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A two-step guide to search engine optimization.
Or, how to get your website to show up higher on search engine results.
This guide is meant to serve as an introduction to the world of search engine optimization (hereafter referred to as SEO), and the practice of tailoring your website's content and links to give you the best shot of outranking competitors in search engine results. Search engine optimization (SEO) is a complex subject, partly because the algorithm that powers Google's results is hidden and insanely complicated, and partly because some people make it more complex than it has to be.
Because this is tailored to our managed hosting customers, we can minimize a lot of the technical aspects of SEO (because we try to optimize that for you at website launch) and focus on the major ongoing optimizations that will help you keep and hopefully improve your site's ranking position. Also, Google is the primary focus of this content because of its market share, and information is presented with the assumption that the goals and methods of other search engines are similar.
SEO Definition: Search engine optimization is the process of positively affecting the visibility of a website or a web page in a search engine's "organic" or un-paid search results.
Preface: How Search Engines Work
Without getting too far into detail (both because the search engine ranking algorithms are mostly hidden, and because the purpose of this page is to try to simplify the concept), here's how search engines parse your website to determine placement against similar sites for the same searches (using Google as an example):
Google crawls the code of your webpage(s) and indexes the text content, images, navigation, etc…
Google's determines the primary focus of the page by contextually analyzing the content(and the keywords within), internal and external links, images, page title, site structure, etc…
When someone searches for those keywords, Google's algorithm ranks your page based on the quality, content, relevance to the searcher's term, the searcher's intent, the domain's authority, the page's authority, and probably dozens if not hundreds of other factors.
If your content, links, authority, quality, and relevance match up the best with the searcher's intent, your site shows up first. If not, other sites show up above yours.
Getting your website to show up in search results boils down so many factors it's tough to comprehend – but luckily Google has publicly stated that content and backlinks are the most influential signals for ranking web pages. It makes complete sense when you consider that Google's primary goal is to get the user exactly what they're looking for when they submit a search. Let's break down both signals in turn:
Step #1: Content Creation
Content is still the best way to show Google (and your visitors) what your page is about.
If you want to be the top-ranking website for selling bicycle parts, your website better have lots of valuable and relevant content about bicycle parts. It should have focused pages for each part available, pricing and purchasing, service and maintenance, features, functions, and everything else that makes your business the end-all be-all expert in bicycle parts. When a user visits your website looking for information or support, you provide the best there is, and leave them completely and utterly satisfied. When you're writing content for your customer that you truly believe will be valuable to them, the rest falls into place naturally because you'll be using the keywords and key phrases that are natural to the product and service. While you don't want to get bogged down in the keyword game, at least be aware of the words you're using in your content – those are the words that Google will associate with your site.
Also, make sure that each page has a primary subject and focus, don't muddle pages with too many separate concepts stuck together. For example, if you carry 12 different bicycle parts, create a "directory" page that lists them all, then give each part its own page with its own focused content. Accomplishing this becomes easier when using a content management system like WordPress, which allows easy creation of pages and groups of pages. Don't forget to include images, video, and lists to spruce up your content!
But don't stop there. About once a month, take an hour and refine your content, add new content, and share your content with others. Is there a product that's underrepresented on your site? Give it it's own page and link to it from other pages. Add a "related" products and services section for each page to give the user an opportunity to click around a bit. Start writing articles on the top 5 best preseason maintenance tasks for the serious bicyclist. Add your industry-specific lingo (what the heck is a chainring tattoo?) and define for your customers. Educate, inform, and entertain. It's work, but all that valuable content gets noticed by your users and by search engines.
Finally, some no-no's. Number one, do not duplicate or copy/paste content from other sites. When search engines notice duplicate content, they always give the SEO benefit to the original source. In come cases, if you duplicate content from other sites yours can be penalized – which results in lower rankings. Number two, don't write content for the sake of SEO. It's pretty easy to separate the valuable content from the keyword-stuffed fluff, and Google can see it too.
Step #2: Backlinks
Backlinks can be a huge boost in growing your site's authority and trustworthiness.
Backlinks are essentially when other websites link back to you, and you gain a bit of domain authority as a result. Backlinks are different than outbound links (links from your site to other sites) and internal links (links to different pages within your site). The goal of backlinks is to build up your authority by getting other sites to point users to you, and by doing so they're saying "this site is worth visiting, go check it out".
The key to backlinks is making sure those sites that link to you are also quality, valuable sites. Because you're inheriting a little of their SEO authority when they link to you, it makes sense that you would want sites that will HELP, not HINDER your reputation. This means avoiding low quality backlinks, illicit or illegal backlinks, black-hat/naughty backlinks, etc… For example, if you want backlinks for your bicycle parts site, approach your part manufacturers to see if they have a directory of distributors you can be added to. Or write a guest article on a bicyclist aficionado website about proper bike storage, and make sure they link back to your site. Link back to your site whenever possible from social media posts, and lastly, if anyone approaches you saying they can give you 1,000 backlinks for $99.99, run the other direction.
Step #3: Sobering Reality Check
This is technically not a step, but an effort to manage expectations in the topsy-turvy world of search engine ranking. What follows is a list of items that every "I dream of the #1 spot" website owner should be aware of. While working away on step 1 and step 2, keep these in mind to avoid potential disappointment:
SEO takes time, so don't expect results immediately. Google and other search engines do not crawl your new content at your command, and it takes time for your website's authority to grow.
Always shoot for the #1 spot, but don't give up if it doesn't happen. Depending on the keywords you want to rank for, having the #1 spot can be either impossible or highly improbable. If that happens, see if you can rank higher for related keywords or key phrases, more local keywords (ie bicycle parts Billings), etc… There's also no law against checking out the competitor that's outranking you and see how their content and link structure are built.
There will be some cases where you will be outranked no matter what. Maybe the other site has been around for 15 years, or maybe the site is entirely 100% about the product or service you offer whereas it's just ONE of the things you offer. There will always be situations where you are outranked due to unavoidable or understandable circumstances, and that's ok – use it as a learning tool to improve your own content and links.
Each keyword / keyphrase is treated differently by search engines. You might rank #1-3 for "bicycle parts billings" but end up in spot #7-10 for "bike parts billings". It's all about the content of your site, so decide which version(s) you want to prioritize, and use them while writing.
All the best SEO in the world won't help if you don't have a way to track your goals. Setup a Google Analytics account, and keep an eye on what your users are doing. Make ways for customer interactions to be trackable, such as measuring contact form submissions, button clicks, etc.. to determine how the site is performing.
Bonus Step #4: The Nerdy Stuff
Absolutely breaking the "two step" rule at this point.
If you stop at step #2 and put the effort in on a regular basis, you'll be just fine. The nerdy stuff (ie technical SEO) is something that we at Ultra Graphics put into sites as we develop them, but that doesn't mean they can't be improved upon just like content creation and backlinks. For those that are interested, here are some technical SEO tips to keep an eye on:
Page Titles are still important. When creating new content or improving existing content, make sure you address the page title. WordPress-based websites have a great built-in function that takes the page title then appends the site name, which gives you an automatic relevance boost for the page (ie Page Title | Site Name, or "Bicycle Bell Maintenance | Bikes-R-Us Billings MT"). With the addition of SEO plugins, we have the ability to customize page titles even further to maximize the SEO benefit – so make sure your pages have the most relevant, focused titles for the content.
Manage keyword density. This is a tricky one, because no one wants to go down the rabbit hole of "how many keywords should my content have" and "how long should my content be." Writing focused valuable content should always be the primary goal no matter how long it is or how many keywords it has – but keep in mind that content is one of the search engines' clues to your page's purpose – so if you're writing about bicycle tires, make sure you use the words bicycle tires. Like mentioned above, this should happen naturally if you're writing for your target customers.
Image Alt tags. While search engines can crawl the caption of an image, there are situations where they could use a little help indexing when that information is missing or unreachable. For this reason, you always want to include image alt tags.
Make your site responsive. There's not too many excuses left not to have a mobile-responsive site. Mobile usage is overtaking desktop usage, having a mobile-friendly site is a search engine ranking factor, and it's just a better user experience overall.
Have an organized sitemap. This involves making sure your primary and secondary pages are structured in a way that makes sense to your users and the search engines. Your internal linking structure should lead users from the generalized content to the specialized content in easy and simple ways. In addition, make sure you have a sitemap to submit to the search engines to help them understand the site's structure.
Make your site load as fast as possible. This involves making sure your images are optimized and the right size for their position on the page, using compression on your code media files when possible, and utilizing browser caching so the site doesn't have to load everything fresh everytime a user visits. Site speed is a ranking factor in the sense that if multiple users are "pogo-sticking" (backing out of a site and choosing a different search result because the site didn't load fast enough), the search engines will notice and downrank due to poor user experience.
Use internal linking. The most prevalent use of internal linking is the main navigational menu standard to almost all websites. It's always there and available, and you want to have most of your main and sub pages represented. In addition to that, don't be afraid to link around within the body of your content to give users access to related info.
Submit the site to Google and Bing through their respective account management tools. For Google, it's Google Search Console, and for Bing it's Bing Webmaster. Both sites allow you to submit a site, submit a sitemap, and view valuable data on search analytics, site health, and more.
Create a Google analytics account and assign a tracking number to the site. Once the tracking script is live TONS of data will pour in, giving you insights to dozens of metrics like user sources, behavior, acquisition, demographics and more. It's an excellent way to keep track of your site, and you can glean areas in need of improvement by analyzing the data.
Search Engine Optimization is something that seems to fight tooth and nail against simplification. For this reason, so many people can get caught up in the minutia of SEO while simultaneously losing sight of the primary goal of creating value for their customers. In the small business and local SEO world, getting bogged down in the complexity of SEO can cause frustration, confusion, and exhaustion – so it's important to think about it from the perspective of getting quality content out for your audience.
We hope that this introduction and guide serves to give you enough information to be confident in creating content and links, and hope that you will not hesitate to contact us with questions and input. If you would like some advice or direction on where to begin for your site, please send us a message and we'll try to help!
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Lady Gaga apologizes for R. Kelly duet, vows to pull it from streaming services
Lady Gaga apologized Wednesday night for her 2013 collaboration with R. Kelly.
(Valerie Macon / AFP/Getty Images)
Lady Gaga broke her silence on R. Kelly on Wednesday night , finally acknowledging the mounting allegations of sexual misconduct against the R&B singer and apologizing for her 2013 collaboration with him.
The "A Star Is Born" actress wrote on Twitter that she stood behind Kelly's accusers and explained that when she chose to work with the "Ignition" singer, she was at a dark time in her life, as she struggled with the aftermath of her own sexual assault.
"The song is called 'Do What U Want (With My Body),' I think it's clear how explicitly twisted my thinking was at the time," Gaga shared, adding that she wished she could go back and encourage her younger self to seek the help she so clearly needed.
I stand by anyone who has ever been the victim of sexual assault: pic.twitter.com/67sz4WpV3i
— Lady Gaga (@ladygaga) January 10, 2019
The "Poker Face" singer then announced her intent to remove the song from streaming services, including iTunes.
Though accusations of misconduct — including alleged sexual, mental and physical abuse of underage girls, some as young as 13 — have swirled around Kelly for nearly 25 years, the allegations found new life after Lifetime's six-part docuseries "Surviving R. Kelly" aired last week. Kelly has denied the allegations.
Gaga also wrote about her long history of support for sexual assault survivors of all kinds, clarifying that she mentions it "not to make excuses for myself, but to explain."
"Til it happens to you," she continued, echoing the lyrics of her Oscar-nominated song from the campus rape documentary "The Hunting Ground," "you don't know how it feels.
"I'm sorry," she concluded, "both for my poor judgement when I was young, and for not speaking out sooner. I love you."
libby.hill@latimes.com
@midwestspitfire
Libby Hill
Libby Hill is a former television reporter for the Los Angeles Times.
Review: Forget sexy. Eric Fischl paints the dark dramas amid all that skin
The scantily clad bodies in Eric Fischl's paintings at the L.A. gallery Sprüth Magers seem so sunny and appealing. But take a closer look.
'Schitt's Creek' stars Dan Levy, Eugene Levy and Catherine O'Hara hit pay dirt with 2019 Emmy nominations
After five seasons, "Schitt's Creek" received its first-ever Emmy nominations.
Commentary: Fantasy collides with reality as Emmy voters reward 'Thrones,' rebuke Trump
Emmy standouts "When They See Us" and "Game of Thrones" reflect our cultural moment's profound ambivalence.
Review: The L.A. art exhibition that will have you laughing, gasping and crying
The 50-year survey of work by Terry Allen at L.A. Louver is a don't-miss show of the summer.
Latest Entertainment & Arts
'The Act's' Joey King hopes her Emmy nom brings justice to Gypsy Rose Blanchard
The first-time Emmy nominee said she wants the Hulu series to change perceptions about Blanchard, who is serving jail time for the death of her mother.
Richard Madden's fans are none too pleased about his Emmys snub
Actor Richard Madden was shut out of Emmy nominations on Tuesday, but his show "Bodyguard" was honored. Cue the Twitter backlash and memes.
Between 'Fleabag' and 'Killing Eve,' Phoebe Waller-Bridge has the Emmys nominations' golden touch
Yes, the Hot Priest got snubbed, but Phoebe Waller-Bridge's comedy "Fleabag" cleaned up with 11 Emmy nominations Tuesday.
When it comes to Emmy-nominated comedies, it's no longer hip to be square
From "The Good Place" to "Russian Doll," this year's Emmy-nominated comedies live closer to the edge than the mainstream.
'When They See Us' star on competing for Emmy against 'Moonlight' costar Mahershala Ali
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Review: Ava DuVernay's 'When They See Us' gets to the human heart of the Central Park Five

redpajama_set_name: RedPajamaCommonCrawl


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Shaun Church
Shaun loves long walks on the beach, a cup of hot tea on a rainy day and....wait, wrong profile. He's a sarcastic fella with a mind for statistics and a heart for football. Put the two together and you get what you see here: an opinionated stats machine with a love of pigskin and the written word. "If you will it, dude, it is no dream" — Theodor Herzl
Report: Texans Signs Receiver Cecil Shorts to Two-Year Deal
One of the more underrated free agents of the 2015 offseason, wide receiver Cecil Shorts has signed a two-year deal to join the Houston Texans for the...
Report: Antonio Cromartie Signs with the New York Jets
According to multiple reports, cornerback Antonio Cromartie is returning to the New York Jets on a free agent deal. https://twitter.com/AdamSchefter/status/576094075721551872 A former first-round pick of the San Diego Chargers,...
Report: Bryan Bulaga Returning to the Packers
Free-agent right tackle Bryan Bulaga is apparently returning to the Green Bay Packers, according to ESPN's Chris Mortensen. https://twitter.com/mortreport/status/575355178435624961 While Mortensen didn't get into detail regarding the contract, other reports...
Report: Orlando Franklin to Join the Chargers on a Five-Year Deal
Offensive lineman Orlando Franklin has signed a five-year deal worth $36.5 million to join the San Diego Chargers, according to ESPN's Adam Schefter. https://twitter.com/AdamSchefter/status/574898474560405505 When the Denver Broncos selected...
Report: Pernell McPhee Signs Five-Year Deal with the Bears
Outside linebacker Pernell McPhee has signed a five-year deal to join the Chicago Bears in 2015, according to the Baltimore Sun's Aaron Wilson. The contract calls for...
Report: Ndamukong Suh to Sign $114 Million Deal to Join Dolphins
The Miami Dolphins have reportedly won the Ndamukong Suh sweepstakes, signing the All-Pro defensive tackle to a massive $114 million deal that could potentially keep him in...
Report: Eagles Trade LeSean McCoy for Bills' Kiko Alonso
A week before free agency is set to open, the Philadelphia Eagles keep shedding cap space. Outside linebacker Trent Cole was released on Tuesday, and then running...
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The New York Giants are considering going after free agent defensive tackle Ndamukong Suh, according to Ralph Vacchiano of the New York Daily News. Suh, the best defensive...
Report: Darnell Dockett Visiting 49ers on Tuesday
The Arizona Cardinals released longtime defensive tackle Darnell Dockett last week after talks with the player's agent, Drew Rosenhaus, fell apart. Dockett is now free to sign...
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The day NFL free agency opens can be too much to handle for casual fans. Transactions take place at such a rapid rate, it's sometimes difficult to...
5 Potential Landing Spots for Running Back Steven Jackson
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With the news that Minnesota Vikings star running back Adrian Peterson won his court hearing against the NFL and is closer to being reinstated, it's time to...
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He is arguably the biggest name on the free-agent market this season—the biggest star on the defensive side, anyway. Defensive tackle Ndamukong Suh has been a game-wrecker...
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Catalyst pharmaceuticals—working toward a brighter future for everyone affected by a rare disease
Organizations dedicated to helping people with rare diseases
Catalyst Pharmaceuticals partners with advocacy organizations to support patients and the rare disease community. The following organizations can provide information and assistance in dealing with neuromuscular and other rare diseases.
National Organization for Rare Disorders (NORD)
Established in the late 1970s and early 1980s, NORD is a patient advocacy organization dedicated to individuals with rare diseases and the organizations that serve them. NORD, along with its more than 260 patient organization members, is committed to the identification, treatment, and cure of rare disorders through programs of education, advocacy, research, and patient services. Learn More
Myasthenia Gravis Foundation of America (MGFA)
The Myasthenia Gravis Foundation of America is the only national volunteer health agency in the United States dedicated solely to the fight against myasthenia gravis. MGFA is committed to finding a cure for myasthenia gravis and closely related disorders, improving treatment options, and providing information and support to people with myasthenia gravis, through research, education, community programs, and advocacy. Learn More
Global Genes
Global Genes is a leading rare disease advocacy organization with global reach to the worldwide rare community of patients, caregivers, advocates, and clinical partners. Its mission is to eliminate the challenges of rare disease. Learn More
Living with LEMS
Part of the Global Genes community, LivingwithLEMS.org is a site for all patients with Lambert-Eaton myasthenic syndrome (LEMS) and their caregivers and family members that offers information, resources, and support. The goals of this site are to build connections and offer resources and support to help LEMS patients become informed advocates. Learn More
Muscular Dystrophy Association (MDA)
Established in June 1950, the Muscular Dystrophy Association is committed to saving and improving the lives of kids and adults living with muscular dystrophy, amyotrophic lateral sclerosis (ALS), and related muscle-debilitating diseases that take away physical strength, independence, and life. Learn More
Child Neurology Foundation (CNF)
Established in 2001, the Child Neurology Foundation serves pediatric patients through advocacy, education, research, and support initiatives. Its mission is to serve as a collaborative center of education and support for caregivers and their children with neurologic conditions. Learn More
Explore upcoming events and initiatives to raise awareness and build support
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Album of photographs of N.S.W. and New Zealand [picture]
PIC Album 95f
1 album (40 photographs) : albumen ; 29 x 25 cm.
Paine, John & Reynolds, W. M & Kitch & Co. ([188-]). Album of photographs of N.S.W. and New Zealand Retrieved January 27, 2023, from http://nla.gov.au/nla.obj-133315655
Paine, John, Reynolds, W. M and Kitch & Co. Album of photographs of N.S.W. and New Zealand : , [188-]. Web. 27 January 2023 <http://nla.gov.au/nla.obj-133315655>
Paine, John & Reynolds, W. M & Kitch & Co. [188-], Album of photographs of N.S.W. and New Zealand , viewed 27 January 2023 http://nla.gov.au/nla.obj-133315655
| author1=Paine, John.
| author2=Reynolds, W. M.
| author3=Kitch & Co.
| title=Album of photographs of N.S.W. and New Zealand
| section=1 album (40 photographs) : albumen ; 29 x 25 cm.
| publisher=


I love Japanese culture. There are millions of reasons to love it. One of the reasons is the way Japanese conceive seasonality. They make a lot of the fact that they have four distinct seasons - as if it was something unique to their country.
The Japanese concept of seasonality is so strong that if influenced almost every field. Seasonality is a keystone of the Japanese diet, one of the most sophisticated culinary traditions is the world. And it is a crucial point in color combinations.
We are approaching Autumn and I wanted to show six autumn color combinations I found in different books about the Traditional Japanese Color Palette.
How to use this? Just like the traditional Japanese color combinations, you can use a color picker directly on this website. Alternatively, you can copy/paste the images into Photoshop or Sketch and pick the colors there.


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Q: Can water from an overflowing fountain fall through holes in the floor? I just set up a base camp on a level that has an aligned altar and a fountain which I've dug to make pools for dipping, and it struck me how convenient that is.  Made me wonder if the fountain was a level up, could I dig holes around the room prior to digging the fountain (or over/adjacent to an existing pool) to create a pool in a level below?  The wiki says that objects and monsters will fall through, and I've seen pools form in other rooms through open doorways (even quite far away from the fountain. Or does water follow a different protocol?  Just curious.

A: After more than 50 attempts at filling rooms around a fountain with holes and creating pools, I conclude that the water does not fall through (at least if there are any undug spaces within a six space radius-eg, paths). Thorough searching of the next three levels down were always dry.  Later, if possible/convenient, I plan to try this test using Levitation to completely fill the rooms, but I doubt it will be as thorough a test given the probabilities of obtaining the necessary item(s).  I also doubt that the outcome will differ. I'll keep you posted

redpajama_set_name: RedPajamaStackExchange


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Q: Gauss's Law and Conductors?
At equilibrium, the electric field at and just at the surface of the conductor must be perpendicular to the surface. If it were not, it would have a component parallel to the conductor's surface and would exert a force on the surface charge causing them to move and violating our assumption that the conductor is at equilibrium.

In the above diagram the field lines are not perpendicular to the surface, but they don't intersect any surface charges so there wouldn't be any movement and the system would be an equilibrium. So why is the book's explanation valid?

A: If you break the electric field lines you've drawn into components parallel to the surface and components perpendicular to the surface, you'll find a net field pointing to the left. That means positive charges would feel a force to the left, and since this is a conductor, they're free to move, and so they move to the left. The only way for the charges to stop moving is for all of the electric field components that are horizontal/tangential/parallel to the surface to cancel out, leaving only components that are perpendicular to the surface.
Maybe the picture below can help:

It can get a little confusing, but keep in mind that a vector field has a vector associated with each point in space, and when you draw vectors that represent the field, the vectors you draw represent the field exactly at the tail of the vector (the point where the vector begins), and nowhere else, no matter how long the arrows are. So then the length is just telling you the strength of the field at the point corresponding to the tail of the vector, and the direction is telling you the direction of the vector field at the point corresponding to the tail of the vector. In other words, we don't care whether the vectors "intersect" a charge when we draw them, because the vectors are only telling us something about the point at which they originate (their tail) and nowhere else. (i.e. In my picture, I know something about the field at each charge, but nowhere else. Even though the vectors extend up and to the left, they are telling me nothing about the electric field at points above and to the left of the charges, only exactly at the charges. Thus each of these charges feels an electric field to the left, as drawn (and also a component pointed up). These components are shown in red in the bottom part of the figure. Since they (the charges) are in a conductor, they are free to move to the left as long as they feel a field pointed that way. (They won't move up though, because they would have to jump out of the conductor to do that, assuming these charges are lying on the surface of a conductor.))
I hope that helps to clear it up. To reiterate, these vectors tell us about the field at each of the charges. So each charge must be feeling a field (and therefore a force) to the left, with the vectors as drawn.

A: Dfg, you have not drawn an equilibrium electric field and the charges will move. We can decompose the field you drew into two parts -- the perpendicular part, and the horizontal part. This horizontal part pushes the charges to the left.
You are confused about the field lines not intersecting the surface. In this case they do. Outside of equilibrium, fields can permeate conductors, and fields can have components parallel to the surface.
Perhaps it makes it clearer to think about it this way: imagine you had a conductor in equilibrium with all of the field lines perpendicular to the surface of the conductor. Then you apply an electric field to the left. Before the charges have time to move, you draw a picture of the fields and charges. That is the picture you drew.


Can you explain briefly exactly what you do?
As a mold inspector our job is to inspect a property for mold contamination, identify the type of mold and its toxins, determine the source of the mold growth and a scope of work for proper remediation. On top of this, in our inspection we report areas that could be susceptible to future mold contamination and give recommendations on how to fix and prevent mold from growing.
What signs would I see that indicate the presence of mold?
If there are no signs of visible mold, indications would include a musty odor, water stains on the ceilings and walls, cracked tiles and deteriorated grout in the kitchens and bathrooms, any water stains/damage below sinks and/or soft spots near or around any sinks, tubs, toilets or drains.
What are common causes of mold growth?
There are two main causes of mold growth, Poor ventilation and moisture.
First defense against mold growth is to eliminate water intrusion and maintain low moisture levels. Other prevention steps would be to be sure to use the bathroom fan when showering, don't leave wet rags or towels beneath the sink or in laundry room closets and try to allow the property to "breathe" by opening windows regularly.
What can they expect from a mold inspection? What happens during the inspection, how long does it take, etc.?
It depends on the situation. Inspections can last from 30 minutes for a partial inspection (inspection of a specific area) to three hours for an inspection of the entire property.
During the inspection I will be using a moisture meter as well as sight and smell to find signs of moisture intrusion. If any moisture intrusion is found I will then inspect deeper to determine if there is any microbial growth. If there is microbial growth, I will take a sample, send it to a lab to determine the type of mold and it's level of toxicity.
It is important for everybody to know that mold is everywhere, it's in the air we breathe. There are thousands of different types of mold, out of the thousands there are approximately 100 that produce toxins. This is why it's important to determine the type of mold. While you do not want any type of mold to be growing where you live or work, drastic action needs to be taken when toxic molds are present.


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Q: Copy VB Datatable To Local Database I'm Using And Datagridview To load Data From Excelsheet using OleDbConnection
After Editing Some Rows In Datagridview I Want To Store It For further use
So I just Want To that Data to Store in local VB database I can insert Single Values To local databse using following code but don't know to how to insert all of these rows to databse
cmd = New SqlCeCommand("Insert Into Users(name, phone) Values('phenry', '88866677')", con)

If con.State = ConnectionState.Closed Then con.Open()
cmd.ExecuteNonQuery()
con.close

A: Use my SqlCeBulkCopy library for inserting datatables to SQL Server Compact


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Q: System.Diagnostics.Trace in WCF service implementation hosted on IIS will not work I want to rant and rave, really, really bad because this just seems completely unbelievable.  Instead, I'm going to try and describe my situation as clearly as possible and hope that someone will tap me on the shoulder and point out my obvious error and let me carry on merrily.
I have a client/server application where the server is a set of IIS hosted WCF services.  Thus, there are contracts and I've got service code which implements them.  When I publish  Now, I'm having a problem with a duplex contract over a nettcp binding which does not stay alive after the first response even though the client channel is cached on the server for later use in a static list, is never closed, has timeouts set appropriately, etc but the bugger doesn't want to work.
So I figured I'd add some traces to write out some extra information about where in my service implementation code it could be having a problem.  This is in addition to the System.ServiceModel trace source I have set up which logs all of the service model stuff and thankfully has been working without a problem for a while now.  Below are two different versions of the relevant section of my web.config which I have tried in an attempt to get regular tracing to write to a file:
1:
 <system.diagnostics>
 <trace autoflush="true" indentsize="4">
</trace>
<sources>
  <source name="System.ServiceModel" switchValue="Warning" propagateActivity="true">
    <!--use switchValue="All" or "Verbose" for more information-->
    <listeners>
      <add name="xml" />
    </listeners>
  </source>
  <source name="System.ServiceModel.MessageLogging">
  <listeners>
    <add name="xml"/>
  </listeners>
</source>
  <source name="DuplexSource" switchValue="All" propagateActivity="true">
    <listeners>
      <add name="txt" />
    </listeners>
  </source>
</sources>
<sharedListeners>
  <remove name="Default" />
  <add name="txt" type="System.Diagnostics.TextWriterTraceListener" initializeData="c:\Logs\XXXErrorLog.txt" traceOutputOptions="Callstack" />
  <add name="xml" type="System.Diagnostics.XmlWriterTraceListener" initializeData="c:\Logs\ServerTraces.svclog" />
</sharedListeners>

When I have it set thusly, I create a TraceSource object in my service code, TraceSource duplexSource = new TraceSource("DuplexSource");, then I use that trace source to write out statements.  The file is never created, it is never attempted to be created (using Process Monitor I can see that it never attempts).  The file permissions are wide open and the other log file for the xml listener works wonderfully.
2, I've also tried a more straight forward Trace configuration:
 <system.diagnostics>
     <trace autoflush="true" indentsize="4">
      <listeners>
        <add name="txt" />
      </listeners>
    </trace>
    <sources>
      <source name="System.ServiceModel" switchValue="Warning" propagateActivity="true">
        <!--use switchValue="All" or "Verbose" for more information-->
        <listeners>
          <add name="xml" />
        </listeners>
      </source>
      <source name="System.ServiceModel.MessageLogging">
      <listeners>
        <add name="xml"/>
      </listeners>
    </source>
    <sharedListeners>
      <remove name="Default" />
      <add name="txt" type="System.Diagnostics.TextWriterTraceListener" initializeData="c:\Logs\XXXErrorLog.txt" traceOutputOptions="Callstack" />
      <add name="xml" type="System.Diagnostics.XmlWriterTraceListener" initializeData="c:\Logs\ServerTraces.svclog" />
    </sharedListeners>
  </system.diagnostics>

Again, the log file is never even attempted to be created.  Now, I've checked at runtime that I can write a file to that directory by actually doing so, then I wrote to that test file the contents of the Trace.Listeners collection to verify my listener was there, which it is.  I even then called directy into the Listener's write method and this actually does get the file to be created and the WriteLine call successfully writes to the file as expected.  Using System.Diagnostic.Trace.WriteLine does nothing however.
Any ideas of what could be causing this?


It's not that Bob Kuttner thinks capitalism is a good thing, exactly. It's more that he considers it a part of our current reality not likely to go away anytime soon. So for him the task at hand is figuring out how to temper it in the democratic political process — if possible. This he thinks was actually done rather well during a remarkable period of economic growth and equalization starting after the Second World War and lasting until the anti-democratic globalization trend of the 1970s and 1980s brought it to a halt.
His major influence in his understanding of what is to be done is the relatively little known Hungarian economist Karl Polanyi, who he believes "recognized the propensity of capitalism to create calamity but did not believe that outcome to be inevitable." This he contrasts with capitalism's more famous critic, Karl Marx, the "great pessimist," whose "bleak prediction of capitalist self-destruction seemed ludicrous" in the postwar era. Today, however, the views Kuttner elaborates in Can Democracy Survive Global Capitalism? are also decidedly pessimistic.
But the US isn't the only place where advocacy of working class interests has grown rarer; Kuttner cites Germany's former Social Democratic Premier Gerhardt Schröder and especially former United Kingdom Labour Party Prime Minister Tony Blair for similarly abandoning the European working class with their "Third Way" policies proffered as an alternative to both capitalism and socialism. Kuttner explains that the traditional understanding of "Third Way" was an alternative to capitalism and Soviet-Bloc communism, largely associated with parties of the Scandinavian left, incorporating policies like Sweden's financial support and retraining for displaced workers and its labor movement's industry-wide — rather than company by company — solidarity wage bargaining. Where these policies still exist they retain popularity, to the point where, as Kuttner notes, the anti-immigration Danish People's Party have claimed to be stronger supporters of these "welfare state" programs than the Social Democrats whose past governments created them — supporters, that is, so long as the beneficiaries are Danes — a scenario playing out in Sweden as well.
The big story on the European front, though, is the failure of the European Union — whose "democracy deficit" has long been cited by internal critics — to develop as the social democratic alternative many assumed it would be, instead opting to "replicate the worst aspects of a global system captive to the demands of speculative private capital," as Kuttner sees it. This book, by the way, is no superficial journalistic gloss with the story in the first chapter, reiteration in the middle, and recommendations in the last. It's crammed with information and is worth reading for Kuttner's take on European politics alone. The continent's fiscally conservative economic response to the Greek debt crisis, he pointedly reminds us, was largely driven by the politics of the Christian Democratic/Social Democratic governments of Germany, a nation famous for its postwar "Economic Miracle" — achieved after its entire post-World War II debt was forgiven.
We might have expected this book to express greater enthusiasm for the support the Sanders campaign drew, particularly among young voters, in articulating an alternative to permanent Goldman Sachs government. But throughout, Kuttner displays a certain wariness — for instance gingerly quoting sociologist Christopher Jencks's description of "the political control over the economic institutions" that "other countries call socialism" — that we might almost see as generational, one shared by many older voters who fundamentally agreed with Sanders but feared that the "S word" just wouldn't fly in American politics, even as they could see that the Great Fear of it had not carried over to the younger electorate. It's not that we have any doubt how Kuttner cast his presidential primary vote and it's not that he fears the idea, or even shies away from it — he was a regular and welcome speaker at Democratic Socialist of America meetings when I lived in Boston twenty-five years ago — he just appears to think that change on that order is not within the realm of possibility.
At a time when the global environmental crisis seems to obviously cry out for global solutions, Kuttner fears that "True global government … is utopian or worse" and that "The world is too diverse and complex, and any government that somehow emerged would likely be even further removed from democratic checks, rather as the EU has become." But the fact that it may be difficult to imagine how we dig ourselves out of the worldwide ditch we are currently digging ourselves into does not make the need to do so go away. Similarly, he has relatively little to say about a futile foreign policy that diverts enormous resources from solving the array of problems that he describes so well. But he is certainly right in thinking that even the more limited goal he thinks is realistic — "A democratic left that both harnesses capitalism and strengthens democracy" — is well beyond anything that has come out of the White House in many years.


Whether used with a shade or with a stand-alone pendant as free hanging bulb, our decorative Short Tube Spiral Filament Bulbs cast a warm light output that creates that truly unique vintage feel. Rated at approximately 3000 hours life, our vintage bulbs are available in an E27 screw fitting and are suitable for use with a dimmer.
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The Henry "Determined Spirit" Furler Memorial Fund
Henry Furler passed away from SUDEP (Sudden Unexpected Death of Epilepsy) at the age of 22 on 12/26/2020. Henry was a leader in school, scouting, the community, and in our family. He never wanted special dispensations for his illnesses. He pushed past all his medical issues to lead a life fuller than most people live in 80 years. His wit, charm, and light are sorely missed. His family has developed this memorial fund to continue the work that Henry was passionate about.
Henry lived a lot in only 22 years. While medically complex from birth, he never let his medical challenges slow him down. He was often hospitalized, but as soon as he was discharged, he immediately went on with life, often going directly from the hospital to school, camp, or another fun activity.
Henry had a burning curiosity about the world from a very young age and never stopped researching and learning. He was passionate about Holocaust education and the importance of remembering and learning from history.
Despite a serious autoimmune condition which would have deterred most youth, he took on the challenge of leadership in Scouting, eventually earning the rank of Eagle Scout and being called to the Vigil Honor in the Order of the Arrow. As a Vigil Honor member, he was bestowed the name of Degugotanv Adanvdo, which in Cherokee means "Determined Spirit". There could be no more fitting name for a young man who persevered continuously despite the perpetual risk of epileptic seizures. He refused to allow his condition to define him or limit his potential. He was, and will always be, an inspiration to us in how we should always press ahead to achieve our greatest potential in the face of seemingly poor odds.
To keep Henry's memory alive, we have also launched Traveling the World with Flat Henry. We are happy to send "Flat Henry's" to donors to his memorial fund. Please message us and follow the adventures of Flat Henry on Facebook and Instagram.
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Muzik Aktif (TV) online - Τηλεόραση ζωντανά
Muzik Aktif (TV)
Χώρα: Μαλαισία
Κατηγορία: Μουσική
Muzik Aktif (TV) 3.8 από 5
RTM Muzik Aktif is a music channel in Malaysia. It is the first Malaysian music channel, and one of the first Malaysian digital channels. It launched on the Astro platform on 16 March 2009. It is now a satellite channel, following the reportedly deferral and abandonment of the digital terrestrial television project by RTM.
Μαλαισία - Μουσική
RTM Muzik Aktif is a music channel in Malaysia. It is the first Malaysian music channel, and one of the first Malaysian digital channels. It launched
TV2 - RTM
Μαλαισία - Γενικός
Radio Televisyen Malaysia 2 atau RTM TV2 atau RTM 2 merupakan sebuah stesen televisyen pemerintahan terestrial nasional yang dimiliki oleh kerajaan
Mob TV
Μαλαισία - Ειδήσεις
mobtv aims to give viewers programmes that are different from the traditional mainstream TV channels. Our programmes, reflects from the available
TV1 is a state-owned free-to-air television network in Malaysia, which is owned and operated by Radio Televisyen Malaysia, a government agency. It
Ceria TVi - RTM
RTM TVi, also known as TVi is a digital television station in Malaysia owned and operated by the Radio Television Malaysia of the Malaysian federal
TVSelangor adalah saluran televisyen milik Kerajaan Negeri Selangor Darul Ehsan yang ditadbir oleh Pakatan Rakyat. TVSelangor mula beroperasi pada


Adopting new technology is a time of transition for any type of business, including car dealerships. Part of the challenge lies in "selling" the new technology to employees, which will encourage them to learn about its capabilities and use it to their – and the company's - advantage.
Employees won't embrace change just for the sake of doing something a different way. You'll need to be able to clearly show how new technology will benefit the dealership as a whole while making employees' jobs easier. For example, will the new technology help employees fill out less paperwork? Will it help salespeople reach their goals faster and make more money?
Rewarding employees who are successfully adopting the technology is a powerful "carrot" that is much more effective than reprimanding employees who don't use it. Make the rewards fun, perhaps making a game of accumulating points to achieve "status" or rewards. Even a small cash bonus, combined with bragging rights, can be a powerful incentive.
As soon as everyone receives training, transition to the new technology as soon as it's feasible to do so. If, for example, you're tracking reconditioning numbers with ReconTRAC software, ask for real-time information for your dealership's reports.
Users should find new technology intuitive and user-friendly. There's always a learning curve, of course, but technology shouldn't be more complicated than it has to be. This makes users question its usefulness and become discouraged as they're trying to learn it. An intuitive product like ReconTRAC reconditioning software is easy to implement and learn and will be adopted more quickly than technology that's unnecessarily difficult to learn and use.
Every manager or business owner knows there are certain employees who have a good deal of influence over other employees. Their behavior and habits set the example for others. Don't fail to get these influencers on board early in the process, because they'll soon have other employees embracing the new technology as well.
If some employees are reluctant to use the new technology, don't punish them unless absolutely necessary. This should be the last resort, after incentives and other methods haven't worked, because it will make them even more resentful of new technology.


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Tags: Contemporary art
Legacy Museum
Open since April 2018, the Legacy Museum is built on the site of a former warehouse where enslaved Africans were imprisoned. The site is located between an historic slave market and the main river dock and train station where tens of thousands of enslaved people were transported through at the height of the domestic slave trade. Today it is a short walk from the National Memorial for Peace and Justice in the heart of downtown Montgomery, Alabama. The museum's mission is to acknowledge and present the legacies of slavery, lynching, and racial segregation in the United States. The Legacy Museum is used to educate people about long-standing racial inequality in America and prompt them to search for truth and reconciliation with the aim of developing real solutions to contemporary problems. Its managing organisation, the Equal Justice Initiative, was founded in 1989 by Bryan Stevenson and was initially set up to help the poor, the incarcerated, and the condemned. In continuing this spirit of active community engagement, the museum also runs concerts and academic summits, and actively participates in human rights campaigning in Alabama.
The museum exhibition begins by showing replica constructions of slave pens, accompanied by unique audio and visual effects, attempting to allow visitors to empathise with an imprisoned slave waiting to be sold at the nearby auction block. There are also first-person accounts from enslaved people, portrayed on film by actors. Alongside these audio-visual experiences there are also more traditional exhibits that examine America's history of racial injustice and its legacy, drawing connections across generations of Americans impacted by racial difference. These exhibits feature artefacts and archival materials. The museum also includes pieces of contemporary art, commissioned with creative partners to depict contemporary responses to the ongoing legacies of slavery and racial inequalities.
Badagry Heritage Museum
The Badagry Heritage Museum is housed in the former district officer's office that was constructed in 1863. The museum attempts to highlight the injustice and horror of the transatlantic slave trade, whilst also exhibiting the rich histories and cultures of Africa. There is a specific focus on the heritage of pre and post-transatlantic slave trade in Badagry. The museum consists of eight galleries each dealing with particular themes relating to local heritage and the transatlantic slave trade. Guided tours are available. The museum is managed by the Nigerian Cultural Commission.Each of eight galleries are named after a part of the transatlantic slave trade. The first, the 'Introductory Gallery', focuses on the founding and early history of Badagry. The next five galleries all deal specifically with distinct phases of the slave trade, from capture, transportation, material culture, resistance, and industry. In these galleries are objects that illustrate the brutal nature of enslavement, including shackles and manacles, as well as replicas of slave ships. The seventh gallery examines the forced integration of the enslaved into the countries they were transported to, featuring videos of reconstructed slave auctions. Finally, the last gallery explores abolition movements and the persistence of slavery even after its legal end. The museum has attempted to incoporate the voices of local people within the displays, as well as depicting the significance they place on certain cultural and historical items within the museum. In addition to the historical collections, there are also some examples of contemporary art throughout, showing modern reflections on the systems of enslavement.
Memorial ACTe
On the former site of a sugar factory, Guadelopue's Memorial ACTe stands as a cultural institution that aims to preserve the memory of those who suffered during slavery, as well as to act as a space for discussion on the continuing repercussions. Part of UNESCO's Slave Route project, its main focus is on the challenges of bondage in the Guadeloupe islands. Memorial ACTe was opened in 2015 by then French President, Francois Hollande, and nineteen other heads of state.
The Memorial ACTe is a unique museum, both internally and externally, through its architectural design. It is also a centre for live arts and debates. It aims to provide interpretation through a variety of viewpoints and disciplines, using not only history but ethnology, social anthropology and history of art as well. The history of slavery and the slave trade are explored through a range of archival material, images and artefacts, with visual and audio installations too.
The permanent exhibition space examines the history of slavery from antiquity to the present day, using objects, reconstructions, visual and audio installations and digital interactives. The temporary exhibition space focusses on contemporary forms of artistic expression in relation to slavery around the world. In addition, there is a research centre where visitors can look into their genealogy, as well as a library and a conference hall.
Beauté Congo – 1926-2015 – Congo Kitoko, Fondation Cartier, Paris (11 July 2015 - 10 January 2016)
A place of extraordinary cultural vitality, the creative spirit of the Democratic Republic of the Congo will be honored in the exhibition Beauté Congo – 1926-2015 – Congo Kitoko presented at the Fondation Cartier pour l'art contemporain with André Magnin, Chief Curator.
Modern painting in the Congo in the 1920s: Taking as its point of departure the birth of modern painting in the Congo in the 1920s, this ambitious exhibition will trace almost a century of the country's artistic production. While specifically focusing on painting, it will also include music, sculpture, photography, and comics, providing the public with the unique opportunity to discover the diverse and vibrant art scene of the region.
Precursors: As early as the mid-1920s, when the Congo was still a Belgian colony, precursors such as Albert and Antoinette Lubaki and Djilatendo painted the first known Congolese works on paper, anticipating the development of modern and contemporary art. Figurative or geometric in style, their works represent village life, the natural world, dreams and legends with great poetry and imagination. Following World War II, the French painter Pierre Romain-Desfossés moved to the Congo and founded an art workshop called the Atelier du Hangar. In this workshop, active until the death of Desfossés in 1954, painters such as Bela Sara, Mwenze Kibwanga and Pili Pili Mulongoy learned to freely exercize their imaginations, creating colorful and enchanting works in their own highly inventive and distinctive styles.
Popular painters: Twenty years later, the exhibition Art Partout, presented in Kinshasa in 1978, revealed to the public the painters Chéri Samba, Chéri Chérin, and Moke and other artists, many of whom are still active today. Fascinated by their urban environment and collective memory, they would call themselves "popular painters." They developed a new approach to figurative painting, inspired by daily, political or social events that were easily recognizable by their fellow citizens. Papa Mfumu'eto, known for his independent prolific comic book production and distribution throughout Kinshasa in the 1990s, also explored daily life and common struggles throughout his work. Today younger artists like J.-P. Mika and Monsengo Shula, tuned-in to current events on a global scale, carry on the approach of their elders.
53 echoes of Zaire: Popular Painting from Lubumbashi Democratic Republic of Congo, Sulger-Buel Lovell Gallery, London (27 May – 30 June 2015)
Popular Painting is a genre traceable to the 1920s, which chronicles contemporary social and political realities in Congo (then Zaïre). This art movement remains very little known outside the continent. Scholars have dedicated their research activities to Popular Painting. They often knew the main actors of the movement in the early 1970s, and shared this knowledge by publishing articles, books and exhibition catalogues. " During a brief period between the late sixties and the late seventies, popular genre painting bloomed in the urban and industrial Katanga region of the Democratic Republic of the Congo Artists, most of them self-educated, produced paintings (acrylics or oils on canvas reclaimed from flour sacking) for local use. Through a limited number of recurrent topics, they articulated a system of shared memories.
Artists in Residence. Sammy Baloji & Patrick Mudekereza,
Congo Far West, Royal Museum for Central Africa, Tevuren, Belgium (11 May – 4 September 2011)
In this exhibition the artists Sammy Baloji and Patrick Mudekereza present us with a contemporary take on the colonial past. As artists in residence in the museum they got carte blanche in the museum collections. In dialogue with scientists from the museum they have started working with a few collection pieces dating from the beginning of Congo's colonial history. These collection pieces exhale the atmosphere of the conquest of Congolese territory by the West. The leitmotif of the exhibition 'Congo Far West' refers not only to this territorial conquest, but also to the contemporary Congolese artists who artistically and intellectually recapture the collection pieces conserved in the West.
Patrick Mudekereza is a writer and poet but he also writes texts for comic strips, exhibitions and audiovisual art. During his time in the museum he is working on a hybrid sculpture entitled L'art au Congo which raises a whole host of questions, and treaties signed with a cross which sealed the transfer of land from the local chefs to Leopold II. Photographer Sammy Baloji is working on a series of photographs and watercolours from a colonial exhibition led by Charles Lemaire. He has already exhibited in cities such as Paris, Bamako, Brussels, Cape Town and Bilbao. A Beautiful Time, his first solo exhibition in the United States, taking place in the Museum for African Art in New York, will be on show in in the Smithsonian National Museum of Natural History in Washington in 2012. Sammy Baloji and Patrick Mudekereza both live and work in Lubumbashi in DR Congo. Together they are organising the photography biennale Rencontres Picha in Lubumbashi, the third edition of which will take place in 2012.
Kongo Across the Waters, Princeton Art Museum (25 October 2014 - 25 January 2015)
Kongo across the Waters examines 500 years of cultural exchange between the Kongo, Europe, and the United States, showing the rise of Kongo as a major Atlantic presence and the transmission of Kongo culture through the transatlantic slave trade into American art.
Drawing from the incomparable collections of the Royal Museum for Central Africa in Tervuren, Belgium, including masterpieces that have never before been seen in the United States, this groundbreaking exhibition investigates how the Kingdom of Kongo in West Central Africa evolved over five centuries and contributed to the cultural life of enslaved Africans and their descendants in North America. Manuscripts, maps, engravings, photographs, and videos provide contextual information, and the accompanying 448-page catalog further explores the art of the Kongo and of the Kongo diaspora.
Kongo across the Waters is a joint project organized by the Samuel P. Harn Museum of Art, University of Florida, Gainesville, Florida, and the Royal Museum for Central Africa, Tervuren, Belgium, and is supported by an indemnity from the Federal Council on the Arts and the Humanities. At Princeton, supplementary interpretive content has been developed by the Princeton University Art Museum. The exhibition at Princeton has been made possible by generous support from the National Endowment for the Arts; the Frances E. and Elias Wolf, Class of 1920, Fund; Susan and John Diekman, Class of 1965; the David A. Gardner '69 Magic Project; the Department of Art and Archaeology, Princeton University; and an anonymous fund. Additional funds have been provided by the Allen R. Adler, Class of 1967, Exhibitions Fund; Heather and Paul G. Haaga Jr., Class of 1970; Holly and David Ross; Andrew W. Mellon Foundation; the New Jersey State Council on the Arts/Department of State, a Partner Agency of the National Endowment for the Arts; and by the Center for African American Studies, the Program in African Studies, the Office of Religious Life, the Lewis Center for the Arts, and the Department of English, Princeton University. Further support has been provided by the Partners and Friends of the Princeton University Art Museum.
'When harmony goes to hell'. Congo Dialogues: Alice Seeley Harris and Sammy Baloji, Rivington Place, London (16 January - 7 March 2014)
Autograph ABP presents a rarely seen archive dating from 1904, created by English missionary Alice Seeley Harris in the Congo Free State. These pioneering photographs publicly exposed the violent consequences of human rights abuses at the turn of the century, and are exhibited alongside newly commissioned work from acclaimed contemporary Congolese artist Sammy Baloji.
In the early 1900s, the missionary Alice Seeley Harris produced what was probably the first photographic campaign in support of human rights. She exposed the atrocities that underpinned King Leopold II's regime in the Congo Free State, bringing to public attention the plight of the Congolese people under a violent and oppressive regime.
These photographs fundamentally shifted public awareness of the deep-rooted hypocrisy of King Leopold II's promise of colonial benevolence, and caused an outcry at the time of their publication in Europe and America.
Over 100 years later, these issues remain of primary concern to Congolese citizen and artist Sammy Baloji. Like Harris, Baloji uses photography as a medium to interrogate current political concerns with reference to the past. Acclaimed for his photomontage works that juxtapose desolate post-industrial landscapes with ethnographic archival imagery, Baloji explores the cultural and architectural 'traces' of a country forever haunted by the spectres of its colonial past; in particular, the southeastern Katanga province and its capital, the city of Lubumbashi.
In this new body of work-in-progress, commissioned by Autograph ABP, Baloji continues to investigate the colonial legacies and fractured histories that haunt contemporary Congolese society. Notions of African utopias, post-colonial disillusionment, and a quest for authenticity amidst 'the ruins of modernity' define Baloji's multi-layered practice: the impact of Western imperialism, Maoist communism, urban segregation and colonial sanitation politics as well as the unending mineral exploitation of the Congo's natural resources, and with it the tragedies and traumas of state-controlled violence and ongoing human rights abuses.
Congo Dialogues marks the 175th anniversary of Anti-Slavery International and the invention of photography. The first major solo showcase of Sammy Baloji's work in the UK, this exhibition presents a unique opportunity to see both historical and contemporary works interrogating the Congo and its colonial legacies. The Alice Seeley Harris archive was last shown to the public 110 years ago.
Stolen Sanity
In 2007 the artist Faisal Abdu'Allah was commissioned by Tate Britain to work collaboratively with a group of young people from Park High School in Harrow and St George's Roman Catholic School in Westminster to explore ideas related to the commemoration of the 1807 Abolition Act. The group engaged with creative research and artistic processes to produce narratives capturing their personal viewpoints on the themes of freedom of expression, liberty, revolution and slavery. The project Stolen Sanity resulted in a series of large scale photographic portraits that were displayed in the main galleries of Tate Britain. The project integrated the factual historic time line of Tate Britain's display, 1807: Blake, Slavery and the Radical Mind, with fictional personal reflections through audio and visual art.
Curated by Predrag Pajdic, BOUND was an exhibition of works by international contemporary artists representing personal perspectives on the physical and psychological impact of slavery on humanity, in historical and modern contexts. BOUND incorporated archival material, conceptual work, photography, video, live art performance, interventions and installations. It was a partnership project between the Open Eye Gallery, FACT (Foundation for Art and Creative Technology) and Tate Liverpool. The exhibition opened at Open Eye Gallery and then ran at various venues across Liverpool. Associated events included open table discussions, talks and film screenings.
La Bouche du Roi was created by artist Romauld Hazoumé, who lives and work in the Republic of Benin, West Africa. The multi-media artwork is named after a place on the coast of Benin from where enslaved Africans were transported. It comprised 304 plastic petrol can 'masks', each representing a person, arranged in the shape of the woodcut of the Liverpool slave ship Brookes. The aroma of tobacco and spices are represented alongside the terrible smells of a slave ship. The artwork was accompanied by a film showing the motorcyclists who transport petrol illegally between Nigeria and the Republic of Benin. The cans and motorcyclists are metaphors for modern forms of enslavement and resistance. First exhibited at the British Museum in London, La Bouche du Roi toured to the following venues during 2007-9: Ferens Art Gallery in Hull, International Slavery Museum in Liverpool, Bristol's City Museum and Art Gallery, Laing Art Gallery in Newcastle, and the Horniman Museum in London.
Uncomfortable Truths
Uncomfortable Truths at the Victoria and Albert Museum sought to expose how embedded the transatlantic slave trade was within British culture during the 18th and 19th centuries through art and design. A series of five trails - 'Traces of the Trade' - explored the permanent collections on display through the following themes: Consuming the Black Atlantic, Black Servants in British Homes, Britain and the West Indies, Representing Slavery and Abolitionism, Gold and Slaves Transnational Trade Links. An exhibition of contemporary art examined the impact of the legacies of slavery on modern art and design. The Victoria and Albert Museum commissioned new works by Yinka Shonibare, Romauld Hazoume, Julien Sinzogan and Keith Piper. These and other contemporary interventions by a total of 11 artists were displayed throughout the museum. This exhibition later toured to Ferens Art Gallery in Hull.
The 'Truth and Rights' season of events highlighted often untold stories of Black British heroes, including focus on the actor Ira Aldridge. Visitors were also offered discussions, debates, displays and an eight week free art course. A two-day conference, 'From Cane Field to Tea Cup: The Impact of the Transatlantic Slave Trade on Art and Design' focused on V&A collections took place in February 2007.
Abolition 07
Hackney Museum's Abolition 07 exhibition told the story of British involvement in the transatlantic slave trade, the resistance to it, and its abolition, and in particular emphasised the involvement of Hackney's residents in the abolition movement. The display included new artwork by Godfried Donkor in collaboration with young Hackney artists. A film of interviews with Hackney residents, Hear My Voice, was produced. Over 1200 children from Hackney Primary Schools took part in poetry workshops at the museum with poets Adisa and Baden Prince. Their poems and responses were published in the booklet 'And Still I Rise'.
The research into Hackney's connections to the transatlantic slave trade continued in 2013-2015 with 'Local Roots / Global Routes', a collaborative project between Hackney Museum and Archives and the Legacies of British Slave-ownership project.
1807 and Tate
The industrialist Sir Henry Tate was the early benefactor of the Tate Collection, rooted in the art of the 18th and 19th centuries. Tate's fortune - much of which was spent on philanthropic initiatives in Britain - was founded on the importation and refining of sugar, a commodity inextricably linked to slave labour in the Caribbean. There were a number of initiatives across the Tate galleries to explore these connections. 'Tracks of Slavery' at Tate Britain displayed a selection of images from the Tate's collections which provided a commentary on the relationship of British society with slavery. Displays at Tate Modern included a selection of new acquisitions linked by their treatment of issues arising from slavery and oppression. Tate Liverpool exhibited paintings by Ellen Gallagher. Special events included Freedom Songs at Tate Britain (workshops to create poetry and music by exploring themes of slavery and freedom) and a discussion at Tate St Ives looking at the links between Cornish maritime traditions, the slave trade and the Caribbean.
Hawkins & Co
Curated by artist Kimathi Donkor, and first exhibited at London's Elspeth Kyle Gallery, Hawkins & Co referred to the Elizabethan mariner Sir John Hawkins, whose 16th century voyages to Africa and the Caribbean pioneered the British slave trade. In 2008, an expanded version of the project, featuring over 70 artworks from 15 contemporary artists, was exhibited at Liverpool's Contemporary Urban Centre. The display included artworks by Keith Piper, Barbara Walker and Raimi Gbadamosi, and a new commission from Jean-François Boclé. Each piece on show explored a different aspect of the culture and history of the transatlantic African-Caribbean diaspora affected by Hawkins' legacy.
In 2017, a key work from the project - 'UK Diaspora' - was added to the permanent collections of the International Slavery Museum.
Scratch the Surface
Scratch the Surface at the National Gallery brought together two portraits, Johann Zoffany's 'Mrs Oswald' (1763-4) and Sir Joshua Reynolds's 'Colonel Tarleton' (1782), to explore the complex relationship between these sitters and slavery. Colonel Tarleton, as MP for Liverpool in the 1790s, argued in Parliament against the abolition of the transatlantic slave trade. Mrs Oswald, along with her husband Richard Oswald, owed part of their wealth to a number of plantations in the Americas. The artist Yinka Shonibare was invited to create a new installation in response to these two portraits, which was also on display. A varied programme of events and activities accompanied the exhibition, including tours, talks, workshops and films.
Absolut Power
This piece of art by Hank Willis Thomas is based on the Brookes slave ship image which was made famous by the British abolitionist campaign against transatlantic slavery. The artist said of the piece that "Racism is the most successful advertising campaign of all time... Africans have hundreds if not thousands of years of culture. Having all of these people packed into ships and then told they're all the same, reducing them to a single identity—that's absolute power."
Human Cargo: The Transatlantic Slave Trade, its Abolition and Contemporary Legacies in Plymouth and Devon
Human Cargo was a partnership project between Plymouth City Museum and Art Gallery, and the Royal Albert Memorial Museum, Exeter. The project consisted of two main components. The first was a historical exhibition, which explored the development of the transatlantic slave trade and, in particular, the role of Plymouth as a port, the involvement of the City's dignitaries and the South West's links with the abolition movement. The second part was a contemporary art response to modern forms of slavery and historical legacies, including the flower picking trade, sweatshop labour and the Fair Trade Movement. This work was newly commissioned and included audio visual pieces, installations, hand-printed wallpaper and participatory objects. A variety of events and activities took place alongside the exhibition including education workshops, performances, African music and storytelling activities, and Elizabethan House re-enactment sessions.


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Q: illegal option -- ? when copying I have just started to work on a Imac macOS HighSierra and when trying to copy some files I keep getting the error:
I just made a test directory to clarify the issue:
The directory test contains:
file1.txt file2.txt folder1

Using the following command in the parent directory:
cp -R test/ .

I get this error:
cp: illegal option -- ?
usage: cp [-R [-H | -L | -P]] [-fi | -n] [-apvXc] source_file target_file
   cp [-R [-H | -L | -P]] [-fi | -n] [-apvXc] source_file ... target_directory

According to manual page for cp, the -R argument means:
If source_file designates a directory, cp copies the directory and the entire subtree connected at that point.  If the source_file ends in a /, the contents of the
directory are copied rather than the directory itself.
Any suggestions as to why I get the error ?
I have bash version version 3.2.57(1)-release
----UPDATE---
According to comments to this issue, I provide some additional information:

*

*which cp returns /bin/cp

*echo cp -R test/ .returns cp -R test/ .

*set | grep cp returns nothing

*cp --version and cp --help returns cp: illegal option -- ? usage: cp [-R [-H | -L | -P]] [-fi | -n] [-apvXc] source_file target_file cp [-R [-H | -L | -P]] [-fi | -n] [-apvXc] source_file ... target_directory

*man cp returns the manual page but it doesn't seem to depict anything about the version except BSD                            February 23, 2005                           BSD

A: For Mac OS, change the cp commands as below examples
Ex 1.
"copy:schemas": "cp --parents schematics/*/schema.json ../../dist/my-lib/",

as
"copy:schemas": "find schematics -type f -name 'schema.json' -exec rsync -R {} ../../dist/my-lib/ \\;",

Ex 2.
copy:files": "cp --parents -p schematics/*/files/** ../../dist/my-lib/",

as
"copy:files": "find schematics/*/files/** -exec rsync -R {} ../../dist/my-lib/ \\;",

Hope this helps .

A: Does this solve your issue:
cp -R test/* .

or:
cp -R test/* ./

By adding the asterisk, you mention that you are copying files, not a directory.


Henley Camland has just completed the purchase of Eastern Quarry at Ebbsfleet in Kent and sold parcels of land at the site for 2,900 homes, in the space of a week.
The joint venture between Henley and Camland, which specialises in preparing complex sites for development, bought the 665-acre site from Landsec for £66.8m and then agreed to sell land for 2,600 homes to a partnership formed by Countryside and Clarion Housing Group, and land for 300 homes to Barratt Homes.
Henley chief executive Ian Rickwood (IR) and Peter Nelson (PN), managing director of Camland and project director for the Eastern Quarry, tell Property Week about their plans for Ebbsfleet and their ambitions to rapidly grow their pipeline of projects over the next two years.
What more can you tell us about the plans for the Eastern Quarry site?
PN: There is planning permission for 6,250 homes across the three villages that make up the Eastern Quarry. The range of housing goes from one- and two-bedroom apartments right up to five-bed housing. It's a full mix of starter, affordable and family housing. We're also including some private rented sector (PRS) housing on the site as well. We may choose to sell the PRS to a third party or we may choose to develop it ourselves in conjunction with a long-term fund.
What is your timeframe for delivery?
PN: The whole development will take between 10 and 12 years to complete. We think, pretty soon, we'll be delivering 300 to 400 units; at the moment we are around 250 units and we think we can accelerate that.
IR: PRS will come along probably in the fourth or fifth year of the development. We are not just building houses here; there is the social, community and commercial infrastructure to put in place. For the rental homes we need to have the retail and the social scene in place that the PRS market would demand.
Do you plan to continue working together on projects outside Ebbsfleet?
IR: The plan for Henley Camland is to get to the point where the business is working on 20,000-plus land parcels across the UK and maintaining that level each year. The JV is working on around 6,000 parcels of land. Reaching our target will take us longer than we'd hoped simply because these deals are incredibly complex. It takes a long time to negotiate all the constituent elements. Our intention is to achieve our goal over the next couple of years.
If deals are so complex, why pursue them in the first place?
IR: There aren't many people in this space. That's why Henley was attracted to it. We tend to look for distress, dislocation or arbitrage when buying land. We like this space because there is dislocation.
Around 10 or 15 years ago, housebuilders were happy to acquire lots of land and hold it in a large land bank and roll it out. While they still do that to a degree, now they are trying to work their balance sheets more efficiently post financial crisis. They are more interested in buying parcels where the land is fully serviced, making it an efficient use of their capital. It takes the risk out of the purchase of them.
Housebuilders also face the threat of being penalised by the government for land banking. I know there has been talk for a while and no action, but if the government does proceed, it will create a dislocation where housebuilders are cautious about the amount of land they hold for fear of political interference.
This creates a great opportunity for an operation like ours, with experts like Peter and his team who understand the delivery of serviced land, to slot in between the landowner and builder and de-risk challenging sites.


At Brownstones at Kingcrest Park, you'll enjoy the feeling of detached living while in this boutique development of townhouses. A quick walk away from Kingcrest Park in the Kensington Cedar Cottage area, you'll be near everything you need.
With over 20 parks and recreation spots like the Kensington Community Center and Pool nearby, everyone in the family will find something to do. And of course the staples of everyday life, including grocery stores, restaurants, pharmacies, schools, public libraries, and public transit are just outside your door.
The Brownstones at Kingcrest will be 16 townhouses, each with three stories. Further details including sizing are still being determined.
This collection of boutique townhouses will be developed by Epix Developments. Epix are known for their condos and townhouses throughout Vancouver, and all of their projects ensure livability for all, with easy access to everything families need. As always, Epix takes pride in the use of top notch materials to deliver detail and excellent European craftsmanship.
Stuart Howard Architects will be designing The Brownstones at Kingcrest. In business for almost forty years, they have extensive experience designing single and multi-family housing, along with other commercial, institutional developments, and restoration/rehabilitation of buildings.


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Hacking//Hustling
A platform for sex workers in a post-SESTA world
About Hacking//Hustling
Erased – The Impact of FOSTA-SESTA and the Removal of Backpage 2020
Posting Into the Void: Studying the Impact of Shadowbanning on Sex Workers and Activists
Dis/Organizing Toolkit: How We Build Collectives Beyond Institutions
FOSTA-SESTA
What is FOSTA-SESTA?
Erased – The Impact of FOSTA-SESTA 2020
FOSTA in a Legal Context
Discriminatory Tech Actions
Online Platforms and Sex Worker Discrimination
Informal, Criminalized, Precarious: Sex Workers Organizing Against Barriers
What Are People in the Sex Trades Fighting For?
An Internet Sex Workers Built
Barriers, Exclusion, and Organizing
Designing for Sex Worker Liberatory Futures
Sex Work and Migration
Sex Work in a Transnational Context
Lessons from U.S Decrim Campaigns
Trains, Texts and Tits: Sex Work, Technology and Movement
Trains, Newspapers and the Birth of the Modern American Sex Trade
Magazines, Backpages & Obscenity
Digital Stimulation: Sex Invents the Internet
FOSTA, 230 and Digital Gentrification
Financial Workshop for Sex Worker Organizers from Cornell Law School Entrepreneurship Clinic
Press Release: DOJ Uses New Criminal Penalties to Seize CityXGuide.com
#BlackoutTuesday: Memes, Social Media, Propaganda and Protest
Algorithmic Warfare
Doxxing Prevention Harm Reduction Training
Account Shutdown Harm Reduction
Online Worker Safety Hazards and Cautions
What is "SESTA/FOSTA"?
Both bills FOSTA (HR 1865 ) and SESTA (SB 1693) became one law on April 11th, 2018. It is Public Law No: 115-164
That exact wording can be found here:https://www.congress.gov/115/plaws/publ164/PLAW-115publ164.pdf
This Act is actually now popularly titled: ''Allow States and Victims to Fight Online Sex Trafficking Act of 2017'' it is essentially the amended culmination of FOSTA (HR 1865 ) and SESTA (SB 1693).
The short of it: this Act exists: To amend the Communications Act of 1934 to clarify that section 230 of such Act does not prohibit the enforcement against providers and users of interactive computer services of Federal and State criminal and civil law relating to sexual exploitation of children or sex trafficking, and for other purposes.
Central point of concern for harm reduction and sex working people online:
Section 5 of the law states: ENSURING FEDERAL LIABILITY FOR PUBLISHING INFORMATION DESIGNED TO FACILITATE SEX TRAFFICKING OR OTHERWISE FACILITATING SEX TRAFFICKING.
This Act also makes allowances for States Attorneys to specially prosecute these cases. It is a very vaguely worded law, but its specified targets are online platforms, websites, companies/corporations behind site hosting. That being said, we know the broad and dangerous implications of such targeting.
What has FOSTA/SESTA criminalized?
This bill has expanded liability for internet platforms which host content generated by third parties around holding that information. While the bill creates liability for those websites for "knowingly facilitating sex trafficking," there is not clarity for what that means. It also allows more people to file civil suits against websites.
People who own/operate/maintain websites which host third party content, listservs, (and maybe apps? Jury's still out… or hasn't been bought in yet), which promote and facilitate prostitution are subject to a federal crime. What's facilitating prostitution? Also unclear. The bill being vague is a part of the problem.
Websites which engage with the sex trade have to assess their liability of holding content related to the sex industry. Right now, each website is making its own calculations, with the threat of very expensive litigation hanging over their head.
This means holding your content just became a HUGE challenge for them. Right now we are seeing companies assess their risk and determine what they can and cannot hold in light of potential litigation.
Am I at a higher risk of being criminalized?
Individual workers are not directly in the line of fire because of SESTA/FOSTA. This means that if police want to target workers on websites, the number of websites to choose from just got smaller.
If you own, maintain, or operate a listserv/website with third party content, your risk may have increased.
Exchanging sexual services for resources is illegal in every state including buying, selling, and people who help make that happen. Agreeing to engage, even without making the exchange, is considered "solicitation" and is also illegal.
Click here for a more focused Know Your Rights for law enforcement and system interactions
Please remember that there are countless arrests for those who trade sex every single day. While we discuss access to safer spaces we cannot forget that this is based on the experience of criminalization which disproportionately impacts communities of color, migrants, LGBTQ-GNC folks, and people with disabilities. This is one piece of a larger conversation on how we fight the systems which police and oppress spaces, communities and bodies. If you are feeling the weight and fear of criminalization in a new way, it is an opportunity to join these fights and commit to solidarity with a new passion and heart.
What are some things I can do?
Find your community locally. As we lose more and more spaces to communicate, commit to building new ones – which means reaching out to those around you.
Diversify your income. This means different advertising venues, different forms of work or different personas. Create a safety net, not a tight rope.
Read the Terms of Service – right now, platforms are thinking about their liability and then kicking off who might be a red flag for them. Put yourself in their shoes – when you look at your presence, would it stand out?
Back up your stuff! As platforms delete things, you don't want to lose your information.
Do not ever, for once, accept that you or your life or your safety does not matter. We are all making a lot of decisions right now. You are the expert in your situation and know what makes you feel safest. Do what you have to do, and know that if something happens – if you took a client you weren't sure about, shifting screening, tried a new gig and something went wrong – it is not your fault. You matter and people care.
Document your story. How did this impact you? What did you do to survive? We'll be building a spot to share your story, if you would like it used in advocacy moving forward, but in the meantime – your story is important.
Are websites being raided?
Not as far as we can tell/corroborate. When sites are "raided" they are seized by the government, owners are generally arrested, and the sites go down. This is what happened in the case of Backpage, Rentboy and MyRedBook. All of these sites were raided by the federal government on federal charges. The federal government does not have a prostitution law, and therefore does not even have the jurisdiction to prosecute for prostitution. They also aren't super interested in individual workers.
None of those raids required SESTA. Not even Backpage, which was seized the day before the law was signed.
Local and state law enforcement may be conducting stings on a smaller number of sites – this is not new. This does not require the involvement of the websites, but simply law enforcement contacting advertisers and trying to set up a date.
Websites which have information regarding those who advertise on their platforms have always been subject to subpoena. This includes your ID, credit card information, pictures and ad copy.
Information sourced with permissions from Survivors Against SESTA
Sex Work as an LGBTQ Issue
t4tech Resources
FOSTA-SESTA & Backpage Survey
Our Original Research
Sex worker-led research on the impact FOSTA-SESTA and the removal of Backpage has had on marginalized communities.
READ STUDY
Sex worker-led research on the impact of content moderation on sex workers and activists after the uprisings against state-sanctioned police violence and police murder of Black people.


Special circular dies and hexagon dienuts in HSS. A comprehensive range from small to large sizes for all thread forms.
Whether circular thread relieved solid dies for machining, or hand dies and dienuts for finishing and repair of existing threads. We manufacture with thread relief or conventional geometry for both ferrous and non ferrous materials.
Body styles for restricted access, such as projection, taper nose (Acorn dies), domed face; or flat face for normal use, including BS1127, ISO 2568, DIN223, or a bespoke design, in both solid and split adjustable.
The lead chamfer options can be a minimum one thread, normal bottoming lead, or a longer chamfer. This can be combined with a spiral point (peel cut) geometry.
The external tap!... A solid thread relieved precision die. Unique geometry for non ferrous and carbon steel, suited to restricted access."
ULTIMATE Die is a unique approach to threading with a circular die, advancing its purpose to machining parallel and taper threads.
Designed specifically for your application, it combines thread relieved geometry and specific cutting angles in a compact precision body. Intended for machining of non ferrous and carbon steels, coolant access and swarf ejection are incorporated in the design. It is a solid tool requiring similar setting to a tap.
Intended for use on non-ferrous materials and carbon steel, but not for materials producing long or tough chips.
The potential compactness enables use in restricted space, where the body dimensions can be tailored to comply with an existing fixing method. Thread relief, cutting geometry, and various lead chamfer options are bespoke, as is the entirety of thread forms which are offered. Premium HSS3(pm) material and coatings extend its potential. In essence its bespoke nature is its versatility.
Here is a guide to the information required. Firstly the essential, then essential plus, enabling us to select the most suitable Die for your application.
Please contact us and we will answer your questions, whether you chose telephone, fax, E-mail, or would prefer a personal visit... See Contact Us.
Traditional pattern circular dies for hand and machine use, whether solid or split. Dimensions to BS1127, DIN223, or your specification.
Geometry of the cutting land and the lead chamfer is deigned to suit a specific application, however, it is not thread relieved, nor is the body manufactured to as close tolerance dimensions.