AFpA%]I_Xf%&[bײUp'v}.RT DDq8Qri}[g#LҚQ*S$eqi1-$U;glѮ-eVEnT%][u,GWy#mC *| 첑2sVNY0!1i隟f  &U=V)|,L/>S!uKt ޛ诤Ӎ::TB:PXxg̠gyc(Yٞ2D$i3(k& +ˊِT#xFkQHutU-Pd1[YDF$yhB{obP"]֡T<4:y^ m>\VTvS4u oR`NO:`2644p5uy]X#3Q9g+Rwi?ӪO<^&/lŒ L9lhh7h.rbѣP61~&z>Ț4E/7s6u?. մ'SjEPzG[Hr'mc} V>WKفVm6{#}|w66d'{,۵<1zp+BF<ÌfTrdP#Ei)e*zI qXpg$ SQƐ"Nd[""#\REh9g\(:2w[T{o(얀, bB`a,G9AGGCgl0aw[or1t#'Ԫ+!w6 &m6c'W&|EɜM,*0Ue ,̍E): g\Yb%Oiӑ9Zޟ/]ȡ ׇeN2G.Q[?0D5HqZ'/ =IP)&usqzv{Wy֚s#K5A̶ym)Vbn26uԲ#)/xtJ $5T@=oҰ!_ JK1iXbʝC,j"mQ2+Y۩?4e(ԈRaAWM*,:(]vWεf֧ {G+ץ;'W*F\J$UUS`A7I[RH hXI3H*Z-ѕm0m B+.d(h._oP e b`"9NnτSE"㤶XEfv Z9)T{h|8 44D.ahQ:8F  hŒhx5jW0zpb]&E[+Ӭ 56AX쎑^qEMI*0IZÄg\9+-׀xCRa8gMڈc uSw\h[_`H:u{#Β 0H}%tH E$JK +dGަ#ǚOs4Si!}`D-S*fNAoӶvm̱xችʑ;̌Q5P\WӹZ+ۆSBλg_*/eX6u˰<13Y뒑y&֦uUͮwќhvb5#cZaE ]ݨ[8 z_YÁUw+\'0l$˃Fcw ' dRݩQ,P3}NㄚѢ͊oqzh<1P 2~Sz0kPCACfKLdM-Ǻϒ VbTYY=.D7Q!%u#F:b0DMpG_̈́3E_s$\ J dtX&}m-bw~U1>eD,|5b٪ yE!9h\{ڱ<7Ǘv@":o({S.ya9i\\_FLK'CuYլz#D7G(L }tD3Y~Pܻ4(K580oNts^p.ĶbNO򰖈nOtUH. ʃ3V|We'pdD/uOaCYuŘ0wߨu"<4jVwjfjxQKjx;410m۪;Gk>"2_SA*s-_rp + `Mn@հjGsGO҉&I$U99N!Pּy 0]ic ri{ "?L]ژ=Pn`:h•wK~լ7L,nsڃ[ sutB,=cӑ7*&~٣۶u-Uk/<8+=^e*a1֔Q0[JC]a$+2xn~w(W'C,]-Jwl Qn-Dl8џ*rvnA|}\L6$Ya|Vh%Bdhy:x9jٽfm_e:8Rw^sdIS$aHYywUiTVobX5^/vO )!Qn\l/jvޞbn\ˮMsz5JoLzSoMh׻<q[zd&/xvj|H<[/I[b"I{sps"`-8*֙8VU-F6hLͿ]=²|{޵ߍrGEnմSf(qym]AWQkZJƇ0 t[ xf@xچ){8r Fi F.|*qq7pڞ W-9%hhcnoJzg=TѐU[؃eB G729^$q)<"CgCVo)ď ] e%Z2]Ӡ^Qcd~CK o<+n1Oouz:RE]iV(yBgipyQVfܧ4gO%T, a$O>mV_M$>jt8oJýfQ{ 6Xt;5nCѷ^zGr[dQw>~`)@SctI7aY+ F!b 4UaA-_+AC] =W\?KHtMpֽ[K4aJ7B--K0([Pd-AU[U %c QjY#j~1}DDٜ(]yM8+9#r֑_0Wp>deaHM$YmfPt_3?0EkA%h?敒t]U17E-_[ZYCZ|Ny _/j]I!h# Ҭ3&9c; 2Yru$O ܚ]^W[4xfZ ;PN*Vs 2@!6h9g]J9}k'_G5UO ~B\y6!uR ʓekolQS&7j:?dgxHzw5ʦ}]ֻ~_e endstream endobj 38 0 obj 4312 endobj 40 0 obj <> stream x\K;ϧyNђ- l @I%Cn[RWzu/uNKo֋=O_N.ח]{v˜:}~U_^69_LU\ Y_?v]M]u6p]܄MlV*mzr]nguUvUoGei-]7g|(usWLAJO!*?TvFJ_=QVZhU t*`wl9$3j~sH3egkbFlw> 2?.{ͦ=,ig3KĂ\Ӱ؎#((C3pu^Pl yEBB&ͅtۏ4V |pOy^7\ ###rf ꉈC} S+鸋@oҖh yU8d 0>oH7.O.;ru(L墱륝&/۶8dzGH';iMp缺z) L@_9xo}:nĥ Q,/@a\&߯AӃ7[;l=W GhO@[Ѹ:nrLNCtIDDǫ? )h9UիvB/pY4pdj|dZF Kdsp"،W, yпJ mg::d+Jagk5IlmzK k1rSj)cnDjT|dw XjPMxGx%MPg-;Y>[eX]6t*]LL-?sl #ު*2~8C˝0z:Bmf5ۄFv3z4 cX'U=kX$7שLGBq7SΛL93b?{9HnO1VPMK_\gj΍K#yrpo QŽr;MF]հ쮰0T,'rML"k9㥵J}=z Ҹn#kxF#*T=^j&%el),}sl;r+K*@?,_?'a1E̠t+i}ur4&4#rߡ -PZ- XaOj *apRKQ&4҉tzu9۲Fl3TTD6@f䞞6qaI#X|֥&WyMU1ؾZ!61!Gh%`06p%1%M+.4 ;`ӔqiCHǵt@NE&s/LK3!総oܗ,kг ,̡Kھo)C3{H'7lrGg)u%AwBfy-YNtцK+I Bf]'5x&F|yFLKm8#uyŮWYqRk<Ɵl\)LhX#-HqU8(>. KʕM8f10VLhV*=$rRmJC6`yAؕm&"W=KY҂S_WŴf-éM@e%9ZmG1dI0#Kk0CPڬiS]!_Ed!>ֳCq=#I%4$!w4%) \b֢)dssd[v' N̜Bۇ}#؛ɚ¬4k Izn,%$5 YgMVSTil(YyQF*$K)LN5uI]d~c;P4'oH{)Wt )vM-wIsFYy-Fe\n' 5tSW@ymىM ^(I)q&2d[ruJ76<\3$[>nTh(bYO܏Wl ,VD:V*,-_N4h0tl@u8H`F%CÌjqBK9ȸUq Rn=' >Vcb NU&F=e}>;D(`Nn ixJfޤIcei)Ձ2Z/6/wJcPF9l8ꡱԚY©3/Y~5s8&FmYs^5a9p[.z*bJ^Xy*F"U%j=u޸'[kLS4nI"Ȋ>Ae0hVfΟJoi)n'J=Ƅcq‡2>B;!zIJ U[T@ژUlM0$UX4zLD_FP!g L^Rzh9.u bלD*jcls(e9ks8峡2H58A.L('m[WDejiۃ2x9ۢbTUBPjzӱ_KnD t?+f*E]JU4B?>UZTHְgڴceMQ!_mJ=nʛpa7b]tV;x,63gĽ:Z<~@XY5{B)w \Ù? Vt*ٹU-Yw%==_ y aM1VMystՔp"/3(*dۙK;Zw\i0uBr5#3#ۜ+!I5{bѢ:mMzJFmuEɂuёFPnC77")vdGY|z+.<^Lr>MeltJty϶ 1j^c_P!{]~}X Yn)[:Fco7$ &;M!U<^Cݻ':>7RNU6]?Сtt*Ɠy#;)iYjm^V\Gh1Ӗ\ n9HÈ7,R6x-Dʂޟ|uyQL}І1PcMf'}Qzu6͡&'#M6D5]_nW<Ft$+ 7N g;tH:}Py9ML [Edc%SIlbrW)$?Rgyin${Ћ3A9:i_}3m؄"wQ6xa0iP# Ad#PBݏM;1>JYdVMs,Z&ēwF4Ԉa^^{fXkIq\;]cpBAAoC}Hv; _,zf.Otv<7?њB0*F4/+tey1LUwAZ52C1"h:Fzff TQ>0`R}k a~c+׶!Zi^m~fK'b֐ ZD<+Uy\>:bfItMݫ~֠Yݜr6=DQbVdJM'h\aYm@Q5бN1o0? O?mN۳6ګG@#%g,yk6:ڢjneM9hBj?W k]{~s%āQl}V<+Y}Ζ9]mD_?~+UMW6 rr \0>ȲT1p|D 30 5NEe|NA f6\]32«@Sr/LKDN,bs5|(IcxM~m4O]#{k2^? <r ?`l? lU&P7 zIjg3(>vB>Bz$ܯb= endstream endobj 41 0 obj 4315 endobj 43 0 obj <> stream x[K+ޟ_[c,% d6TRIק%㫧E`.C3Fn*$2 opvI|R K#"uVۋCM2Hޒ7(4RludN]'g)#X 2q<W 2I8ZOԷNuO/,yF[m)+?wk9]+@NTCFGn-7̂zG33S!AR %!'ج^8)LjHR,J UivVVGm9HаrC2VsB%&Ke.#  gÁrʨ.z16M H5.U0MseM"։f~#CcݷE'tt&g𫒍}2S!Q2OWQQ5:L\fx< }dYC׺1jX v* ca$+1\mX{S ?;^ ԃ1 : {cF]ŧШa8HjoZlѷ!ȗϛid D:4?Tvfw& 2b& c+A%f+S/k/Pf6o``!B NQNj9mzpʺ =Q|yZ7s=xiM)̹(*C!i'|4e"Y PX)F7b5O)]=dh`;:m% qXX pѝ5Gۼ)yjd:֑Ng@ F4khd2=gjYSB|M|9']૟AH>|4ŧAHyt6A= ݁Hd/%DK\##Rp5ߤi$Nr/bg1r7AEK A$-@o`emKeD ,NU P%Lܕs"Jr/R0a|3d'ᢣ)x?/bTd$/:߰"0Wajp\2ЭF`c@_'@=K[pR^w,ʂϲm,ހxTl+*{',tZYBUc;쉐O(NE&F&VBof}O -8ΒՋ_aw)Y"PyGK] 5!5e[e?&<&1鴃vgE4Ń,uS,U9 ICefK;] ,}1f' #g>„U%ޤ/@ endstream endobj 44 0 obj 3567 endobj 46 0 obj <> stream xZIޟ_@wT%yc^d@$ߏJ*I}˵تRɒ_(oX/~.?_foe~C_.XaؾVRLM[_+U0m 6lW\/MVNZU V55v4oGas8oWXYոIVˆQ7z밪6sf@ю(dVb.pѠoC_BWPӶHaϟpǺ'Npz˾9s3qزA6^&(/a+FYbdYǜeGf,g +roC;^~s9cmCE *ƾiv~2+vYg9אHMFѯ8:*rgI?g(172>Pٚ#jS{E`^6)uQmJ<`fȕ :ҷ!wRTb=0> dN<+kzBgv%|6} dSٴCMVzƓ"8a{Ab|C|qJW(6cL ڝ24`P;ml:ޣ $n6۲6g2;?AC;|yAq,gʍѩ<(ZBil,XoGz% rԕ1_qԠ}fr\{biHRbR[^Eiv Xc&-cMb+pH&~=”" ѭ2f6҉p!f syVɀ_`gثtaS}QB}Q_tNApbj|!@G %>|y=Lb9,^p Gpeg~ЍVcRdSYfȢ֋A.mGZܴ&a&vUN0}]{aGl;D/QˣW>t&!g 1d0MM ]7芎h30׬/KJ fșFY/kBM}bV6ĖE&!MЦ.mɇ}YDq^>̄GkjJLy^T%50УXF:Jui:r Z=Ѷ[2b'Z ~[?|wtGҾ,TiOZ{ q]~7vNtBC}p8%3‹6lH` ]44dtC3|3PYD:mC}Fb6ɼda8J(X!<Ն+c)J^r&)?I" Fh?aj!}NvR5^4GGWoM`%f^"ϼobbh[*:epÒ7Тi+X endstream endobj 47 0 obj 2540 endobj 94 0 obj <> stream x:kxՙ.3L&3 !e@! p HhfLȘLg&`Wƪπ:kJumJ Z%곕j},`El>[{d@K_}y9y{=!AR <ػ\ B8x w _C8Ƿk`媃/;wxa}i^u[w%^lhױw x['JQ{\:xQpW͓֟4pߟX g(@aݾP&  Z#2W, D/`boؗ'>U#V5inեHM!B@1 j8l;>A J˰*x;IZkZ1x G- =;/ !s!$ `lp@Ƚ66?_p6@' ǹs>wa>%i]} P%6< /8"^⇣(*QÛ4_6_eIr\rId( ^sn;.812(C:Kn ed)%>0y-??˿-,5JFf VB-jD6PQs !rRh]_5qp'W0 ZX&I3jہ3y:6c[pg j#w1=H&GI!7}$L6|{jmAQN&|3.d 9$ ;o 'svOKfeDDēs7ED\yCr1~`l@)nk` [vBb 7Ph<Qx5.pN_D?1~E-|W QZ" -,D[ FJvn gϣ89I^E+#oIY\[ɭ깭q>^Aw! kC^ rGO+/_ eaB1_ъ/?մj^]2%%_z$[H>s¯9 $Ee^Ü}D7X1O=]P  ua|GhsJVe-a .G8Apcl/@OX4UʊeK˖ج%EoX`e~d7wN^̌Yi&c!EjD;, NI.tBeZ%ljJ#KNF&M#e4JBiSt#XR,9,zE#7!~_]/3|ÅBV1`%?GHzI&N!7 z7OԹKa4Y1% CG(:J%;FK=A nys>/?X&u]N,ec#:6lCՁhx :E)ݖn6w9Ҋ5zy͞9%cxKT7FFCt{##j8|$ܖ؛OȴiK[>Jmq[ژȔXQHFTv[y$'YV[z÷:Ya?~*z9pK%_ɳf@xӍvqjOI)MhQER ;0FN1:fjB%4bRYd~ܕD2| ZԃsMb"? Mmq-g@Q..ɋH֡kQU^^R<,7Y|&InBAsj١+rhsR3)[eI{c='wZ0aǼLYWg4erV$Ot~L4*BWx^3|]Ӏ7X3:-mj ΘJcy@{/AKkȳ<]<$Gة:Nmd50rTT\O>N$c\ѳ,<):=% .AQNT ~{4AXQ2k$޻pE<9|t1rΞHd-(K$i}C_<%tִଓ3,yK(ZI8fHd* N[U S~ k1Af( Y׫ %i3%<Ӣ/|7{VFn},{NZκ axqiw7{Kr='~e7ȬIWZ @~֭r,Sro`:Py6EM#lD7Yز4||70@2kƄoWǢTvŘU׷Oz'MCDZag8aRmOGc"EI*wVq%jiδUIɐNv$׶Ld뺒an5[F꠺LL{yU \&3p|>g7Ĭiq IVS-d̨9~?!v[,ׯ2nI{9e=l.Kj,&fy ,.N{qjBN_Se~M&fcL[OLۤmmmKۚ͗KKK-fڍgS5a0gcÅ#\hOd1t9;…Gs\#R#`̢U3̄33oJ2KI$qۓ7'5^>KIN^K $E)'ѤDNo$lYcYk[FkofWhC#ڈVֿןמ5FUc 1FSthuF(J$5W{መbM(jDah7t4}Đ1N qp^B"pEQ #܊ЍЁp366Ee+=+o"GxxmYZRZRdbk#i#Fvk#~mKqi#7i$<].GХLT].Yitay5m]M.hϷZHhYM&hjY#W5*E(j;F ]Mѿ9P=2z}U4ɉcyFh͟iͷii+6EhS3m5吧MιzxClnJ4OFyLUL9w='y Erel@]%% 9ڕJGʹcE~s1˄ih@ !| [ :T ( LȜWd51_mo?z~a endstream endobj 95 0 obj 5703 endobj 96 0 obj <> endobj 97 0 obj <> stream x]Mj0 >`` d68COWJcpI+9EWnYHfm)8wqLm+B.> y'8}\{ (a xyΓvFYsvfe]usDq㒭CqB*e݌A ΆJZݱOWIn%T5$D=UNy!o endstream endobj 98 0 obj <> endobj 99 0 obj <> stream xݼy\8>{/\r ** (&UĴIFsI[fMb%iMӘI>IӔ&F'MgY+ϫ?~̼zϼy`P;RE[{xWºrGI::zmy"5ұB!#Lm_dN-B8x ҽbgm_8e/+6^ٻ]\AYԺu!w=8яrioIPEHaxG%R\T4p>"`4EY@?"-"oA= 8xk_CgS KvAro\RrKmB8zԍFQ+!Ӡ| UZDih#}}tz3=P9Zc-z5c F/a%3ČpoCtm@OУS<HbaU?CO^@F<&j{3s?Wx;E J@9h`B@C' ݌F@П 0xc-OpFO:DsP%g; >=߆p^[ˌ@IGR$C& e W?ƛp_wxn$y_'?W ')7ē fL&1)dfy9 feA*:6uYl[w%=A:G)1qn.+VqFQ;"o6U-mx>㿐DHb$<,yD䷒oqZ2$c Ŭۃ~Z7KfCؘ< $n[#!vv0Ί4A~ uh}hBܜ̌t+-5%9iV3!aYK\l9:d4DFuZMZTeR ϱ F) *ZgTx*;Wh݄s{zgy==X+.x_+ >ܰ%z;A%hA F[RoҖ7T̷oWQ@%@2{(.)2HUyKJ%d ^6[l֧x5^d/ji4NJ4zB%Ӣ5-ɪ6{[kcm's'{K 2CUu^|FUuGE;JJlu;gv7å)lª7 u@M.X$#d n.+;Z@X^bu,zh#T[f{}kIh^"ܖԔQmxӣaPgSm xesIҞB7cz_˰6څ3>skZI " Q)MN&%MԔr{VPe w˭V"]>Zu֘ǐǕ\eZHx%L o:?NH,aFkЗv{{ۃ`>(W%2' \)S. e-í5vAk-/-m 2{=7wb`73 ~~kfcfSbB`W0eIڃI$&)Dɐ'2ڂ;kJ.H֎LW_馉p]4M&NO W!@Z4Ar KK9N`x0j PZ{쬄dl92+0df`=A{s{˷ߑS7V~>>5װvՁosEe✩]kr'҅Y^z4-:a1) 4/4KLhy^TU]j.;2\f`M܈kso} k>?l.oP]WPR.O9ZstzΏӪb]Vetliv*Ɩ6rZ.K%9 U*FUC,ya#J=ȡu:9*y @h='+qپɦ&*>QȐPDmIyMM}!IXPS>+;3bݖ0;+n#b51aVHhLp;~푟/*Re* ]ҋ+dć;\+7lYf/s5-)H$O{A7o,)ΚY0)&F(!z:S:sH1ԒwðGa1X"DPE(șh6JT WFYYx$Yi4_h;‚Ix x6Q~a$HN(-GoOcY 2SIJ;}#q1nɻQqq=ӵ 2Ip$|dehwF,D^rM´zԚ\9{&irױxxT3 \+<\x8ۥ:8%8(3y0GC9s':.HRRI_IV5ݙR"dL瘡49T#6$> $,0㳯]}ņayU<4ܵyAv|FRnxWF@@Grz2 !K/MKFL.wz ; Ό`ƣx5x٦~B P6AGəb9(Ι-ځTE;}|M/NpO} =q_BTWYg<|/v>zuCE۲P= `_F1hN󌥛2g%pR$g!͖e|V RnJY٣ܫM:9=q^Z4Ns u?p*]NpbS@ X nEJj튖2D;0xZW^ڤD}\j}nO\ YJÈ!`'i$j>}ydGM&N5R}&g\dWJ4דtlYksKN*i[?Y-"+jZ(-ڪ(W{$*rO(Yks$$v98d6l9fDEmC1D1ja&v)0M%JR']HIF$DB\J1W{fl#rќbWDW+*~z6ZNANPo} FRmf?'~Ze醱?uXh%͝;yOLEjdwE >9sVXrpya,W٣JEР*kիjqޝ"b4T %ثmșVfJ Έg(ODnp/ gϪWLVjج2MVס  ltCv'7pB]c}0?N2k4xszc˔Nd ^%{m}¦#MƶUzS=Q&CUs] Inm'`f~iAT*:i9n|§B<+HVel՜HwLLUZ`W:sL,iIIksDlRY0G(Y%%J$D$t)#>eT)¬u]̼ˌ>f'҆Oذyl6۠:~l h6"c8UTL04(,9isAFM E!z=3>oOU^ىфU(oժgҕ˘;;#])CΝtn=㚕ƕ;Vlm߿Ǡ$4Y&3RP.mBM'@$PqFh4N4+^!ThƌK!XPUmJ"̙f9Km$׉nm؆0q5-BlDJd]1J!1&hu[a*ܺzpEe%y:o]K; ֘-; > JDY:OTRoDl( ?ܰrOʬ.%r`, q8A 1vlHRv od0MIf}S-lSo`ߔC,6Meɞ:J"°T" qjaປ2XRRC[up323M?-hkcݣ7vhnܐ=ۓ6ηݴ R&f/X޾pA;ё_>XQQgXVa,ldē80$G<lDJZ9Ջ\&xѫ4aF;'W<{=OS#+޻edw>5>c>a`~@Oq҅yp"*<֜Ҕ2Mu3s RUȝUFŻSSrs 0Q;-^- 6DmT.1DE QVp禥ո.;9WMSPJ\4]P$j5.(1p2Caa~ r%Q-s[!$wlt|HnS]Lwpq._Q Fe48\Ew2Fů*䶈zz_LbBV 7$Z F49?ļC)sIAJ,"H"8[͎>͜蚲ÿ:]/uDa;3H\[62ݰcccY&L8?^W7SA)ynnj_/enoYOI%D 'i8 zA%$ii1FLɔeY J;\S qqftbtzJɍ;$xUjIo|_s& Z!.+(2nC`qZz㘸_:q8gɞ Su NBk@43\ :f+d%--%ϿM-_詏*nr=KOF>y5InFl!6ƱB,E,0%^!B1J`8cl[\ނfX#SFdJKddVg"5Ч=D4RaP$f=]26h'*eF%˖:ded?"V0˒esd{ex {bnq"fJes#,sH\y nȔM\C)4NMNx4 V7mNT\G%":>&3Ѥُ4O~ >6o4a^ugMt5>iVnrS)c-o~6.,hK Ctg38y.v!7Eqn9Pw\TkcS/h"VڥNJ Mrg'ig^7vO<tgx%mtgϸjƑn!CMc3do - F4}d9W1F?݇+ee7/]jUVrlNe? oEK5%/_X^wjk[}xM2uF7[+TI"m1 9T+a Q9ǹ4X ^߁繴Vz::̈jӏw:Vt,^۴?4i+FUZxխvߎ?ؐ !EQ8!($L-lCgC33/HQ$ai@)g'kH7Fͮen.Y'3QYYBg6㡙\V=?cU\%E dfd1~)g m7xKu%˒Kc) Ĺpũc&4w|9=7喰 %(ccq?H,PIxagն Ig'jkYMlGN8SY$*է*6(Hj rW!x+ECI}4bݦ[nH^W|ӞN~E@j<ʘZʖmAl f, Qj@{2\K ,[r| GK,p d=ZldMܲx#c|ىf#GUhU0z&yyr(xewztSH?D>uoE3%Kɵ<drD-YmWF ΁͞gJBDZ }z*f=^}ަWxlɎq~_!wQѕ WsIF$/y):T2LeRx즬5BDܪU7ح[4WXR:s {d]J@ox,< zpĈC8f5gX}DFH+/=1.„pg!\k שY߰2VTDdUnrteJ]ΫIu>? 7;C./|B3M6&&B_H͈PGpQFj'I@ݣGFn !F鬡%(Qw',6EU%VX=d!U/ǹ:'5>'w0ULK,S7ƧB( x= S~AvOqrNfL'*s\%'c8gyTWt_dv9M1~nßZgOVџ߀i4uk#-r WW*ooT*BKW̕Qp2,O2'eORynRiϜ>5\ ?TZ7ngʱ]i/9޹++?g?WWo>( Kjl5EV[QP$Ri)*dR=dň [! ͫPt651Jk2M^c:cU) *"NQR@./}v /h\|c!=#v?կmlTKgMͳ}Dֽ_TpJ+3WYSpes>ԯ+ YavK?Ns~{/! w-F1*Ήʙ p Ƣ;;P m] >WfKCFŤ/5LE62ybQعij$ ;p"}d6271l[ťrr_;$dc הUjV]Q_M 46 s? WQ^ģU3`y@Q;P& ؆)mr:(axznPzFyBŠ/DX LfU"̡OaxF+gBY-*`),#xe _Yc xfbX'wĽ$}$RtoaDXS"`OJT"DP u*Z"46 5vPXAxex_WRX <b Ɵ0n|a$a7 B"Zhz" |0鍀PqT.#z0' ,°M-zü6uF?.°)Kt& fɍ(gꀃ<&°NsO*+F+@WLe1kDC/yNIXE&0ǖP?FjKo{GvgBUggS T {{{[lzצ %K'%tʞ!R7 ,#ܩyBQwbaE@{+vtP&,l^FaFO0b鎩%Z?  m[7=+A ;Z4m|-n NO7ZC P8`4Vϡemي&ۦj]΋,EDz7߿t A)!(. Qr *A%0~b/끙ziJ$ƧTB[䢣CWR @"ȃsӿ:qTHӡ\}!__ +//.{ŴF#tuε)͋PԚOj(5S2p^ cD^ӿi6jgDmPy?ѫ GuV:2C+P\jˀ&dA: "oض{X {P\!Vf覥+5λA):G)V umVjR]!t":(A Pz—nQVk($̰И^ʭM/p QtvqMtd]`gzˢ?e~uSzt кAmYCD/VZ* B/6QnLu[.b'YαfJ1R teXPAiR_ 5+!%zRx*F V]R'~R- r{XP.OK'MCT!B/4'{Ȑȃ 1iJZF5iU ۩g^)h!kη~4g范ԯ-]ۨhރn0mGp}i p6q7D6J%$$DQTJ.Ԋ g7S?cB}PNq kT7'=y CbK!.G!|Al'w}|9T0hV}1;muǿi._8Z1jZ#f(HѠ) 6bs BɅ e7<rHIY#bApzȣocHt!OO4 )g7S[/]X.&KjuzwRB@ 豕J&jMHRj-[ŶQ:uvLdJdCT5^9  [9^pҵ5w 3QluFO)Lx/d;7qkx> j !|aP _47[jCC S_S.\KGޠG0>hilzTEzza)U\|?݃v=AvՊO]#ӞZ`P+֟T+7T\֋g^Hȃ C J5)qpGw; y߿87@}vM'y.|?+Q.oK/>gaσ^N^j|hЙnBtkk4NKZ..e-&<Cӥ4')Ӄ~i-Mt;iZC,b/MoWv]}nWܮ.20׃4]HR54]ISe>u{f_Rish*ަ~Mbh6uu4HcƆtcL5 ? ұ?Z|g揖"=SN%¤< Kg +Ƽ1L,? zLJ@XP"ã.C|y 1w K(rM~hyJF5L h*]cRg( 9"W)|0DԅU a ؇dž,EQ> \h1tX@ 3jC?9`";p!kIK 5olA-E* fX9 = fc RV5 [4֠lX02`3`" s5DB@%HfkCņ d4E&5PU؋N% P&u]]TAUtxEqX,﷐?" aXr 4[A;̣eC\v}NzVD8k4[G,{[vdEc GڍV1zԖ2T/gt?tߏJ(wtfV&zCf 8Y,Zfd2L+ d L&q2F{l9S{ע5J+7xy{1QyUɛ\ޜrrU({̍(RL'g_L!ifWnyd-&pM>[ @ Rh=e*-9 z5\QԣJ[ ƼPI7mMM?גnK-vmdЍ@5[ A=L)-]x]NtAFOC3 zv-('͍Fڼ+Vd:CrzeXtWI}Ziil^Rk.xѓbGt! 䧽xfiΝMUD+Fe~~c0?(-fk}A;jv?2L*^%Qy%P%c5m3?!jؔZZD8Dq)6ͱMZ#(H6@_4 /TB^ǺJ;]-^^l6{I Rj] endstream endobj 100 0 obj 13852 endobj 101 0 obj <> endobj 102 0 obj <> stream x]Mn0Fta!ET3H CܾJ]F<~^]*/u zZǻ p덧zVC3yPnLsgbW b[G^u}/,Bzi*Z\fzn)Zw/E D@k*zla 17)Sei!Gl+UT:!r!G@SML#HGW'9c.?@Ι){a}_2cO%F=G?Fg y/7Fb}e"CF@*g1qgtYۭ\wk( ~s'L ?9 endstream endobj 103 0 obj <> endobj 104 0 obj <> stream xY{|T?yIܙL (7 Ix!jV"CШ1EXeE&Tlqb!NUnjG?۵TGsLx}m͝{s=NgV0F,okn]&q,)ϺcW[]֟UkVq+: 3ukˊ|Z>w6ڰ}wYLSLO!ۢS3jl˷>m\<]|xsh{k4؞uGhVyPQ2Mffw8]YnONw? 0m`d$ $is,ݮ>`u>^d\Llž>^Lw =*PL;aGxnOy0|*40V0o"nS潰f8Wp50<@x m ֯PH~mx◚M`Kp4(ோ'6_$0sFzי7kaUka7ϜQ*+JEbbo&"fX;(Diك>o% g;hߩ;glP?ZEYRpxA(k;kÉv C}{9;lgtot &7zkk%jeimgGӂ ֥֥+78L&UizR5fx{z[qeTjB' R)^ٺ̳dq"OrAmںETO/S$H~#>=zL8u4@y)C`cJX`DN)Gz &gF.NGM%G,x)$Q9рgi;y̞ye G#! *V\'K0bh-[ՋRA[u6v[ci ŧ#ǙWWcBLL\$E:mcVl Ľif}̼ƏHx[.Qqm\܃od`~b7Q?44k\x<F#e$ӁH "sexu{5K KU6BH>Ӝ%jd5[vm{_m?#}g;ꯖ.<…Off#0ZaE >Z6#o<85OgM +\s1~#)w]}+v &n^>||Fk5umzڄVɴJ<ڄRFXi5-2Few3~4>k[m7-qt"v]X[Goho"?S`rϽ3ei +n9d LX {L!qlg<&TʙMn! G1u5tPs)HGJhroH' wL|O͞jRHo? yECO8\2^GsHJɹILrJc-q18.ZP&x18s F=<% Y0uݛ7zt̩zּǾE-OZ&_5$.aԪPK0"\D,^gXbN۟%!Q"UV8j :0BXm' b}a8Sh#EmR'tdZL.UNcdD&/nD+R7]23 kzN߈i5$Fc1mE&QHbfHTALl-/K)m$\BF1(FŤ1^TzUp^2cYEPDEͳ̳γ?c6)m(f_?olH]Uty+zZt;Ae0W㨈yV0WyP KWIàW1)-MqKoxN|qV77]V9Ugk9z+:ەL)y-fAv{>p=ΝߐA*RK֓.f=Qq/#`MɌ;Տ߫F"9*=z6r׹]̿2šk#D;N{^` U<{̞ohP}-8tu K_(+S#anB_'^Ǿ+{ f"!3qxrF(&=|knMt k܂p=05\>uP+.M+1ROv2 5%FdZ+];C!GK8ILm?:7yh 23[ڨ;Ԩ:zN12nNY0CWΡޛ$`=M0E:dE΂> endobj 107 0 obj <> stream x]n0 p:WzXW;5,tgaq۠=nhmEvlz+OYono^*vnƒobQn]ߍ"碃yjs3OUsò]_j@VN̦i6^&e.=ݿPrɵo?RK2:r9xp\!\" q yfϢsK +q> endobj 109 0 obj <> stream x|{|ս9gf{Y6/X $JHQ@dC"$ *b Zڊ.ՖGo5Y{U[^Ko񊷥Z!=gf7?lw{LzȄv#;<~ !oak>~Y Biquj w^7tInjIyMO6xi <|w64|3<D 3Ќvxtsy=,u6u?dvw݂ =U]סÇgFdh˝鑼Ӳrrf gK̭@gP %\9ȍ6#4>}8Ϯ)ky ݿLߛGNm >µ xc #h &Oxd":1|M . 47Wq-%nC;aǕxCA٨wI" :c7P > b\'@)X&ѷ Kf* Ϙ<i)naY-99d4uZs8ꮪ;y|9us"kg)JlUe=gƟE=ZZH1@5E(GۮE-}ՑhJUKc#Xh͇FP g#F`n \33T9A.)fꏒj6GC-L0b951vge1Ȧ@8jپR$j҉c#wFҴD4@\vu[-d5mmR=Ru4nko!j?tyҢVWG-"h4n>)GZ__G}Uo^3T4n{nntVoFw26Ё5qdWԲ@٠*e7T{c^R'F{y/]YWEi5-LS4iT{:6(Q ,E:L-pi.cǰj䪨-Q7.vjOڣ?F4ƑS7$7rbґFuE:5q@Z؆ԬLZc+b l)RFu^ > TGZ;%2P*6*pY\?\_ڼ~pp~g%U7j J 8g%' x.Ll݅G6I9JW*3\k%aN! *G4>Gn ŐOw=6Tx'!QB{(Ԇoj7Ps UFExݠޠI8akυeCsoDƿ/ g''Cvw PCe0A K1CzS0}. `!Fe,`2CC+p~,`T;[BuERA吒[[7M KogPCKrF䍦MMs ՙ/؎gȟht[@'?PqC$}r#;z3#j#a]V(/Gr$)NjI`?o_}֯=￶jI>_!ytTKm! Y,A>GtLIA˥)bB6(dsv bu7l-,rjhe3 )*x㛦q]NC"t润HQѷwa{8˫-WxtϿ%g{iuyU]]On}Ro*g^݂%SK. IA^reD˨iҦi#$y0~! n9Xٔ%PnpWȿ@_z][sOcƚ{Ⱦ*n.PcC=sR>7ɩϸ=Al9 z6'BO@Ԅ!:`I8n~jMV]^97{G dq˪C29`y/CݡiI"*J)Z>BMCOhFFѨKy FQљJ) V%qx00 !n BP>d+M J T48+O4<(iʤ D Q $T"Op+!E+V jѾr~e;_m^;~K?byiuK㎵jׯknk)5zl5%l{;X=o{5{ܷ}`S#`X^mqB.ZMeXGm0~3xg`hCʼƉ4 g>Utf=D7)m1[uO۱=c5c=ufIB-ϸAv9;8/Zv rK9Zqȥe֐ /mG_`__Zh =ΓKxF56K);ϩ6т2Цq.'Ej Hr@cA$1mT$”A4jd$p e{pq2 A[C[%@o)l,6;C+ԵUpoXؼd[|bvBҥl;pێ"LG0qcGc}xEΨV,>SNT<: Q]:IA:|Ö60.J/Ko%j WP(w,:KD${>.eȔ.oelCЅ ÔkCVa~>'\쥞^;&ɷ+|E/k)KjNfa,~gkT/]`z˖dg.R2]^;pނ јw?Bօ,'!m<1kEZLm]jÜ *`B'V*=Wa-/W7oQ܏'yk3pٗ~MV-.:.0Md'g?JfFǙ0첏Yߴ+՝ޜDBx 4\eSMhE-V6@.a~CZϞMߐyd=Շ![蜖*]76iU4|)CY_$8x[@B(@FYѐì $d%Ogy;%$(ڂ))d1q*:UtϘEv;ә":^rQchĔX-V![7WQJEdwg5`2CICb@$? /h!I 6XlB ;iBAP+L'Rn\2W'_ݺg֎-g g>,[w߹f!hiă?*9% r/cTlE,ZDJoÅ@=ө&xXknr+fVʛ.\0!?t\ zVКPYPjZpG-"C9*8+Q9vpp $)CJd5=%{s_Cҽ~_=lK<{Vv5qbc]}юYg)^X} CwrŸ 5.^Ӑw48.Epj^h: p>^!C;49̂ D9Sd,M')Qq;0% Ha SV7 {௽>&ϓ9P25+/PP~ȢqFcɰ[5pMErm.Wy̆›o,0:ML5YuX#5+מkzmsCo9dAfJ̔<C [l"ES, Ɲ>Wˏބ_''LsznEH{X`6|7HT6rϠP>:"8HG5Rad*N=XۖOäawdIMJެ; w; f"!z9@ 3d;hņ5hT^ }B, x29\ql$wmqr< W2"㋕!8OaPٿs݃J,xBh$ɋ|+}IȢl( yIT RY5f.=o4` d$&E FcPɒd=pr~XVUv!H>0{ vRHMx;|_X⦎>|a5+ԾlYshVwiM/'me+P "A5!W(#(+ׂ9eA 9!OcܙJr<0-Ggrp̆F0/__Z/c~?LaPB+ 8)'r Oc;0 @To:!lSb^o"D`?e-G9z(! %ZXH@H4ђh7bLv`Q}Dt bHO jn٬U={h~V`/ԑsmtWh==okv.~>gXZ;2k2kά24w.N&sUS`'@s[`07l^u +2@ B:5 dx<++Ix22fƭIIHMD+8V}!Ǡ(4"i s< 铂7}hQ J^w?ٹ*^ Da|ƛ^>Yt l^PĻ/'{UOz{Y;hmVhXDц[tvuÙeœŊ{mX4Zl)AE@J4[ }F+ 2[l'F-}uy9(82[);] gx>WZu$ckSk .}P4!7X'K hP^tŋ ֩ʮxb해Xk數f,%\r, h9$m- t h@ oQ `!QZaHL:y}ЧX)Gq__>.cqYr~ܩZ EE=B݄F۲qjIZ7BKm^[xjLh8l =o!\ 7-k_{`ɀ V4XBnC,e-!)3@SK}KĊX5۫"HKY$9?@đ1/'D5㐉Dž !`f4%ER}1) ?cd N&r?O++ɉ/xoo_z_^oscIB*/\wOkchMd0Ș ACFl+ˍBכ X}ٌU`!?Ш~ӽ>7m}mr*|"߀ wG-F~-\7m?Du]LS Fp )G50[KrP(}YZOsx4Gm &PtU^ ,2Ͻu['f<~W  CiNkwjt'eûFdL1_4iMUv17M$'%Iz5GIInH>i6 7Nqx[ H°%#uH *m vԁP;$Mm8qNڈv$7Q'DZsϱOU=p5Np垇v;=Y뮘WE>AjQP."JU[YO]?f56>˞pmpmWۄsUg;\]S^}FCJ9q;9;?av" Z0u=X;FejxPL}Lr 1m (;]6*2 $D);L_aJf =:h]Ll FK09k?J{.d{mgX7rR+@GgrTQdv%$MeP@xV(LV Wۛ`m@uHufz>6ɰ#}w3ܔfFU/mRo#Ib@%J3m Av1\ޱ~EG}DUb^ 3P+Qp7=L 6<ɳ]0uM 3[M3IT ɠyg;)Ո*.Ϟ&YV;4x$(ŦX <6S) ?vza$i+M0M!F7UːU#LclN7;ʂ:) FoVhVME%ƴǩ`OvIMYc#Ϥ2*h+J9_T-1HhҮxze?U-l2R*LMh'[PM6I+Svoaf#Elo~;obQޣHQ,Źm,K?lVbD,`qf1?jN0{Es*v:%1VRb=T_zgDZ 5Ъ(ziuzVZ"֢$d`TU,N+ȵ[~L6XDi{#rdlxtSz2%FK%zLQŇ#jUzGEn÷tc<){Ģx ~[v!}WVy5y|J,eҗܯÈ4ldQzNU4$0JJWZŕ;OYXt1fɚX| '˹ҧUdq.j~=w2<,P>%;"\l_OZ# ':ݓ`KRבP5*Li3Eə]0yb?8G+Ѻ;Ը_n>&TkM^4 MFV;/Aej\Zhok?OɰZL͗1|W+^+9ҏckL֭RrY*Eað?lT Z)ep/gz7.lAtQIЂp*g-Fr>q,:gܟYhRWoS37b~>%?&]Y56LJy:ۢZi?UΖ1o٩vզt*f;8zF\U3H!m+fQE\FbS}Ivka-)~.N\wylܩ/~gb&R~팯eOSdգz?[) V9պML4OIId3[բF. ~R95Z;VV \b)~fIx֓T[ ܷV<%G&#Y @*"YE&WJ+]bvx%M "N$(sU?Vv > endobj 112 0 obj <> stream x]ˮ0<# )B,zQsE޾秭Eg{f ap%u>WgDݲ9Icy_8^&IdzeOg)IއaS\,*K󹝿7J뱏|)>WF֚*v>',ԦiďgEنchYlɲ -Kp)\`'#Nރ˂wm{{k7deQSI/_04ރ_b&pѣ^ > endobj 114 0 obj <> stream xսy|U8~ﭥzt'tNY:]daId a%Ȣ 3.(:ۈ3Q%D`2PQe|2[M@f/IUus~ϭbu'2CʼsiBNf; B4k!X`2"49y@5 (wUW͂P% <ۊPps꺑!4V8/|[ $kU?Gm-zW7 _cPQ'zdXmivNx3}@N07/8TZTDk 24 khlj>b䨖cƎل&O:mY~l!8&"e6>TEA=z-><;A=rA?CwG>kzt;0z =vkSYq`CFrķA[PM@ud#ɫfDիd{=  / }x{BOߣ=w@g&Ktvf{It#>O܈&";` # ZCgg[w\G0}3 ?0>Ae](AVoЏ:8_Vsspo⫱Oס]x+ M.4 ؇'}h!P>.] .q,Kx]v-UL<6ZS( r9/;+Hw{j1,DF%;q ]Jsυ\@7J2/:Ϻ<;u>9h/;} 7i5w,6/hho'VSa)}cS_Z ]dxIҒP7knvMPܱց<*n{Q2^һV4=dv̙ m܎慓(־Cl+A6Si486wB#ĈuǽE~zy&˦ th T5/nKK>ih_L߹xmgb[:Y[oem`Eڼ#1A[hi6VN{S[@Evia9M^uSWڵ+p9yO[0 *w ӂP:kyxmn!ouo.2G"YG޾ysvojnO{{mxR bހ-y:>y ;hҴ5yZ4“Vpka5Qu֦Ө[v+h.tolzGs=H `<dzgcN e'MR~buٛƮqSmoyI /G!}80`5-Lַ6t&[/>߼9EԃsnXNL"R,-sߜ[ lv! luaT8i&A|e|iҴIc{C\7m!]%*HOR*!+ݣ v>o7F요ѼDfM^#pW))EAHxD]EyC3t`TsBq Pw`pNNT㠭$p :[p?ؾ"Ũbq5!INUL`7vL 8,}BdK ϡXܫdjYL:aE~ЯOS F#]1LU\ Vix8tm: w #T(| p с\دdJ vތda,}z'ยgn1єBIOˬ&S[k懡$؉J;t989IkI"Pb'ZY;-|"Dznc(Zn5H Aɠ-kbeM3-s[ [OQ9 UA[$ ??#(ejj*]N}{ˆoߤgn/Y?sEG8SnE5.{$U|MzoWɢXbǞ+5]_]C5 D?Qr(vkjj # v+Heh?`cQMa zzzv:N tB] E/m4é( ?Õ-GY A/1ۢx'h|qŸv;'=Ώ(ZCCϪEZq ͰʆhHΛ2t2X4Z:+*)60mUU1rɉPġ6lE(:79t#5њhujl.$?6]{Lne|Rpių007watX4C+Ɔq贻gOn;6$͓ mj]P@m\S5y\؊hP~@$z!9ӑj8C3 &g Yz+DGg}D.%|0Ek$T? 6x=p iU 9ն`up C<@s)oذaxDtF+b7T/u=~<,qg^1__&\z y:NOϰF2|8fnLTQT#!3lZY飜u>u>>%YJKR,4@4?QTgRtB12(J`pL4r98DcDs%젶5rExB#i 0ֈ֨aO/nWΝ9+˫ Ѷ{?;`tPq؉m^Q82]`?^_\R*|Dw#(G] gZ=3[R@l|b1Am 4GWlLZ1G~MOS;5E0<.%KRb)RI)DrJ$`4$RW $Lib.ư 9F 0* % ٸaCOؽoDrݓ f\:j|aA?w^:VȐ}OL H(.,Aл1Ei|BUp$3300IaHj{XpEzŁS t "[ʫ\n_ؠwQc G;SHkT03,r"ֶ`uJKI/[}So}&{\K=<ٺw}P:Ơsrjʬy , y0~bVA{D_ⵂݩ+H[QQ =<-at{ ÿ3PE?rѓԭ.Z[,Õ㴺#&nλoٖeƎ28;׏YYej `LBhGD{'ȧ#PZ҂ RZxz_ ӊ؜=|0zL l͙ S@ɧ? zE`\'k3w^1{KSYC0@NN<Xږq2%|l5٫`vyf]t78cdɼLhZ$N% zMů:r" 33+ɂjM;ZScHŒYU#ֈcdmrXˠzILhB;T1oE/yEDDDDĮtM'fVQ E!ޗ8ca[R"qVk$|QygJ_LLS?g:~&_L=ihE&o*7Fق<AݡOңbQaԱ(fu`Se2HyI 8>2['zx%hQnq߾%r }q)w\t 5Zrxrv;QvGIzDhA2 fV̘43mjNfsaO쎇+vQ-wǏW9GG$ژnDU8OXE#~XʮME0 3/=7 JuRgl4V:~6&hՑZ5o&U|X fc1THzhYe_S!+U8nDGeKR)a0WL-w0.aRR3ygg#gg]$WSf}FChTUY jp5%6}m=1sŰ haҙJLFhI܆[m9(\Nx Hl7A ulwqz3I(8NBDHQgC&CRI &0@,,̯6$MTY? ~mhUkk3YS 4?dUk:Q ^:a($r! MUۄEh>^L:BX_nXOVW ku*ZC\=0GDI6 A&u3bcv3/U bZ mM>CqU *lL|Td?L|vX[~=͡Z2ƍ}KPj>SDEJe ՙ/C$hxK%Df%ABIHm-6Z,J 3RJ xYQZ^oyb _ƜrAt|:}nAFP+2W ^S4oL)xQ-\OңP+@Y0H; l "3 2 x݂,Vr"X,ar5? XU;VWw:e1Xm?o8إhw0s8ؾ}-wL8溼/L˦/=ޕ}j{$nçq)J^1jTGH2 a#=p+ӉY}+/i"p6 T t suG(9 ?bܧfC==VpڄLLP)U|/}/`pKGnpG12Z(qc!=qx6p`.l|RX--\,zX$^zWaXb+)?͢v.b4X< Nb "O0xg^& @'@Qf?"TCeW/I:^&$* zW"n'/;x^)bxȬs:Q ᑞ9~ΨY,7MMMxO^á Oz*asmB9,$kt=쬢7_&3_bv?NIUb~뭰 V&u'X?F1fXw7DP$$,c@d:cȑwFyVvdG׿eʓLЋJKgKD>˧ Զ":tBMHJzF"]9d9_y>%93xzNq08 ZHTt^-2>9,ϖIaMkF){ ~qꎉ߿bb+3:&_p`O)_kDYxF}ib:])zŪGdD qmXrTrMX\ėtaBLP,LPN_ʀ d=^"Y>Us+n06d\&F&MTز xYë́d֓ClR_ʚ2wqDT' tɉ4nMcMO⌟#;F*_|}doc0H=S}GI#TA^ 'ZxeW밐Vt:Cv́Ը3)HiUN'dfQud,F'ẖk=œ/?Xc(Z$ 溃Gm9Fs[)moP6;2mw\sGtŹ]RgNT>{ZTiS|%uYYyFv:} _d#;&'#dhΔ9eljɦT3Fu^(-+L1<͓n]v޸e&,XH|5{rH,:;wuu#9bZ?BǾR&k(IF04bZ\T8BªC&A$b~pOxFԚGK\ ./R\,9揞--9FV#e3 ΈWdh8OfZ>I T/%A'Ԗ$i?U[9w5U5VՈ[Ӕⶦ6o*Tp,)N+Gfud&HH$v]bKRՖFUo*çq_Չw_w_5,j!2:3V&'HǁFmrͤMSYð DzUЮ Bp"RQHy8^l91?QX]>@@@<lg~a& N.>6jԷRWR%"ALl.] qgoNϚ9 |hexTH&4[͙r )6ər;%静 K\g^UH C63<ٔ} \vvNCV@靀l  ={̝%N8˘/;elN2B+Kr gQ xCejKj>y.<6w젛FZnйݻ?`R-NѪRcR3XnYΛ$Yt.tR_;s\ڛ2f] {rdz-#>Zٱ]m2ocŏ3;oj:<.ʊ>}eىas~hvJ eデ Y`73+-F:O FXWhL8e Y:Vac8b';[&P)@.w]δdQ,ku', W v9倒hoxJ%%4I Rz5]B3)3U=uP"ɜVdrhɬeQ԰`h1r\B{~)zMLƷ<-pg5 .^>*|~iцpYe֢GRbY4?w,`j0VCO+%ZY͓,2Yu=n>iȷE$Q`f%3t9i)S]fcf@Cg_YX4&5|AtyG51qk5koB:!-){gcy,,]Lm`-JI _"" ]#?J7_"w׋j%)W4THfvg'O6,M?כHѐ &TE7Ҝ,XR)?ѭ^ӏJYb2ljD'{}U]iT8іy\Ů-R26L/w^6V+EȈ6رIH8PJ:L'b*)]SD^\\iT*I"^sE׀  Y bdaA_q>dp@ݦIM! 9:U3h@j3'nM5s ں9Vyu-oKZ[R6suOz|}ANpfzietMQnAl&D^5t/;박ێԻc6&"𝖨Ȍj!Inc:.qT@.A~8!kw w_➢ǵV/'˅vAˌpX5(4YnX[>/&~9| 2O8Pbc ɋ"Q_(^N02T \'XwQݔ4pNY7vN {l\ ^ 51wJ*a6Ux ܹ-ܢ3}‘s/pC@r 'Q&|AԇHz)}R"kgJFQ$Jx[%h-MΖ|>XN7J춄gwTQ,rE*N:@ΕX+jM%a`$X㇃UjjnW5]ѱ=jh|uo*r [vW.Z;fW#g>{'WA.9_.rkʴAHif)%T4h<5=8dfAva0Es)z(SDGX B^EOS[%awvnЊeecv;xE╍6=V?Sh8%uEf\7,Bt>6ixM[e JJ_vl#^q Z`v`N,M]ˏ=~?矠?'Nu6<!Wn WUp0ڬDu KJIii>˘MjX [}ճ9?fW7=@E`BPˆaݴGO[ښJ MMxmmsgh; g~\ oQ>:kʝunKԡÖ{Ιst,r,ޓM_ѣni-q;+ ٪+Z% 0*jM{9I~Q?Y<9'2G2*W,*\oձ!AdW5Ulm[F~{{ =A h웤dx^$ц AN*Q/%4`/aݔه:L.#:HZ\d294*h=i4|DF(Lyvb'%n4ymF+Τ7dJ,tڛӫr Ng+:䌱6*tL\f᝾1Wuzte|#~EQA+]6?H;ȈV]`mrn7?hZR5tj,3j餃Za+ j HA> N=8t14blN|;t/MSמy ɁCWk]ڢ!dTmCZf$3.]Rt+=/$-W54xH;P26L| @ y,0(]΍m^'t ]6Y.'8S!?Q6MPPD'ܤx;/30DsZ4Sj+J\}gyM~{T;>u3~Ș/ 3G~b75-@<֕y+774=gZ'=̍ #? y g64:0Yhq6xЄsV9$[VALV·ni”=pN)Q Eo` [>("CT4j'sM6:dd\K?4՞Xp_hƁ7[?JO^4ilݟu%'n]xusZ>ͯ?k=n_yL t`n/,bRjP W;1NLSX߭ ,Q'n.ٞn檸Y#(n>6Cf>Qn5C[:Ce!yVL0G2Zd,aN'I; #P,鸡 Sُ2/hϨQPD,pVbiv%SQ ˆZN{{K{LwC&èz($KJ)֌Lg2R9hTaCiPj]IKbٛFjzg:|`,0¨2k$F:.-jdadadaL"#c*+) s%Qz&tIDwInV]l/);ϝ#iz݈ _))~BȐЌ~a#/ÖCU+6 ,gQYKBW'N'fKs \!x4nqLmbZ|jE <PF!DH$b&vZ5W0&VdLLjdp! )wV[$!9Wf%3}鄷6oѬK hlEuBz?Q!qcxʋ&|jM"2[8YUuTGu3}eW7~Gc|! Z#-GpE4׷1$:~|T7<0"i-[Z F!Or^"ꨤU aM4jC?bfLu#l:Hx7aֲ{#W  r98˷;GΫL4bhom6:+asA1w.ZV!tb̃4?sZ hh9O(y]ڟaׯ?Ԭ=Q8}1q4uZq)DLwhȟ]L41b +q(lΒ*C}"O"Gv_S;n)_,I5ђ1]䘞XZ'=b`1sꢥQ FRa-}Dvuը)U+,i"ķX' ]W]h{Jd!WB׌ YWl2[il8-[tK֌7?0x>?Z(H^sGh>i,ױ^徘`~ _KLQ9J!O3eP[{8\C (0we *Qy]e4edi]}R)F-tFIfҾY/NV\|^DߧSig߽䙹}OL$O-Hb926꼺\]D׬֒:èb#b8QqtN+6D󒈩 zn4M;cԎ I-\MV]Iy*zl@AO# $Tgk1yq>'2.ѕ0OY`ĩ|Rc z?[hi?sN8rk'-.Q9β_&"δui": ")G7||޾xF~=_}ܟ"߱LAط XFF*OT((Tl+6<]$ͶMO힔1)kbĪxC^hϟW2fQ5%+}Nc&fsϖl=WT: C@hŵ4ZuޝjVL&n4bc~m TJl%7ۢ e;e{lX!^WwԖ"lJKVU:w\K&;|$W_Gτߢ%,[D¤E5nT*jdW xcd`K;3瞘9R=JOL~՟6P-C>rK)-kKP w[Q נMd$ K܍5Z~.<^ 5r~5?h:m13 _DBst-m@=@Ρ8[ʝE[b{-9נY D!nnCOXxgEK`k7ZVls[kQ=?9(:NcCMN!v@#^},-Q oϙn1G[Zumɴʴ4{=co.w~%ݓqƍe8G{nƳkMuef=|_ \澔M^~ʼ`v݅,,/-K5Qtdt<0ਡdE wy p4bJ, ֱ \`@#5C'4[9Ti0e~`c"2bЏ8_%TL5XF$.N:4D%3XO,40@)e]`33J)a4z;X{d<` ~{YW|`bp.+վ2Ja_dػ76kL4-GWhZ\P'ZvD `7v9l{1G0B1h喣͇gs"23 _+dgpw@IBxh\[Vs=z7c?7 \X"־N8i?~{]LgKٻ/kS\ihkX#aӯaXk=g*6t cv%+E{a!Ӆ{pA/a)Yֲ7,`֢6>?Z8fԡZ%X/y{R$6gj\Sb.ֲxjZMRh}?Ok О}Yޗ.Zr%r/9SbRj$m֛T=(Gh=ӳE@=e+%Pfs>[]eP?e,0,.S1bc; J]Ɂ90٩S/_OB5֭W`6,68|Gai/q{kv;Aۇy xa1l">l6=Y5{דfg؞CcwԻ| t6o#C>}Ɏ=V+{mu q85@{$'\|M :{j4XOO-:2홡1 P_0g5wgVzLWukʇ888v7F;`\:zPwtu;jTzlЛٕ=t 1qX1T՛>>\Xpaz<WiW ո 395 ? \c){q-P&Jc95Gލy6~wq׻嗊}/TW26"kl&_=E53gc϶7z>ꡥgC&lBM=(-?8wۻgoמ"߳{*}aS]ۍW*bz؆ĆX!67 6XuWUUG&"پ7"DNEhvԎy#?ر4-5;=#}o,ß`DOܕD(erZMׯ뚿q;t^wSpY~; o[m?w.C33nƫg:lG/;쾏 O +tX}[>#Q{3y=>a4gˁǰ$b 0a:>ނ̃ itN~QX8:y'o4 |G0/twZ+jmpذ] vwLh꾇۪Ym%(3$mmJ don[l^8[ 6'fzb6m%؄ Cp ]g{;kA !x]a5](KhեkR@6/t/g& endstream endobj 115 0 obj 18706 endobj 116 0 obj <> endobj 117 0 obj <> stream x]͎0}"bDr !AL $F*! oߜ{Vt\ǟ,/wxoNaJ/]ߎqõ\Ҷkdͭ<|Lv/:Y|=l9|J_6]M_~1 -S%Mچ𥾅z=nzS?=46< c_CβM>6IޭSΗg=Υ\eY,KCv7dϜ#VG~լm|ˬ;֯KBX/chã+J'ZWl~x~Gѯxav\u0;6G~Abk,x~~u+賏=;yw؋_O^> endobj 119 0 obj <> stream xzyXǑwu 03`7ġ] At%EZ>dO~xWƎϏěXðv'dmDZJV9lKu]; [󂄬d^rǒT(YDFh)Y¿4ZIx ހpP'.EOHˣ]ͼJMd^xލen+$dz&_}w2tpckk>< ?]6\TxQuUeEyYihQaA$A^nN8 7ݓv9v5b6 z,%P@bt]Z w~?&m 1OwՠWb58c qŕA ]Xz]W{;*|q.Xm,,q ƥذhRXsDb4JL=ю X3!y3935v% p,r&u1_S;bp?^05:6imsW&\8Bٱ^LyC?dhm:XIG/!fVĊC}hϺwck`ukkm8YCr܊'ZXܓf~fӳ?z:u 蘎Jjt+ѵ<9{]Lm 47oHrDio $ݴ)%>Gi(Hhep-AbUwvV `&-hpyTL ۂB/^O(r[`1>:7vLۂMM 59 _q5fk%,7.`Ha`v Y5hehn P[Z}h'[HUclFUs` Ĥ ۰;z]Km8qf9͌st37=cՖl]#ݝǜu-& #xkbiyQt-Z|5~3ަ`u7F IvC=;%צ6m58X<'Gcc-x) ڃu5ն/L\l1R÷ExNÕVń*d+ArqtCY7)u[Ck9P9QYzNO9wV8ʹ"'~$NtN$i[>P^\&ST,ŠE۾ =`cEP|Z@tcԪs t%Z-rOg0zIt T0e,>JV 3﨩b#1DcT^á%fY1ךכG̒LP6{i4hŅ$i6=55ki pV"K% ۧNI|%ʼnR~ ͼ'* ujL*3Iu溔MҖ$,ĭ76#,{uβ].)]kkkQ6R̖uҒ 9:fҊ?V\9Bz|њ'[מktїʚnKg%ɫ]?^1O3?[PV7(n["wiI}I{ȻQŬ0͎J7+TI)!s 0@^mxZ$"z"VZՊRhߟ+c4!l D|iNih(EGu7(ƚ6#:^MP^>ei '.&K2y+3ꅟYzOYSޡw4=x3]_+S*B$Y(*sӬ 鎲Қh q>%jwy"9nۑG֟\X}Suϼ'n TF3T)6s}&*+c pFh[i[tIe)"~iPnݥY-˴z%PkʊYGScߡȲĹ{ y0btjYj熠_=[{oϴ=н$ӾguyW(X(Z5qժ7桟jD?pܙO?GBGlSy?>&`VB0ѓ}$ +;}k1ZAa [,zqeShr ihj:cG/+^\k. `WUzE)nl7 'M|԰ Ei"UXdȪpdꃙBGWϐEI:qOQ|Tg==jwa曙Nt~V= ^)Ⱥ{^E*I R)V!jiŧ(ȒLu^,yEA4$z-CXr 7@]g`0,Y֤b(5w[AO7X Qz &3*>P0ma^yVn#m{B!'~/$?";?&|JXNJ;6S Do0e$jhRlBH)Tӡ c̛OUI6]D#,M&Kx1K* A)W_IErS=iVM7fK앶F蠸O0l fP,y U2(yMʴԑ̠sA*~=JKd!Ɯ Sd*JkYl_Fsi^O3,I\ot/ |&mz.k/'_g_X=Κ%wi"[{j{O}"Kap.ylk|s!ԚeO0@Ϩui-D#(%UE#Hm:oY-]}*yd$m(j$-#I у$|)HbJ$AbpybQB#ѓ?,Z[ϏD|҅R+qS4,BfRF>aa__1ߗ~&IftnC3a xfu a/Xzava뿊7 #ݫ.{P*nQ7o /1eQ@u!,=8A^3}",#wԋ!ƶ\ˢy/v'R}J^0ir\Γ.sq=F*{gwSl]c ̍6ϲ%h7iǼ\'\uAT`tbor?tџZ¥nvAQ|E߫.:Ba8WB+t}J CWR1Čq G|!-Y/p4_*I[x's )އ1W_KJ]*OϽ˽cT+?U^W9y B U/wCco_|Ow|5 >Xlc:9Ry֮ay9,X-v婳> O*_2,RSkW`YKneqm]))u).̥a{k(7,ZT18+NDݾKfkIwpGk%79IwOM;z lmF:H#7Q]a fVr~  atN\MX= endstream endobj 120 0 obj 7138 endobj 121 0 obj <> endobj 122 0 obj <> stream x]Mn0ta!$Qi@!E*2΂3Ro3q՜3M/hts TA{Eo5v6]fcc(--buipGՆY#/dTBC7Ş ϟyOy@_D.͹7]0 ~;Yt 蕚 endstream endobj 123 0 obj <> endobj 124 0 obj <> stream x{y|Tlsfl3%d KIA@ ! $Fk-ZR#KH|QZWW{rs3hyZ7#=ݸm}ԍ6v@h%[[]K{`ֻ:*moZi?@hmp6AO8 cmv0swm߸~e6m[;>HP0oխGg>߾m5ox渷0>6Д?x*c No0Q2[6s{>0XT<4F ݏJCh?ބEt? r) V|ҍiȏ{CTo8z݁cd;Za^D\]nch5B̋v9pA~Y&Fs߸L5o̹n8+Y̭g3ϟJ4\>_kח/2ݰ~I "08]yD(4tib..M\E-4I>rƿg+ ?`5Sc¥(45Q+z*=da959of!3:hHk(S^&4bjB_8PH]:N3P ǨlL1)fNNP BBLH sG4&MIֹl9I .aH ޲xŊ7|pyJnn--;JR=tWr=4յƧW| r"eᛣ9&.!bslFIrx,oB5[y ҟlhBҧQqݪ3U_]3}y -Z#VO3x&V*SQ&&ƸаиԴPh2/G++bY7ߦ046B9aM#LY>JO2L9#ΨW5x^W󘹆 cJ̳ͳWb j-d-57[l ΨskiVݰj!1N؞?8<Æ!Әe>⚷ťT1\GUCBRu{E1M<}jew^dxx[n ۅA_MHD7Ej43V=KL`XCcjIEK0p4Р۵q5ǵ=qQu}IM3*w#Lonm'q9&G6Ns:y7},/ ZokJ59wA6" I$ץ7#ĺ&fLhS0 ņKjWmldxV{KUJcD7|B&t ؔ94;tv肖C"{TY@vŦh$$[.Y/`‡3|/:כ7^@OkA3 ',q8*Uc3IV/[=$u"h~%2D\gTy`c9lT"v>j>cPɡN-H͸Y5kMB`^fi5دs"%}qG]Wh RII epy5@Nӧ47hNL€8 ,\ŌϘ«_`JOP'}^KIC1=`cIMWgHvB8!0'vQU:H%oA3*A{{?磵o^Y^9S||ߟSlÙ :0_͎;w5215l bs^t@xDG UhZÀ.&}fŴUZTZ%#ݳIuaz]X/NљN^wI{\A:~:wxrl. Y iajh$A!;p=_*3[–rw')aqTe#\z&Ul8bՈ2FR-jAGY W{|~p|ѴTWxq)Dv"'KD>oßۏ+βT35ybxjL#?tG bzCRU:,]n^gWVOB9<՛Ȟ1bV)XzjXʊ*%p3Şwݸov%{D᪜5o\ײա%neUE[߷撺 7 reCGx-룐##z*?H&2ԀU' jWf:Zjf%(JҫJC(r!C!f8z~<++V(ǧ[L#-A1M`y"Z9=i6ycHJ/TFUZmd {P0sŴ낽iHHH8 (઻PMy"[--ֵ9Z?-zN%JWGQI"No#$DJWzg3a&Thtu:CΤDL$1Č8re&?W the"{cԘ͏G##GLu' IK:"{*Aj)y[n-x;/AOώ&)ASz1-MQ4P>DSZ-d-ŨtIIڃ 3rAI]~W ˬD@BF%OÍA(ܜ,8;ד{撳x҃-cl?f-,9b0q>K7"-=eCT]SEAJ4GSh BFs2 r7fM-%mv[Vm4_`F]II*I2RҜ$I[^L)L8&z?5!g3L9 JW:9 [FG[z莽;OʻV]^&:GRXTH %1-&;5-Һu$EEҌnVXQI+@cS&yʒ Y3&u:!q6FJP ^jʠ])mO:T|ڣL .6+Wnt<-rYlm=4zR,?o T:. 56Q{|zA\՜+PQ 3l҆-Gh}\oۇP` #u.kº׶Ͼ2D֘4C17Ywl[)ť}^8u-;f]wY^YN=h?oi{/z[ϿWom]ok: &x*@W㨠Xbt3IAғ--p"2,D>Gr@^-fL^oT fNU`F .`bJ~V e͒/ΑIb^֞ΛGc#>w#S[r<ҙۙ/:"7XE/u#+"(MG4F<2jjB_a*>l W55h p!&\ yDs5x4 ,ujeYF/c2M>yi4Q=^B-&Qz 5p٭y=TIt~9>5dqMXxx1ߗ? ?oܮ$8Cs#VP*ytLͣ6æSlаDA"5i1U{ 3_ɦ(i:r\M嚰\Bu:k֤q;GWۥwRa;9}BgՌi_եlEE(e\wq&ƹ6HڄCLaͰv朝^+(d &=w˿h䷧4d$q v?ػR)jXM@XCB$Jf !1$!KLWJ6A*"t%_2V 5vB[knQiUwC|f2ꝶ^8p>ḥ ~u9:rJ<\e]t;:M\өݥ0twq[6wZm [=N4R|IjZ.cH4')zvܞU2x`Ŷ>oߑ)߅8A.e|3@h\-mhw8 ?%㋸& &lQ-m̈`YUxGxeP*r?\C[YBiP%\]V6Q*$ bc7rtz ܣ]XebM 3 3D4PE%L Gp#DGI|> ~30/8|\w )% LoMeN|?Sc!5R=~M qèȇ-<)Ba|&L AEXɴJLCt1b"NGE3;0>^e;0Ù nH1@+f9& +*XJRA5}h7TnA\4BWP#YA71v7.8q/Eƪ1(R![`f+nd-=5IX%*;]j15It]Bj BjucGV<7SxTX}^?&(i0fr#Ь 1*D=vjHO--?M'o^{hj-h5d٬!f i)uN`Op=RY;˝]on׀>R1ؒYl2Gss/ ?8ŜaݝQE^jt{`jR#UPY#PfXԘ7ERtI).ŧ4)SJH))eNYRVGD&l﫨+f~˕.2x~ _<iUh+Da$bfV;԰4SN0S3a|XֆueJ-l(^DE^IVMAPgA!y3uZ(5LFA~H{F` H- &IV+=SR˔v^(?x%"aKb`\V)+$zwj%%SG/P1޺t[#UBU/݇^| K];~$?F1vS$P^AXhZ:ŹN@]=b~+~^Ǵt KK拶 v A>(mqYQ/\2ʏjGc3S6-A+ٯ %\xi~Ag?{ 69!^܊ɫ|_{VDMKȌ%)hH{EA\&w7`ANSB܎zQ/ ^ ~vjdva$_/7E 4Y*~Є˜р) nG I> &ldVIVc$"^FvuU%w hԝ¨fDc1)O M8CtWi0ͪOa|S =QV d\$?K5G=~Co3ymVb ilA)*sXiNxХ!ӑihz,yB_K)HlP k` Y zBPQ84'T* XL}!h &h/r;,z!p␷Wㆸ +΋x~WpUXeʠejBSUkqq˭u[[_FŨڨQh4:s K K׭v x| V C æ5l+ag gsžp~8p4ͺ&CԤ.b-7,1k=ˉ4O^d`ʍXqlN$V<+$=ɂda_q_IO8!ڿKSoKفc;STV*'moʗRũ9T_o^s,ߒ!Gq!#}?n|K.zl~_gb+rX~\0و r\<Ko%k'?y j8":eZu4$ɹ@n4(9shW@hzt>#ZV [Uw$; MQaX/-o6[VGyN{y}I Yks[S_WzḬI({ިo?vy c0 =Rz2ӗ(\be ? "_i_;e Cgydo| {=}m]OxWx-5 %ϋy+S3=4zZNyYp E2YNQ,p,e9TQbj8]g\nޖ%VTgKW[VfW,_Q(Џ0TW0 `h̆g_\Y{pTݽts1F&sɦx OwBAҘڵx}e=Coi{ohϼ3 /[Ķƺ'Uv]3Ҡ.R?2dh2V6A>k QR!*쫔.Qʖr~M-P-KlW/8[2Ip-\ie"N.%4(aGx]IZ]l:ZGR D3ƨq2L3/&[_t0ɫgU[B܄:rv*Hr'oM#z(E|tKg'ZՕDu, gYlb0f{u~7?Qm(zk}] -dwq]}ݮYL/^M)H +k5z}n'aڛ+s=dMի5sVؚ.ZX.n0ؙg.ŧOeS/?g?{s=-~{x8#jQZFg5 .1Ϣ5pUKZ sTRe?}C-(Ef\u> ṪD5PH3jcT?_aY3wXGPruluC~zP+)6E&{SEZFq0"95;dSgN)yw䱝xÍߞwpsٷv~?aU9fQѼ0=@c͒ \aO^>=.Bܰf2l*6WRͺ=Ɲ[杖{## N_?( vw+@z{=d`VU oeu3/ϭ,,3gwIdOkpz`37,g)%] ?d ً%w׸k<5sjJjJTmH bt;^vPr@|6`p(p{@@85Nچ"Giٟ~_o Lרk46 &sVאUT>3̍M 8( -֡qg0; Kdvb,3*Qɯ__S񍧔;g?/}wc_cqᱱa|逸ܹC.+ | m'~m/^Gs\Ic4V+Kr>P\귥 aME= dr*q-Sh˅bGU9]=B85GI^q\ꇐFG}Hsu" GH!g-A3[Pz; y\CmAws)h:@{}/*!{:kڛo~{NP!cD&&MŒ$JO̻,nڞ $ϣ/8f)GafWzc7fbЗ3}PKOCBߕ3% Lk`(1L^Te4rd *,;㝭o=,޶umZ_uN;oz{ix{]wիv[7ڱySiC{[{zʁҟ^ymot͝;ж-[J:*J++ַ+O)QOAh# "7Z8Dv݆`\Q[ $67pl'lh3ZZ wm+g'Tu7ۑR*B8.Hb3v V-+W\lfii6a_f߼j8ޠ_笀3[ZGZ iD/> endobj 127 0 obj <> stream x]0y Uq@BXX$]B2HpJ=$,o;a?y6o=tlN||fC7k;ey,nsxM?[/4}liLvzkKa~<ȿ تJ7|ڎC/1͕K6RK*$\/NT+RkqT~RQ2ʲN+r ޫ"->Vk N[pzwdտUg_ʚ_ӪOq^nߡ,ΤROR "pR<)^%_W'Yw$w8#SGo俒KV[jaC+F;xqBJ?ѱۉ endstream endobj 128 0 obj <> endobj 129 0 obj <> stream xW}l%uJA֯k4)!5kiiShQ9 D.Kb}N05mpK?cqq4 uliVMt[}8L;==wDJb xQ)nWByO;_\{c< `9@&{#=sWH䯜)C[CBf^j@h[#jPraʼnp Ƥ/,B󖖸0<.O# ~*\/xO{3יo)<ix&2;420 W1x ^d{^>/ga&rpk9q*]8V%b A1yOH ' $< GPC6Id'JE8179veq< }x@]lzq̷o0ThUk 3ܔg>g|J^$urZK;l^i(_RR\ j[>JS_M]M_XMnE}zs_hE*=օrS1>a+pTOAwWU얥E¹FńL;BT1dL݄YyyG]>}I #v=g%[LR@ܕN7is+- vi;=.þ. ?y̡7˺BVlhp`{l hMۑomUNg:Y?tAF֟405Por [͘5!{SaG9ژW,"fk%BN֟)ZL \߸Լ5 Z)2Ea]1MTC{/ids~.W0këh\w8KW4֢1bRwKQ8ef6+Z 3op=ž3S\~˼R'= Y։ыEVUFw򝝿Scyk{rda\g2}e`C!rq|k⧟jjxfc4u{cd]$aw3+Ἰj}+Ԍ`@-o.q;[/r}ΰ/ʏ-Ə7瘀i:OYf}xf0s&gfeOggG|$8{; jbk2uxVy=un=fg|27^?-yVF룣5ta[Ee[™ އ=@BO.-tutF" KjʾE`ۗN*EEj&'V:vmbN\q(^).3n[' %~iς)S> endobj 132 0 obj <> stream x]AO 96О&f&=?´؁L)VM<@x7kQ13.qe0HU5fߖsGcl_[2opzqwȁ&8_{'Hj[8=O6=u.;"_mKuw=.:dKƘۭUHw>,K1)t~ڀ[ITߓbک}Ymu endstream endobj 133 0 obj <> endobj 134 0 obj <> stream x|ixTEpU{޷;INw:KY @hd_LH $)HPYDw_ehB$KfdtD30238 *.LqM;U y}SuvSvֲQ;␲tUU7–kd gP[ִ|~ɺ9!ݰ|eV d|Q3jkoyÄЄƸZX1xPA:@z׬l\ZږnHʪuM/yRCZnZU{ȶ)I45݋򦖚_ bt yiJTk:h̖kp Ѓ.)ȁPSh) &~Jx2_~F~>.g$4GSC >B$8 *~l+@B[-Lȇ/* h=<Zo?>| Fg {}3¯ *x񁴁{;;XXCp `Uz w;NŸ7ulKafcMr$2H i&ݤCDNǙX.Up5\ qopqr Z'>OGOOE*jjKOq8Q%+]-u%H0zaf;"Yy1To'q' T<]WrLR<ՓTVi Q?"w:LΫ#}i Gѻq?yR?Q(C^a<׌7ä!w 3`L5FR}nE+ȟP?vt旣Pހ>EOV 4U,~;H D~ VtT'FI^瞅џ$s \ mEhP/G^`6pM`UM;v9kA.情xN AuׁT#]h``u_Dh؃m >1څ-7&>VBN S£g2{}(E;?036Hw Xt :0EY3 {?`- D3ы藢 q{!sm\`apAns2y"pUdge1zTz0-5%9%zeOB;tmY2 zVUK|S*P2|Ӧi_dTȨ ɐ5J\+)\J%B SbI.@+]x2,ˡ~Ognz\-CR. MYS;NMюJG:@u쾦>3K6B._qI+#qI%UաYJQ!'WńKTT,O I"aV _XtZt W~t;WE::ģye^yrLoWw<,L @"YqQ>T:GOCcwaY:&+'CYY 0Kh.ͤ &P)Iv5Vjg<`] N8OՒkכ2sf`P?@Ǜ-㓳54ǟͫUixītQmP g8]я4uИr|c17Uեɦk,כXV6ut;MΜR S%:Z֪?}'U;?k>?3}jV֩,Xhd*(Jh-ȬI)hIB(rO2tQru:|Ii5Fՙڠy?GȼҼì5kya le/—s7Nr@T(hZNJf+\zH@+|Lk2/E,- ZA4:'V6LA Ց@`Ȋ1V«Mfg1j(UhDZ%ɀ+ MvgO)Zy7j7iW43͸ѼL4\)4 'a|)2Gpt9bEc. HH:|,6}tpF;5fF)09 0p}dwɆߟKf8HҒpH~/.UTcrb{* '1]O&k$$nܥd3 aS]# 2ֱHHHHHPkuzCg3ٔ'SjuՁ6_sSKgǓH9M LBC4 !!$+bI[NNkyu]]i%љӑgssSerz3N$Η(ǂ< ݫX)L$| %L0CV[6hx$+t tJ3(1&`: N%ƑLD;jnLk:eZ)Y9mt.r}OypN Ch @>?B+XWLRٞI2%>Dɐ2:(N:oLlx"@[E}C31 \f*_l5D-3%-- 7[`2M9' (b,qd^QG%kz,YS%8I0 +$F_JTmNIhUA>y8 HR$`0-yf4vrǜEsr}?hâ{{?@OcQ<=KsBf[!4jjtخm2bn&[,|kZcE"l"weʽN.䐐 v,[ܦ^H֊' d~DPi' lab?Pk@Clpy%i%xǖ%Eş ř"'TD;'#݅E7mPdZ!:]s3`R3MO6o"/CNBϰ<T̥vT܋~sDMehZQ˩Ye_BT;m3hFY؈b>svD[^壳$mgڊiO4M8J6*^YH=Yll"M3C%4o 1Z6$&RqT ^ JK(*T L__#->-~Pҙn#QN)-Rۮe&M=|U:oLSKZzZ%ն,E^w8/`ރ LPJ<,&DlCzSSHmq c Luq Kas^dߪ5%gkk%@'9kĠDݵOկ>s]OYSm넗v̞3|qmw}_p+xMg[,<]g9Ɩmefc_cNf7CY$鱝iBc 3뮝.]O9dk\ qgNRu]p&^Wv.}Yjm4欆""Azhi>[ [ }kf8΢0Ӄ]<3t`21GR jPR^ js* zs1gak+5\ᆷox|ԙfϾkBÝVi%wsswm'yߝ {GACXЛBP"x<,$wgGS`+p]kU0*l7+ [gii1QYO㔅 SuPhRkMe/o%kUQUƂ9t 銮R׮=Ltz^:^3S/ݐz艛f*hasVFhDȏ=|gB9Y#ʗ0u:RվBsyy}x IȗkTg%/^zqɞ5rg/wuu;=6OGu0VCљԗHgyU/'S;fʳl<+HM`d[1p&`;;;<],eK^GSLؤ ŭbcz8F̠#{*L c)S5zqOl3^Si<=hxBz¥WzR IaaަߪpŦF&g~ aF{A^. 2t0tQͮ`~~]Ѓau0VB*L1t1?)bD"ıqǣl-%zM-#+2sj Jsm[цj*Wp0jsi.Ibq+V;i1XdX3rGbt1lshe'ZV`NT4UzNΖ-GTj)8 4s KmcJS-U;XJ0\iׯjJE[͍c.J]Qz`!Es#!DAjXLA?){(2Mƞq4jzxGz#4,XdQ`ki1#@T 뢇p/pTq9# ,5O^Th s5K%Wsk "GQ3)~߼m73۶vڲ ~0[p6'@*2+hF)2bcO6^15j!Ƭ1 Nu̽DZMn5V'18$#5ztGШ*. Qz1%!42fzRŖs?z ^fxy Ȋ -M+&MmTʖO}\H@iQk.zĪ;uk/O7znuX}28ڗ<71{qqStS%Rĥޥ駓?w>lbwl$1̒^F%SpMڒD^kJ&9X+J{OWtt&v s/)UѴ2 u/DN5l3$341MTh M.v.ܴ]9ml0C/{ 4@8w vs~ld* AI3M =H^v@9mv {wx5xr}ݸn_kvRf1y_\ cot^sW3x'7$ !ǚ㾎αu/'BfyKx;=1[y6'neh7C))1L^NS۷Q±Q'sԉf#sdad6%I)3̊n`55/-6"f#]^B$vEfOgİݷ$oIl4Y#[`YP@?HVԿωn4 ɍ9oZyoơk~un}dw܎Ebyį^9qf^MAd1hҜWZ!--0.67.? CEZ.rmbSDLw$'Şt>ry4dbKQpc1m;怃̧qӲi e6ko ͹FKl{XژJRB.c(107rFv60F|*\TbWn-2#V$k3AtRȫEù5>`ӻBȥ5DYG~j#zŘcB{7  s!ciba^oٛ)b%ɑ?:"Ut*榩t0*&o*UݷjM qめS;;B3#C/ $fHrǁCD# p*H"q^:-g8d!Gé۷?=K_tۗo\@0蹰/Vz'ڂ%+o1GHk#Kwbq;~>=Eqp6C_)^IyI9,cjGwS3ޘj%&->79i#(98ˮyWD"}я2+`K-CW*xa[E\ql% >KfT/O\ f ݒO$ {ѣ=Eu%ڝe3}>Ͽ*p׃Of"7Y ״@/}%|'z@EzŒ'fR)f(1l5%k9Rڶڰ޺հz{/ ZAfc‹ϟbg=w'*0Ji.e"#./lLw}#- ;o<Wϩvw9Rg55{Xq\<~<} ˇߴB1y_%ZgŦm̺jѵvmi~+U߲{w~Ʒ:eãGȺKo6;?<:᥻zAmJNqdkCY⪉#+UFP?H$Ω-UJ6!ՊPv@y 1Q.z ~ٌ2?(SAs0@TcΙ#***0r9:{NHD O86tk[tt;z-lt:~z/OV>6ʕQ 0XKB 9EЛ+.ntZ|>b ψA|\m(il0ʾ~UȎ|׵6w:2nmkFa ^t}nD$\e{OVds6Ȱ+䔄FJ%~s^<0;^qH؝Nt8LYdY1#?5_D|=f\Q5%"w<$b؋Z}9ۆg㎮:=_Ӎ|_ؿaxtcõԤw,X:?bC:rPR&< I17`Dk8 Gg2eˤn ċbBԈ7a;mک`%S߂ uR̨JXr;KǙ[g2]׻ӱȷPdN1W.SJ FzOhKk0KĨ3FnL22_x!џb0Eޚѥ#`YP"8u=oA84x\0ڡ`5^;t>|Y>hoٟџS]h}bS85>JN #ح"'=4ѿeĉ30.\q KxH*[Q)64*1[V@3 PIS~5y gQ h>Hw,B04num 2Mǥ{[$fCL؏lyL ,7п0Xy= 9-KqEq݀n<МD?*d$KQ\Q\vo"XM9s)Rm5H5ӥrXɰOJ_nzx[| F0bL"sic %m?2jYfȴIB^Ք jЭf5h KsJ( /g3NW[#Oolhl[T#Onlijljkl-\)ϩ[^*ϩiiYSS=j圚WV gr47AMK+ԗsF+L[ڸ-Q,dEj׵Ur[KUuͪr㲟\ Ajyn[U[ TnhlE^ڸuO527-Uk3-[Z#4.^f-m\Y՚.ϪUsV7Ty3W˫˫[k`D0e mr[\]ڴ `PrSKd.Z妚UumtKֳ>hP@haM-իٮ⺆+WWÂChlX^NKkV-GP7y5}KM+%e"܎5(ziYEyRV7mXXU}%"S^mM5@S[J 46փBՐ[5 w{;p3g?3pսW1[ 팴"D+f4KU]CS̀p bDkq?!ֵDHտi2>|^#n4K9pxNȥK{d.cG|,Q` a#c@Ys 8 p@EsDC8 _= )^@_ Ȼ0w!4Ӏ&ahovev3$E:$={ƐPHނB2,J&`j  R o(TtENv&ylwUd߲ _'ak'@|ґAE:(GPGX8C~'\d&ǀw3 f,"HbGE'(;_Y$zLz ( `H p݀ pNhq3`4\  p1`4̜]ɞܙ+\d"kKkKkKkO}ӱ=ԑ{P y{p}n qf^oA ]Gx`E;V:H)~?[q{'v?nqEWgEA|D>&zA`Ax R ɉbgFң3˰ /3<, F/C#/C& :&3 l8b9@Pct2ISex?/4Ʀ<3!@rbVW2 MEvxXxW7.|Gਧ(߇x:8 񨕥s[Ml&@^LtO6ZG<߸y"~>ې[=et!@GfN0P`fltOpH RL9i^{Gi6x 7x "T9B0`SݬS_kp~nU{2q8NE8Ѫ%QWkjJͫsޱ[U3< yK$"`5AנP WJJN¥ޥt4ׅ$yBュ]bxN(7Xg]_v!7Dwa4 i֖8-w8e˝a[S(L4M)2 <>toܲLKC?ث/wҨ(C]xC2'ЁѩactHV'D%A}44FcJw_R|g4v2V<KҸ&T)-',Ex ZT2"c2WU\~h+}Y?,X6kj⩴\W.k2*;F'/ćN Z-d&2u> I!-U4N"#w"q=x_Hlo n]%uőo+| m5ex$ JBJUqkB "V)tpo$s4dL&y4O?ӴPk9J(G̋ZlA:Ftؑ\C#:!h[ŢhƑPu%ʬ0ڠAtC endstream endobj 135 0 obj 14438 endobj 136 0 obj <> endobj 137 0 obj <> stream x]Mn0Fta$$BJIXG=dȂ3Rg8.S9~am笇iyE*3}Do7czf+Yoam"VG;\!_߹X}u׷q,dByj禇֕ ݼC_}A$4Vb BI,%\ZU!*e䌬y^#ow[-3ev?!{f8  GrLgK3C%ϣd)dOi7{dG?_bM%f߫_bߢ_'kEql ޙV s>.;9{0b=X endstream endobj 138 0 obj <> endobj 139 0 obj <> endobj 140 0 obj <> /ProcSet[/PDF/Text/ImageC/ImageI/ImageB] >> endobj 1 0 obj <>/Contents 2 0 R>> endobj 6 0 obj <>/Contents 7 0 R>> endobj 9 0 obj <>/Contents 10 0 R>> endobj 12 0 obj <>/Contents 13 0 R>> endobj 15 0 obj <>/Contents 16 0 R>> endobj 18 0 obj <>/Contents 19 0 R>> endobj 21 0 obj <>/Contents 22 0 R>> endobj 24 0 obj <>/Contents 25 0 R>> endobj 27 0 obj <>/Contents 28 0 R>> endobj 30 0 obj <>/Contents 31 0 R>> endobj 33 0 obj <>/Contents 34 0 R>> endobj 36 0 obj <>/Contents 37 0 R>> endobj 39 0 obj <>/Contents 40 0 R>> endobj 42 0 obj <>/Contents 43 0 R>> endobj 45 0 obj <>/Contents 46 0 R>> endobj 93 0 obj <> endobj 48 0 obj <> >> endobj 49 0 obj <> >> endobj 50 0 obj <> >> endobj 51 0 obj <> >> endobj 52 0 obj <> >> endobj 53 0 obj <> >> endobj 54 0 obj <> >> endobj 55 0 obj <> >> endobj 56 0 obj <> >> endobj 57 0 obj <> >> endobj 58 0 obj <> >> endobj 59 0 obj <> >> endobj 60 0 obj <> >> endobj 61 0 obj <> >> endobj 62 0 obj <> >> endobj 63 0 obj <> >> endobj 64 0 obj <> >> endobj 65 0 obj <> >> endobj 66 0 obj <> >> endobj 67 0 obj <> >> endobj 68 0 obj <> >> endobj 69 0 obj <> >> endobj 70 0 obj <> >> endobj 71 0 obj <> >> endobj 72 0 obj <> >> endobj 73 0 obj <> >> endobj 74 0 obj <> endobj 75 0 obj <> endobj 76 0 obj <> endobj 77 0 obj <> endobj 78 0 obj <> endobj 79 0 obj <> endobj 80 0 obj <> endobj 81 0 obj <> endobj 82 0 obj <> endobj 83 0 obj <> endobj 84 0 obj <> endobj 85 0 obj <> endobj 86 0 obj <> endobj 87 0 obj <> endobj 88 0 obj <> endobj 89 0 obj <> endobj 90 0 obj <> endobj 91 0 obj <> endobj 92 0 obj <> endobj 141 0 obj <> endobj 142 0 obj < /Creator /Producer /CreationDate(D:20101107125513+01'00')>> endobj xref 0 143 0000000000 65535 f 0000171271 00000 n 0000000019 00000 n 0000003440 00000 n 0000003461 00000 n 0000010946 00000 n 0000171441 00000 n 0000010967 00000 n 0000014806 00000 n 0000171660 00000 n 0000014827 00000 n 0000019599 00000 n 0000171824 00000 n 0000019621 00000 n 0000023844 00000 n 0000171989 00000 n 0000023866 00000 n 0000028871 00000 n 0000172203 00000 n 0000028893 00000 n 0000033727 00000 n 0000172375 00000 n 0000033749 00000 n 0000038718 00000 n 0000172554 00000 n 0000038740 00000 n 0000043510 00000 n 0000172733 00000 n 0000043532 00000 n 0000048428 00000 n 0000172912 00000 n 0000048450 00000 n 0000053273 00000 n 0000173077 00000 n 0000053295 00000 n 0000057617 00000 n 0000173249 00000 n 0000057639 00000 n 0000062024 00000 n 0000173435 00000 n 0000062046 00000 n 0000066434 00000 n 0000173607 00000 n 0000066456 00000 n 0000070096 00000 n 0000173786 00000 n 0000070118 00000 n 0000072731 00000 n 0000174149 00000 n 0000174319 00000 n 0000174489 00000 n 0000174659 00000 n 0000174829 00000 n 0000174999 00000 n 0000175169 00000 n 0000175339 00000 n 0000175509 00000 n 0000175679 00000 n 0000175849 00000 n 0000176019 00000 n 0000176189 00000 n 0000176359 00000 n 0000176545 00000 n 0000176713 00000 n 0000176881 00000 n 0000177049 00000 n 0000177335 00000 n 0000177622 00000 n 0000177797 00000 n 0000177970 00000 n 0000178145 00000 n 0000178320 00000 n 0000178466 00000 n 0000178636 00000 n 0000178785 00000 n 0000178904 00000 n 0000179023 00000 n 0000179140 00000 n 0000179259 00000 n 0000179379 00000 n 0000179495 00000 n 0000179615 00000 n 0000179733 00000 n 0000179849 00000 n 0000179967 00000 n 0000180087 00000 n 0000180205 00000 n 0000180325 00000 n 0000180443 00000 n 0000180559 00000 n 0000180679 00000 n 0000180797 00000 n 0000180917 00000 n 0000173951 00000 n 0000072753 00000 n 0000078543 00000 n 0000078565 00000 n 0000078764 00000 n 0000079061 00000 n 0000079233 00000 n 0000093173 00000 n 0000093197 00000 n 0000093411 00000 n 0000093851 00000 n 0000094162 00000 n 0000099645 00000 n 0000099668 00000 n 0000099866 00000 n 0000100294 00000 n 0000100579 00000 n 0000111348 00000 n 0000111372 00000 n 0000111568 00000 n 0000112104 00000 n 0000112489 00000 n 0000131284 00000 n 0000131308 00000 n 0000131499 00000 n 0000132189 00000 n 0000132715 00000 n 0000139942 00000 n 0000139965 00000 n 0000140161 00000 n 0000140545 00000 n 0000140788 00000 n 0000150875 00000 n 0000150898 00000 n 0000151095 00000 n 0000151600 00000 n 0000151955 00000 n 0000154932 00000 n 0000154955 00000 n 0000155147 00000 n 0000155439 00000 n 0000155601 00000 n 0000170128 00000 n 0000170152 00000 n 0000170343 00000 n 0000170768 00000 n 0000171047 00000 n 0000171170 00000 n 0000181035 00000 n 0000181134 00000 n trailer < ] /DocChecksum /C89C0A9CD01E0F4C59B50E7DB9B33596 >> startxref 181380 %%EOF