diff --git a/_data/menu.yml b/_data/menu.yml
index 73ed612..4a23706 100644
--- a/_data/menu.yml
+++ b/_data/menu.yml
@@ -9,9 +9,9 @@
 
 - conference: 
   en: 
-    name: Conference 2020
+    name: conference 2020
   fr: 
-    name: Conference 2020
+    name: conference 2020
   items:
     - program: 
       en: 
@@ -34,20 +34,3 @@
 #   fr: 
 #     name: faire un don
 #     url: /donate
-
-
-# - participate: 
-#   en: 
-#     name: submit a proposal
-#     url: "/how-to-participate"
-#   fr: 
-#     name: soumettre une proposition
-#     url: /participer
-
-# - attend:
-#   en:
-#     name: attend
-#     url: /attend
-#   fr:
-#     name: l'événement
-#     url: /evenement
\ No newline at end of file
diff --git a/_data/rf2020/events.yml b/_data/rf2020/events.yml
index a12e273..d9fc117 100644
--- a/_data/rf2020/events.yml
+++ b/_data/rf2020/events.yml
@@ -249,6 +249,7 @@
   format: Talk
   ref : last-seen-online
   date : 2020-09-19 00:00
+  pic: /assets/img/rf2020/events/last-seen-online.png
   description: |
     In a time in which death is moving rapidly online (funeral streaming services during COVID-19, #RIPcelebrity hashtags trending on Twitter), we all have to face the question of what happens to our own digital afterlives, as well as those of our loved ones. Digital death is the ultimate clash of familiar human concepts of time with the ubiquitous computational time. Facebook and Instagram offer possibilities for “immortalisation” with a memorialised profile, Twitter only offers deactivation. The need to humanise algorithms is now vital; Facebook friend suggestions and birthday reminders of the deceased aren’t exactly perceptive. Cue capitalising companies offering to use AI to analyse activity and learn how to post for you after death. But are their promises really immortal? And if, as predictions suggest, the dead soon outnumber the living on Facebook, who’s going to pay for their upkeep? Dead people aren’t very useful consumers; they won’t be clicking on those targeted ads. So what happens to the feedback loop when it’s the deceased generating the data? And who ultimately owns this data? This research began from a personal note following the death of my father. Unprepared, I found myself clinging to the digital traces that remained of him. Using participatory methods, I conversed with Facebook users who were vocalising a death on the platform. This research explores the presentation of the self across public platforms and negotiates a physical absence in light of a persistence digital presence. Anthropological research into death and grief online faces new challenges: omnipresent online traces, ethical algorithms, data storage and an online field-site. Essentially death is an inevitable accompaniment to our existence and, like in other fields, we are constantly catching up with technology and surrendering our control; this is no exception, perhaps we just need to acclimatise quicker than the companies.
   participants: [17]
diff --git a/_data/rf2020/participants.yml b/_data/rf2020/participants.yml
index ecf246f..ad9029f 100644
--- a/_data/rf2020/participants.yml
+++ b/_data/rf2020/participants.yml
@@ -176,7 +176,7 @@
   pronouns : She/her
   links : ['http://apian.ch/Portfolio_EllenLapper_2020.pdf', 'https://instagram.com/elaps']
   bio: |
-    Ellen Lapper is a British visual anthropologist, artist and researcher exploring different mediums to move away from traditional text-based research. She largely engages in participatory projects in an attempt to redistribute hierarchies between researchers and subjects. Currently Ellen is pursuing two projects, both stemming from personal experiences within the relevant communities. One is committed to telling stories with the aim of widening the discussion on colonised peoples and challenge homogenised and racialised ideologies of British identity. This research explores postcolonial memory and place-making through a long-term ethnography and has been made into an ongoing film. The second project investigates the digital afterlife – an area of interest stemming from the death of her father in 2015. So far, an article on how social media has changed the way we grieve has been published https://doi.org/10.14361/9783839434970-010 and research is still ongoing, with a visual element in progress. Both projects have been recently presented at the EASA 2020 conference, and the work on postcolonialism contributed to the RAI Film Festival and Forecast Forum Berlin, both 2019. Ellen holds an MA in Visual and Media Anthropology (Freie Universität Berlin) and a BA in Fine Art (International) from the University of Leeds. She has long-term professional experience from previous employment at Galerie Barbara Wien, Berlin, and is also a translator and writer in the fields of contemporary art and anthropology.In a time in which death is moving rapidly online (funeral streaming services during COVID-19, #RIPcelebrity hashtags trending on Twitter), we all have to face the question of what happens to our own digital afterlives, as well as those of our loved ones. Digital death is the ultimate clash of familiar human concepts of time with the ubiquitous computational time. Facebook and Instagram offer possibilities for “immortalisation” with a memorialised profile, Twitter only offers deactivation. The need to humanise algorithms is now vital; Facebook friend suggestions and birthday reminders of the deceased aren’t exactly perceptive. Cue capitalising companies offering to use AI to analyse activity and learn how to post for you after death. But are their promises really immortal? And if, as predictions suggest, the dead soon outnumber the living on Facebook, who’s going to pay for their upkeep? Dead people aren’t very useful consumers; they won’t be clicking on those targeted ads. So what happens to the feedback loop when it’s the deceased generating the data? And who ultimately owns this data? This research began from a personal note following the death of my father. Unprepared, I found myself clinging to the digital traces that remained of him. Using participatory methods, I conversed with Facebook users who were vocalising a death on the platform. This research explores the presentation of the self across public platforms and negotiates a physical absence in light of a persistence digital presence. Anthropological research into death and grief online faces new challenges: omnipresent online traces, ethical algorithms, data storage and an online field-site. Essentially death is an inevitable accompaniment to our existence and, like in other fields, we are constantly catching up with technology and surrendering our control; this is no exception, perhaps we just need to acclimatise quicker than the companies.In a time in which death is moving rapidly online (funeral streaming services during COVID-19, #RIPcelebrity hashtags trending on Twitter), we all have to face the question of what happens to our own digital afterlives, as well as those of our loved ones. Digital death is the ultimate clash of familiar human concepts of time with the ubiquitous computational time. Facebook and Instagram offer possibilities for “immortalisation” with a memorialised profile, Twitter only offers deactivation. The need to humanise algorithms is now vital; Facebook friend suggestions and birthday reminders of the deceased aren’t exactly perceptive. Cue capitalising companies offering to use AI to analyse activity and learn how to post for you after death. But are their promises really immortal? And if, as predictions suggest, the dead soon outnumber the living on Facebook, who’s going to pay for their upkeep? Dead people aren’t very useful consumers; they won’t be clicking on those targeted ads. So what happens to the feedback loop when it’s the deceased generating the data? And who ultimately owns this data? This research began from a personal note following the death of my father. Unprepared, I found myself clinging to the digital traces that remained of him. Using participatory methods, I conversed with Facebook users who were vocalising a death on the platform. This research explores the presentation of the self across public platforms and negotiates a physical absence in light of a persistence digital presence. Anthropological research into death and grief online faces new challenges: omnipresent online traces, ethical algorithms, data storage and an online field-site. Essentially death is an inevitable accompaniment to our existence and, like in other fields, we are constantly catching up with technology and surrendering our control; this is no exception, perhaps we just need to acclimatise quicker than the companies.
+    Ellen Lapper is a British visual anthropologist, artist and researcher exploring different mediums to move away from traditional text-based research. She largely engages in participatory projects in an attempt to redistribute hierarchies between researchers and subjects. Currently Ellen is pursuing two projects, both stemming from personal experiences within the relevant communities. One is committed to telling stories with the aim of widening the discussion on colonised peoples and challenge homogenised and racialised ideologies of British identity. This research explores postcolonial memory and place-making through a long-term ethnography and has been made into an ongoing film. The second project investigates the digital afterlife – an area of interest stemming from the death of her father in 2015. So far, an article on how social media has changed the way we grieve has been published https://doi.org/10.14361/9783839434970-010 and research is still ongoing, with a visual element in progress. Both projects have been recently presented at the EASA 2020 conference, and the work on postcolonialism contributed to the RAI Film Festival and Forecast Forum Berlin, both 2019. Ellen holds an MA in Visual and Media Anthropology (Freie Universität Berlin) and a BA in Fine Art (International) from the University of Leeds. She has long-term professional experience from previous employment at Galerie Barbara Wien, Berlin, and is also a translator and writer in the fields of contemporary art and anthropology.
 
 - id : 18
   fullname : Guillaume Slizewicz
diff --git a/_data/translations.yml b/_data/translations.yml
index edce3cc..fbf763b 100644
--- a/_data/translations.yml
+++ b/_data/translations.yml
@@ -26,7 +26,7 @@ participants:
   fr: Intervenants
 registration_coming:
   en: Workshop registration info coming soon.
-  fr: Workshop registration info coming soon.
+  fr: Informations sur l'inscription aux ateliers à venir.
 event_time_soon:
-  en: 'Note: Specific event times will be announced early September.'
-  fr: Specific event times will be announced early September.
\ No newline at end of file
+  en: 'Note:  Specific event times will be announced early September.'
+  fr: 'Note : Les horaires spécifiques des événements seront annoncés début septembre.'
\ No newline at end of file
diff --git a/_layouts/event.html b/_layouts/event.html
index 39127cf..c8d15c9 100644
--- a/_layouts/event.html
+++ b/_layouts/event.html
@@ -12,7 +12,7 @@ parentNameFr: programme
 
 <article class="page-content margin-64-bottom event">
   <div class="content post-item">
-    <header class="post-header">
+    <header class="post-header flex flex-align-end">
       <div class="flex flex-col">
         <h2>
           {{ page.title_ | strip }}
diff --git a/_layouts/participant.html b/_layouts/participant.html
index 3e9e804..ce52d89 100644
--- a/_layouts/participant.html
+++ b/_layouts/participant.html
@@ -35,7 +35,7 @@ parentNameFr: intervenants
     </div>
     <div class="post-content margin-16-bottom inline-block">
       <h3>
-        {{ page.fullname }}'s Events: 
+        {{ page.fullname }}'s events: 
       </h3>
       {% for event in site.data.rf2020.events %}
         {% for id in event.participants %}
diff --git a/_posts/en/2020-08-22-program-announced.markdown b/_posts/en/2020-08-22-program-announced.markdown
new file mode 100644
index 0000000..5391768
--- /dev/null
+++ b/_posts/en/2020-08-22-program-announced.markdown
@@ -0,0 +1,18 @@
+---
+layout: post
+author: ReclaimFutures
+title: "Program Announced!"
+ref: program-2020-announced
+date: 2020-08-22 19:50:00 +0200
+lang: en
+
+---
+
+So here it is! After a period of consideration, we are extremely proud to announce the [events](/rf2020/program) and [participants](/rf2020/participants/) for this (inaugural) edition of ReclaimFutures. 
+
+It's been genuinely amazing to have received such a positive response to the call for proposals and inspiring to read through the proposals we've received – we've really got something exciting to share with you. The weekend of 18-20th September, over 30 participants will be presenting their workshops, talks, video essays and performances.
+
+Specific times of events and registration links coming very soon!
+
+<a href="/rf2020/program" class="with-url-arrow block">{{ site.data.translations.program[page.lang] }}</a>
+<a href="/rf2020/participants/" class="with-url-arrow block">{{ site.data.translations.participants[page.lang] }}</a>
\ No newline at end of file
diff --git a/_posts/fr/2020-08-22-program-announced.markdown b/_posts/fr/2020-08-22-program-announced.markdown
new file mode 100644
index 0000000..29d6520
--- /dev/null
+++ b/_posts/fr/2020-08-22-program-announced.markdown
@@ -0,0 +1,19 @@
+---
+layout: post
+author: ReclaimFutures
+title: "Programme annoncé !"
+ref: program-2020-announced
+date: 2020-08-22 19:50:00 +0200
+lang: fr
+categories: fr
+
+---
+
+Alors voilà ! Après une période de réflexion, nous sommes extrêmement fier.e.s d'annoncer [les événements](/fr/rf2020/programme) et le nom [des participant.e.x.s](/fr/rf2020/participants/) de cette édition (inaugurale) de ReclaimFutures.
+
+Il a été pour nous *incroyable* de recevoir une réponse si positive à l'appel que nous avons lancé et *inspirant* de lire les propositions que nous avons reçues - nous avons vraiment quelque chose d'excitant à partager avec vous. Le week-end du 18 au 20 septembre, **plus de 30 participant.e.x.s** présenteront leurs ateliers, conférences, essais vidéo et performances
+
+Les horaires spécifiques des événements et liens d'inscription seront bientôt disponibles !
+
+<a href="/fr/rf2020/programme" class="with-url-arrow block">{{ site.data.translations.program[page.lang] }}</a>
+<a href="/fr/rf2020/participants/" class="with-url-arrow block">{{ site.data.translations.participants[page.lang] }}</a>
\ No newline at end of file
diff --git a/_sass/layouts/participant.scss b/_sass/layouts/participant.scss
index 3c24e5c..0f7997f 100644
--- a/_sass/layouts/participant.scss
+++ b/_sass/layouts/participant.scss
@@ -37,4 +37,8 @@
       max-width: 252px;
     }
   }
+
+  .post-content h2:first-of-type {
+    margin-top: 0;
+  }
 }
diff --git a/_sass/layouts/post.scss b/_sass/layouts/post.scss
index e70f860..6e052a7 100644
--- a/_sass/layouts/post.scss
+++ b/_sass/layouts/post.scss
@@ -84,3 +84,13 @@
     display: inline-block;
   }
 }
+
+.post-content {
+  a.button {
+    -webkit-appearance: none;
+    border: none;
+    box-shadow: none;
+    font-size: var(--size-16);
+    cursor: pointer;
+  }
+}
diff --git a/_sass/pages/home.scss b/_sass/pages/home.scss
index 75d7ce2..f20a8d2 100644
--- a/_sass/pages/home.scss
+++ b/_sass/pages/home.scss
@@ -9,4 +9,12 @@
     display: inline-block;
     margin-top: 0;
   }
+
+  button {
+    -webkit-appearance: none;
+    border: none;
+    box-shadow: none;
+    font-size: var(--size-16);
+    cursor: pointer;
+  }
 }
diff --git a/_sass/pages/rf2020.scss b/_sass/pages/rf2020.scss
index 0b78bd9..1ded295 100644
--- a/_sass/pages/rf2020.scss
+++ b/_sass/pages/rf2020.scss
@@ -1,6 +1,7 @@
 #page-rf2020 {
   a {
     display: block;
+
     button {
       -webkit-appearance: none;
       border: none;
diff --git a/assets/img/rf2020/events/last-seen-online.png b/assets/img/rf2020/events/last-seen-online.png
new file mode 100644
index 0000000..ea9e633
Binary files /dev/null and b/assets/img/rf2020/events/last-seen-online.png differ