Virtual nonprofits - Nuts and Bolts - Forwarding to multiple recipients in gmail.

This is an open-ended series to share things we've discovered about running a 501(c)(3) nonprofit that operates entirely online and in virtual worlds. 

One of New Media Arts' challenges is online communications. We have six board members, who, in a nonprofit, are the bosses – legally and personally responsible for the actions of the company. Some of us are also officers, with specific responsibilities, such as Chief Executive Officer, Chief Financial Officer, Secretary, Treasurer. Some are project heads, such as Creative Director or Publicity Director. We hire contractors, we take in donations and program service revenue, we pay bills and file tax returns.

It's like any other business, except that none of us owns the company, we don't usually pay income taxes, and we have to follow a whole lot more rules than a for-profit company. One of our particular quirks is that we don't keep a physical office and we live far away from each other in the U.S., Canada, and the Netherlands.

Setting up google accounts can be tricky. If a nonprofit is using any of Google's business services, such as cloud storage, or benefits for nonprofits, such as a Google Adwords grant, then its main company gmail account can be linked to a bank account or a company credit card. This means means the CFO or the Treasurer, for internal control reasons, may need to be the person managing the settings and setting up security.

All corporations are required to keep their email records. Here's a good guide for nonprofits if you want to know what to keep and for how long. We're a tiny nonprofit and don't want to pay for another server to store them. We also needed a better way to keep each other in the loop on our various projects and ideas. 

Jamie Jordan, our Communications Director, came up with the idea of setting up a separate gmail account that would act as a dump for email storage, and that also forwards to all of the directors.  

I'm the CFO, I needed to figure it out and get it set up. No problem, right? I'm reasonably intelligent and can follow directions. I went to Google and about five forums. Half a day later, no joy. Didn't work, nobody's getting anything. The directions have some missing steps. Though they did point me to getting email address forwards verified, and setting up filters, which was a considerable start. I experimented.

This is what's working now. If you google searched and found this blog, check the date – this stuff goes stale fast. I'll try to keep it updated

THE HOW-TO

1.    Set up a gmail account that you want to use as your communications forwarding and storage dump. Something short like “XXXX (company initials)– CC@gmail.com” that everyone can remember and type easily.

2.   Log in to your new account, and at the top right, click the gear icon and select “Settings”.

3.   Select the Forwarding and POP/IMAP tab.

• Click on the circle: Forward a copy of incoming mail to:
• Click on the box “Add a forwarding address”.
• Enter one of the email address you want to forward to.
• Click Next.
• A pop-up box should appear with the email address. Click on “Proceed”
• Another window will open: “Add a forwarding addresses A confirmation code has been sent to [email address] to verify permission.
• Click OK. [Don't click on the “x”]. That email address should now appear under “Verify” at the Forwarding tab.

The recipient who owns that email address will get a long email that starts with “xxxx-cc@gmail.com has requested to automatically forward mail to your email” and includes a verification code and a link. Have the recipient of this click on the link and confirm. If that doesn't work, he or she can give you the code and you can enter it manually at the website. We usually use Skype for this kind of quick communication, very handy.

 4.   Back at your gmail: click on Inbox, find the refresh button, click it, then go back to Settings and the Forwarding tab. The email address should have disappeared from “Verify” and show up in the drop-down list next to “Forward a copy of incoming mail to”.

If you're only forwarding to one person, you're done.

If you want to forward to more than one person, you also need to set up a filter for each recipient:

• Back in Settings, click on “Filters and Blocked Addresses:
• Click “Create a new filter”
• In our case, we want all the emails that arrive at the email dump (from everyone's CC bar) to be stored here and also forwarded to all the other directors. So leave all the fields in this screen blank except for “To” (the second one down).
• Input your XXXX-CC@gmail.com address in the “To” field and click on “Create filter with this search”.
• This brings up another screen. Click on the box “Forward to”, and make sure it stays checked. Then choose the forward-to email address from the drop-down and click “add forwarding address”.
• Click the button Create filter.
• You can click other checkboxes to apply to the received email, such as Mark as Read; for our purposes I left them all blank except for one spam-catcher.

Repeat steps 3 and 4 for each person who should get the forwards.

Send out a test message from a email account that's not on the list, see if you got the forward. Check with the other recipients to make sure they're getting forwards.

Notes:

• I didn't see a “Save Changes“ on every screen, but occasionally did, and never did figure out what the criteria are. If you see that button, Click on it
• It's a good idea to go back and check all your work. A couple of times while I was working, I'd go back and discover that a check box I had clicked on was longer checked. Especially "Forward to" in the filters window.
• If I add the email dump address into my CC line, it will forward to all the other directors, but not to me. If another director does the same thing, it will forward to all the other directors, including me, but not to him or her.
• We're still testing this - it's hard to tell the difference between bugs and errors. 

That's it! I hope it's useful.

If you'd like to donate to the cause, you can do that right here 

 Click to support New Media Art's general fund.

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If you shop at Amazon, you can sign up at Amazon Smile, and they'll donate a small fraction of each of each payment to NMA:

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Click here or on the image to start shopping with Amazon Smile

2016 EDU: STAGE: Anton Chekov and the Theater of the Absurd

Anton Chekov and the Theater of the Absurd

The theater of the absurd originated in the late 1950's, about dozen years after World War II ended or at least morphed into the cold war.  It was and is an inquiry into the meaning of life.  Not a quest for the meaning, but  an inquiry into what we can do if we don't find it, thus related to existentialism.  Here Seanchai Library and the Tacoma Arts Commission team up to present a theatrical event that would have been absurd in the 1950's a presentation of a modern play in Tacoma, integrated with a virtual world build of world wide reach.

• EXPLORE can be found on the Open Metaverse at 
• grid.kitely.com:8002:EXPLORESeanchai
• Ten public performances, beginning April 8 and closing April 24, 2016
• Web site:  EXPLORE Anton Chekhov and the Absurd

***********************************

Metaverse events, current and upcoming

• Entertainment on the Hypergrid
• HYPERGRID EVENTS
• Opensim AAM Virtual Performers
• Sign of the Kite (News, not limited to Kitely)
• Selby's daily news collection
• WELCOME TO SEANCHAI LIBRARIES

***********************

New Media Arts (NMA) on the web

• Avatar Repertory Theater - past, present, future
• NMA website
• NMA blog
• NMA projects
• NMA video: Flying Saucers Return Episode 1
• NMA entry path (TBD)

Avatar Repertory Theater - past, present, future

 

With the words that Shakespeare gave Miranda: "O brave new world that has such people in it!"

When Iain McCracken (Sodovan Torok in Second Life) and I founded Avatar Repertory Theater in 2008, there were already several active live theater troupes in the grid.

Talk of live theater in Second Life had started much earlier, of course - Thinkerer Melville (Selby Evans) had been discussing it in forums as early as 2005, working with playwrights, waiting for the technology to catch up. Adele Ward (Jilly Kidd) had experimented with poetry readings - streaming sound via telephone hookups inworld - a 1-5 minute lag from speaker to hearer.

Then "Talk", live voices, finally arrived to our virtual world in 2007, and we could get to work. Act Up Theatre, founded in 2007 by Upo Choche, also experimenting with various ways to get sound and sight to audiences, staged productions in late 2007, suffering through and dealing with many technical problems - avatar movement lag, software crashes, show cancellations because it was impossible to keep avatars, their voices, and a few dozen audience in the same virtual space. It was fun, and addictive.  

Paggles Whitman and I kicked off 2008 in January with "Sex, Death and Religion", a theatrical presentation of each other's poetry to celebrate the building of a Greek Amphitheater on Cookie sim. You can read about it here: in James Braman's "Handbook of Research on Computational Arts and Creative Informatics". Because we kept it simple, with a small cast and minimal sets and props, we managed a couple of shows with no crashes, no interruption to the sound. Whew.  

  

That was followed swiftly by In the Pink, unstaged readings of original works, The Bacchae, produced and directed by Phorkyad Acropolis (Stephen Schrum), back at the Greek theater, and two more productions by Act Up Theatre Company - original plays of "Unexpected Detours", and Shakespeare's "A Midsummer Night’s Dream".  All were amazing, g

round-breaking and suffered much from technical disruptions.

It was during the Shakespeare that Iain, who just finished his scene as Wall, and I found ourselves, avatars that is, behind a bunch of huge sculpty trees, thinking.  The Midsummer set was magnificent, the actors and directors full of talent and chops brought from the "real" world, and I was a forlorn and cranky Titania who could not get my avatar onstage. Stuck in the forest. Couldn't run my camera around the trees without skipping out beyond the theater dome, couldn't find my way through the tree trunks, lost. Iain, a superb programmer and scripter, rigged a vehicle attached to a dragonfly avatar, flew me onstage, dropped me off at my mark, got me through the rehearsal.  

And then it came to us. Virtual theater is about the tech. Unless enough people in the crew and cast have a solid technical understanding of simulator resource limitations, what a viewer's video card can handle, how to handle voice and sound effects and avatar movement limitations, the artists and actors will not be seen nor nor heard very well.

We needed to start another virtual theater company, on an entirely different basis. So we did. Even in 2008, we thought it possible that virtual theater would move beyond Second Life, so we named it, after some brainstorming, Avatar Repertory Theater, aka A.R.T. We recruited a few people we knew who were talented actors and easy to get along with, and who brought other skills - sound engineering, set making, avatar design, animating, directing, dramaturgy, publicity, administration.  Kayden Oconnell, Micki Nikolaidis, Rowan Shamroy, Dolgoruky Umarov, Em Jannings, Thundergas Menges joined us.  Selby Evans donated space on Cookie sim in Second Life, JubJub Forder gave us props and set pieces.  We had a company.  

We were offered a set of short plays from a playwright group that Selby Evans had been running the previous year. We picked three and built and put on our first show: "Tales from the Metaverse", performing at JubJub Forder's shopping mall and at Cookie sim. Thundergas made a machinima of one of them - Masquerade, which you can see at our website, www.avatarrepertorytheater.org.

Then we immediately started working on Shakespeare. Our founding members recruited more actors, we grew. The Tempest for February 2009, with dragons in the cast and audience, a whole lot of virtual water and an enormous steampunk ship. 

By March, 2009, Kayden Oconnell started
d a weekly show for us to experiment and improvise. "A.R.T. Plays Around" began and that's where we worked out the technical and artistic abilities that are in our "knowledge trunk" now. How far the Talk channel travels in a sim. How much lag there is in live Talk and how to compensate for it. How to handle our equipment and settings so that we sound good, look good, and don't crash. How to cover for each other so the show goes on even when we do crash, lose sound, or all our clothes disappear. How to adapt a play so that we can perform it in this new medium. How to design a set that rezzes fast and that the avatar actors can navigate without falling off or getting lost. And much more.

Yes, we move our own avatars while we're talking. It's all live.  

By 2010, this and another project I started in 2006, Antique Pattern Library, were becoming so active, with revenue, expenses and potential tax problems, that I started New Media Arts Inc with core people from each project, and we got our 501(c)(3) tax exempt status so we could raise a little money and put a more secure footing under the projects. NMA has grown too, and taken on a life of its own. www.newmediaarts.org.  

Over the next seven years of ART, troupe members joined us, troupe members  left - some because of personality conflicts, more because this is a hugely time consuming activity.   

By Plays Around's last show in 2015, each show was no longer an experiment. It was generally a fully staged one hour show, with sets, costumes and animations. There's a list of them here: A.R.T. show archive list

A little less than 300 shows in seven years.  Most were small, some took our building and avatar designers a year to build. A total blast. But too much for unpaid volunteers, too much for anyone. Also, and this is important, by this time over half of our troupe was becoming so successful in real life live theater, television and video, that they no longer have time to do much virtual theater. That really is a good news/bad news situation! A success story for the actors, and that makes me happy. 

We now have a core of about half a dozen actors who are fully trained in virtual world voice over, avatar movement and animations, costume and prop rezzing. Another half dozen or so, equally gifted, who perform with us when they have time, plus technical, publicity and other support. 

We're in the middle of major transitions. We're travelling out to the hyper-grid - OpenSim grids where we can travel from one grid to another, each with a virtual "Suitcase" to carry sets, costumes, props and animations. Hamlet at AvatarFest, scenes from Midsummer Night's Dream at the OSCC. 

We're  producing videos - "Flying Saucers" is out and one of our teams just uploaded a set of tutorials for OpenSim newbies. We have a 16-sim OpenSim world, Cookie II, hosted at the Kitely grid, with space for all kinds of events and performances, along with privately accessed smaller worlds for producing videos. Projects in pretty much all the planning phases. 

I'm excited.

If you'd like to donate to the cause, you can do that right here 

 Click to support New Media Art's general fund.

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If you shop at Amazon, you can sign up at Amazon Smile, and they'll donate a small fraction of each of each payment to NMA:

-

Click here or on the image to start shopping with Amazon Smile

Avatar Repertory Theater Presents North of Boston Friday March 11th 7PM PST

YOU ARE CORDIALLY INVITED to join Avatar Repertory Theater for a dramatization of Robert Frost's 1915 modernist masterpiece "NORTH OF BOSTON", presented live in voice, Friday, March 11 at 7pm Pacific Time in Second Life  for more info visit http://vwbpe.org/event/the-avatar-repertory-theater-presents-north-of-boston?instance_id=61
From the hired hand who finally comes home, to a man who will never walk the New England woods again for his beloved native orchids, Robert Frost paints his metaphors into the lives of country people in a rich and formidable land.
Adapted for virtual theater by Judith Adele (Ada Radius)
ACTORS: Kayden Oconnell, JadaBright Pond, Sodovan Torok, Em Jannings and Ada Radius.
SETS by Ada Radius, featuring the artwork of Aley (Pirate collection). All pieces free to copy.

Another reason why I love building in OpenSim! The so-called "Land Impact" values.
Here is a comparison of land impact values for identical mesh model uploads, that I tested in OpenSim, then uploaded into Second Life. In both grids, 1 prim = 1 land impact value. For these low-poly mesh models, which have fewer vertices than if I built them with prims, the values are different.

"Land Impact" values, SL vs OpenSim grids:
Chair                           56                             1
Cupboard                    87                             1
Table                            6                              1
Bed                             41                             4
                                --------                    --------
                                 190                              7

These models are nothing fancy, just some simple furniture for a theater set for Avatar Repertory Theater, where, because of the limited numbers of prims allowed on a Second Life sim, I have a tight prim budget. The 183 extra "land impact" meant I was over budget. So I did what everyone does - substitute prims for the chairs @14 prims each, and sculpties for the cupboard, pillow, mattress and coverlet, which do not texture nearly as well and are harder on viewers. I got to keep the table and bed frame.

Avatar Design for Virtual World Theater

see more at www.avatarrepertorytheater.org

Avatar Design for Virtual World Theater

by Ada Radius Feb 2016

Avatar design for virtual theater is aimed primarily toward expressiveness. It's also important that our actors be able to change avatars and costumes quickly, attach props and use them easily, and move their avatars appropriately.

Another important consideration is server and viewer resources. Every vertex and pixel on an avatar, and every movement, must load into that actor's computer and graphics card, then up into the server hardware and software, then back down into audience computers and graphics cards. Too much data takes too long, so we have to build efficiently – as few vertices and pixels as possible.  

Before figuring out how we want our avatars to look, it's first important to know how we make our avatars move. Our actors move their avatars while saying their lines, so that you are hearing and seeing our avatars speaking and moving live. Yes, that takes some practice!  

This is how a virtual theater actor moves:

• System defaults, which vary depending on which grid we're performing in:
• Speech – face mesh morphs triggered by Talk sound – make the mouth move.
• Speech gestures (in some grids) - shoulder and arm animations triggered by Talk sound.
• Default animations built into viewers and grids – walks, stands, turns, sits, etc., triggered by keyboard taps and sequences.
• Head and eye movement that can be directed by an actor mouse/touchpad-click on another actor's face or other object
• Animation override – devices that use created animation files to override the default avatar movements. These form the basis for much of the character representation – such as the hip movement of a sexy young woman, the bending back and halting steps of an elderly man, or maybe a flying fae creature who raises her arms and spins when she lands.  
• Emote HUD: a scripted HUD that triggers one or more of the 17 default face expressions - mesh morphs -  currently available for OpenSim avatars.
• Animations in props – scripted devices to trigger a movement when a prop, such as a teacup, is attached to the avatar.
• Animations in sets – scripted devices triggered by an avatar clicking on, walking into or "sitting" on a set piece.
• Animations in "gestures" - scripted or system files that can run animation sequences, or connect an avatar movement with other scripted effects, such as the Cheshire cat disappearing a piece at a time.
• Animation files that can be stacked on the screen and triggered one at a time when needed, such as Oedipus kneeling over his dead wife, then standing and holding her chiton pin, then stabbing his eyes with it.  In this case the actor triggers the kneel animation by clicking on a scripted set piece, then “stands” from that while attaching the chiton pin, which triggers the hold position for his arm and hand, then he runs the stabbing animation which he had previously stacked on his screen. All while saying his lines.

Once I know what a character is going to need to do, I can, working with the director, start figuring out what he or she or it will look like.  I also start thinking about how an actor will use each costume piece and prop, so that they'll display appropriately in Inventory and the “My Outfit” links, and be easy to find.

                                                                                                 Oedipus Rex

With the simulator, grid and viewer software that is available to us now, we can't make varying mouth movements triggered automatically by Talk if we cover up the default avatar face. We can make a simple “Talk Jaw” - a hinged device, useful for some creatures, but the sound volume doesn't affect the movement. For now, it's usually better, for actors and audience, to use the default avatar face morphs. So I create a “skin” for the default avatar for any parts that will show, i.e., not covered by an attachment – particularly the face. You can see some examples here of human and non-human face textures that will map to the default avatar face.  It's similar to the way we see a map of the world on a flat surface, except the avatar body parts here are cut up differently to make flat areas for texturing - ears, teeth and skull separated from the face.

Sheep, Lion, Humpty from Through the Looking-Glass

Then I have some decisions to make.

The first is avatar shape.

Avatar shapes can be designed inworld or, by importing the default shape with a plugin, in software such as Blender. Adjustments can be made to the avatar “skeleton” for height, limb length, shoulder width, etc., and to the mesh (the outside vertex shell) for some flesh adjustments, such as breast size and limb thickness.  We can also deform and re-import the skeleton from 3D modeling software for dwarfs, giants and animals.

The default avatar also has a “Hair” layer that can morph eyebrows, scalp and (for males) facial hair areas. Shirt, pant, shoe and skirt layers can be deformed for such things as high heel foot position and bell sleeves, which will affect layers over it – a bell sleeve on the shirt layer will affect the sleeve shape on the Jacket layer, for example.

Then I start working on texturing the default avatar pieces that I want visible.

Each component of an avatar's skin – head, torso, hips and legs, eyes, scalp&eyebrows uses a 512x512 pixel image (“texture”), except for eyes, which are 256x256. If you use a bigger texture (1024x1024 is the biggest allowed in the system) it may take longer to load and will be converted to 512x512 on the avatar skin. A smaller texture will also be converted to 512x512 and won't display well. If I know a component of the avatar skin will be completely covered, I'll use my own 4x4 blank texture (the smallest allowed in the system) on that component.  

There is a default set of system “clothes” for the default avatar, and they can be very useful – undershirt, underpants, socks, gloves, shirt, pants, skirt, jacket and shoes, each of which is painted onto the avatar shape in order (underpant layer can't be stacked on top of pants, for example). Each of these clothing layers displays a 512x512 pixel texture, same as skin. There is also a tattoo layer which displays just over the avatar “skin”, and an alpha layer that can be designed to selectively make a part of the avatar, including clothing layers, disappear. This is useful under attached costume pieces.  All of the system skin and clothing layers move with the avatar animation automatically.

The OpenSim avatar also has 30 attachment points for props and costume pieces. Eyes, ears, chest, etc. More than one attachment can be added to a point, if the actor is careful about setting up attachment order, and so that the additional piece doesn't replace the previous one.

For several years in Second Life and the OpenSim grids, “attachments” were limited to inworld prim pieces. Then sculpt (a pixel-based representation of shape) maps came along, which gave us more shaping options. Sculpt maps are still useful for animating shapes – Medusa's hair, for example. Prim and sculpt attachments are still used quite a lot, but will not “move” with an animation, except to stay attached to the attachment point. Sculpt maps are harder on viewer graphics cards than “mesh” attachments.

“Mesh” attachments are now widely used, now that they're visible in most OpenSim grids, viewers, and audience hardware. “Mesh” is a misnomer, of course – every thing we see in a viewer is “mesh” - vertices and faces, painted with texture images. But for this purpose, the term “mesh” refers to a 3D model, a dae file, that is created in software such as Blender or SketchUp, and uploaded to the grid to use instead of or in addition to the inworld builder tools (“prims”) or “sculpt” maps.    

A mesh attachment has a huge advantage over prim and sculpt attachments, because it can be created with better modeling and texturing, and  “rigged” to move with the avatar animations. We can upload the default avatar mesh model to Blender, get it dressed, and rig the clothing to the avatar so that it'll move, not perfectly, but recognizably, on the avatar inworld. It doesn't have to be perfect, it's a cartoon.

Here is an example of all that put together – one of the avatars we used for our video “Flying Saucers Return” last year. Our goal was to make them weirdly funny.

This is one of the triplets – ugly babies – in the story. I adjusted the default avatar to make the shape, snagged a child skin and mesh eyes I'd made for another show, and deformed the skeleton to make it small with a big head. Then simple mesh jammies with an off-the-shelf texture that I rigged to the avatar skeleton. I ended up  combining the deform rig with the jammies – one less thing to wear. One of our troupe members, Rowan Shamroy, created the animations, so they could sit in the grocery cart, fighting and drinking. From that we made NPC characters (NonPlayerCharacters – scripted animated avatar representations), and shot the footage.    

Triplets with Big Mama at the grocery store.

https://www.youtube.com/watch?v=PtK6wdCgKnY to see the video, and for additional credits.

2016 APL 2016-02-11 Two new publications.

PUBLICATIONS


Adding the third would have meant a delay of some days, and I want to keep to a regular schedule. If we can publish something each week, it works better than publishing a lot once every two months.

Judith told me after editing this weeks first publication that there were so many letters, that she expected everybody could find a suitable monogram here. The Album of Alphabets and Monograms nr 2 is part of my own collection. In real life it looks like a disreputable stack of old newspapers. Judiths work made it look like new again. We haven't charted the many cross stitch letters, and it does not have a high priority. The images should be clear enough to work from.

The second item is a quickie: there was this lovely teapot stand on ebay, and we got a fast reply on my request for permission to republish, so it's one of the shortest stays on the backlog in our history. Thank you, William Philip, for giving your permission and even adding new photos to the listing. I was and am really tempted!
It did raise a question, though: last weeks pincushion was 60x60 stitches and this is about the same size. Could I have been mistaken? Was last weeks pincushion also a tea pot stand?
What do you think? Should I change the description?

FUNDRAISING

We've had some lovely donations the past week. Some money and some image donations, both equally welcome. We're off to a good start for the New Year, and let's hope it does improve even more.
Apart from money or scans, you can also support us via Amazon Smile.
The limit of small donations is 700 EUR, a bit more than 700 USD. It may increase if we get more small donations. Judith will help me recalculate this years limit, but to be safe we'll keep to 700 until I know for sure it can be higher. That's the limit to what you can donate per year and still have it count towards the small donations. It's recalculated every year. If you donate more, the IRS puts your donations on the other side of the public funding ratio. So, if you were planning to donate just above the limit, give some to another organization, buy a cup of coffee and donate just the limit amount. ;-)

Also, we are looking for people who can afford a one-time larger donation to support our goals for 2016, which will cost us some money.
It will help speed up our publication speed, and make more time available for the actual library work, which is sadly suffering. Judith and I have spent most of January on bookkeeping and IRS compliance and stuff like that. Fortunately that's behind us now.

We've had one large donation already. That one has helped to improve the programming for the site so that now somebody else is able to do the entire round of publishing (except writing special notices and the blog) on her own, without help from me. That's going to make it easier to keep publishing every week, even when I'm on holiday. And I can spend more time on editing the acquisitions, and visit people with laptop and scanner in a bag, if they have a suitable book and live within reach.
(Next week I'm off to Haarlem, where a marktplaats seller offered me an opportunity to photograph and/or scan her samplers - some from the seventeenth century!)

Basically, what I'm looking for right now is to get professional help to scan the really large publications, sized A2, A1, and maybe even A0, of which we have a chest full. Some leaves are so fragile that we get the chance to scan them once, then they fall apart. I've inquired at a nearby photographer, and they will have to build an installation too (just like Willem and Nettie, but larger), in order to get the sheets properly photographed. The more money I plonk down, the more sheets they can do. And of course, the building and taking down of the installation, as well as closing the studio for one day, will cost money of itself. So, money is very welcome!

If you can't afford to give anything, which also happens in these difficult times, introducing the Library to people who don't know of it yet, is very useful, since it broadens our user base and therefore our donor base. I'll try to publish a flyer in black and white which can be printed and used as handout, for anybody wanting to do that. It would be more useful than a visiting card.

Anything you donate for the Library, goes to the Library. The donations of the larger donors are far more than enough to cover our overhead, so what you give, goes straight to Library improvement.

HOUSEKEEPING

The publications are free to download and to share, not to sell. Also the screendumps and later the text pages are published under the creative-commons licence - enjoy, but don't sell. If ever you see a PDF for sale, especially with the Library creative-commons copyright notice or something that looks like it, we'd be glad to hear. Most we've heard of so far are legitimate sellers of their own copies, but every now and then there's one that isn't. In such a case, please email us privately with your concerns and give as much detail as possible. We don't want peoples' names aired about before we've had a chance to look the matter over, in order to protect the truly innocent.

Thanks to all the donors and volunteers, for all the help and new or improved material you provided.

Enjoy this new set.

Best wishes all,

Sytske