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Yankees - 000 306 010 - 10 11 0
Red Sox - 000 101 010 - 3 9 0
Phil Hughes / Josh Beckett
After a couple of bad starts, Beckett rebounded against the Orioles (7-6-2-0-6, 106) last Sunday. Hughes has been outstanding. In 25 innings over four starts, he has allowed only 10 hits (including nine singles) and four runs, though he has walked 12. Right-handed batters are 3-for-39 against him this year (.077, with a .199 OPS).Scutaro, SS
Pedroia, 2B
Drew, RF
Youkilis, 1B
Ortiz, DH
Beltre, 3B
Hermida, LF
Varitek, C
McDonald, CF
Here is your series preview, courtesy of SoSH's mabrowndog. You won't find anything anywhere even 10% as good. Snips:
Tampa Bay (12-1 on the road this year) is in Oakland tonight.NYY - 19-8 (.704)It's fair to say the Yankees have yet to be truly tested. The average current W-L record of the teams they've played so far is 13.1-16.0, and only 3 of their 27 games have been against teams with a record better than 15-14. Meanwhile the Sox' average oppositional W-L is 14.6-14.3 with 13 of 29 games against teams better than 15-14. ...
2nd in AL East
1.0 game behind TB
2nd best record in AL
4th in AL East
6.5 games behind TB
6th (T) best record in AL ...
Pettitte (14.9), Burnett (14.0), Sabathia (12.2) and Hughes (11.3) rank 4th, 5th, 8th and 12th in VORP among AL starting pitchers. They're 15-1 with a 2.14 ERA, 1.09 WHIP and a .216/.288/.300/.588 opponents' batting line. ...
Where the Yankees appear to have flubbed their management of Joba Chamberlain's development, they've hit it out of the park with Hughes. ... [a ton of solid info on Hughes]
What the hell is up with Cap'n Intangibles' low walk total? Just 5 in 123 PA, or 4.1%?? He's on pace for the lowest walk rate and OBP of his career ... Sure enough, he's swinging at far more junk outside the strike zone ... [hitting] a shitload more grounders ...
Curtis Granderson's on the 15-day DL with a groin strain and is likely out until late May. ... An MRI revealed inflammation of [Pettitte's elbow] joint but no ligament damage. ... [Posada missed two games] with a "mild calf strain" ... The 40-year-old Rivera hasn't pitched since April 30 and wasn't available at all this week due to "left side stiffness", whatever the hell that's supposed to mean. ...
And: Andre Ethier of the Dodgers has 11 walk-off hits since 2008. No other player has more than five. ... Joe Posnanski remembers Robin Roberts and explains why baseball has never been better than it is right now.

subset: commoncrawl


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Details for car identified by VIN1FMJK1KT5NEA34744
The 2022 FORD EXPEDITION was sold at auction for 25500 USD.
This car is a prime example of the high-quality vehicle by manufacturer FORD.
Key features of the 2022 FORD EXPEDITION auction:
- Loss Type:
Primary Damage: SIDE
- Secondary Damage:
ODO: 20707.0 mi / actual
Transmission: AUTOMATIC
Fuel Type: GAS
Engine: 3.5L 6
The auction provided all necessary information about the vehicle's condition, including damages and vehicle history, which is crucial for potential buyers.
FORD EXPEDITION Auctions
More FORD Auctions
How to remove data?
To send a request for data removal, use the button above on prefered car page.
Be advice we will ask you to make some donation for our work to make the process as quick as possible.
We do not collect any sensitive data, all payments are provided by external widely trusted services such as Stripe, PayPal, Klarna or simple donation services.
If you encounter any issues with the process, feel free to send a message to help[at].


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Simply click a price on Race Passes and we'll take you off to place your bet with your favourite bookmaker. You can also place single bets from the Bet Slip – just click the price in the Bet Slip.
Our Bet Slip allows you to build up your selections before you begin placing multiple bets with your favourite bookmakers. Click the +BET button to add your selections and then, when you're ready, hit 'Bet Now' to go to your chosen bookmaker's site and place your bets.
Select the bookmaker prices you want to display on Race Passes by switching the toggles between show and hide in the Bookmaker Manager, or use the Currently Showing selection screen. We will automatically display the best odds from your chosen bookmakers. Note that Betfair Exchange prices are available to logged in customers only and are not included in the best odds calculation.
Timeform is not liable for any promotions, products or services of our betting partners. You are advised to check the rules and terms and conditions before placing a bet. Timeform Terms of Use.
All 10 ran.
Winning Owner: Mr Edward J. Ware
Time: 1m 37.45s
Overrounds: Industry SP 120%, Betfair SP 102.4%
The 7F 210Y 16:08 QATAR PRIX DANIEL WILDENSTEIN (Group 2) at Longchamp was run on Gd/Frm. It was open to 3yo+ and had a prize fund of €100,885. There were 10 runners. The winning horse was POKER FACE (IRE) who won by 2. POKER FACE (IRE) was ridden by Maxime Guyon. POKER FACE (IRE) had an industry starting price (ISP) of 43/10.
How the rest of the runners fared:


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Laura V-Neck Ribbed Crop Top
A ribbed knit crop top featuring a scoop neckline and back
and vintage wash.
92% Nylon / 8% Spandex
We understand when you're shopping online for the latest fashion trends, you may change your mind or need to change sizes. As Lunachick is a small business, we do have a firm return policy, but we do try to make the process easy for you! Our return policy detailed here applies to online purchases only. Please review carefully.
Items being returned in-store will only receive store credit. No exceptions. Our brick & mortar stores are not authorized to offer refunds.
Sale items, hair accessories, bathing suits, and undergarments are FINAL SALE and cannot be returned.
Returns must be postmarked within 14 days of the receipt of the order. No exceptions. All merchandise must have the original tags and be returned in original, unworn condition. Merchandise must be new, unworn, unwashed, and still salable. Merchandise that has been clearly worn, stained, or otherwise damaged will be rejected.
Refunds may take up to 21 days to go through following the date that Lunachick receives the return package.
Standard Delivery: Lunachick offers FREE SHIPPING USPS 1st Class Mail on orders over $75 to the lower 48 states, Alaska, Hawaii, and for all U.S. territories.. For orders less than $75 our standard delivery fee is $5.95.
Standard delivery orders ship from Lunachick via USPS first class mail. Standard deliveries typically arrive within 3-8 business days once your order has been processed and shipped. Please be advised that standard deliveries may take up to 10 business days, with the exception of holidays.
PRIORITY Mail Delivery: Orders shipped via Priority Mail will arrive in 2-3 business days following processing.
All orders are insured. As soon as your order ships, you will receive any applicable tracking information.
Express Mail Delivery: Orders shipped via express shipping will arrive at their destination within 1-2 days. Express mail delivery orders are fully insured. Once the package ships, you will receive tracking information.Please note that express shipping is NOT available for Alaska, Hawaii, U.S. territories, or international orders.
INTERNATIONAL Shipping: We ship to most international destinations using best available carrier for that destination. Please note customer is responsible for any apllicable customs import charges such as duty and taxes.


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Monaluna Fabrics - Elvendale - Rosy
This is a medium weight quilting cotton, which can also be used for dressmaking projects that require materials with little or no stretch. These cottons work will for projects like dresses, skirts, shirts, shorts and blouses. You'll find that the majority of these cottons are a similar weight and feel.
Composition: 100%CO
Width: 110cm
Weight: 170g/sq.m
Stretch: N/A
Main Colour: Pinks
Vertical Repeat: TBC
Horizontal Repeat: TBC
Matching Sew All Thread: TBC
As with all our fabrics, the price you see is per half metre. We will send multiple purchases as a continuous length so if you need to buy more then just update the quantity. For example, if you'd like to order 2.5 metres then pop a 5 into the quantity box
We try to produce accurate images. You will often see the fabric with a ruler along the bottom and this is an actual scan to demonstrate the scale of the fabric print/design, shown in centimetres. With any image, the colours can vary from screen to screen. If you would like to match particular fabrics with threads, trims or other materials then please get in touch and we are happy to help.


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Channel Cubes Non Pdcb Biological 1x3kg
Channel Cubes Non Pdcb Biological 1x3kg
APC Partner - Fast Delivery on Orders
Next working day delivery on orders received before 1pm. Excludes workwear.
Did you know that Lixall offer a quality embroidery and heat seal service for our garments?
Get in touch with our team at email@example.com who can provide you with a speedy quote and advise.
How does it work?
Once you have contacted our team, we will require an example of your logo (HD preferable) discuss the quantities you require and the positioning of the embroidery.
What costs are involved?
Orders of 10 items or more qualify for FREE origination. Any orders less than 10 items incur a £20.00 origination cost. (This is a one-off charge to set your logo up, you will not pay this again should you come back to us.)
Embroidery cost is £3.95 per logo
How long will this take?
Delivery is 5-10 working days. If there is a specific date you need your garments for, please let us know and we will strive to achieve this for you!


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Home / Shop / Fashion Type / Denim Group
White Short Sleeve
A one-time price of $24.99 will be added to your order.
99 Left in Stock
Categories: New
Manufacturer: L4 Development
- Description
The beauty of WP EasyCart is that each product description is easily customizable using what is titled the administrative console. Not only does this component allow you to update and manage the whole website, it also provides a simple, easy to use means of providing unique pictures, descriptions, and specifications for each individual product!
Your options with the administrative console are nearly endless. Do you want to bolster sales by showing similar items on product pages? No problem! The administrative console allows you to quickly set prices and sale prices, attach the product to multiple menu locations, add options (i.e. color and size) for each product, and optimize search engine key words and descriptions.
Want customer feedback, also not a problem with WP EasyCart! We offer a five star feedback system that allows for customer reviews.
If the ease of use for this software isn't a large enough selling point, consider the download capabilities. This software package is capable of accommodating downloadable merchandise, including gift cards. This capability expands the potential services of this software by allowing for software downloads, music downloads, and photography businesses. This software is flexible and customizable. It fits into every business style, and businessperson's lifestyle.
WP EasyCart is a company that prides itself on customer service and constant improvement. As part of this demo, we request that you provide feedback in our forum. As a company we are always looking for the next step and to provide the best options. Your feedback is essential for this process.


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When you're in need of local Plaistow locksmiths during the Coronavirus pandemic in Plaistow and local areas for lock change or you've locked yourself out, you will be pleased to know that most locksmiths are still operating to a certain extent. Plaistow remain operating a mobile locksmiths services with our locksmiths taking extra safety precautions for their own health and our customers alike.
Coronavirus and Emergency Locksmith Service: The majority of locksmiths across Greater London and the UK are continuing to offer their emergency services when needed for our Great British public as this is currently allowed under the current government restrictions. However some locksmiths including Plaistow Locksmiths, are changing the ways in which they operate, and as a result they may ask more questions before attending, and may also adhere to strict social distancing advice issued by the British government.
Locksmith Shops: Most shops are closed in order to combat Covid-19 to reduce its spread, and ours is no exception.
All our Plaistow locksmiths are currently taking special measures such as asking questions if the customer is self isolating, wearing protective equipment such as gloves and masks and adhering to social distancing advised to all.
Call 020 8819 8618 for your local locksmith technician in the following locations..
The majority of locksmiths who specialise in lockouts including our own Plaistow locksmith will most likely still operating for the time being until further notice. Most Plaistow locksmiths will take special measures and precautions such as increased cleaning.
We ask all customers to inform the locksmith if you are self isolating on their initial call to confirm the job details. This is for the safety of the locksmith, their families and our customers.
You may be at high risk from coronavirus if you:
Continue to stay at home if you have either:
Plaistow Locksmiths do remain open for callouts, our technicians are taking extra precautions such as wearing gloves and masks for the protection of everyone.
Max Locksmith team.


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Personalised tins.
Come with or without mints.
Add any text.
If you looking for a custom design, please contact me (Emma) to discuss details.
Tin size:
Capacity 50ml
Diameter 56mm
Depth 26mm.
Please send your personalised details in an email or notes to seller section of the order form upon checkout.
Delivery takes 10-15 working days but if you have a more urgent need you can message me to discuss
Thank you.
1-2 weeks
Buyers are responsible for any customs and import taxes that may apply. I'm not responsible for delays due to customs.
Just contact me within: 3 days of delivery
Ship items back to me within: 7 days of delivery
Buyers are responsible for return shipping costs. If the item is not returned in its original condition, the buyer is responsible for any loss in value.
Most of the listing can be adapted to suit any needs!
Please specify in the message or notes section of the order, the personalised message or details. If you forget to add the personalised message, please contact me with your order number and the message you would like.
Where to add extra personalisation, amendments or notes for your order:
Upon checkout, there is a section whereby you may add a "message to the seller". Please enter any personalisation information required (names, date, verse, sentiment, color) in this section. Please CHECK ALL SPELLING AND GRAMMAR,
I am not responsible for those errors, so please double check your text.
If you don't see the size you would like, please contact me, & I will do my best accommodate any requests.
Marking an item as a gift does not mean it will come gift wrapped. This is an option provided to prevent the price being printed on your shipping label.
I do however offer gift wrapping for an extra fee.
Thank you
I may be able to get items shipped sooner depending how busy I am at the time, or if you would like to pay extra postage.
Please contact me before purchase, as I can't guarantee this.
Also if it is a Saturday or Sunday when you contact me please allow extra time for a response as like a lot people I spend time with my family and may not be working that day.
Shipping may take slightly longer if you are not located in the UK.
Thank you.
When ordering wristbands select the number you require from the drop down menu, if the amount you need isn't listed for example 55 add 50 then 5 to your basket before checkout (this will not affect postage).
No, I've had a couple of people mention these "may" move but unless you physically slide them up and down they will stay in place.
I have worn them myself over the years along with family and friend's to many different occasions without any issues. If you do pull the clip off they are very easy to get back on just fold the end and poke back through.
Yes, if you contact us we can arrange other closures such as one way clips so the bands can't be removed.
They come in a wide variety of colours.


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Search the Department of Botany Collections New Search
Maintenance on this system will make it temporarily unavailable for short periods of time between 8:00 and 10:00 AM EDT this Saturday, 06 June.
Maintenance on this system will make it temporarily unavailable for short periods of time between 8:00 and 10:00 AM EDT this Saturday, 06 June.
Botany Collections
The plant collections of the Smithsonian Institution began with the acquisition of specimens collected by the United States Exploring Expedition (1838-1842). These formed the foundation of a National Herbarium which today numbers over 5 million historical plant records, placing it among the world's largest and most important.
Over 4.2 million specimen records (including over 115,000 type specimens with images) are currently available in this online catalog.
Search the Botany Collections
Select a tab on this page to search by Keyword or Selected Fields. Searches are limited to 10000 records and the results are sorted by taxonomic group. If you need to retrieve a larger record set, contact the Department of Botany's Data Manager.
See the Help tab to learn more about searching and then exploring your returned results (sorting, exporting, etc.).
Featured Searches
Search the Botanical Type Register | Search Plant Photo Images | Search Botanical Art |
Use the By Field search to find specimen data that match values in specific database fields. Enter a value or choose one from the dropdown lists.
Enter your keywords separated by spaces and click Search. Records that match your search terms will be returned.
Note that searching for common (vernacular) names may not yield the expected results. Associating common names with specimen records is a work in progress.
Keyword search example: marantaceae australia images
The results of your searches can be displayed in Grid (a sortable, customizable table) or Gallery View (best for reviewing images). Use the Switch button to cycle between these views.
In Sheet View:
In Grid View:
In Gallery View:
See Exporting Results for information on downloading results to, for example, Excel or Google Earth.
Open the full collection record by clicking the expansion button () in Grid View, on the scientific name in Sheet View, or anywhere within the image frame in Gallery View. Inverse expansion buttons () indicate records with multimedia (typically, images).
Sort results in Grid View by clicking the column header (or by choosing Sort from the column's dropdown menu).
Export all or selected results by clicking the Export Results as CSV button in the bottom toolbar in Grid , Sheet, or Gallery View.
You can also export all or selected results to a KML file for viewing with Google Earth or other KML viewers, by clicking the Export as KML button. This button is grayed when all or selected results lack latitude/longitude values.
Here are a few search tips:
To create a link to specific records at NMNH provide a querystring for:
where QUERYSTRING is (use a plus-sign to separate case-insensitive terms):
(Ranunculaceae in the Type Register collection, collected by Henry)
(Specimens with images of Juncus nevadensis collected on the Death Valley expedition)
(Genetic Samples from specimens in the family Gesneriaceae)
It is best to use only letters, numbers, pluses (+), dashes (-), and commas in your querystrings, and to avoid other characters.
Please use the Feedback page to report problems you find with the data, or with using these search pages.


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Interviewer: > Sarah Cook Interviewee: > Larry Rinder
Sarah Cook: Im curious about the impetus to curate BitStreams and how you brought new media production into the art institution. Larry Rinder: Well I had begun to be interested in digital technology and digital media when I was researching for the 2000 biennial. I was one of the 6 curators working on that biennial and I was assigned to research net art and to see what was being done and to make recommendations to the group. That was back in 1999 and prior to that I had not really very much knowledge at all of what was going on with digital technology. In looking into the Internet I found that there was very substantial work being done specifically for the net and that expanded my imagination as to the possibilities of what was being done using digital technology in other media. So I started to work on an exhibition for CCAC where I was at that time (the California College of Arts and Crafts I ran something called the CCAC Institute, a kunsthalle-like space, in Oakland and San Francisco). I put together there a show called Scanner. Like BitStreams it looked at a broad range of practices, all of which involved digital technology at some point or another. At about halfway into organising Scanner I was hired to come to the Whitney and they said "weve got a floor available a year from now, what do you want to put in it?" Usually a museum show of this scale takes at least two years. So I started in mid-May really working on this exhibition concertedly, and taking some of the research I had done for Scanner and taking it further, extending the investigation and looking more deeply into some of the issues. My initial impetus for this show was to look specifically at how digital technology was enabling artists to take control of the means of production and distribution with a kind of quasi-anarchist modality. It even had a title, it was called "Digital DIY". But for various reasons it just seemed that there was a lot of work out there that I got very excited about during my research that didnt fit the DIY mould. You asked about the challenges of an institution to present work that is digitally inflected it is precisely often at the point of the DIY ethos that institutions run into trouble. They run up against the DIY ethos which has to do with not having institutions. So it would be a compelling challenge and worthwhile to actually try to present to the public because it is a phenomenon out there in the culture. But I thought there was another story that could be told and perhaps one with less worries in the short amount of time I had to put it together. And so I developed a kind of a dual criteria which was that the works ideally should be made with or expressed through digital media and that thematically they reflect in some way or another, either very directly or abstractly, on the conditions of life in the digital age. So both the form and the content were somehow commensurately expressive of digital experience. I asked Debra Singer, the associate curator here, to work with me to select the sound component, which she did do, which comprises half of the exhibition. Then it was just a matter of looking at lots and lots of work and making some difficult decisions. Of course in doing an exhibition like this youre constrained not just by pure ideals and ideas but also by budget and by space and by all sorts of things. And it probably goes without saying but Ill say it anyway, we are the Whitney Museum of American Art and so the show is American art. The show is also only art, there is no design, unlike say 010101 at SFMoMA which incorporates design. This show is based specifically on art. SC: As you say it is an American show, however Im curious about how new media art is being produced and exhibited in different countries as well. The show doesnt have any big VR installations, say something along the lines of the work of Char Davies (a Canadian). It is a very manageable museum show with lots of work that hangs on the wall. My question is both about the relationship between BitStreams and the show that Christiane Paul curated, Data Dynamics, which presents more installation-based new media art, but also the position of the institution in terms of addressing that kind of work on a large scale. LR: I looked at every kind of artwork. Everywhere I looked at everything. I selected finally the works that I thought were the strongest works of art and also met with these other contingencies I mentioned having to do with money, time, and space. There were a number of projects that I wanted to do that maybe would have veered more in the direction of immersive environments. But for various reasons they couldnt be done. I had nothing against that kind of work in principle, but given the situation it couldnt happen. And in regards to Christianes show, at the same time that I was interested in doing BitStreams she was interested in doing a more concentrated focus on a particular dimension of net art. This is not just a net art show but a very focussed slice of net art. So we all thought that was a very good complement and contrast. We had BitStreams which takes a very catholic viewsculpture, painting, drawing, prints, photographyand then another show which looks very closely at a narrow spectrum of one slice of digital practice. SC: Do you think that the public sees those two shows as the same or separate? LR: Some see them as the same and some see them as separate and we dont particularly care. They are two shows in the sense that they were developed with different rational and have different explanatory materials, but does everyone who comes to the museum realise they are different things? Probably not. Do we care? No. SC: I ask because it would seem that the reason for putting this work into an institution is to try to create a context for it or a lineage for it and Christianes show, as you say, is a very specific part of net art and yet the larger context of net-based art practice isnt there to be seen. The viewer has to bring that knowledge to it or be pointed to it. And in the case of BitStreams the new-technology-as-medium art context is not evident either. As you were saying before, youve got artists who are using digital technology not artists whose practices are necessarily based on interactivity or other aspects of the Internet or new media. So its an interesting curatorial decision in my view to place these two shows together. LR: Its important to keep in mind that the Whitney presented ten net art works in the 2000 Biennial, so one year ago the Whitney was the place where people could see that context, and weve still got all of those pieces on the Whitney.org site. SC: How do you feel a year later about the presentation issues of those net art pieces? Do you feel the institution has learned new ideas about presenting this type of work in the gallery space? LR: I feel very good about it. We gave people every option that existed at that time, and I think it still is every option. I dont think any new options have been invented in the last year. People could either log onto the dedicated terminal in the museum and have a one-on-one experience of the work, or they could participate in the projection room, either watch someone else scroll through or do so themselves and see the work projected on a large scale, or they could log on at home. All three modes were available to people. We also had one Internet-based performance installation piece. I dont know of any other modes of presentation. So I think it was good that we covered all bases actually. Different presentation formats may have worked better for some works than for others. I gather that some visitors were frustrated at times, particularly in the projection room, that the equipment didnt always seem to be working. It may have been working and they didnt think it was working. I mean, who knows what may have happened. It could have been just unfamiliarity with the equipment. So in general I feel good about it. I think that more and more artists are thinking of the net as one dimension of an art work that has other dimensions that are physical or site specific, like Lew Baldwins piece in the stairwell. Many artists are getting away from thinking of the net as a simply monitor-based practice. SC: Do you think artists are doing that because of the opportunity to show in institutions or museums? LR: I have no idea what their secret motivations are. SC: Well, Im not sure its about guessing their secret motivations; Benjamin Weil has said he thought that 010101 might be a solely web-based show and that artists were suggesting to him ways to make the works installation based. LR: I suspect, and my gut feeling would be, that it comes from an aim to make the work more visceral and to bring it back to the human environment. Im sure it depends on the artist. Every artist has a different motivation. SC: I have an agenda of asking curators within institutions how they feel about this "institutionalisation" of practices which, as youve said, arose out of a DIY/anti-institutional ethos. LR: There are as many painters and draftsman and sculptors who are against the institution as there are net artists. I dont think that there is anything about net art that makes it anti-institutional. Politics are politics. SC: So, in your opinion, why are institutions scrambling to show it? Is it just a question of contextualization and recognition of artistic practice? LR: Its art, and museums show art. This museum does not show the work of people who do not want to be shown here. We are not kidnapping artists and forcing them to have exhibitions. Everyone that we show is very excited, presumably, to be shown here because they dont have extra-institutional politics. There is nothing inherent in the medium that makes it unfriendly or unworkable within the museum context. SC: How do you go about your research? Do you go to festivals and if so, which ones? Do you subscribe to e-mail lists? LR: As you can see in the show the vast majority of works are actually things. So a lot of the research was in galleries, museums, artist studios very similar research to the kind of research I would do for any contemporary art exhibition. SC: But arent very few commercial galleries showing new media work? LR: No. You can go into just about any gallery in Chelsea and ask if any of their artists are working with digital technology and just about every one of them will have at least one artist whose work at some level is involved with digital technology. It has become absolutely pervasive and omnipresent. It is everywhere. It is a question of teasing out the works in which it is not just the manner in which they are using the technology (for instance, to rearrange the colours or something like that) but where there is really a deeper reflection on how digital technology has transformed our lives or a reflection on how it has transformed art where it is both the subject and the technique of the work. I did go down some pathways which I otherwise would not have done. I went to ZKM, went to a digital show up in Dortmund Germany, a festival. I spent some time at the media lab at MIT. So I was connecting with certain sectors of cultural practice that I had been relatively unfamiliar with previously. I do not subscribe to listservs. I want to spend most of my time looking at art what little time I have! and then making up my own mind about what it all means. I dont spend a great deal of time reading art magazines or other peoples opinions, because I dont have a lot of time. To do a show like this in 6 months I just have to look at work. SC: Do you find you have enough time to reflect on how new media art has changed your work as a curator or changed the way you think about your role as a curator? Has it altered how you think about your interaction with a work of art? LR: Well, I have a very open ended notion of art, so I wouldnt say Ive had a radical change of approach or mentality about it. There are precedents for interactivity and for mutability. Neither of those qualities is unique to digital practice, and so Ive been involved with works in the past that had those qualities. So digital practice or net art are just another site in the arena. I do think that on some level the changes that are truly profound are those changes that are happening in society and to some degree artists reflect those changes, creating a new kind of work, kinds of works, kinds of subject matter, whether they are working in digital technology or not. We are surrounded by these changes. As you know one of the things BitStreams is trying to address is what is the tone of life now, the texture of it? So thats something that is affecting not just my professional practice but my daily life. SC: There have been subtle shifts in the role of a curator from archiving and conserving, to being able to put a work in a space and then a label next to it. Now you can build the label into the piece, you can change the interface and thereby change the work of art. These are questions that curators in museums have to address a lot more stringently than curators working outside of the institution. LR: Yes. I do think that from what I know of Jon Ippolitos idea of Variable Media, this is a useful way of thinking about these things. It doesnt just apply to digital practice, it applies to video and film and any of these things. It seems like a practical and reasonable way to approach this problem or these set of problems. Im happy that I work in an institution that is large enough that I dont have to worry about these sorts of things on a daily basis. We have a conservator and a registrar and God willing, they are worrying about them on a daily or weekly basis. They are the ones who are going to have to change the way they think about preservation. As far as presentation is concerned, just based on one example, 010101 in SFMoMA they had flat screen labels and I didnt think that worked well. It confused things. In BitStreams we decided to have printed labels that are discrete so you dont confuse them with the art object and they maintain a relatively pristine frame for the works to do what they have to do in. SC: Can I ask you a question about Intel? LR: Yes. SC: Previous Whitney exhibitions have been sponsored by Intel and there has also been a relationship with artmuseum.net to give these exhibitions strong online components and in some cases the technology within the show was all from Intel. In this case you have a lot of works on screens and they are not all provided by one company. Were there conversations with Intel about sponsoring this show or did this happen differently? LR: Im not directly involved with sponsorship issues youd have to talk to development people about that. SC: Well, Im interested in how a curator navigates the restraints imposed by both technology and sponsors in creating a show LR: We dont do that here. There are technical restraints of course. But we don't accept restraints based on sponsorship. SC: Fine. I was struck, that's all, when I saw the American Century exhibition here by the number of screens. LR: I have no idea. I didnt work here then. If some company had wanted to donate all the equipment, it would all be from that company. And that would have been great advertising for them, and I hope for the next exhibition they do! But no one did that this time around and so we bought whatever we needed. SC: And did the artists supply their own LR: In some cases. SC: This is a very difficult problem for curators in small and regional art galleries in terms of how to get the equipment and how much the artist will provide. LR: This institution draws very clear lines between donors and trustees in its programme. Its very important. How can you have art history, let alone art appreciation if youre not sure what youre seeing is what the artist intended? SC: That is what is becoming increasingly blurry with technology! If the artist doesnt want their website projected but the institution has a model of exhibition making that dictates LR: Then we dont show it. Were very careful with every one of these pieces. We consulted with the artist every step of the way down to the last detail. For instance on a DVD there is a little light that shows that the player is on. If we wanted to cover up that light wed ask the artist. Everything! The art is the art; you cant mess with it. Its all youve got! SC: Yes, but some of this art has mutated a great deal, and undergoes changes based on interaction by audience members. Even Majecs piece Netomat when it was first shown at Postmasters it was shown as software and now here hes decided to do a two-corner projection LR: Thats fine. And in terms of how you deal with these things once the artist is, God forbid dead, or wont talk to you anymore, thats when youve got to get into this variable media thing and get the artist to sit down and write out a list of parameters, that dont have to do with particular hardwares. They have to do with questions like "is this only a projection piece or is it only a monitor piece?" They have to explain basic fundamental things within which the institutions have to have the ability to interpret as equipment changes. SC: And are you having these meetings with artists and making these notes and documenting these installations? LR: We will, as soon as we have a minute. Its actually supposed to happen as soon as we acquire a work. And I think it does on a cursory level. For new media works there needs to be more. We need to sit down with them and say "no really, the equipment will change and youve gotta tell us 100 years from now what are the boundaries." SC: Its the same with documenting the installations as well. Traditionally a museum brings in a photographer and he or she shoots slides of the exhibition. Do you video document the show, how the works change when people interact with them? Do you have the images scanned so they can be available online? LR: Were not doing it now, as far as Im aware of. SC: So what happens next? In terms of the Whitney Biennial will there be net art again? LR: Christiane Paul is going to be curating the net art component of the biennial. She is directly responsible for everything that is online. Works that are both online and have a physical presence is something that we will develop jointly. But she is going to take a major role in defining how net art is presented in the biennial. As I was saying digital practice is so pervasive. It is everywhere in the art world so Im sure it will be present in the biennial. I dont think people will come away from this biennial saying this is the digital biennial. My interests are wide ranging. Im interested in quilts and ceramics and everything else.
installation media art design drawing DVD time space interaction interface software distribution audience video money press sponsorship festivals museums technical
Sarah Cook Christiane Paul Larry Rinder Benjamin Weil Jon Ippolito


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Food Packaging 2020 Conferences Readership Profiles: Key Metrics (Source: Google Analytics)
A statistical representation of global users for foodpackaging.foodtechconferences.org(Source: Google Analytics)
The dashboard of Google Analytics traffic overview of "5th International Conference on Food and Beverages Packaging" clearly reflects the interests of the global enthusiastic conference attendees like Food Scientists and Nutritionists, Food Technologist, Researchers, Professor- Food Science, Quality Assurance Specialists, Industrial Experts and Food and Beverages Packaging, Product Recall Specialists from around the globe who are searching to attend and present/exhibit their research/organization findings on highly acknowledged international conferences like ours with the web traffic a total of about 195,250 visits. The total page views were close to 516,205 where our reports are analysed half yearly.
- More than 70000 Visitors visiting conference website to attend and submit proposals highest number of Visitors reporting both from the developed and developing nations.
- For Under developing nations researchers our conference website is yardstick to quantify their research proposal submitted
- Majority of the visitors have come from countries/territories like United States of America, United Kingdom, United Arab Emirates, Brazil, Canada, Mexico, Australia, China, India, Hong Kong, Indonesia, Japan, Malaysia, Thailand, New Zealand, Philippines, Singapore, Taiwan, Thailand, South Korea, Austria, Denmark, Finland, France, Germany, Italy, Netherlands, Norway, Poland, South Africa, Spain, Switzerland, Turkey and Ukraine
- Highest number of Visitors reporting both from the developed and developing nations.
- Penetrating the study of visitor, navigation, and traffic patterns to determine the success of our conference website majority amount of traffic we receive from cities like Austin, Boston, Chicago, Dallas, Denver, Houston, Los Angeles, Nashville, New York, Philadelphia, Phoenix, San Antonio, San Diego, Seattle, Washington, Toronto, Montreal, Vancouver, Berlin, Barcelona, Paris, Edinburgh, London, Rome, Valencia, Zurich, Copenhagen, Athens, Moscow, Vienna, Sydney, Melbourne, Beijing, Hyderabad, Tokyo, Singapore, Seoul, Auckland, Cairo, Dubai, Riyadh and Istanbul.
- Average Time spent by each visitor on Site is over 02.08 Minute.
The Traffic Sources mentions that the number of Unique Visitors of the website listing from academic professionals and beverage industries, research organizations, food companies.
Reasons behind listing Food Packaging 2020 on top of search engines: (Source: Google)
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Global Internet users for conferenceseries.com: Statistical representation (Source: Google Analytics)
Flip on the other side Conferenceseries world's leading specialist in organizing scientific conferences, events trade, and consumer exhibitions both domestically and internationally in different verticals and horizontals like Medical, Pharma, Engineering, Science, Technology and Business attracting more than 25 Million+ Visitors, 25000+ unique visitors per conference and 70000+ page views for every individual conference would help in quantifying our presenters research and biography visibility to the online communities and get recognized worldwide.
Conference Series Web Metrics at Glance: Source: Google Analytics
- 25 Million+ Visitors
- 25000+ unique visitors per conference
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Out of the 500,000 listing worldwide major conferences attended by 2.5 million attendees 16.8% attendees are drawing only from our Medical, Pharma, Healthcare, Nursing, Engineering, Science, Technology and Business conferences. The main reasons behind the increased popularity of our conference attendees is because of the changing mindsets of academicians, researchers and industries in exploring the opportunities for exchanging ideas, sharing resources, building networks and increase awareness of the on the recent happenings in their research around the world.
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We will continue to set our bar higher and make further progress to organize 1000 conferences in 50 countries across all continents by 2018. We have recently launched online digital video library where all our conference proceedings would be shared and be accessed by the online communities freely.
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One-hour live interview on Coast to Coast AM regarding the science of the new movie 'Source Code', 4/2/11
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by R. Colin Johnson, EE Times (Magazines)
Jul 07 2015 -
"'Self/less' returns to movie immortality"
by Brian Truitt, USA TODAY (Newspapers)
Jul 07 2015 -
"Dr. Charles Higgins on the science fiction in SELFLESS"
by RadioHamburg.de (Online)
Jul 07 2015 -
"'Self/Less' Interview: Professor Charles Higgins on the Nature of Consciousness"
by Brent Hankins, nerdrepository.com (Online)
Jul 07 2015 -
"The science of shedding"
by ScaredStiffReviews.com (Online)
Jul 06 2015 -
"Is Transferring Consciousness Possible?"
by Brandon Davis, comicbook.com (Online)
Jul 05 2015 -
"SELF/LESS: Is Immortality Possible? Asking Charles Higgins"
by Angie Fiedler Sutton, scifi4me.com (Online)
Jul 04 2015 -
"Interview: A neuroscientist explains the mind-blowing science behind 'Self/less'"
by Brandon Russell, TechnoBuffalo.com (Online)
Jun 29 2015 -
"Self/less Electronic Press Kit: Charles Higgins on "shedding""
by Focus Features (Television)
Jun 29 2015 -
"The Crazy Science Behind Self/less' Consciousness Transfer"
by Charlie Jane Anders (Online)
Jun 29 2015 -
"The real science behind the movie "Self/less""
by Focus Features (Television)
Jun 15 2015 -
"Will mind transfer ever happen?"
by Erik Sofge, Popular Science (Magazines)
May 28 2014 -
"The Military Is Building Brain Chips to Treat PTSD"
by Patrick Tucker, Defense One (Online)
Feb 12 2014 -
"We're About 100 Years Away From a Real RoboCop"
by Angela Watercutter, Wired Magazine (Magazines)
Feb 12 2014 -
"You Have Already Complied: RoboCop And The All-Too-Feasible Horror Of Brain Hacking"
by Erik Sofge, Popular Science (Magazines)
Feb 12 2014 -
"When Do I Get My RoboCop? Power before Superpowers"
by Patrick Tucker, The Futurist (Magazines)
Feb 12 2014 -
"U of A Professor Apparently 'Robocop' Expert"
by Henry Barajas, Tucson Weekly (Newspapers)
Feb 11 2014 -
"RoboCop Tech: Science Fact and Fiction"
by Nic Halverson, Discovery Channel News (Online)
Feb 11 2014 -
"'RoboCop' not so sci-fi anymore"
by Nick Statt, CNET News (Online)
Feb 11 2014 -
""RoboCop": When Will Cyborgs Walk Among Humans?"
by Denise Chow, LiveScience.com (Online)
Jan 28 2014 -
""Science Fantastic" with Michio Kaku"
by Michio Kaku (Radio interviews)
Aug 09 2013 -
"The Fringe Radio Show"
by The Fringe (Radio interviews)
Aug 09 2013 -
"The science of Sony's 'Elysium': This is your brain on robotics"
by John Quain, Fox News Tech (Online)
Jul 31 2013 -
"How Long until We Have the Superhuman Exoskeletons from Elysium?"
by David Biello, Scientific American (Magazines)
Aug 03 2012 -
"Hacking Your Memory: Could Total Recall Really Happen?"
by Keith Wagstaff, Time Magazine (Magazines)
Apr 07 2011 -
"The Neuroscience of 'Source Code': Mind Your Brain, Soldier"
by Valerie Ross, Discover Magazine (Magazines)
Apr 02 2011 -
"Exclusive Interview: Dr. Charles Higgins, Neuromorphic Engineer (Source Code)"
by Renn Brown, CHUD.com (Online)
Apr 02 2011 -
"Filmed in Chicago, Movie 'Source Code' Poses Some Uncomfortable Questions"
by Bonnie Jean Adams, Chicago Examiner (Newspapers)
Apr 01 2011 -
"'Limitless' and 'Source Code' science not as outlandish as you'd think"
by Patrick Kevin Day, Los Angeles Times (Newspapers)


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Integrity in the Ministry. 1* Therefore, since we have this ministry through the mercy shown us, we are not discouraged. 2Rather, we have renounced shameful, hidden things; not acting deceitfully or falsifying the word of God, but by the open declaration of the truth we commend ourselves to everyone's conscience in the sight of God.a 3And even though our gospel is veiled,* it is veiled for those who are perishing,b 4in whose case the god of this age has blinded the minds of the unbelievers, so that they may not see the light of the gospel of the glory of Christ, who is the image of God.c 5For we do not preach ourselves* but Jesus Christ as Lord, and ourselves as your slaves for the sake of Jesus. 6* For God who said, "Let light shine out of darkness," has shone in our hearts to bring to light the knowledge of the glory of God on the face of [Jesus] Christ.d
The Paradox of the Ministry. 7* But we hold this treasure* in earthen vessels, that the surpassing power may be of God and not from us. 8* We are afflicted in every way, but not constrained; perplexed, but not driven to despair;e 9persecuted, but not abandoned; struck down, but not destroyed; 10* f always carrying about in the body the dying of Jesus, so that the life of Jesus may also be manifested in our body. 11For we who live are constantly being given up to death for the sake of Jesus, so that the life of Jesus may be manifested in our mortal flesh.g
12* So death is at work in us, but life in you. 13* Since, then, we have the same spirit of faith, according to what is written, "I believed, therefore I spoke," we too believe and therefore speak,h 14knowing that the one who raised the Lord Jesus will raise us also with Jesus and place us with you in his presence.i 15Everything indeed is for you, so that the grace bestowed in abundance on more and more people may cause the thanksgiving to overflow for the glory of God.j
16* Therefore, we are not discouraged;* rather, although our outer self is wasting away, our inner self is being renewed day by day.k 17For this momentary light affliction is producing for us an eternal weight of glory beyond all comparison,l 18as we look not to what is seen but to what is unseen; for what is seen is transitory, but what is unseen is eternal.m
* [4:1–2] A ministry of this sort generates confidence and forthrightness; cf. 2 Cor 1:12–14; 2:17.
* [4:3–4] Though our gospel is veiled: the final application of the image. Paul has been reproached either for obscurity in his preaching or for his manner of presenting the gospel. But he confidently asserts that there is no veil over his gospel. If some fail to perceive its light, that is because of unbelief. The veil lies over their eyes (2 Cor 3:14), a blindness induced by Satan, and a sign that they are headed for destruction (cf. 2 Cor 2:15).
* [4:5] We do not preach ourselves: the light seen in his gospel is the glory of Christ (2 Cor 4:4). Far from preaching himself, the preacher should be a transparent medium through whom Jesus is perceived (cf. 2 Cor 4:10–11). Your slaves: Paul draws attention away from individuals as such and toward their role in relation to God, Christ, and the community; cf. 1 Cor 3:5; 2 Cor 4:1.
* [4:6] Autobiographical allusion to the episode at Damascus clarifies the origin and nature of Paul's service; cf. Acts 9:1–19; 22:3–16; 26:2–18. "Let light shine out of darkness": Paul seems to be thinking of Gn 1:3 and presenting his apostolic ministry as a new creation. There may also be an allusion to Is 9:1 suggesting his prophetic calling as servant of the Lord and light to the nations; cf. Is 42:6, 16; 49:6; 60:1–2, and the use of light imagery in Acts 26:13–23. To bring to light the knowledge: Paul's role in the process of revelation, expressed at the beginning under the image of the odor and aroma (2 Cor 2:14–15), is restated now, at the end of this first moment of the development, in the imagery of light and glory (2 Cor 4:3–6).
* [4:7–5:10] Paul now confronts the difficulty that his present existence does not appear glorious at all; it is marked instead by suffering and death. He deals with this by developing the topic already announced in 2 Cor 3:3, 6, asserting his faith in the presence and ultimate triumph of life, in his own and every Christian existence, despite the experience of death.
* [4:7] This treasure: the glory that he preaches and into which they are being transformed. In earthen vessels: the instruments God uses are human and fragile; some imagine small terracotta lamps in which light is carried.
* [4:8–9] A catalogue of his apostolic trials and afflictions. Yet in these the negative never completely prevails; there is always some experience of rescue, of salvation.
* [4:10–11] Both the negative and the positive sides of the experience are grounded christologically. The logic is similar to that of 2 Cor 1:3–11. His sufferings are connected with Christ's, and his deliverance is a sign that he is to share in Jesus' resurrection.
* [4:12–15] His experience does not terminate in himself, but in others (12, 15; cf. 2 Cor 1:4–5). Ultimately, everything is ordered even beyond the community, toward God (2 Cor 4:15; cf. 2 Cor 1:11).
* [4:13–14] Like the Psalmist, Paul clearly proclaims his faith, affirming life within himself despite death (2 Cor 4:10–11) and the life-giving effect of his experience upon the church (2 Cor 4:12, 14–15). And place us with you in his presence: Paul imagines God presenting him and them to Jesus at the parousia and the judgment; cf. 2 Cor 11:2; Rom 14:10.
* [4:16–18] In a series of contrasts Paul explains the extent of his faith in life. Life is not only already present and revealing itself (2 Cor 4:8–11, 16) but will outlast his experience of affliction and dying: it is eternal (2 Cor 4:17–18).
* [4:16] Not discouraged: i.e., despite the experience of death. Paul is still speaking of himself personally, but he assumes his faith and attitude will be shared by all Christians. Our outer self: the individual subject of ordinary perception and observation, in contrast to the interior and hidden self, which undergoes renewal. Is being renewed day by day: this suggests a process that has already begun; cf. 2 Cor 3:18. The renewal already taking place even in Paul's dying is a share in the life of Jesus, but this is recognized only by faith (2 Cor 4:13, 18; 2 Cor 5:7).
a. [4:2] 2:17; 1 Thes 2:4–7.
b. [4:3] 2:15–16; 2 Thes 2:10.
c. [4:4] Jn 12:31–36 / 1 Tm 1:11.
d. [4:6] Gn 1:3; Is 9:1; Acts 26:13–23; Gal 1:15–16 / Jn 8:12; Heb 1:3.
e. [4:8] 6:4–10; 1 Cor 4:9–13.
g. [4:11] Rom 8:36; 1 Cor 15:31.
i. [4:14] Rom 4:24–25; 8:11; 1 Cor 6:14; 1 Thes 4:14.
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BIG BAY HARBOR MICHIGAN marine chart is available as part of iBoating : USA Marine & Fishing App(now supported on multiple platforms including Android, iPhone/iPad, MacBook, and Windows(tablet and phone)/PC based chartplotter.).
When you purchase our Nautical Charts App, you get all the great marine chart app features like fishing spots, along with BIG BAY HARBOR MICHIGAN marine chart. The Marine Navigation App provides advanced features of a Marine Chartplotter including adjusting water level offset and custom depth shading. Fishing spots, Relief Shading and depth contours layers are available in most Lake maps. Nautical navigation features include advanced instrumentation to gather wind speed direction, water temperature, water depth, and accurate GPS with AIS receivers(using NMEA over TCP/UDP). Autopilot support can be enabled during 'Goto WayPoint' and 'Route Assistance'. Now Automatic Slip to Slip Boat routing based Boat's Draft (draught) is available for water mapped by this chart.
Have more questions about the Nautical Chart App? Ask us.
BIG BAY HARBOR MICHIGAN Stats | |
Title | BIG BAY HARBOR MICHIGAN |
Scale | 1:5000 |
Min Longitude | -87.73 |
Min Latitude | 46.82 |
Max Longitude | -87.72 |
Max Latitude | 46.83 |
Edition Label 1 | 21 |
Edition Label 2 | 1 |
Edition Label 3 | 11 |
Id | US14963_P1505 |
Country | US |
Projection | Mercator |
* some Stats may include nearby/connecting waterbodies | |


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Investor Chris Hansen's first conceptual plans were made available Friday for his basketball/hockey arena, showing a 725,000-square foot building that would be nearly double the size of KeyArena, but smaller than Portland's Rose Garden, opened in 1995.
The designs are prototypes and not final, according to KING-TV's reporting. Capacity at the Rose Garden for basketball is 19,980, and 18,280 for hockey. Hansen has previously said basketball capacity for the project would be a little more than 17,000.
The 386,000-square foot KeyArena, home to the Sonics until 2008 and used for basketball now by the WNBA Storm and Seattle University's men's program, sat 17,027 for hoops, and less than 15,000 for hockey, with more than 4,000 seats obstructed view. The Key has only 1,300 square feet for club space.
The prototypes from the Kansas City firm hired by Hansen, 360 Architecture in Kansas City, will be officially unveiled at a public meeting later this month.
The $500 million project received preliminary approval last month when Seattle Mayor Mike McGinn and King County Executive Dow Constantine signed an amended memorandum of understanding for the public-private deal that includes a $200 million lease-purchase agreement with the governments, once the project passes a state-mandated environmental review that includes consideration of locations besides SoDo, Hansen's preferred choice.


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February 19, 2014
Almost five years ago we started WhatsApp with a simple mission: building a cool product used globally by everybody. Nothing else mattered to us.
Today we are announcing a partnership with Facebook that will allow us to continue on that simple mission. Doing this will give WhatsApp the flexibility to grow and expand, while giving me, Brian, and the rest of our team more time to focus on building a communications service that's as fast, affordable and personal as possible.
Here's what will change for you, our users: nothing.
WhatsApp will remain autonomous and operate independently. You can continue to enjoy the service for a nominal fee. You can continue to use WhatsApp no matter where in the world you are, or what smartphone you're using. And you can still count on absolutely no ads interrupting your communication. There would have been no partnership between our two companies if we had to compromise on the core principles that will always define our company, our vision and our product.
On a personal note, Brian and I couldn't be more proud to be part of a small team of people who, in just under five years, built a communication service that now supports over 450 million monthly active users worldwide and over 320 million daily active users. They have helped re-define and revolutionize communication for the 21st century, and we couldn't be more grateful.
Our team has always believed that neither cost and distance should ever prevent people from connecting with their friends and loved ones, and won't rest until everyone, everywhere is empowered with that opportunity. We want to thank all of our users and everybody in our lives for making this next chapter possible, and for joining us as we continue on this very special journey.


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The FTD® Loving Sympathy™ Basket
S31-4509The FTD® Loving Sympathy™ Basket is a wonderful way to convey your condolences for their loss. Lavender roses, pink Asiatic lilies, lavender daisies, purple matsumoto asters, green hypericum berries and lush greens are sweetly arranged in a square whitewash basket to create a lovely way to offer you caring kindness during this trying time.
- For U.S. and Canada deliveries only
- Delivery Information
All items featured on this site represent the types of arrangements we offer and may vary depending upon availability in certain regions. Substitution Policy


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(731) 483-8970
Holladay Towing
Motorcycle Towing Holladay 38341
Competitive pricing
Much safer
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Various types of towings
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Highly Professional Experts
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24 hours a day service service
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Knowledge of local streets
Various types of towings
Fast on-site arrival
Highly Professional Experts
Professional Service
Wide range of the services
Quick reponse to your call
24 hours a day service service
Request a quote and we'll send you our best price.
The Ins and Outs of Motorcycle Towing in Holladay 38341: What You Need to Know
As a motorcycle rider, it's essential to know the ins and outs of motorcycle towing in case your bike breaks down or you need to transport it a long distance. Whether you're traveling across the country or simply moving your motorcycle to a new location, the right towing method can make all the difference in the safety and security of your bike. Here, our professionals will cover the various kinds of motorcycle towing, how to properly secure a motorcycle during transport, tips for safely operating a vehicle while towing a motorcycle, laws and regulations, and recommendations for finding reliable and truthful towing services.
Different Types of Motorcycle Towing in Holladay 38341
When it comes to towing a motorcycle, there are many options available. Flatbed towing is the most popular and safest method as the motorcycle is secured to the flatbed and is not in contact with the road. This method is suggested for motorcycles that are inoperable or for long-distance transport. The motorcycle is loaded onto the flatbed truck and secured with straps and chocks to avoid any movement during transport.
Dolly towing is another option where two wheels of the motorcycle are on the dolly and the other two wheels are on the ground. This method is less costly than flatbed towing but not as safe. It is not suggested for inoperable motorcycles or for long-distance transport. The motorcycle is loaded onto the dolly and the wheels of the motorcycle that are on the dolly are locked in place to avoid any movement during transport.
Ramp towing is a less popular method where the motorcycle is driven onto a ramp and secured to the towing vehicle. This method is less expensive than flatbed towing but not as safe. It is not suggested for inoperable motorcycles or for long-distance transport. The motorcycle is loaded onto the ramp and driven onto the towing vehicle. Once on the towing vehicle, the motorcycle is secured with straps and chocks to avoid any movement during transport.
It is essential to note that not all towing companies offer all the options, so be sure to ask before making a reservation. It's also very important to consider the condition of your motorcycle and the distance of the transport when selecting a towing method.
There are times when you can't estimate what type of towing you need. Call our professionals and describe the situation in detail, answer our dispatcher's questions, and maybe instead of service or in addition to it, you will need LOCAL TOWING, BROKEN IGNITION KEY REMOVAL, RECOVERY SERVICES, FLATBED TOWING or FLAT TIRE SERVICE
How to Properly Secure a Motorcycle During Transport
Properly securing a motorcycle during transport is important to avoid damage and make sure safety. To properly secure a motorcycle to a flatbed or dolly, use straps to secure the front and rear forks and chocks to secure the wheels. Be sure to double check all straps and chocks before transporting the motorcycle. It's essential to use high-quality straps and chocks that are rated for the weight of your motorcycle. Additionally, make sure that the straps are tight and the chocks are securely in place.
Laws and regulations vary by state and country, so be sure to check your local laws before towing a motorcycle. In most cases, you will need to have the proper equipment, such as working lights and brakes, and follow weight limits. Additionally, in some areas, a special permit may be required to tow a motorcycle. Make sure to check the regulations for the state you will be travelling through as well as the state you will be arriving in. It's also essential to note that some states have specific laws regarding how a motorcycle must be transported, such as requiring the use of a specific type of towing method or certain equipment.
When it comes to towing a motorcycle, it is essential to understand the laws and regulations that apply to your specific situation. Not only will this make sure the safety of your motorcycle, but it will also help you avoid any legal issues that may arise from improper towing.
Recommendations for Finding Reliable and Trustworthy Towing Services in Holladay 38341
When estimates a towing service, it's essential to select a reliable and experienced network to make sure the safety of your motorcycle. Ask for referrals from other motorcycle riders or check online reviews. Be sure to ask about the type of towing offered, equipment used, and insurance coverage. Look for towing services that have experience with motorcycles and understand the specific needs of motorcycle transport. It's also essential to ask about the network's insurance coverage, as well as their techniques for handling accidents or damage.
Motorcycles, with their unique structure and sensitivity, demand specialized care when it comes to towing. Our network, deeply rooted in the dynamic terrain of Holladay 38341 offers unparalleled expertise in motorcycle towing. Our experts understand the sentimental and financial value of your two-wheeled companion. That's why our pros use state-of-the-art equipment tailored specifically for motorcycle transport, ensuring its safety from pickup to delivery. Our team of experts, familiar with the Holladay 38341 landscape, ensures instant response and efficient service, minimize your downtime. With our transparent pricing and dedication to full customer delight, our experts rise above as the trusted name in motorcycle towing in Holladay 38341. In a city that never stops, our professionals make sure your motorcycle's journey is smooth, even when you hit a bump in the road.
In conclusion, towing a motorcycle can be a daunting task, but by understanding the different option available, properly securing the motorcycle, following safety tips, and finding a reliable towing service, you can make sure the safety of your motorcycle and have peace of mind on the road. Remember to always check your local laws and regulations before towing a motorcycle and select a reliable have experienced towing service.
ZIP Codes in Holladay, Tennessee
OUR SERVICES in Holladay, Tennessee
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(731) 483-8970
Emergency Assistance
Emergency towing provides 24/7 rapid assistance for stranded vehicles, ensuring fast, reliable, and safe help during breakdowns or accidents. This service is essential for immediate support and peace of mind on the road.
Our Mission
Our experts aspire to lead the towing service industry in Holladay by leveraging advanced technology, enhancing internal efficiency, and achieving greater specialization. Our experts aim to exceed customer expectations by offering innovative solutions and exceptional service.
Towing Service
Our Holladay Towing Services is a network of experts recognized for their dependability and towing expertise. By selecting our services, you entrust your vehicle to trained experts committed to offering top-quality towing solutions tailored to your requirements.
Commitment to Excellence
Our experts aim to excel in our field, upholding values of integrity, honesty, and credibility. Our experts are committed to treating our clients with dignity and respect. Our network of experts strives to enable our employees to reach their full potential through continuous training and empowerment.
Unlocking Success in Towing
Strategic placement of our towing fleet and implementing industry best practices have propelled our business forward. Additionally, integrating local talent into our team of experts has been pivotal in offering swift and superior towing services throughout Holladay.
Community Collaboration
Our experts actively engage with local businesses and residents in Holladay, fostering trust and ensuring swift solutions. With advanced technology and skilled experts, they prioritize property preservation, peace, and environmental standards during towing operations.
Amazing service! Located in the center of Holladay and in half an hour help will be anywhere in the city.
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Towing in Holladay, Tennessee
Are you in need of emergency Motorcycle Towing? Look no further! The experts at our providers are a dependable towing network based in Holladay that is open 24 hours a day, 7 days a week. Our experts offer the best prices and are very competitive.
Our pros specialize in emergency Motorcycle Towing! Get in touch today for a quote.