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Newport Community School Primary Academy is part of the Tarka Learning Partnership. All schools within the Trust are responsible to the Trustees and Members of the Trust.
Newport Community School became an Academy on 1st August 2011 and is now formally known as Newport Community School Primary Academy (NCSPA). In 2018, the school became part of a Multi-academy Trust known as the Tarka Learning Partnership.
School Community Board
The Chair of our School Community Board is David Cresswell and can be contacted in writing through Newport Community School Primary Academy, Landkey Road, Barnstaple, Devon EX32 9BW.
The Tarka Learning partnership is a registered company at Companies House. An annual financial record is compiled each year and sent out to parents and relevant community partners. This statement is available through the school office and the Trusts website.
The School Community Board is responsible for ensuring that the school provides the best possible education for the children, and to see that it fulfills all the requirements laid down by law. Our School Community Board is made up of both parents, staff and community members.
Parent representatives are elected by the parents of children at the school, and teacher and non-teaching staff representatives by their colleagues. Elections are held every four years, unless a vacancy arises.
The School Community Board members are:-
Kieran Kidd
Parent Representative
Vice Chair of the School Community Board
Laura Kies
Staff Representative Occupation Head Teacher
Jo Hill
Staff Representative Occupation Teaching Assistant
Community Representative
Jenny Patten
REGISTER OF BUSINESS INTERESTS 2022/23
ATTENDANCE AT GOVERNORS MEETINGS 2021/22
(School Representatives can be contacted through the school: 01271 376252 or email
admin@newportprimary.devon.sch.uk. Letters can also be handed into the school office).
The School Community Board meet six times a year as a whole. This board discusses the community, curriculum, home-school links and all aspects of pupils experience within the school. The Tarka Learning partnership's Board of Trustees oversees the work of Newport's School Community Board in accordance with a delegated scheme of Governance.


This is truly a classic the whole family will enjoy. We find Rudolph the red nose reindeer traveling through the land of misfit toys. And finds himself fitting right in with them. Feeling out of place in society most of his life. After learning about the evil toy takers nasty deeds Rudolph seeks to stop him and save his friends. Catching up with his girlfriend Clarisse he confronts the toy taker who escapes. After seeing him in harms way Rudolph and Clarisse risk their lives to save his.


1995 Ford Mustang Specifications 1995 FORD MUSTANG OVERVIEW The 1995 mustang was largely unchanged from 1994. The the base, GT, and Cobra engine choices remained the same, and no styling differences were effected on the car. 1995 saw the introduction of the Mustang GTS, which was designed to be a lightweight, "bare bones" car with the power of a GT.
The 2019 Ford Mustang may be the best version to date. No longer a one trick pony, the newest Mustang offers power, handling, comfort and style all in a package the average American can easily afford.
Heavy Duty TKO. Is your high performance 5.0L Mustang making more power than your stock manual transmission can handle? Then you need to upgrade to the Ford Racing Tremec TKO 600 Extra Heavy Duty 5 Speed Manual Transmission.


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Speciation beyond sexuality: critiques to the biological species concept
Evolution • Science
By Rafael Medina June 13, 2013 0 comments
The word "species" is one of the most relevant and controversial in the history of Biology and has often become the main topic of many books and articles. It seems that biologists can do their job quite well and understand each other as if all of them shared a tacit agreement on the meaning of this word. However, it has been frequently pointed out, that asking two different biologists for a definition of this category may raise immediately an intense debate. Before going to the point of this post I would like to remark some observations about the so called "species problem".
First: this is not a trivial concern. Species are used as the "unit" for biodiversity assessment and many of the studies conducted in order to disentangle diversity patters at different scales and with different objectives (from phylogeography to global warming) are ultimately dependent on species-based knowledge. Second: this issue has not remained static during the past years. Several publications (e. g. 1 2) have stressed that beyond an apparent disagreement, all the "species concepts" are not incompatible, as they all try to explain why different approaches have detected the same discontinuities in the biosphere. The different concepts may be better understood as usual properties of consistent population assemblages that evolve independently, useful for their delimitation, but not as universally valid definitions. Third: changes in species delimitation and recognition is the result of an active scientific field that continuously tries to improve the accuracy of our understanding of the complexity of the tree of life (a continuum in the diachronic axis, but atomized in distinct entities in the synchronic one). This is not an easy or straightforward task at all; its instability should not be confused with arbitrariness. Fourth: Several reasons lie behind the impossibility of reaching a single universal species definition (including the limitations of language itself 3or different epistemological perspectives 4), but still, all the "popular" species concepts (morphological, biological, phylogenetic, ecological, etc) provide relevant knowledge based on scientific evidence.
Figure 1. None of the species concepts has proven to be infallible or universal, which does not mean that they are "wrong". Buddhist parable of the blind men and the elephant, 1888 | Credit: Wikimedia Commons
The general perception of the species problem by most of the people interested in science and even by some biologists includes commonly two clichés. The first one says that the species delimitation is a subjective field rather than a scientific activity. This is a reductionist misconception of a complex challenge as stated in the observations above. The second one considers that the biological species concept (BSC) is "the lesser evil" and the most accurate species definition that we have. Just as a reminder: the BSC states that a species is a group of interbreeding populations, reproductively isolated from others. If an individual of population A mates with an individual of population B and their offspring is fertile, A and B belong to the same species. If the offspring of these individuals is a sterile hybrid or there is no offspring at all, A and B belong to different species. End of the story, right? Well, this is not that simple at all. The BSC, same as other attempts to achieve a comprehensive definition, has failed to become a universal principle. It was a meaningful contribution to the debate, but it is not intrinsically optimal.
The popularity of the BSC is partly due to the work of Ernst Mayr 5 (probably its most relevant advocate, but not its author 6 as commonly thought) and its subsequent privileged position in textbooks. The pros of this definition are frequently remarked, but a more accurate introduction to the species problem should also include the main weaknesses that prevented this elegant idea to solve the secular conflict. One of the most important objections to the universality of the BSC is that reproductive isolation is not an absolute, binary condition. Biological entities often do not behave clearly when are subject to the "test" of reproductive isolation and hybridization processes have proved to be complex and widespread among very different and often distant lineages 7. Hybridization itself often behaves as the trigger for the birth of new species, and not as a barrier for gene flow. Other examples such as ring species can also prove that even within vertebrates, a group of populations may be interbreeding and not interbreeding at the same time 8.
Figure 2. the classical example of the species ring of the greenish warbler (Phylloscopus nitidus). A continuum of populations live around the Himalayas. Usually, adjacent populations would have similar ethological patterns and compatible mating calls (black arrows), but at the Northern edge of the distribution, Eastern and Western populations differ greatly and behave as two distinct, reproductively incompatible, lineages (red arrows). | Credit: Wikimedia Commons
However, the main objection to the BSC is that it cannot be applied to organisms without sexual reproduction, and thus, will never constitute a universal definition of species. (Asexual organisms do not mate or hybridize, then, BSC is unable to provide any information about their species delimitation).
A sensible question to ask at this point is whether asexual organisms can be classified into species, and it seems that they actually can. Take, for instance, the genus of bdelloid rotifers Rotaria, minute aquatic invertebrates that reproduce by parthenogenesis (eggs develop into adults without fertilization). Despite the absolute absence of males and sexual reproduction, rotifers have been traditionally sorted into species categories like any other animal. Some relevant morphological characters used for this purpose include the study of a distinct pair of "jaws" (also known as trophi). A phylogenetic study of these rotifers 9 including trophi statistical morphometrics and genome sequence analysis revealed that the traditional species delimitation corresponds with major monophyletic lineages. Each lineage bears a distinct trophi shape, determining the feeding niche of each rotifer. The compared patterns of variation (morphological and genetic) among these groups and within them rejects that they are the result of a process of neutral divergence, instead, they are better explained as the result of a adaptative divergence lead by natural selection. These groups are species, independently evolving entities whose jaws reflect ecological specialization, same as the Galapagos finches, for instance. Despite the lack of sexual reproduction, nothing suggests that these rotifer species deserve a segregated explanation for their origin.
Figure 3. Morphological variation of the trophi ("jaws") of some rotifers of the genus Rotaria. Species were traditionally described using their shape. This morphological species concept was not just a phenetic exercise: each trophi shape would determine a different ecological niche and it is the result of a distinct evolutionary history due to natural selection. The morphological, ecological and phylogenetic species concepts depict a coherent species delimitation even in absence of sexual reproduction. | Credit: Fontaneto et al. 2007
An analogous situation can be found in the parthenogenetic weevils of the genus Naupactus [footnote] Rodriguero, M. S., Lanteri, A. A. & Confalonieri, V. A. 2013. Speciation in the asexual realm: is the parthenogenetic weevil Naupactus cervinus a complex of species in statu nascendi?. Molecular phylogenetics and evolution. [/footnote]. After the detection of a highly polymorphic genome of some of these beetles collected in South America, different coalescent-based analyses oriented to species delimitation were performed. Although these weevils also lack sexual reproduction, the analyses allowed the authors to detect at least two distinct and sympatric evolutionary units that are undergoing divergence due to natural selection. They interpret these results as the reflection of an ongoing speciation event, once again, suggesting that sexual reproduction is not a requirement for the existence of species. Reproductive isolation is usually a consequence or a trace of the occurrence of a speciation event, but clearly, not a requirement.
Figure 4. How does the birth of a species look like? According to Rodriguero et al., the incipient segregation of two different lineages within Naupactus cervinus suggests, regardless of their asexual condition, that it consists on a complex of species in statu nascenti. | Credit: Rodriguero et al. 2013
Hey, J. The mind of the species problem. 2001. Trends in Ecology & Evolution16, 326–329 ↩
De Queiroz, K. 2007. Species concepts and species delimitation. Systematic Biology56, 879–886 ↩
Pigliucci, M. 2003. Species as family resemblance concepts: The (dis-) solution of the species problem? BioEssays25, 596–602 ↩
Wilkins, J. S. 2003. How to be a chaste species pluralist-realist: the origins of species modes and the synapomorphic species concept. Biology and Philosophy18, 621–638 ↩
Mayr, E. 1963. Animal species and their evolution. Harvard University Press. Cambridge ↩
Wilkins, J. S. 2009. Species: a history of the idea. University of California Press. Berkeley ↩
Abbott, R. et al. 2013. Hybridization and speciation. Journal of Evolutionary Biology26, 229–246 ↩
Per, A. 2006. Species concepts and their application: insights from the genera Seicercus and Phylloscopus. Acta Zool Sinica52, 429–434 ↩
Fontaneto, D. et al. 2007. Independently evolving species in asexual bdelloid rotifers. PLoS Biology5, e87 ↩
Rafael Medina
Rafael Medina is Assistant Professor of Biology at Augustana College (Illinois, USA). He earned his Ph.D. at Universidad Autónoma de Madrid and was a postdoctoral research associate at the University of Connecticut. His research experience focuses on the taxonomy, phylogenetics, and phylogenomics of bryophytes, but he is also interested in the broad study of biodiversity and science communication.
@bryomedina
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redpajama_set_name: RedPajamaCommonCrawl


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Pre-depression Era Vaudeville Stage 2020
October 11, 2019 by Wilma
For a time in the Vaudeville Era, few theater districts outside of Broadway were hotter than Cleveland, Ohio's. But as the decades rolled on and times changed, the district fell upon hard times. But now, after a concerted revitalization effort,
History of Hollywood Musicals 1: pre-1940. of sound and so were ideal for the short one reelers showing comic acts taken straight from the vaudeville stage.
Nov 16, 2013. Strands of Christmas lights bathed the La Jolla Playhouse stage in a. out of the traveling circus to take a shot at real 1930s fame: vaudeville.
But from the very first time the initial host, an old vaudeville comic named Milton Berle, took the stage and stood in front of the NBC. Boy, was that a different era. (SOUNDBITE OF TV SHOW, "TEXACO STAR THEATRE") UNIDENTIFIED.
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Area residents will have their first opportunity Sunday to sneak a peek at ongoing renovations to the 85-year-old Des Plaines Theater. The theater, at 1476 Miner St. in downtown Des Plaines, was once a stunning 1920s-era vaudeville.
Vaudeville Era; Paramount Original. incorporated the animated physical comedy of the vaudeville stage. but most theatres were forced by the Great Depression to.
During the height of the vaudeville era, troupes of comedians. Notable entertainers who performed on its stage included Fred Allen, Jack Benny, Bob Hope, Roy Rogers and Mae West. The theater opened on April 18, 1910, and its inaugural.
The Missouri Theatre is mid-Missouri's only pre-Depression era movie palace/vaudeville stage and is on the National Register of Historic Places.
On the National Register of Historic Places, Missouri Theatre is central Missouri's only remaining pre-depression era movie palace and vaudeville stage.
wangle a job for me (not easy to do during the Great Depression ) as a laborer. feature movies, others showed one movie and a feature-length vaudeville show. This gave me a chance to develop a little stage presence, and in general to.
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Pre-depression Era Vaudeville Stage 2020 4.5 out of 5 based on 165 ratings.


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Stickers on the studio door at Auckland's 95bFM student radio station
LAST CHANCE TEXACO by RICKIE LEE JONES
Graham Reid | Aug 6, 2021 | 3 min read
GHoSTYhead (from the GHoSTYhead album, 1997)
Most rock biographies and autobiographies conform to a familiar template: a bit about growing up, the musical epiphany (Elvis/Beatles/Stooges/Clash/name your moment); starting out; fame arrives; the struggle and usually the redemption (clean/sober/happy etc).
Perhaps because Rickie Lee Jones is not a rock musician but – as with Leonard Cohen, Joni Mitchell, Bjork, Kate Bush and many others – is part of rock culture, her autobiography was always going to be a bit different.
But just how great that difference was couldn't have been guess until this seven-years-in-the-making book, subtitled Chronicles of a Troubadour.
Jones' story doesn't even get to her first album, fame and her grand passion with Tom Waits until fully three quarters the way through (Waits appears briefly in one unflattering encounter before that).
Before her acclaimed debut album, the hit Chuck E's in Love and the subsequent spotlight, Jones tells a remarkable story of her Vaudeville ancestors; of a dysfunctional and itinerant family (sometimes together, sometimes the parents separately); of someone in their last three generations losing a limb (in her family it was brother Danny); of being prone to flights of fancy, fantasy and mystical thoughts; her as a recalcitrant pre-teen; of being a runaway, stealing her first car and her earliest sexual experience (both at 14); jail and juvenile hall; roaming across the US as rootless and often homeless; of her physical maturity (big breasts) being currency while on the road hitchhiking; of bad and abusive relationships; an abortion; abandoned in Chicago by one lover with no money and no clothes; living in a Californian cave with hippies . . .
All this before she was 18.
She didn't read and when she was given Jack Kerouac's On The Road – her third book after Catch 22 and Slaughterhouse Five – she didn't rate it.
"I understood Jack Kerouac because I lived, then surpassed, Jack Kerouac. And I didn't really like his literary style. Three books and already I was a critic."
Jones tells her story without asking for sympathy or even understanding, this is just what her life was before she started singing for actual money.
She'd always sung but her epiphanies weren't the obvious ones. Yes, she loved the Beatles when she heard them as a kid but it was the romance and drama of West Side Story – the Sharks and the Jets, the doomed love – which attracted her.
She loved Sinatra too.
She was jazz not pop, bohemian not hippie, Rickie Lee Jones not anybody else.
There was no one doing what she did, until after she did it.
She is candid about her lovers among them Lowell George (who wanted to get a credit on Easy Money) and Dr John, her heroin use (when she revealed it to Waits with whom she was living he dropped her immediately), the famous people she met including Bob Dylan who told her at a Grammy after-party when she had been nominated for five awards, "Don't ever quit. You are a real poet".
There is a hilarious meeting with the curmudgeon Van Morrison in which he conforms to type.
If she condenses the past 30 years of her profession career into the final chapters it sacrifices nothing in this context because she reconciles with her father (but not her sister), still has the support of her mother and recounts with sadness how brother Danny went into a mental decline as society rejected him.
She tells her extraordinary story of a child born into a damaged post-war family with equanimity, a healthy lack of shame or disregard for how she comes across, and along the way we see how all of this fed into her unique talent.
She is a gifted songwriter who has never been easily pigeonholed (she writes of being from "the jazz side" with all the connotations the world can bring) and concludes in her Epilogue, "The fact is careers breathe like everything else. There are good years and bad, great decades and evil ones. Show business is the business of showing your life to the whole wide world."
More than most, the great Rickie Lee Jones revealed herself through her music and lyrics, her ambitions and shortcomings and as she says, "this troubadour life is only for the fiercest hearts, only for those vessels that can be broken to smithereens and still keep beating out the rhythm for a new song".
She has been one of the most fierce, and in this remarkable autobiography -- with music as a constant -- she shows how, by the age of 21, she had been steeled in the fires.
LAST CHANCE TEXACO by RICKIE LEE JONES (Grove Press, $37)
Mike Butler - Aug 9, 2021
Great review G!.. it's a title I prob would have passed on...not now!
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In Farmington: An action-packed Friday is on tap
By Stephanie Piro
FARMINGTON � This Friday, Farmington is going to have a big multi-organization Christmas event! There will be tree lighting, Christmas lights turned on, a festival of trees and a play! We are lucky to have such dedicated people running these organizations. So a round of applause for all who helped make this happen!
Christmas tree sale
Boy Scout Troop 188 is selling Christmas trees at the Harley Davidson shop on Route 11 in Rochester. Trees are $35 each (any size). Sales are from 10 a.m. to 5 p.m. on Dec. 7, 8, 14 and 15.
On Friday, Dec. 6, five town organizations are coming together to create a special Christmas celebration. Starting at 6:30 p.m., Farmington Parks and Recreation will be hosting the official start of the holiday season. It begins at the intersection of Main and Central streets for the lighting of the town Christmas tree and as Farmington Preservation & Improvement Organization "flips the switch" to turn on the Christmas lights/ FPIO will be handing out Christmas light necklaces. There will be hot chocolate and cookies as everyone waits for the arrival of Santa Claus. At 7 p.m. the Friends of Farmington opens its doors for their Mini Festival of Trees. And at 8 p.m. the Town Hall curtain goes up as the Farmington Town Players invite you to "A Visit To Christmas Town" featuring the Farmington Community Band.
Friends of Farmington
The Festival of Trees event is free and open to the public. All trees will be donated and decorated by area, businesses, individuals and organizations. Trees will be table-top trees between 18 inches and 3 feet tall. Wreaths will be many different styles,shapes and materials.
You may purchase raffle tickets to win the tree or wreath of your choice during this event. Tickets are $1 or 6 for $5. The drawings will take place at the end of the day on Saturday and you do not have to be present to win.
The Festival begins on Friday at 7 p.m. after the Tree and Lights event.
We will open again on Saturday from 10 a.m. to 4:30 p.m.
Farmington Preservation & Improvement Organization
Through generous donations via its "Sponsor a Tree" program, the FPIO has upgraded all the trees to include energy efficient commercial grade LED light sets, new greens and garland and new bows. You can visit their website to see how to become a sponsor: www.farmingtonpio.com/sponsorshipsdonations.
Class of 2020 Christmas Fair
Saturday, Dec. 7 from 10 a.m. to 3 p.m. at Farmington High School. Admission is free with some free games. There is a fee for raffle tickets for prizes, food, drink, and some activities. Plenty to do for the kids and a great spot to pick up some gifts for the upcoming holidays.
Handbell Choir Holiday Concert
New Hampshire�s premiere handbell choir, the Granite State Ringers, under the direction of Joan Fossum, will perform a special Holiday concert at the First Congregational Church in Farmington, on Sunday, Dec. 8 at 3 p.m. Admission is by donation. The concert is entitled �Traditions of Christmas.�
Goodwin Library
Gingerbread House Contest: On Tuesday, Dec. 10 at 6 p.m. Supplies provided. Houses will be voted on by the public and prizes awarded to the top three houses. Children, teens, and adults are welcome to enter their creations. We are in need of donations of supplies. See either circulation desk for a list of needed items; any donation will be greatly appreciated. This program will be held at the First Congregational Church next to the library.
Northeastern Ballet Theatre 'The Nutcracker'
Farmington resident Edra Toth and her company Northeastern Ballet Theatre will present their gorgeous production of "The Nutcracker" at two locations: Saturday, Dec. 7 at 7 p.m. and Sunday, Dec. 8 at 2 p.m at Dover High School, and Sunday, Dec. 15 at 2 p.m. at the Kingswood Arts Center, Wolfeboro. Tickets are available now at www.northeasternballet.org or by calling (603) 834-8834. Tickets will be $5 more at the door.


Between each of the bones in your spine (the vertebrae) is a disc. These discs act as shock absorbers and help cushion your bones. A herniated disc is one that extends beyond the capsule containing it and pushes into the spinal canal. You can have a herniated disc anywhere along your spine, even in your neck, but it's most likely to occur in the lower back (lumbar vertebrae).
You might develop a herniated disc from lifting something the wrong way or from suddenly twisting your spine. Other causes include being overweight and experiencing degeneration due to disease or aging.
A herniated disc doesn't always cause pain or discomfort, but if it pushes against a nerve in your lower back, you may have pain in the back or legs (sciatica). If a herniated disc occurs in your neck, you may have pain in your neck, shoulders, and arms. Besides pain, a herniated disc can lead to numbness, tingling, and weakness.
If these are ineffective and you have persistent pain that is interfering with your quality of life, there are several surgical options.
X-ray: An X-ray produces clear pictures of your vertebrae and joints.
Computed tomography (CT/CAT scan): These scans provide more detailed images of the spinal canal and surrounding structures.
Magnetic resonance imaging (MRI): An MRI produces 3-D images of the spinal cord and nerve roots, as well as the discs themselves.
Electromyography or nerve conduction studies (EMG/NCS): These measure electrical impulses along nerves and muscles.
These tests will help your surgeon determine the best type of surgery for you. Other important factors in the decision include the location of your herniated disc, your age, and your overall health.
After gathering all the information they can, your surgeon may recommend one of these surgeries. In some cases, a person may require a combination of surgeries.
In a laminotomy, a surgeon makes an opening in the vertebral arch (lamina) to relieve pressure on your nerve roots. This procedure is performed through a small incision, sometimes with the aid of a microscope. If necessary, the lamina can be removed. This is called a laminectomy.
Discectomy is the most common surgery used for herniated disc in the lumbar region. In this procedure, the portion of the disc that is causing the pressure on your nerve root is removed. In some cases, the entire disc is removed.
The surgeon will access the disc through an incision in your back (or neck). When possible, your surgeon will use a smaller incision and special instruments to achieve the same results. This newer, less invasive procedure is called microdiscectomy. In some cases, these procedures can be performed on an outpatient basis.
For artificial disc surgery, you'll be under a general anesthesia. This surgery is usually used for a single disc when the problem is in the lower back. It's not a good option if you have arthritis or osteoporosis or when more than one disc shows degeneration.
For this procedure, the surgeon enters through an incision in your abdomen. The damaged disc is replaced with an artificial disc made from plastic and metal. You may need to stay in the hospital for a few days.
General anesthesia is required for spinal fusion. In this procedure, two or more vertebrae are permanently fused together. This may be accomplished with bone grafts from another part of your body or from a donor. It may also involve metal or plastic screws and rods designed to provide additional support. This will permanently immobilize that portion of your spine.
Spinal fusion usually requires a hospital stay of several days.
All surgeries have some risk, including infection, bleeding, and nerve damage. If the disc isn't removed, it can rupture again. If you suffer from degenerative disc disease, you may develop problems with other discs.
Following spinal fusion surgery, a certain amount of stiffness is to be expected. This may be permanent.
After your surgery, you'll be given specific discharge instructions regarding when to resume normal activity and when to begin exercising. In some cases, physical therapy may be necessary. It is very important to follow your doctor's recommendations.
To help prevent future problems with your back, try to maintain a healthy weight. Always use proper lifting techniques. Strong abdominal and back muscles help support your spine, so be sure to exercise them regularly. Your doctor or physical therapist can recommend exercises designed for that purpose.


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Especially since x64 win32 applications can only use 4 GB of reference memory at any one time, theres ways to get around this but most applications wont need more then 4GB. 4GB is alot of things to put on ram.


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Philosophy made simple!
Can You Define Love: An Introduction to the Philosophy of Love
Given that it's Valentine's Day, I figured this week's post should be all about love. While love and philosophy seem like two things you'd want to keep completely separate, the topic of love has been discussed by philosophers for millennia. Considering love's prominence in the human experience in general, this shouldn't be surprising.
But can you define love? And even if you can define love, should you? While it might seem like love is something that can't be analyzed, the discourse surrounding love within philosophy doesn't necessarily attempt to take away or diminish what makes love feel special. It instead seeks to clarify the concepts, ideas, and relationships implied by our understandings of love.
So, what is love? (Cue Haddaway…) If it's anything like it's portrayed in poems, books, songs, and film, then our definition and understanding of love may be somewhat vague. For philosophers, and even for people of other cultures, love isn't one single thing. This notion is probably most obviously illustrated by the fact that in English, the word is used in a myriad of ways. We can love wine, love a book, or love a person. But even the ways we use love in relation to people can differ drastically. For example, I don't love my partner in the same way I love my favorite writer, nor do I love my favorite writer in the same way I love my parents.
With this in mind, one of the first problems facing anyone seeking to develop a coherent understanding of love is its broad and imprecise definition. Unfortunately, the etymology of the word isn't really of much help in illuminating the distinctions between our understandings of the dimensions that love can take. This ambiguity is why it might be useful to take a look at the ways other cultures define love.
The Ancient Greeks inspire much of Western culture, and it turns out they thought about love a lot. Some philosophers, psychologists, and theologians who think abstractly about love sometimes refer to a list of four different types of loves discussed over time in Ancient Greek culture.
The first love on our list, agape, refers to transcendent, unconditional love and is generally associated with Judeo-Christian ethics as the concept was heavily refined within Christian theology. In Ancient Greek, the word most directly applied to familial love that emerged from the bonds of one's relationships. Christianity takes this notion and relates it to one's familial relationship to God and God's children or, more broadly, to all of humanity. In the modern era, agape is best exemplified by Martin Luther King's Civil Rights platform, which articulated a notion of nonviolence rooted in an appreciation of everyone's common humanity. Key to most depictions of agape are care, charity, humility, and sometimes sacrifice – attributes that are especially reflective of the concept's role in Christianity. It's worth noting though that some other cultures and religions have notions of a transcendent or universal love that resembles agape. For example, while Martin Luther King's notions of agape took inspiration from Greek and Judeo-Christian tradition, he was probably also influenced by the Jain concept of Ahimsa as articulated by Gandhi.
Eros refers to sexual attraction with the word literally being the name of the Greek god of desire. It's also where the English word "erotic" is derived. The term is usually associated with a cranial, animalistic passion and madness, but it doesn't necessarily always have that connotation. Eros is, for example, considered an integral aspect of platonic love where it's transformed from so-called vulgar eros into divine eros or an appreciation of inner or true beauty.
If you remember our discussion about the etymology of philosophy, you might recognize that the prefix phil- comes from philia. Philia is a type of affection that emerges from a shared appreciation, and it's often translated as "brotherly love." Key to philia is not just mutual reciprocity but a sort of mutual shared benefit. Relationships rooted in philia are those in which both parties are made better off by the interaction, such as a business relationship or a friendship.
Storge
Storge refers to a type of compassionate love between individuals who are very close, like family members or very good friends—although, it is worth noting that storge is most commonly associated with parent and child. Key to storge is time and investment, as the types of relationships influenced by storge tend to be ones that are stable and familiar.
Three other loves
Some of the loves mentioned above are often paired with three others. Together, all of these types of loves constitute psychologist John Alan Lee's color wheel theory of love.
Ludus. A playful type of love, often seen in flirtatious behavior and in young and immature relationships in the "puppy love" stage. Ludus can also refer to just general banter-filled companionship, like children playing together or friends sharing jokes at a kickback.
Philautia. This is self-love, which is probably considered by many to be the most important type of love. Unlike some of the loves mentioned here, philautia has a very noticeable dark side in excess or insufficient quantities. Too much self-love leads one to become a narcissist, but too little self-love results in one not being secure enough to give love.
Pragma. This type of love refers to love that emerges from a strong sense of duty, usually one arising from rational reflection and appreciation of a partner's qualities. This type of love is compromising in the sense that it's practical. Relationships revolving around this kind of love are ones where both partners take into consideration the goals, strengths, and weaknesses of one another and use those to set their expectations. While pragma isn't the most romantic type of love, it's likely one of the most stable ones.
Even more notions of love
Ancient India also provides us with different conceptions of love, some of which have overlap with those of Ancient Greece. Perhaps what is the most interesting articulation of love comes from Gandhi who translated the Jain concept of Ahimsa as love as part of his civil rights movement. Ahimsa is a deep philosophical tradition that considers all things sacred and thus demands that one be nonviolent, not only in their actions but in their mind and intentions. Although Ahimsa does not actually mean love, Gandhi's choice to translate the word as such is interesting and could be used to highlight dimensions of love possibly not considered by those outside Jain tradition.
Specific issues regarding the philosophy of love
As these various notions of love illustrate, the philosophy of love is something that's truly complex given love's multitude of dimensions. Aside from defining love, philosophers are concerned with a number of other issues that full under the domain of other areas in Philosophy.
Regarding the metaphysics of love, there are a multitude of questions inquiring into love's exact nature. For example, what types of relations fall under the domain of love? Should we define love solely as the desire to form a union with another person, or do unrequited love, sexual attraction, or mere emotional attachment best describe the characteristics of love? Do love's defining traits extend to describing feelings and relationships involving non-real entities like fictional characters or hypothetical person(s)? Finally, can love be reduced to or solely explained by neuroscience and physiological responses?
Beyond understanding the properties of love, philosophers are also concerned with understanding how it is we recognize or have knowledge of love, which is an epistemological question. The epistemology of love engages with questions like is love rational? Basically, can we have logical and consistent reasons for being in love? The alternative would be that love is solely an emotional and private affair that is not subject to explanation through rational considerations.
The philosophy of love is also concerned with ethical issues as well, like what our obligations are to those whom we are in love with and vice-versa. There are also contemporary issues like those surrounding the discussion around sexual consent and others regarding the nature of obligations within non-monogamous relationships. This short section, unfortunately, cannot give any of these issues fair consideration, but future posts will allow us the opportunity to delve into each topic and give each the individual attention it deserves.
Asthetics, Epistemology, Ethics, General, Metaphysics
Philosophy in the News (January 2018 Edition)
Why Does Socrates Call Love Madness?
Archives Select Month October 2019 June 2019 April 2019 February 2019 December 2018 November 2018 October 2018 September 2018 August 2018 July 2018 June 2018 May 2018 April 2018 March 2018 February 2018 January 2018 December 2017 November 2017 October 2017 September 2017
Categories Select Category Asthetics Comparative Philosophy Epistemology Ethics General Logic Metaphysics News & Current Events Site Thought Experiments World Philosophy


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Q: Xamarin.iOS: Firebase push notifications not working I am developing a Xamarin.Forms application with Xamarin.Android and Xamarin.iOS clients. For push notifications, I am using FirebasePushNotificationPlugin library. It works perfectly on Android, but not on iOS.
On iOS the app simply closes down after the request to use push notifications. So: the "Allow/Don't allow" popup is shown, and when the user clicks on Allow, the app closes down. No exception is thrown or anything.
I have done every step in the setup instructions, but just to double-check, I will show you screenshots of everything:

*

*Firebase console: I have registered my iOS app on the Firebase console and inputted all required fields (App ID, Bundle ID, App Store ID, App ID Prefix). I have also uploaded the APNs Authentication Key (but no certificates).

*NuGet: I have added Plugin.FirebasePushNotification package to both Xamarin.Forms and Xamarin.iOS projects.

*GoogleService-Info.plist: I have added GoogleService-Info.plist (that I got from the Firebase console) to the Xamarin.iOS project and set its Build Action to BundleResource.

*Info.plist: I have enabled remote notification background mode and added FirebaseAppDelegateProxyEnabled (and set it to No) in Info.plist.

*Entitlements.plist: I have added production aps-environment entitlement.

It is production (and not development) because I cannot run and debug the app, so the app is actually being uploaded every time to the App Store Connect and tested with TestFlight as an internal tester.

*Xamarin.iOS AppDelegate: I initialize the package in AppDelegate.FinishedLaunching method, right after LoadApplication(new App());. The false parameter means that it will not auto register for notifications (it will be registered later manually).

I also override methods RegisteredForRemoteNotifications, FailedToRegisterForRemoteNotifications, DidReceiveRemoteNotification and call respected methods (as stated in the Getting Started instructions).

*Xamarin.Forms: Now this is when all goes to hell on iOS. When it calls CrossFirebasePushNotification.Current.RegisterForPushNotifications();, it shows the "Allow/Don't allow" popup, and after the user clicks "Allow", the app simply closes. No exception is thrown or anything (well, at least nothing gets caught in the try/catch statement). The app simply shuts down.

The interesting thing maybe is, that the FCM token is already (successfuly) created before all this and if I send a push message to that token (of that iOS app), the Firebase server returns success. So I'm guessing that the Firebase part is correct, but there is something wrong with the iOS and/or the library?
Any advice whatsoever will be greatly appreciated!

A: For anyone reading this: I have solved this problem by removing the FirebasePushNotificationPlugin library, which apparently doesn't work on iOS. I have then implemented the notifications using the Xamarin.Firebase.iOS.CloudMessaging package instead, following this GettingStarted guideline.

redpajama_set_name: RedPajamaStackExchange


text:
package net.badlogic.td.screens.transitions;

import com.badlogic.gdx.Gdx;
import com.badlogic.gdx.graphics.GL10;
import com.badlogic.gdx.graphics.Texture;
import com.badlogic.gdx.graphics.g2d.SpriteBatch;
import com.badlogic.gdx.math.Interpolation;

/**
 * Created by BruSD on 16.03.14.
 */
public class ScreenTransitionSlide implements ScreenTransition {
    public static final int LEFT = 1;
    public static final int RIGHT = 2;
    public static final int UP = 3;
    public static final int DOWN = 4;
    private static final ScreenTransitionSlide instance =
            new ScreenTransitionSlide();
    private float duration;
    private int direction;
    private boolean slideOut;
    private Interpolation easing;

    public static ScreenTransitionSlide init (float duration,
                                              int direction, boolean slideOut, Interpolation easing) {
        instance.duration = duration;
        instance.direction = direction;
        instance.slideOut = slideOut;
        instance.easing = easing;
        return instance;
    }
    @Override
    public float getDuration () {
        return duration;
    }

    @Override
    public void render(SpriteBatch batch, Texture currScreen, Texture nextScreen, float alpha) {
        float w = currScreen.getWidth();
        float h = currScreen.getHeight();
        float x = 0;
        float y = 0;
        if (easing != null) alpha = easing.apply(alpha);
        // calculate position offset
        switch (direction) {
            case LEFT:
                x = -w * alpha;
                if (!slideOut) x += w;
                break;
            case RIGHT:
                x = w * alpha;
                if (!slideOut) x -= w;
                break;
            case UP:
                y = h * alpha;
                if (!slideOut) y -= h;
                break;
            case DOWN:
                y = -h * alpha;
                if (!slideOut) y += h;
                break;
        }
        // drawing order depends on slide type ('in' or 'out')
        Texture texBottom = slideOut ? nextScreen : currScreen;
        Texture texTop = slideOut ? currScreen : nextScreen;
        // finally, draw both screens
        Gdx.gl.glClearColor(0.0f, 0.0f, 0.0f, 1.0f);
        Gdx.gl.glClear(GL10.GL_COLOR_BUFFER_BIT);
        batch.begin();
        batch.draw(texBottom, 0, 0, 0, 0, w, h, 1, 1, 0, 0, 0,
                currScreen.getWidth(), currScreen.getHeight(),
                false, true);
        batch.draw(texTop, x, y, 0, 0, w, h, 1, 1, 0, 0, 0,
                nextScreen.getWidth(), nextScreen.getHeight(),
                false, true);
        batch.end();
    }
}

redpajama_set_name: RedPajamaGithub


text:
HomeEventsMC & MCCARTHY PRESENT OPEN MIC SERIES IN L.A.
MC & MCCARTHY PRESENT OPEN MIC SERIES IN L.A.
March 3, 2010 Independent Music and Arts Insider Events 0
Music Connection magazine and Michael McCarthy are presenting an open mic at El Cid every Monday. In the last 2 years alone El Cid has hosted secret shows for Beck, Jane's Addiction, Tenacious D, Wolfmother, Spoon and Flight of the Conchords. Whether you're a seasoned pro or new to the scene, El Cid's beautiful old-school variety-night theater space is the ideal spot for you to get in front of an audience and show them what you're about. All are welcome. Sign-ups are from 7:30-8:30 or SIGN UP ONLINE at vishun.net/openmic/start. For full details go to myspace.com/openmicatelcid. To BOOK YOUR BAND or acoustic act at EL CID e-mail Michael McCarthy themightymac@gmail.com.
MOST POWERFUL VOICE CONTEST
SEMINAR ON REVIVING/RECAPTURING COPYRIGHTS


It seems every year that there are holiday wars over some of the weirdest things. People argue about when to put up decorations, when to put to take them down, and even how much decorating is too much.
Here is my take: Do what you like as long as you're not hurting anyone else.
So if you want to put up your decorations on Halloween and keep them up until February, go ahead. If you want to take your tree down on Christmas afternoon, go ahead. If you want to put up five hundred inflatable Santa Clauses in your yard, go ahead. If you are a traditionalist and don't observe Christmas until Advent is over, go ahead. And if you don't celebrate at all, go ahead.
I have a fairly laissez-faire approach to the holidays. I sing Christmas and Hanukkah songs with equal abandon. And everything from the ritziest to the tackiest decorations make me smile. To many of our students, I say, "Have a great break," because they are actually gone longer than the holiday period. If someone says "Merry Christmas," I say it back. If someone says "Happy Hanukkah," I say it back. If they say "Happy Holidays," I say it back.
I have no desire to extinguish someone else's joy.
However, if you are one of the people who has put up five hundred inflatable Santas, please reinflate them after a cold night. Right now (and you know who you are ), it looks like a giant Christmas massacre took place in your yard.


A young friend recently introduced me to the world of Minecraft. (Yeah, I know, I'm a late bloomer.) Minecraft is a video game where players build things out of textured cubes in a 3D-generated world. Activities include exploration, resource gathering, crafting and going on adventures.
As I've explored Minecraft further, I've found that music plays an important role in the game. Although there is a musical soundtrack provided, I've learned that many players turn down the soundtrack and stream their own music while they play. Players even create their own soundtracks using note blocks. Do a YouTube search and watch and listen to some of these creations.
A particular video caught my eyes (and ears)! The gamer painstakingly created a Minecraft experience to visually and aurally show the genius of the first canon from The Musical Offering by J.S. Bach. I've written several posts on this work.
Some call this game "Mindcraft." Watch this video entitled, Minecraft Crab Canon: A Musical Palindrome, and you'll see why.
The exhibition, The Worlds of M. C. Escher: Nature, Science, and Imagination, at the North Carolina Museum of Art has been so popular that it has been extended through January 24. Knowing that Escher's work has been associated with Bach's, I was keen on viewing the exhibition. Following my visit, I wrote a few words about Escher in an earlier post, The Puzzling Musical Offering.
As I toured the galleries, I couldn't help thinking that Escher's two- and three-dimensional works might be visual representations of Bach's two- and three-part inventions. Yet another parallel between the two masters is that both Escher and Bach stole from themselves constantly. They regularly reused motifs or thematic material they had drawn or composed earlier in newer works, sometimes multiple times. Escher called these his "arrangements." To me, these findings are fascinating!
Whether listening to Bach or viewing works by Escher, if we pay attention, the rewards are many.


text:
Make Noise by Amy Smith
12" by 16" Print / Unframed 12" by 16" Print / Framed 18" by 24" Print / Unframed 18" by 24" Print / Framed
Each poster is hand-printed and handled, to make sure that only the highest quality is offered and sent out. The matte paper and high quality of inks make for a vibrant image which looks great both framed, and au-naturel. Printed in Los Angeles, CA, on Epson Enhanced Matte Paper, heavyweight stock, high color gamut, using Epson UltraChrome HDR ink-jet technology. Framed posters offer the same, museum-quality printed poster, but wrapped in a protective black frame. The frame is lightweight and includes a shatter-resistant acrylite front protector, so it won't break in the mail. International orders may be subject to customs duties & taxes.
Proceeds support Courage Campaign, an online community powered by more than one million members, instrumental in the fight for marriage equality.
Design By: Amy Smith
Amy Smith is a self-educated contemporary artist. Born in New Jersey, she moved to Los Angeles where she found inspiration, mentors, and support in the Street Art community surrounding L.A. Her intention is to offer viewers the opportunity to choose one's own path of empowerment, leaving behind what society demands.
Amy Smith's work has been featured in a number of private collections, residences, businesses, and in popular tv/film sets including shows like Dear White People, Key and Peele, Casual, and many others.
See all work by Amy Smith »
Amy Smith is a self-educated contemporary artist. Born in New Jersey, but not built for the cold, she moved to Los Angeles where she found inspiration, mentors, and support in the Street Art community surrounding L.A. In her Collage Portrait Series, Amy Smith uses photography, hand cut stencils, and torn recycled fashion magazine pieces to simultaneously represent her love of fashion and her contempt for excessive consumerism. Her intention with the series is to offer viewers the opportunity to choose one's own path of empowerment, leaving behind what society demands. Amy Smith's work has been featured in a number of private collections, residences, businesses, and in popular tv/film sets including shows like Dear White People, Key and Peele, Casual, and many others. — Amy Smith


Dear friends and customers, as some of you may already know I am an end stage kidney failure patient on dilaysis. Recently my medical costs have really skyrocketed to a stage where I need financial assistance. As a result of this, I have decided I need to get back some money in order to support myself for the next few months. Certain items in our Available Items list will be available at clearance sale prices. So I would appreciate your support in making this a win-win situation where you get a really good deal and I get money for my treatment. Basically, If I don't have sufficient cash for my treatments my situation will get worst and it can be terminal. I have already exhausted all means of financial assistance from family and other avenues like the gov and SOCSO. So the last resort is to let go selected ready stock items at cost or at a lost. Please do not haggle prices with me and understand that my situation is serious and urgent which is why I have to resort to doing this. I will be marking down some prices of items which have been in stock for some time. You can contact me to enquire if any item you want is going at those clearance prices since there are so many items and it will take time to update them all. Seeing that I am unwell, it also takes me longer time than normal because I cannot focus for long periods of time.
I appreciate all your help and your assistance. Basically if you are going to spend money, please consider helping me out. I don't spend money unnecessarily as all my funds go towards keeping me alive. You would be doing something good in helping me this way.


text:
Have a Hakea
This is the fourth in a sporadic series on plants of the great Gondwanan family Proteaceae; it began here, but it might be easiest to go the most recent instalment, on grevilleas, and follow the links back.
While not nearly as large a genus as the better-known Grevillea, Hakea is still pretty substantial with around 150 species recognised. It is possibly less widely familiar because hakeas have generally been less cultivated; they are often regarded as prickly and not as colourfully bloomed as grevilleas, but neither of those observations are anywhere near universally true, as we shall see. All are Australian.
Corkwood Hakea lorea, Kata Tjuta National Park, central Australia.
Hakeas can be found throughout Australia, but unlike grevilleas they do not grow in rainforests. Many, like the Corkwood above, thrive in the arid lands, but like so many Australian groups their stronghold is the fabulously rich sandy heaths of the south-west of the continent. They grow as shrubs or small trees but, again unlike grevilleas, they tend not to form ground covers.
Mountain Needlebush H. lissosparma, Ben Lomond NP, Tasmania.
As suggested by these two photos, hakeas can be found almost anywhere.
Curiously the genus was named back in 1797 by German botanist Heinrich Adolph Schrader - 'curiously' because that was very early in the history of naming Australian plants, and the Germans weren't generally involved that early (though there were a number of significant collectors later on). In fact he named it in a book (in Latin) of rare plants grown in Hanover gardens. Of course this just begs the question, which is how did it get there so early? I have no answer to this teaser. The species, Hakea teretifolia, is a fairly common east coast one. Schrader called it Hakea glabra, not realising that British botanist Richard Salisbury had already named it Banksia teretifolia the year before. Salisbury's species name had to take precedence, but when it became clear that it wasn't a banksia, Schrader's genus name was the next in line. He named it for Baron Christian Ludwig von Hake, universally described as a Hanover councillor and patron of science (or botany); there must have been a bit more to him but I can't find any of it.
The name is usually pronounced Hay-kee-a in English, but I prefer Hah-kee-a, that being how the Baron would have said his name - the question of whether we should name organisms after people is a separate one, but if we're going to do so it seems to make sense to pronounce it like the model's name.
A final note before we talk about the real topic - the plants themselves. It's an interesting phenomenon that botanical taxonomists, at least in Australia, seem keen to expand the concept of a genus as widely as possible so that huge genera comprising several former separate taxa are becoming the norm. Zoologists (eg bird taxonomists) meantime, are going the other way and fine-tuning so that it's more common to find genera being split up to reflect subtler differences. It does seem to me that the latter tells us more about the history of the groups, including the timing of their separation. The point here is that we seem to be moving towards lumping Grevillea in with Hakea (which would mean that all Grevillea would become Hakea, not likely to be a popular move among most of the population!).
The most obvious difference between Grevillea and Hakea is in the fruit; while that of Grevillea is brittle and papery, Hakea fruit is hard, woody and even massive.
Mountain Needlebush fruit, Ben Lomond NP, Tasmania.
Many of these species live in fire-prone heathlands, and protect seeds (just one per fruit) in the massive cases. After the fire has passed, and the ash-bed has cooled, the case opens up and drops the seed into the enriched, unshaded, soil.
Post-wildfire opened hakea cones, Lesueur NP, Western Australia.
But for species which do not grow in areas affected by regular fires, the cases are flimsier and do not rely on a fire's heat to open them.
Small-fruit Hakea H. microcarpa, Namadgi NP above Canberra.
This species grows in high country boggy areas which do not regularly burn.
Leaves can be cyclindrical or narrowly strap-like as in the above examples, or flat and leathery.
H. neurophyllya, Lesueur NP, Western Australia.
Some other Western Australian species have unexpected stem-clasping leaves which surround the flowers; it could be that by trapping 'moats' of dew or rain they are preventing ants from stealing nectar.
Scallops H. cucullata, Twin Creeks Reserve near the Stirling Ranges, Western Australia.
Others are divided and spiky.
Unidentified hakea, Shannon NP, south-western Australia. Any suggestions?
Some of the most extraordinary foliage of all however belongs to the remarkable Royal, or Lantern, Hakea H. victoria, which has a small range centred on the Fitzgerald River NP, southern Western Australia. The plant can be three metres high and has colourful leaves the size of large cabbage leaves, surrounding inconspicuous creamy flowers
Lantern Hakeas in Fitzgerald River NP
The leaves of Lantern Hakea; it is likely that at least part of their function is to attract attention to
the otherwise non-obvious flowers.
Hakea flowers are rarely at the tips of branches, as those of grevilleas usually are. Many are indeed simply white and not very dramatic, with small clusters of flowers, as per the oft-heard bias against them as garden plants.
Harsh Hakea H. prostrata, Torndirrup NP, Western Australia.
Other white-flowered ones can be dramatic however, simply through the masses of flowers.
H. recurva, Paynes Find, inland Western Australia.
Many others are highly colourful with great cylinders or spheres of clustered flowers.
Grass-leaf Hakea H. francisiana (who thought the leaves were its most prominent feature?!),
Pinkawillinie Conservation Park, South Australia.
H. invaginata, Ballidu, Western Australia.
Grass-leaf Hakea (again - see above comment!) H. multilineata, Goldfields Woodlands NP, Western Australia.
So, there's a brief introduction to a genus which may be unfamiliar to some, especially if you're reading this from overseas, and which will probably never overtake Grevillea for popularity in the garden. But I reckon it deserves more admiration than it gets.
(Remember too that if you put your email address into the 'Follow by Email' box at the top
right of the page, you'll automatically be notified when there's a new posting.
It doesn't give me access to your address.)
Labels: names - plants, national parks - Australia, plants - Australia, scenery - Australia
So you say 'fook-see-ah' not 'fyoosh-yah' and 'dahl-yah' rather than 'day-lee-ah'? I've never heard anyone pronounce Fuchsia in a way that reflects the pronunciation of Fuchs, but all my American clients say 'dahl-yah', the way you would say Dahl.
Yes, I do say 'fook-see-ah'. I confess that on the rare occasion I say 'dahlia' I think of it as a common name and say it the conventional way. If I were using it as a genus name I would say 'dahl-yah' though, even at the risk of being mistaken for a North American! (I also say Acacia mel-an-oh-ZIE-lone'...)
Uluru: at the heart of Australia
Heights and Depths: Peru's Colca Valley
On This Day 8 April 200 years ago: Charles Fraser ...


Metric Screw & Tool Co.
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Here is a set of External Chasers (19) and Internal Chasers (32) that are designed to restore the threads to Standard Course, SAE Fine, and Metric sizes. The Set is color-coded; Silver are Standard Course, Black are SAE Fine, and Gold are Metric. The Set also contains Two Thread Files, one std Course/Fine Pitch and the other is a Metric Pitch. What a time saver this set is for the technician who has a damaged thread. Now, the thread can be quickly repaired and put back into service. Cuts down the lost time of digging through the old "nuts and bolts" box, looking for a replacement. Packaged in a durable plastic case with two latching fasteners. The Case has a cavity for each piece for easy tool control. The Case will lie flat in your toolbox. Sizes range from: Course 1/4-20 to 3/4-10 SAE Fine 1/4-28 to 3/4-16 Metric 6 x 1.00mm to 20 x 1.50mm.
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Drill - Drill out the damaged threads using the drill size specified in the catalog. Drill to sufficient depth to accommodate the insert length and bolt or screw being used.
Tap - Use the Heli-Coil Tap specified in the catalog. Check the size on your shank to make sure you have the right one. Tap the hole to sufficient depth to accommodate the insert length and bolt or screw being used.
Install - Use the specified installation tool. Just wind the insert into the hole until the top coil is 1/4-1/2 turn into the tapped thread.
Note: Remove tang with the appropriate tool specified.


text:
Yield Optimizers Poised To Migrate To Exchange Model Says ThinkEquity's Morrison and Coolbrith
by AdExchanger // Wednesday, May 20th, 2009 – 7:00 am
Bill Morrison and Robert Coolbrith are equity analysts at ThinkEquity Partners and recently authored a report entitled, "The Opportunity In Non-Premium Display Advertising."
AdExchanger.com: Are data exchanges the key to unlocking value in social media? Who's getting it right in the data exchange space?
BM and RB: We'll defer the second part of your question until a later date. As investment research analysts, it's hard for us to identify "winners" without the help of industry participants, who provide us with invaluable insight and opinions. In our recent conversations with networks and exchanges, when we asked about the most important new companies in the space, the data exchanges invariably came up. However, it still seems to be pretty early in the development of the data exchange model, and we didn't sense any clear consensus from industry participants on who is taking the lead.
While data exchanges are certainly "hot," it's an open question as to whether an auction-based marketplace is the "right" paradigm for monetization of proprietary consumer insight. People have pointed out the similarities between the data exchanges and the offline list marketing/direct mail model, and we think it's a fair comparison. In both cases, the buyer pays up front for the data and then leverages the data to market to consumers on an individual basis. But that's complicated in the online world by the matter of actually reaching the identified consumer, which can be a bit like finding a needle in a haystack. An alternative approach might be to realize that the haystack is full of needles, but of varying types. So, allow the inventory to dictate the targeting, not the other way around.
Regardless of how the mechanics play out, we think third-party data exchanges will be important for the monetization of all display media, but will be particularly important in social media, where the inventory doesn't typically contextualize well, the platforms are rich with demographic, behavioral, and social data, and current monetization levels make targeting a real priority. One thing we're currently wondering about is which could be the bigger opportunity for social media: the inventory (where value should be enhanced through the use of both first- and third-party data) or the first-party data that can be directly monetized through data exchanges to enhance the value of display inventory across the Web. The data exchanges, by providing a transparent pricing mechanism for behavioral, demographic, and social data, should help answer that question.
How do you see large publishers evolving as media trading achieves scale?
The very largest publishers will be deeply involved in media trading, both as the sponsors of the key liquidity platforms, and, in all likelihood, as traders in their own right. Regarding a broader set of "large publishers," including the leading vertical publishers, social networks and smaller portals, there are likely to be a lot of changes in terms of how they manage O&O inventory. Direct sales organization will remain relevant for sponsorships and custom integrations, but sales of banners, IMUs, etc. are likely to become more automated, data-driven and audience-centric, whether that inventory is sold through forward/futures markets, co-selling arrangements with partners, or non-premium spot markets. In terms of incremental reach extension, larger publishers will likely find varying degrees of success via curatorial vertical network strategies and via data-driven media trading.
Could agencies disintermediate ad networks or visa versa?
It seems that many traditional media agencies are deeply envious of the margin profiles of their ad network peers, and are intent on putting the ad networks out of business as a matter of principle. Whether or not they'll succeed is another matter entirely. Agency and network business models appear to be rapidly converging as the agencies build out private networks and adopt media trading, and as the networks gradually abdicate their role in inventory aggregation to the ad exchanges and yield optimization platforms. Agencies have the advantage of adjacency to the client, the client's data, and the client's budget, but it remains to be seen if they can successfully adapt to a technology-driven business model—although third parties like MediaMath and Invite Media should be helpful to them in doing so. When it comes to media trading, leading technology-oriented ad networks have significant first-mover advantage—they've been dynamically pricing and optimizing ad inventory for years within their own private "markets". The ultimate winners and losers should be determined by who boasts the best performance on behalf of clients, but there appear to be a number of complicating factors at work.
How do you define premium inventory?
We define premium in the way that Yahoo! and other large publishers traditionally have, as inventory sold with specific guarantees as to placement, timeframe, volume, etc. It is unfortunately a confusing nomenclature, and Yahoo! now makes use of alternate terminology such as "guaranteed" and "Class I". The distinction between premium and non-premium can, however, be a bit fluid? Run-of-site behavioral targeting sold on the Wall Street Journal, premium or non-premium? Probably premium. Run-of-site demographic targeting across Fox Interactive Media properties? Probably non-premium. These fine distinctions are part of the reason we point to the emergence of a "secondary premium" inventory category encompassing co-selling arrangements, inventory sold through automated sales platforms and forward markets like Yahoo! APT, etc. In formulating our industry estimates, however, our general rule of thumb is that directly-sold inventory counts as premium, inventory sold by third parties as non-premium.
In your report, you suggest companies like Vizu will aid in providing analytics and support for brand awareness campaigns and the long-rumored brand dollars. Do you think agency compensation structures have kept media budgets tilted toward traditional media too? Hence, the slowness in moving branding budgets online?
We're not sure that compensation plans vary all that significantly between online and offline media. However, there is clearly a large opportunity cost for sales people when they focus on selling digital brand campaigns to their clients. Executing an online media campaign is far more complex, time consuming, and expensive for brand marketers and agencies than it is to execute a campaign in television, for instance. Publicis/Denuo recently completed a study and found that the cost of executing online campaigns (excluding creative development) represented approximately 15-20% of the media spend on average, compared to offline execution costs on the order of 2-3% of media spend. That is an astounding cost differential, if you think about it, and one of the major reasons that only 3-4% of brand dollars have migrated to the Internet to date (compared to ~15% for direct response). There are a number of other "pain points" within the online advertising ecosystem that are slowing the offline-to-online migration of brand dollars, including a lack of standards for comparing the efficacy of brand campaigns across online and offline media, too many proprietary formats in emerging media categories like video, sub-optimal inventory allocation decisions by publishers, inventory forecasting challenges that often lead to over or under delivery of campaign goals, etc. The good news is there are lots of companies that are trying to create solutions that alleviate these "pain points," and we remain optimistic that online will continue to take share from offline brand budgets.
How will demand-side optimization affect pricing and performance of online media?
We view any limitation on buyers' performing their own allocation decisions (and iterative refinements) as an economic externality in the online display ad market. While we don't think this argument has been generalized, externalities in auction-based sales processes tend to impose a tax on the seller. An unfair auction process provides bidders with an incentive to offer less than their best price. While we wouldn't qualify the display ad market as "unfair," buyers have had very limited ability to perform real-time inventory allocation decisions prior to the advent of now-emerging real-time-bidded ad exchanges. As transparency to buyers increases, prices in general should increase. As the options available to media buyers in terms of inventory allocation increase (e.g., agencies may direct impressions to the client account of their choosing, or re-vend the inventory in a spot advertising exchange), prices should increase. So, we view demand-side optimization as a significant catalyst for both pricing and performance.
Your coverage of the yield optimization companies such as Rubicon Project, AdMeld, Pubmatic, YieldBuild and Yieldex in your recent report was extensive. What initially drew you to the yield innovators? Are they the new ad networks and/or exchanges of the future?
When we became aware of the yield optimization platforms in late 2007, we were initially skeptical. The Right Media Exchange had already been acquired by Yahoo!, DoubleClick (and its advertising exchange) had already been acquired by Google, and AdECN had already been acquired by Microsoft. Why would the world need yield optimizers if it already had dynamically-bidded ad exchanges (on their way to real-time-bidded models)? The dynamic default management approach typical of the yield optimizers should offer superior yield and efficiency versus static default management by human ad operations personnel in most (but not all) cases, but seems unlikely to outperform a liquid ad exchange.
The problem of yield optimization is not trivial, in as much as it involves dynamically allocating inventory to optimize revenue derived from multiple buyers whose pricing varies over time and across variable inventory; complicating matters is that this optimization process is performed utilizing retrospective pricing data. By comparison, in an ad exchange, revenue for each individual advertising impression is maximized by an auction in which each bidder offers their best price (assuming no marketplace externalities). We believe that ad exchanges represent the likely endgame for non-premium display inventory aggregation over a several year time horizon; what we had not earlier appreciated was that publishers required a near-term solution for yield management given ad exchange liquidity constraints and marketplace inertia. Now that many of the yield optimization platforms have built substantive publisher footprints, they appear poised to migrate toward the ad exchange model—real-time APIs for ad network partners appear to be just the first step in that direction.
If you had to pick one company in your recent report that is under the radar but has an exciting opportunity ahead, which one would it be and why?
It's not in our report, but we think AdExchanger.com is terrific and has a bright future ahead of it.
Good answer. 🙂
If you'd like a copy of Bill and Robert's report, "The Opportunity In Non-Premium Display Advertising," email Bill at: - wmorrison at thinkequity dot com.
eric klotz May 20, 2009
Thanks Joe for another good Q&A. I'd like to clarify something regarding the "yield optimizers" referred to here and in the report.
PubMatic absolutely agrees that "dynamic" allocation of inventory is very important for increasing publisher revenue, but what isn't clear in the ThinkEquity report or in this Q&A is that only PubMatic has true real-time allocation of inventory, and we have it for every single impression. Additionally the dynamic daisy chain solution and API referred to here and in the report are also exclusive to PubMatic. These technologies offer a significantly more powerful method for ad revenue monetization than simply having outsourced ad operations.
Bill and Robert made a great report, but all of the technology they are referring to in the "yield optimization" space is exclusive to PubMatic. While "yield optimizers" might share a common goal, we have different approaches.
- Eric Klotz, PubMatic
Josh McFarland May 20, 2009
Let's also not forget that the report acknowledges at least three major ad exchanges, and that the yield optimizers will eventually broker between them on a publisher's behalf. It will be a while before any one exchange has decent coverage on all inventory; until then, pubs will still want to swap out providers when the exchange starts falling over to cheap house/CPA ads.
Zach Coelius May 20, 2009
Great post Joe, easily one of your best Q&As. The Think Equity guys are totally right on the future on business. All the near term issues are still to be worked out, but things are moving forward faster and faster everyday. They are correct in predicting that RTB will enable the buyside to pay more for quality inventory, we are already seeing it at Triggit for our buys. Though that increased efficiency also means that junk impressions will be priced down to near zero and some pubs will have to clean up their act.
I can vouch for some of the things that Eric says. The Pubmatic guys are doing an awesome job of moving the ball forward on the technology front. At Triggit we have been super impressed with their foresight and effort. They along with AppNexus are doing a great job pushing RTB forward.
I think Josh is totally right the until a dominate exchange emerges there will be a place for the yield optimizers to broker impressions across them.
Michael Katz May 21, 2009
The issue that will prevent the exchanges from realizing their greatest potential is that exchanges will only ever be as good as the players who are on them. Historically speaking, they have been plagued by lower quality inventory. Adding data to exchanges will help but the end result will still be outperformed by the combination of data plus inventory in more premium environments. So even though there have been great improvements over the past couple years to the quality of inventory on exchanges, overall inventory quality is still a big problem with exchanges. Users absolutely respond differently to the same advertiser message given the environment they are in and until the quality of inventory on the exchanges improves greatly it will be very difficult to harness the potential of exchanges. In short, adding data to the inventory within the exchanges will help to improve the overall relevancy that the exchanges have but we are far from any kind of silver bullet.
Michael is absolutely right that the exchanges are only as good as the inventory that is in them. If all we can buy on exchanges is porn, torrents, warez and spam, they will never become much of anything. He makes a fundamental mistake of assumption when he states that the past inventory problems of exchanges of poor quality are likely to continue into the future. There is huge difference between the exchanges of the past and the next generation of real time exchanges that are coming out now. The old exchanges were opaque and you never knew where your ad was running. This resulted in good inventory being watered down by bad inventory when both were thrown into the same bucket and commodified. CPMs went down for good publishers as a consequence, they kept their inventory out of the exchanges and all that was left was the junk. The new real time exchanges are totally different. Because each available impression is transparently exposed to the bidders, it becomes possible to account for the value of each domain and bid accordingly. With such transparency, good inventory gets paid what it deserves and no longer is disincentivised to stay out of the exchanges. For instance, here at Triggit we have standing bids for all top tier properties that are exponentially higher then what we bid for long tail inventory. I am willing to bet a fine bottle of Bordeaux that as premium domains start to see their CPMs increase on the exchanges that we will see more and more of them using that channel for their remnant by years end. And if that happens, I think we will start to see the true potential of the exchanges begin to blossom in a big way.


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