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QUOTE: "There's probably always gonna be a little bit of room for keyword research because you're kind of providing those words to users. And even if search engines are trying to understand more than just those words, showing specific words to users can make it a little bit easier for them to understand what your pages are about and can sometimes drive a little bit of that conversion process. So I don't see these things going away completely but I'm sure search engines will get better over time to understand more than just the words on a page." John Mueller, Google 2020
SEM is better for testing than SEO. Because you can immediately turn SEM paid ads off and on, it's a great strategy for testing. You can quickly revise your ad copy, target new audiences, and change landing page content to test your new tactics. This flexibility allows you to see differences in your strategies immediately. You cannot accomplish this through SEO, as it would take too much time to make changes and monitor differences in results.
It's important to note that entire websites don't rank for keywords — pages do. With big brands, we often see the homepage ranking for many keywords, but for most websites this isn't usually the case. Many websites receive more organic traffic to pages other than the homepage, which is why it's so important to diversify your website's pages by optimizing each for uniquely valuable keywords.
You don't have to be better than your competition at absolutely everything, so long as you identify enough points to build a keyword strategy around. For smaller companies, this means that you probably have to be better at the things the bigger fish haven't thought of or aren't actively looking to do. If you can't think of anything at all then you have a much bigger problem than just coming up with keywords…
Understand and accept why Google ranks your competition above you – they are either: more relevant and more popular, more relevant and more reputable, better user experience or manipulating backlinks better than you. Understand that everyone at the top of Google falls into those categories and formulate your own strategy to compete – relying on Google to take action on your behalf is VERY probably not going to happen.
While Google is on record as stating these quality raters do not directly influence where you rank (without more senior analysts making a call on the quality of your website, I presume?) – there are some things in this document, mostly of a user experience nature (UX) that all search engine optimisers and Webmasters of any kind should note going forward.
Keyword research tells you what topics people care about and, assuming you use the right SEO tool, how popular those topics actually are among your audience. The operative term here is topics -- by researching keywords that are getting a high volume of searches per month, you can identify and sort your content into topics that you want to create content on. Then, you can use these topics to dictate which keywords you look for and target.
If you are using Responsive Web Design, use meta name="viewport" tag to tell the browser how to adjust the content. If you use Dynamic Serving, use the Vary HTTP header to signal your changes depending on the user-agent. If you are using separate URLs, signal the relationship between two URLs by tag with rel="canonical" and rel="alternate" elements.
As of October 2018 almost 4.2 billion people were active internet users and 3.4 billion were social media users (Statista). China, India and the United States rank ahead all other countries in terms of internet users. This gives a marketer an unprecedented number of customers to reach with product and service offerings, available 24 hours a day, seven days a week. The interactive nature of the internet facilitates immediate communication between businesses and consumers, allowing businesses to respond quickly to the needs of consumers and changes in the marketplace. "Everyone has the internet in their pocket all the time, and this changes everything for small businesses" (Cory Capoccia, Forbes).
Off-page SEO builds a website's reputation and authority by connecting it to other high-quality websites. Off-page SEO techniques include: link building (acquiring high-quality backlinks) from other websites and managing local listings and directory profiles. When many websites link to a brand's website, it shows search engines that the brand's website is trustworthy, reliable, and reputable, which increases its search rankings.
Mobile-first design has been a best practice for a while, and Google is finally about to support it with mobile-first indexing. Learn how mobile-first indexing will give digital marketers their first real swing at influencing Google's new AI (Artificial Intelligence) landscape. Marketers who embrace an accurate understanding of mobile-first indexing could see a huge first-mover advantage, similar to the early days of the web, and we all need to be prepared.
Important: The Lowest rating is appropriate if all or almost all of the MC on the page is copied with little or no time, effort, expertise, manual curation, or added value for users. Such pages should be rated Lowest, even if the page assigns credit for the content to another source. Important: The Lowest rating is appropriate if all or almost all of the MC on the page is copied with little or no time, effort, expertise, manual curation, or added value for users. Such pages should be rated Lowest, even if the page assigns credit for the content to another source.
Google will INDEX perhaps 1000s of characters in a title… but I don't think anyone knows exactly how many characters or words Google will count AS a TITLE TAG when determining RELEVANCE OF A DOCUMENT for ranking purposes. It is a very hard thing to try to isolate accurately with all the testing and obfuscation Google uses to hide it's 'secret sauce'. I have had ranking success with longer titles – much longer titles. Google certainly reads ALL the words in your page title (unless you are spamming it silly, of course).
After a while, Google will know about your pages, and keep the ones it deems 'useful' – pages with original content, or pages with a lot of links to them. The rest will be de-indexed. Be careful – too many low-quality pages on your site will impact your overall site performance in Google. Google is on record talking about good and bad ratios of quality content to low-quality content.
Email Marketing: Email can be an effective way to maintain a connection between your business and its customers. You can purchase email addresses of customers and prospective customers, but the best results usually come from emails collected on your website. You can entice people to give you their emails through a quality free offer, such as a downloadable resource, called a lead magnet. Once you have their email, you can send a newsletter, special offers, and other information your target market would be interested in—as long as you follow laws and regulations around email marketing.
QUOTE: "… it also includes things like the comments, includes the things like the unique and original content that you're putting out on your site that is being added through user-generated content, all of that as well. So while I don't really know exactly what our algorithms are looking at specifically with regards to your website, it's something where sometimes you go through the articles and say well there is some useful information in this article that you're sharing here, but there's just lots of other stuff happening on the bottom of these blog posts. When our algorithms look at these pages, in an aggregated way across the whole page, then that's something where they might say well, this is a lot of content that is unique to this page, but it's not really high quality content that we want to promote in a very visible way. That's something where I could imagine that maybe there's something you could do, otherwise it's really tricky I guess to look at specific changes you can do when it comes to our quality algorithms." John Mueller, Google 2016
Understand that search engines are the key to most online marketing. Businesses are looking for ways to make sure their site and product are listed on the first page of a Google, Yahoo or Bing search. The main ways of doing this are SEO, meta tags, press releases, social media content, videos and paying for an ad to be placed at the top or side of the search page.
Online reviews have become one of the most important components in purchasing decisions by consumers in North America. According to a survey conducted by Dimensional Research which included over 1000 participants, 90% of respondents said that positive online reviews influenced their buying decisions and 94% will use a business with at least four stars. Interestingly, negative reviews typically came from online review sites whereas Facebook was the main source of positive reviews. Forrester Research predicts that by 2020, 42% of in-store sales will be from customers who are influenced by web product research.
QUOTE: "If an off-domain link is made by an anonymous or unauthenticated user, I'd use nofollow on that link. Once a user has done a certain number of posts/edits, or has been around for long enough to build up trust, then those nofollows could be removed and the links could be trusted. Anytime you have a user that you'd trust, there's no need to use nofollow links." Matt Cutts, Google 2006
A poor 404 page and user interaction with it, can only lead to a 'poor user experience' signal at Google's end, for a number of reasons. I will highlight a poor 404 page in my audits and actually programmatically look for signs of this issue when I scan a site. I don't know if Google looks at your site that way to rate it e.g. algorithmically determines if you have a good 404 page – or if it is a UX factor, something to be taken into consideration further down the line – or purely to get you thinking about 404 pages (in general) to help prevent Google wasting resources indexing crud pages and presenting poor results to searchers. I think rather that any rating would be a second order scoring including data from user activity on the SERPs – stuff we as SEO can't see.
There are a lot of definitions of SEO (spelled Search engine optimisation in the UK, Australia and New Zealand, or search engine optimization in the United States and Canada) but organic SEO in 2020 is still mostly about getting free traffic from Google, the most popular search engine in the world (and almost the only game in town in the UK in 2020):
Understand that search engines are the key to most online marketing. Businesses are looking for ways to make sure their site and product are listed on the first page of a Google, Yahoo or Bing search. The main ways of doing this are SEO, meta tags, press releases, social media content, videos and paying for an ad to be placed at the top or side of the search page.
Google states, "News articles, Wikipedia articles, blog posts, magazine articles, forum discussions, and ratings from independent organizations can all be sources of reputation information" but they also state specifically boasts about a lot of internet traffic, for example, should not influence the quality rating of a web page. What should influence the reputation of a page is WHO has shared it on social media etc. rather than just raw numbers of shares. CONSIDER CREATING A PAGE with nofollow links to good reviews on other websites as proof of excellence.
Ask for explanations if something is unclear. If an SEO creates deceptive or misleading content on your behalf, such as doorway pages or "throwaway" domains, your site could be removed entirely from Google's index. Ultimately, you are responsible for the actions of any companies you hire, so it's best to be sure you know exactly how they intend to "help" you. If an SEO has FTP access to your server, they should be willing to explain all the changes they are making to your site.


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Robert Hecht
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Robert Hecht
United States
For over fifty years, Robert Hecht has been a dedicated fine art photographer. He is largely self-taught, having learned his craft primarily by studying the prints and books of many of the medium's greats, and then by attempting to apply what he absorbed from them in the darkroom (and later in the digital darkroom). In addition, he studied briefly with photographer and teacher Ruth Bernhard in the 1970's, and considers that experience meaningful for giving him direct contact and exchange of ideas with a master. His work has been exhibited internationally, purchased for both private and public collections, and showcased in many of the leading photography periodicals. Professionally, he has worked primarily as a producer-director of educational film and video programs, first at Stanford University and then in his own video production business for the past several decades. He and his wife live in Portland, Oregon.
I consider photography a way, if you will, to bring my experience of the visual world into clearer focus. Practicing the art of photography, which I consider a way of life in and of itself, has heightened my awareness of how in our everyday lives we are constantly surrounded by interesting subject matter. In contrast, during my early years of doing this work, I looked mainly to the classic landscape for inspiration, often pursuing dramatic vistas with large-format cameras. However, over time I came to see that I do not necessarily have to "go out shooting" or travel to impressive locales to find subjects�rather, I merely have to keep my eyes open to what is right here around me in my immediate environment and, without actually searching for a picture, simply be prepared should a picture jump out of the random visual chaos and present itself to me. This shift in focus has led me to a more spontaneous approach to making images, often enabling me to find great beauty in the most mundane materials at hand.
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Daniel Beltr�
Spain/United States
Born in Madrid, Spain, Daniel Beltr� is a photographer based in Seattle, Washington. His passion for conservation is evident in images of our environment that are evocatively poignant. The most striking large-scale photographs by Beltr� are images shot from the air. This perspective gives the viewer a wider context to the beauty and destruction he witnesses, as well as revealing a delicate sense of scale. After two months of photographing the Deepwater Horizon Gulf Oil Spill, he produced many visually arresting images of the man-made disaster. Over the past two decades, Beltr�'s work has taken him to all seven continents, including several expeditions to the Brazilian Amazon, the Arctic, the Southern Oceans and the Patagonian ice fields. For his work on the Gulf Oil Spill, in 2011 he received the Wildlife Photographer of the Year Award and the Lucie Award for the International Photographer of the Year - Deeper Perspective,. His SPILL photos toured the world independently and as part of the Prix Pictet exhibitions. In 2009, Beltr� received the prestigious Prince's Rainforest Project award granted by Prince Charles. Other highlights include the BBVA Foundation award in 2013 and the inaugural "Global Vision Award" from the Pictures of the Year International in 2008. In 2006, 2007 and 2018 he received awards for his work in the Amazon from World Press Photo. Daniel's work has been published by the most prominent international publications including The New Yorker, Time, Newsweek, The New York Times, Le Monde, and El Pais, amongst many others. Daniel Beltr� is a fellow of the prestigious International League of Conservation Photographers. Source: danielbeltra.photoshelter.com Born in Madrid, Spain, Daniel Beltr� is a photographer based in Seattle, Washington. His passion for conservation is evident in images of our environment that are evocatively poignant. The most striking large-scale photographs by Beltr� are images shot from the air. This perspective gives the viewer a wider context to the beauty and destruction he witnesses, as well as revealing a delicate sense of scale. After two months of photographing the Deepwater Horizon Gulf Oil Spill, he produced many visually arresting images of the man-made disaster. His SPILL exhibit premiered in August 2010, toured around the globe in 2011 and will continue into 2012. Over the past two decades, Beltr�s work has taken him to all seven continents, including several expeditions to the Brazilian Amazon, the Arctic, the Southern Oceans and the Patagonian ice fields. For his work on the Gulf Oil Spill, in 2011 he received the Wildlife Photographer of the Year Award, the Lucie Award for the International Photographer of the Year - Deeper Perspective, and was chosen as one of the six finalists for Critical Mass for Photolucida. In 2009, Beltr� received the prestigious Prince�s Rainforest Project award granted by Prince Charles. Other highlights include the inaugural �Global Vision Award� from the Pictures of the Year International in 2008. In 2007 and 2006 he received awards for his work in the Amazon from World Press Photo. Daniel�s work has been published by the most prominent international publications including The New Yorker, Time, Newsweek, The New York Times, Le Monde, and El Pais, amongst many others. Daniel Beltr� is a fellow of the prestigious International League of Conservation Photographers. Source: edelmangallery.com
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Rania Matar
Lebanon/United States
Rania Matar was born and raised in Lebanon and moved to the U.S. in 1984. As a Lebanese-born American woman and mother, her cross-cultural experience and personal narrative inform her photography. Matar's work has been widely published and exhibited in museums worldwide, including the Museum of Fine Arts, Boston, the Carnegie Museum of Art, National Museum of Women in the Arts, and more. A mid-career retrospective of her work was recently on view at the Cleveland Museum of Art, and at the Amon Carter Museum of American Art, in a solo exhibition: In Her Image: Photographs by Rania Matar She has received several grants and awards including a 2018 Guggenheim Fellowship, 2017 Mellon Foundation artist-in-residency grant at the Gund Gallery at Kenyon College, 2011 Legacy Award at the Griffin Museum of Photography, 2011 and 2007 Massachusetts Cultural Council artist fellowships. In 2008 she was a finalist for the Foster Award at the Institute of Contemporary Art/Boston, with an accompanying solo exhibition. Her work is in the permanent collections of several museums, institutions and private collections worldwide. She has published three books: L'Enfant-Femme, 2016; A Girl and Her Room, 2012; Ordinary Lives, 2009. She is currently associate professor of photography at the Massachusetts College of Art and Design. All about "SHE": As a Lebanese-born American woman and mother, my background and cross-cultural experiences inform my art. I have dedicated my work to exploring issues of personal and collective identity through photographs of female adolescence and womanhood - both in the United States where I live and the Middle East where I am from - in an effort to focus on notions of identity and individuality, within the context of the underlying universality of these experiences. In my continuous exploration of what it is like to be a girl and a woman today, in a world that poses endless questions on girls and women of all backgrounds, I am focusing in this project on young women in their late teens/early twenties. They are the ages of my daughters - they are leaving the cocoon of home, entering adulthood and facing a new reality they are often not prepared for, a humbling reality most often harder than they expected and less glamorous than what is portrayed on social media. Whereas in A Girl and Her Room, I photographed young women in relationship to the curated and controlled environment of their bedrooms, I am photographing them here in the larger environment they find themselves in after they leave home, the more global backdrop that now constitutes their lives in transitions. I want to portray the raw beauty of their age, their individuality, their physicality, their mystery, and the organic relationship they create with their environment, being in the lush landscapes of rural Ohio, or the textured backdrops of Beirut. I want to photograph them, the way I, a woman and a mother, see them: beautiful, alive. I want to create a personal narrative with them. The process is about collaboration and empowerment, and the photo session always evolves organically as the women become active participants in the image-making process. My work addresses the states of 'Becoming' - the beauty and the vulnerability of growing up - in the context of the visceral relationships to our physical environment and universal humanity. By collaborating with women in the United States and in the Middle East - and while still looking to reveal the individuality of each young woman - I focus on our essence, our physicality and the commonalities that make us human, ultimately highlighting how female subjectivity develops in parallel forms across cultural lines. Find out more about Becoming
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Mariëtte Aernoudts
My name is Mari�tte Aernoudts and since 9 years I am a self thought photographer/ imagemaker. Most of my portraits are from children or young people and always in colour. I work very intuitive and during a shoot my ideas are becoming unstoppable. Except my portraits I create my own imaginary world using my storytelling images. I try to soften the realistic life. I am always looking for renewal, with my own feelings which I want to connect in my photos. I received several dutch prizes and in 2018 I won an award in SIPA contest Siena Italy. Last February one of my photos was nominated for the Sony World Photography awards. My Statement: 'What I see is what you get'
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Carla Van de Puttelaar
Carla van de Puttelaar is a graduate of the Gerrit Rietveld Academy in Amsterdam. Her work has been exhibited in Belgium, France, Germany, Hungary, Italy, Korea, The Netherlands, Spain, Sweden, Switzerland, United Kingdom and the United States. In 2002 she won the Basic Prize Prix de Rome. Collections holding Puttelaar's work include the Maison Europ�enne de la Photographie (France), Museum Winterhur (Switzerland), Huis Marseille Museum voor Fotografie (The Netherlands), Dutch Ministry of Foreign Affairs (The Netherlands), the Caldic Collection (The Netherlands) and many private collections. She has had her work published in numerous press publications, with four monographs published (2004, 2008 (twice) and 2011).Represented by:Danzinger GalleryPhoto EyeBox GalerieKahmann Gallery Galerie Esther Woerdehoff
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Alex Stoddard
United States
Alex Stoddard was born in Jacksonville, Florida and spent his childhood growing up in the deep south. He began taking self-portraits at the age of sixteen in the woods behind his Georgian home, and this stirred in him the need to create and express himself through the craft of photography. His work focuses on the human form and the process of infusing it with natural surroundings. He also strives to create whimsical and surreal portraits. Alex is currently based in Los Angeles, California.
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Sylwia Makris
There is a spark within everything. A living light in the eyes of a person, a memory that flares up, the glow of a passion that was never declared. A face always tells more than it knows, wich is why photography is never a mere reproduction of what is. A good photo tells what was, why might have been or what is waiting painfully beneath the surface. Sylwia Makris has been in pursuit of these sparks since she first held a camera. Her quest produces images that may delight or disturb but always move the beholder. She photographs people. People who are strong or delicate, broken or dynamic. She photographs faces of our time-and in doing so gives a face to our time. Nakedness is the most natural state. And in our day the most intrusive and common-every-where naked bodies are used to tempt, advertise and sell. Nakedness can only say as much as it is allowed to say. Sylwia Makris respects the nude body as part of a story that must be told. As part of a stroy that tels of people, nakedness regains its original magic, its archaic power and its complexity of expression in Makris' photos. Until the viewer sometimes feels more naked than the model in the image. Sylwia Makris was born in 1973 in Gdynia, Poland. She worked as a sculptor before finding her way to photography in 2007. Today she lives in Munich as freelance photographer.
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Sebastien Tixier
Born in 1980 in a small town in central France, Sebastien Tixier now lives and works in Paris, France. Trained as an engineer, the shy fascination that he had during childhood for his father�s camera finally takes over in 2007 when he starts as an independent photographer. Half in the studio, half in the fields, his work goes all the way from the dark corners of staged photographs to documentaries about the questions of our time. His photographs have been awarded by various prices and exhibited in festival or galleries across Europe. Allanngorpoq his latest work to date, synthetizes one year and a half of preparation (documenting, making contacts, and learning the language) and immersion in Greenland. This photo report combines rigorous framing and aesthetics with a documentary work, capturing the evolutions of both a changing territory and its people. The book from this work has been published on December 2014 and is prefaced by St�phane Victor.
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Lisa Elmaleh
United States
Lisa Elmaleh is a landscape photographer who uses an 8 x 10" camera and the collodion on glass process. This process from the mid 1800's requires an on-site darkroom, which is built into the back of her truck. She attended the School of Visual Arts in New York, and became inspired by the historical landscape photographers of the American West such as Carleton Watkins and William Henry Jackson. By documenting the Everglades in Florida, an ecosystem that has lost most of the land to urban and agricultural use, Elmaleh hopes to preserve an essence of the Everglades. The freshwater flowing into the national park is engineered, making it an ecosystem on life support, "alive but diminished". The following images come from the series Everglades, Lonesome Valley, and American Folk.
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Mo Verlaan
"After graduating from the Rietvelt Art Academy in Amsterdam, I started out in experimental theatre, creating sets on location as well as performing. In 1993, I founded De Drie Gezusters with my sisters catering to (inter)national film crews on location from a converted truck. Eight years ago, my love for photography made me enter the Photo Academy. The book and series titled Resonance was part of my graduation in 2016. In these photographs my fascination with light and luminance finds its expression. The Memory of Time is a study about the plasticity of time and light, to see time and light as something elastic. For me there is a strong correlation between the impermanence of light and the fluidity of time." "In The Memory of Time I explore abstract spaces. What interests me most, are architectural structures where light can fleet in and out, creating a new space. To me light is both a tangible and evanescent medium, if not a language. By fading, molding and carving the light in my photographs, I transform reality and move into an imaginative and intuitive realm. The process involves composing layered images that nearly look like drawings, scraping off the innate realism that is part of photography, thus creating a more sensorial and subliminal world." Winner Single Image 9th Julia Margaret Cameron Award 2016, Category Architecture. Works from the series Resonance received several Honorable Mentions: Tokyo International Foto Awards 2016 (2x), The Monochrome Awards 2016 (4x), The Monovision Photography Awards 2017 (6x), IPA 2017 (2x), IPA 2018 One Shot Harmony (1x). The series Resonance was exhibited at The Indian Photography Festival 2016. The book Resonance was exhibited at: Scan Photobooks (Spain), The Griffin Museum (USA), RPSP (UK), Tripp Gallery (UK), Unveil'd (UK). Publication in the NEW2017, 100 Best Emerging Dutch Photographers of the year 2017.
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Latest Interviews
Exclusive interview with Stéphane Lavoué
St�phane Lavou�, is a French portrait photographer born in Mulhouse in 1976. He lives and works between Brittany and Paris. He is the winner of the Ni�pce Prize 2018. We asked him a few questions about his life and work.
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Exclusive Interview With Harvey Stein
Harvey Stein is a professional photographer, teacher, lecturer, author and curator based in New York City. He currently teaches at the International Center of Photography. Stein is a frequent lecturer on photography both in the United States and abroad. He was the Director of Photography at Umbrella Arts Gallery, located in the East Village of Manhattan from 2009 until 2019 when it lost its lease and closed. Stein's photographs have been widely exhibited in the United States and Europe, 86 one-person and over 165 group shows to date and has published eight books. We asked him a few questions about his life and work
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Exclusive interview with Lisa Tichané
Lisa Tichan� is an advertising photographer whose work is entirely focused on babies and young kids. Based in France but travelling internationally for her clients, she is well known for her unique ability to connect with her tiny models and get irresistible images even from the most unpredictable, unwilling subjects. We asked her a dew questions about her life and work:
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Exclusive interview with Monica Denevan Winner Of All About Photo Awards 2020
Monica Denevan is the Photographer of the Year, winner of All About Photo Awards 2020 - The Mind's Eye. My co-jurors Elizabeth Avedon, Laurent Baheux, Alex Cammarano, Julia Dean, Ann Jastrab, Juli Lowe and myself were impressed by her work Across the River, Burma that won first place out of thousands of submissions. She also won 1st place for AAP Magazine 4: Shapes. Her ongoing series, "Songs of the River: Portraits from Burma," began in 2000. Since then, she has returned to many of the same small villages in Burma/Myanmar, making intimate photographs of fishermen and their families in the spare and graphic setting of the Irrawaddy River. She travels with a medium format film camera, one lens, and bags of film, working with natural light and making composed images. Once home, she makes photographic prints in her traditional darkroom.
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Exclusive Interview With Jackson Patterson
I discovered the work of Jackson Patterson while judging the first edition of All About Photo Awards - The Mind's Eye. My co-jurors Frank Horvat, Ed kashi, Klavdij Sluban, Julia Fullerton-Batten, Cara Weston, Jules Maeght, Ami Vitale, Ann Jastrab and Keiichi Tahara and myself were impressed by his work Red Barn that was exhibited at Jules Maeght Gallery. He tells the stories of his family and others intertwined with the majestic landscapes in his photomontages. Patterson's images breathe insight into representation, fabrication, visual language and the relationship of earth and people.
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Exclusive Interview with Stephan Gladieu
Stephan Gladieu's career began in 1989 covering war & social issues, traveling across Europe,Central Asia, the Middle East (Afghanistan, Iran, Iraq, Israel, Egypt, Pakistan) and Asia (India, Nepal, Vietnam, China, etc). His work began as travel features, but he became increasingly interested in using portraiture to illustrate the human condition around the world. His portraiture has included covering the Saudi Princes, Princesses in Nepal, actors & directors behind the scenes at Cannes Film Festival, politicians, intellectuals, but also everyday people the world over.
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Exclusive Interview with Rebecca Moseman
Virginia native Rebecca Moseman received her Bachelor of Fine Arts from Virginia Polytechnic Institute in 1997 and her Master of Fine Arts from Rochester Institute of Technology in 2001. She has worked in academia, private industry, and Government as an instructor, consultant, and graphic designer and does freelance work in photography and publishing. We asked her a few questions about her life and work.
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Exclusive Interview with Judi Iranyi and Remembering Michael
Michael P. Stone, our only child, died of AIDS in November 1984, the Sunday after Thanksgiving. Michael was 19 and a senior at the University of California, Santa Cruz.
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Exclusive Interview with Svetlin Yosifov
Svetlin Yosifov is a freelance photographer based in Bulgaria. He won the 1st place for the AAP Magazine #9 Shadows with his work 'Mursi People'. We asked him a few questions about his life and work.
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July 15
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Living with Uncertainty
The last time we worshipped in our Church together was March 8th and +Bishop Chilton was with us. Do you remember that? It seems like ages ago…and like yesterday. We know that stay-at-home orders will end and that we will once again gather around our altar for Holy...


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GEOTECHNOLOGIEN Rätselbild November 2003
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Hello, je suis contente de te retrouvez pour partager avec toi 50 tenues en pagne pour hommes, femme et enfants qui te donneront surement des idées pour tes prochains looks en pagne si tu est un #Pagneloveur comme moi.
Mademoiselle Blé habille les petites filles


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I like Floor Plans, Art, Jansen, Pi, and Zero Tunnels.
Floor Ottomen are prime entertainment.
here be ideas
I like Floor Plans, Art, Jansen, Pi, and Zero Tunnels.
Floor Ottomen are prime entertainment.
I wrote another Only Connect that I presented on Floor Pi. This one was really close, where the two teams had scores of 23 and 22, decided by the last item.
MIT context is not necessary for any items in the first two rounds.
Round 1: Connections
Canada | Yosemite | United Arab Emirates | aboriginal
Answer: Consonants and Vowels Alternate
[was an audio question]
Mahler's Fifth Symphony | Rachmaninoff's Op. 3 No. 2 Prelude | Chopin's Fantasie-Impromptu | Beethoven's Moonlight Sonata
Answer: Classical Music in C-Sharp Minor
Frederick Sanger | Marie Curie | Linus Pauling | Office of the United Nations High Commissioner for Refugees
Answer: Multiple-Time Recipients of the Nobel Prize
Saxony | Denmark | Brandenburg | France
Answer: Switched Sides in the Thirty-Years War
fur | abjurer | vex | tang
Answer: English Words that rot13 to Other English Words
Round 2: Sequences
Suffolk | New York | Queens | Kings
Answer: Highest-Population Counties in New York
635318657 | 1729 | 50 | 4
Answer: Smallest Number that can be Written as the Sum of Two nth Powers of Positive Integers Two Distinct Ways
te | mind | birdplane | star
Answer: Last Words of Last Versus of the Four Chord Song
Zulu | Sesotho | Afrikaans | English
Answer: Languages of Consecutive Sections of South Africa's National Anthem
Poseidon | Ouranos | Cronus | Zeus
Answer: Planets by Greek Equivalents of Roman Gods
Tunisia | Egypt | Libya | Yemen
Answer: Countries whose Governments were Overthrown in the Arab Spring, in Chronological Order
Round 3: Connecting Wall
Canyon National Parks of the USA
Squares in Boston
North-South Streets in East Cambridge
Read That
Spike Lesson
Characters in Shakesperean Plays that Survived to the End Despite Many Characters Dying
Country Capitals, Back in the Day
Art Installations on MIT's Campus
Avengers (Female: Iron Man, Mercury: Quicksilver, Read That: Scarlet Witch, Spike Lesson: Thor)
Round 4: Missing Vowels
Unfortunately Named Concepts in Mathematics
Answers: Killing Field, Cox Ring, Tits Group, Homicidal Chauffeur Problem
Musical Modes
Answers: Lydian, Ionian, Aeolian, Arabian
Answers: Puzzle Hunt, 1,3-dichlorobenzene, Even this acronym, Only Connect
Answers: Atlanta, South Ossetia, The South, Sandwich Islands
Categories in Floor Pi Only Connects
Answers: Memorable Lyrics, Phases of Mitosis, Categories in Floor Pi Only Connects, Spoilers
Answers: Base Case, Stem Cells, Hall of Fame, Duck Tibia
Answers: John Dies at the End, The Emus Win the Emu War, The Last Category is "States", Microorganisms
Answers: Denial, Proclaims, Bose-Einstein Condensate, Georgia
I wrote a game of Only Connect which I hosted for Floor Pi this past night. Here's the items in the Only Connect game. If you're not familiar with Only Connect, you could read up how the four rounds work here.
Several of these hints depend on an MIT context.
Clues beyond the first clue (for the first two rounds) and answers are in white text. Highlight to see.
Yeah, I know, this presentation leaks some meta-information beforehand. Deal with it.
Round 1: Connections
decay | less | gloss | wuss
Answer: Words that Become Cities when Said before 'ter'
50 | 19 | 26 | 82
Answer: Atomic Numbers of Elements whose Symbols are Unrelated to their English Names
50 | 12 | 27 | 5
Answer: Numbers of Stars on Some Country's Flag
50 | 64 | 51 | 32
Answer: MIT Buildings Not Usually Referred to by their Building Numbers
51 | 1001 | 501 | 11
Answer: Numbers whose Roman Numerals are also Valid Chinese Names
we | seem | sea | yeah
Answer: English Words that Sound like 'Yes' in Other European Languages
Round 2: Sequences
x | r | q | j
Answer: English Consonants that Don't Typically Make the Sounds Represented by Them in IPA
f3 | e5 | g4 | Qh4#
Answer: Fool's Mate
Rhode Island | Alaska | New York | Hawaii
Answer: US States with Highest Proportions of Population Living on Islands
θ | ζ | ε | β
Answer: Greek Letters that Contain Other Greek Letters in their English Names
123 | 101 | 250 | 100
Answer: Room Numbers of Largest Lecture Halls at MIT
50 | 2 | 2 | 1
Answer: Panels of Loss Meme Interpreted as Roman Numerals
Round 3: Connecting Wall
Triple Alliance
Spanish Succession
Star Market
War of the ______
2018 Major California Wildfires
Recently Closed Stores in Cambridge, MA
Major US Rivers
Indian Restaurants in Cambridge, MA
Streets that Intersect in Central Square
US Time Zones
Round 4: Missing Vowels
Amino Acids
Answers: Phenylalanine, Asparagine, Tryptophan, Pyrrolysine
[redacted category]
Numbers that have Appeared So Far in this OnlyConnect
Answers: Eleven, Sixty-Four, Eighty-Two, One Hundred and Twenty-Three
MIT Student Groups
Answers: Lecture Series Committee, The Tech, Ohms, Association of Student Activities
Answers: Suez, Panama, Erie, Root
Roman Numerals of Prime Numbers
Answers: LIII, XXXVII, CXXVII, CXCIX
In this map, I renumber some MIT buildings to numbers that more closely follow the helpful geographical patterns in numberings that the rest of the buildings suggest.
Alternative solution: number 10, 20, 30, and 40 as 9, 19, 39, and 49, de-emphasizing that the buildings are on the central axis, but avoiding slight problems with syllable-parsing ambiguity (thirty one-ten versus thirty-one ten).
(ERRATA: W98 should be grey (but I never specified what red and grey are supposed to mean, so I can say this isn't an error, right?). The 'k' hanging out on Memorial Drive shouldn't be there.)
I have mentioned before that I wish to stop going by 'dzaefn'. I did mention as well, though, that I don't wish to absolutely remove 'dzaefn' as a moniker, and will allow it to carry on in MIT-related contexts. I'll do a bit more clarification here.
I prefer to not be called 'dzaefn'. In contexts where it is customary to use one's Kerberos username, though, please feel free to do so for me as well rather than go out of your way to write otherwise.
I value consistency, and I value respecting good standards. Reference by Kerberos username is a brilliant standard: it's a unique identifier when name collisions are very common. In places where such a standard is adopted, I'd rather go along with it. Just in places where this standard is not the context, I'd like to make the distancing. Fortunately, most my other names don't experience collision problems either.
Having been a TA for 3 semesters (and a college student for 11) has taught me that most academic software is insanely bad. Like, really, really bad. Gradescope is, among this vast wasteland of despair, not only an oasis, but a really pleasant one.
Given the baseline, I of course fear that I may just be judging Gradescope on too excessively low a bar. Am I giving it credit just for being able to have expected middle-click functionality?
I don't think so. I believe that for a reasonable bar for software quality, Gradescope not only meets expectations, but exceeds them. Gradescope is actively nice to use, particularly from a staff perspective, and from what I'm used to with academic software, this is completely incredible, and deserves a treasure trove of praise.
In short: most software comes with negative surprises, realizations that it is harder to use than it looked like it was. Gradescope often comes with positive surprises, realizations that it is easier to use than expected.
Someone on the Gradescope team really understands quality user interface design. Elements of Gradescope typically do precisely what one expects them to do; they are given helpful names that well describe their functionality. Where one would want to directly click and edit text, one can in fact use such direct input. (To edit rubric items, one simply clicks on them and they become text boxes. It is not indirected via an edit button or the such. And oh hey! These text boxes support !)
Common functionality comes with an assortment of hotkeys, exactly what a grader would be seeking once they have done the same actions many times in a row, and hotkeys that take the same functionality as buttons pop up upon mouse hover over the corresponding buttons. For hotkeys for rubric items, they are simply presented next to the items themselves, without hover even necessary, since as these are numbers, one would naturally want to be able to see the associated numbers at-a-glance rather than memorizing them.
A common regret of graders when grading papers by hand is realization upon certain submissions that a certain penalty or credit on the rubric is probably too harsh or too lenient, and then realizing that one would have to go through the entire stack of papers again to find the students whose grades one should adjust to meet a new standard. Does one have to do the same, but electronically, when using Gradescope? Of course not. Gradescope allows you to filter by a rubric item to see all submissions which have already been assigned that rubric item, and immediately have all the papers that should be reconsidered. If one is only changing the point value of that particular rubric item, one doesn't even need to go through the papers; one just edits the score associated with it.
Both students and staff benefit from an easy-to-use regrade request feature, which allows for a nice communication channel with which to deal with regrades. As staff, you could have all the submissions in front of you and compare one student's submission with others and more quickly decide what a fair thing to do is.
Gradescope is software that actually makes grading massively more efficient; there is none of what the rest of academic software does in making you wish you were still doing things the old way.
And every so often, Gradescope rolls new updates. These updates are well tested, are actually features (more useful than shiny), and play along nicely with what has been around before. Recently Gradescope rolled out a prototype of a handwriting recognizer. I'm already really happy with how many names it successfully recognized that we don't have to manually match anymore.
Gradescope is proper technological innovation.
On the evening of last December 25, Boston dipped below freezing.
This in itself is not unusual; this is quite expectable for Boston in the winter. What's different is that this time the temperature did not return to above freezing until just last hour. Boston spent a consecutive 13 days and 19 hours—from then until now, in the negative Celsius.
Specifically, these were the highs and lows of the days in passing:
Dec 26: 27°F/-3°C | 19°F/-7°C
Dec 27: 20°F/-7°C | 12°F/-11°C
Dec 28: 12°F/-11°C | 5°F/-15°C
Dec 29: 14°F/-10°C | 2°F/-17°C
Dec 30: 18°F/-8°C | 6°F/-14°C
Dec 31: 13°F /-11°C| 4°F/-16°C
Jan 01: 13°F/-11°C | 0°F/-18°C
Jan 02: 19°F/-7°C | 4°F/-16°C
Jan 03: 29°F/-2°C | 16°F/-9°C
Jan 04: 30°F/-1°C | 22°F/-6°C
Jan 05: 24°F/-4°C | 6°F/-14°C
Jan 06: 12°F/-11°C | 1°F/-17°C
Jan 07: 17°F/-8°C | -2°F/-19°C
For reference, the average Bostonian December high and low are respectively 41°F/5°C and 28°F/-2°C, and for January 36°F/2°C and 22°F/-6°C.
Winds weren't forgiving in much of these times either. It often got too cold even in the inside of my dorm, so I actually spent a large portion of this time elsewhere, wandering from location to location, working on my thesis.
But yes, those of you who went home away from MIT for the winter vacation, this is what you missed.
Long story short: I no longer wish to go by dzaefn. You can call me by my real name, or other options listed three paragraphs below. I'm going to try to stop referring to myself by this, and I'd like for you to stop referring to me as such as well. I don't intend to abandon this name as much as possible, just to ease it out, let it stay where it is not easily changed, and just indicate when appropriate that I prefer other names.
There have definitely been people that I've expressly told that I am dzaefn, particularly at times in my life that I just didn't like that my real name was what it happened to be. (Some of these people even concluded that was actually my real name. Oops.) In any case, both from this and from other effects, a lot of people, maybe you, primarily refer to me by the name 'dzaefn'. I'm sorry to tell you that I just do not wish to be called this name anymore, and I apologize for inconveniences in mental nomenclature reassignments.
Why has 'dzaefn' fallen out of my favor? Honestly, I've just gotten to a point where I feel the things with what it stands for and the z-replacing-s got too silly. It derived from a previous username that I used, 'd684n' (which, in fact, I first used when making this here very blog, 6.5 years ago), which stood for 'dotted sixth and eight-fourth-th note' (an expansion of 'dotted eighth note'), in which I replaced the s with a z because I thought the string 'dsa' looked too qwertylike. I'm serious, this is the origin of this username. I've had at least a few really confused faces and at least someone ask me if I was trolling (trust me, I'm not nearly that good at trolling) among the various times I've explained this username. Eventually, after changing what it stood for a few times, I decided it really doesn't stand for anything at all. And eventually (read: now) I decided if I've gotten to this point I should really just discard this. It really wasn't a put-together-that-well name, and it didn't become better. I don't feel any remote sense of juiciness about the name anymore.
So what should you call me? Several options. My full first name is fine. Unlike the times in which I've told people to call me dzaefn, I've come to better terms with my own name. In case you're not sure what my full first name is, it has six letters. More online, there's at least three usernames over the past year I've gotten convinced I plan to keep as monikers permanently (which is honestly the first time in my entire life I've actually felt so): 004413 (my main username these days), 0xGG (the username I use in gaming), and xer0a (pronounced hay-ru-ah, ['heɪɹuɑ]), the last of which you might have noticed is my username on WordPress now. If you don't like that these names take more than a syllable to pronounce, the second half of my full first name is a fine shortening.
There will be several places where I'll just let the fact that my username is dzaefn carry on. It turns out that my starting to use 'dzaefn' falls quite near my coming to MIT, and my current decision falls very near the end of my formal times at MIT, so it just makes sense and is convenient to have it associate with my MIT presence: I'll still use it for logistical MIT business, and I'll retain the /u/dzaefn account for posting to /r/mit, and I'll just remind people that it only happens to be my username, and that I don't wish to be referred to as such any longer.
That's all. Happy birthday to Satyendra Bose today, and Isaac Asimov tomorrow.
I liked to sit on a radiator unit in the W20-575 cluster when battling The Alchemist gym in Pokémon Go. A few times ago, someone who was working on one of the computers told me they wish I could move, because my sitting on the radiator seems to cause it to make substantially louder noises, and that was distracting to him. So I went and sat on a different radiator unit that didn't react as such.
Since then, I've noticed each time I sat on that particular radiator unit that it does in fact react to my sitting with louder noises each time. And even if there wasn't someone that told me the noises bothered them, I moved. Somehow, despite the elevated noises never bothering me before someone told me (I don't remember the noises back then, but I'm pretty sure it's not that the radiator just happened to start consistently becoming noisier upon my sitting the one time someone happened to be bothered by it), I definitely couldn't help but notice them afterwards, and feel that I should do something to fix the problem, even if no one complained.
Rethinking the situation, I'm actually not sure if why I consistently move afterwards is because the noise newly bothers me or if I feel the need to in-advance cater to a particular type of people who would be bothered by the noises. They both feel like they could be reasons I did the such, but one could easily get faint feelings of afterwards-justifications for actions, and I feel these might fall into this category.


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You gonna vybe to this one. Take a listen #GooseBumps
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