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Documentation and Help

Linear Antenna Array Synthesizer (LAAS)

In this document, the properties and usage of the linear antenna array synthesizer (LAAS) is presented to help the user.

Starting Optimization

In order to start optimization, it is enough to press start optimization button. However, before starting an optimization process, antenna array parameters and masks should be prepared properly. Especially at least one mask has to be prepared. Otherwise, there is no cost function to minimize.

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After starting optimization, it can be paused with the same button. Pausing optimization process gives three options: showing the current results, terminating the optimization and resuming the optimization. If the show current results button is pressed, the current results including amplitude, phase and position values will be shown in the message pane. Terminating an optimization by pressing terminate optimization button means that you cancel the optimization and it cannot be resumed; it has to be started from the beginning if you want to run it again. To resume the optimization, continue optimization button must be pressed.

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Basic Procedure

The following procedure may be useful for the basic optimization task in the LAAS.

  1. Setting the basic antenna array parameters. Determining how many antenna array elements and which array parameters are used for the optimization can be done in Array Parameters Pane.

  2. Creating masks The outer and inner masks can be prepared in Outer and Inner Mask Panes. At least one must be defined but both masks together are not mandatory. For example, if you don't need inner mask you may not use it.

  3. Starting the optimization. start optimization button is used to start an optimization with the current configuration. Same button can be used for pausing and resuming tasks in the relevant states.

Array Parameters Pane

This section is about antenna array parameters planned to be optimized.

Set the Number of Antenna Array Elements You can set the number of antenna array elements by pressing this button. You will see a simple dialog box after doing that. You simply enter the number and press onto "OK" button. Then all parameters in the screen will be changed according to this number, such as the number of amplitude, phase and position values as well as the shape of the pattern.

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Amplitude, Phase, and Position Check Boxes If you select any type of parameter check box, you mean that you want it to be calculated by optimization algorithm. If you make it unchecked, you mean that you leave it fixed and it will not be changed by the algorithm. However, they will take part in the calculations with their fixed values. These values can be entered manually in the list or loaded from a text file.

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Maximum and Minimum Values of the Parameters Each parameter is limited within a minimum and a maximum values. These limitation values can be changed. This is especially useful for the phase and position perturbation values. It is worth to note that the maximum and minimum values for the position section are actually position perturbation values not the absolute position values. The distance between each array elements can normally be $0.5 \lambda$ but if the position perturbation optimization is selected, the meta-heuristic algorithm will optimize them within the maximum and minimum perturbation values.

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Resetting Parameter Values to Ones, Zeros, and Half-wavelength Default values of amplitude and phase in LAAS are ones and zeros, respectively. The position values of the array elements follow the rule that each element has $0.5 \lambda$ distance to the adjacent elements and the position of the first element is zero. When the user presses one of the reset parameter values buttons, the values will be reset to the according default values which have been explained above.

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Entering Parameter Values Manually in the List You can manually enter any parameter values in the list at the Array Parameters section after making unchecked the relevant checkbox. It can be useful for the small number of antenna array elements but if the number of elements is not so small, loading the values from a text file may be more reasonable choice.

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Load Parameter Values From a File Each array element parameter values, namely, amplitude, phase and position values, can be loaded from a text file by pressing the relevant button. After pressing the button, you will see a file chooser dialog box. You can select a text file having values in a column.

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Each value can be separated from each other in a column by simply pressing enter in the text file. Technically, this loading function accepts the following characters as line terminators: \u000D followed by \u000A, CARRIAGE RETURN followed by LINE FEED \u000A, LINE FEED \u000D, CARRIAGE RETURN You can watch this tutorial video to see how you can load any parameter data from a text file.

Outer and Inner Mask Panes

Mask segments constitutes the outer and inner masks. They can be any number. They have five important properties: start angle, stop angle, number of points, level and weight.

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Obviously, start and stop angle values are the starting point and stopping point of a mask segment on the angle scale. The number of points is used to determine the sample points of this segment. The bigger number of points means the more precise calculations. However, the big number of samples causes more computational cost. The user should consider this trade-off. Level defines the mask level in dB to restrict the pattern. The level value of an outer mask segment is a maximum limit for the pattern. Similarly, The level value of an inner mask segment is a minimum limit for the pattern. weight is a factor to amplify the difference between the mask and obtained pattern at the relevant point. The level and weight values are automatically registered for all points after using mask adding and editing dialog boxes. Additionally, one can change their values for each points separately in the selected mask segment values table if needed.

Basic Rules For Masking

Differential Evolution Pane

Classical differential evolution (DE) algorithm has four main parameters: population number, maximum iteration number, scaling factor (F), and crossover rate (Cr). These values can be entered and edited in this pane.

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Display Numerically

Messages Pane

Any warning and error messages for the user is shown in the field in this pane. The results of the optimization values are shown here at the end of the optimization or whenever the user wants to see by pressing show current results during the pausing states of the optimization. enter image description here

File Operations

File Operations Pane

Configuration Files The configurations of the LAAS can be saved into a file with a ".aas" extension. The configuration includes all antenna array and differential evolution algorithm parameters as well as outer and inner mask segments. Once a configuration file is saved, it can be loaded later by pressing load configuration from the a file button in the same pane. Reset configuration to default button is used for resetting the current configuration to the default LAAS values.

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Exporting SVG Files Scalable Vector Graphics (SVG) is a two-dimensional vector image format. One can benefit from the advantage of the vector image format of the both antenna array pattern and convergence curve by exporting them in this pane. Though the pattern and convergence curve images in PNG format can be saved by right-clicking on the relevant chart, the scalable property of the SVG format provides better flexibility.

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The exported SVG images can be modified and exported into the other formats by using free and open-source vector graphics editor Inkscape

Antenna Array Pattern

This pane presents the antenna array pattern with current values of the antenna array elements. These values can be initialization values entered by the user or the calculated values by the DE algorithm. The pattern will be shown repeatedly during the optimization algorithm runs. The final results also appeared here at the end of the optimization. The graph also includes the outer and inner masks in different colors.

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Rescaling Pattern Graph The pattern graph can be rescaled by pressing rescale pattern graph button. This command consider the values from zero to what the user enters in the relevant text field next to the button. Builtin zoom-in property of the graph can be used to see more details by using the mouse pointer on the graph field.

Updating Frequency of Pattern Graph The array pattern is updated as often as possible by default. If the user wants to change the update frequency for any reason, the LAAS provides seven different options for this aim in a drop-down list. This options are as often as possible, every 1 second, every 3 seconds, every 7 seconds, every 15 seconds, every 1 minute, and only at the beginning and end.

Plotting Pattern with Different Resolutions The LAAS provides an opportunity to draw pattern in four different constant resolutions. These resolutions are made up of 1441, 721, 361, and 181 points. Apart from these options, the user can see the pattern in the outer and inner mask resolutions. These two resolution options depend on the number of mask sample points. If there is no mask, no pattern can be seen when the mask points option is selected. The advantage of the mask points resolution options is that one can see the real relationship between mask and pattern calculated by the algorithm. The other constant resolutions may not represent the same points depending upon the user mask definitions.

Convergence Curve Plot

In this pane, the convergence curve provided by DE algorithm is presented. This pane also shows the current iteration number and cost value numerically. Adjusting the updating frequency of convergence graph is provided in this pane, too.

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Understanding how and why language subsystems differ in their evolutionary dynamics is a fundamental question for historical and comparative linguistics. One key dynamic is the rate of language change. While it is commonly thought that the rapid rate of change hampers the reconstruction of deep language relationships beyond 6,000–10,000 y, there are suggestions that grammatical structures might retain more signal over time than other subsystems, such as basic vocabulary. In this study, we use a Dirichlet process mixture model to infer the rates of change in lexical and grammatical data from 81 Austronesian languages. We show that, on average, most grammatical features actually change faster than items of basic vocabulary. The grammatical data show less schismogenesis, higher rates of homoplasy, and more bursts of contact-induced change than the basic vocabulary data. However, there is a core of grammatical and lexical features that are highly stable. These findings suggest that different subsystems of language have differing dynamics and that careful, nuanced models of language change will be needed to extract deeper signal from the noise of parallel evolution, areal readaptation, and contact.

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A Check out Practical Applications For Neways Rip-off

10 Feb 2018 18:20

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A Simple Key For sisters oregon Unveiled

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Ski condition forecasting

Powder alert(s) of South America: None.
Powder alert(s) of Oceania: None.

Resort: Perisher, Australia

Region: New South Wales

Download application on iPhone or Android
Maximum (°C)3330-242
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Family (rating)B+B+B+BB+B+B
Expert (rating)AAAB+AAB+
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Rating:   Description:
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Please check that your resort is open before going.
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OPEN RELATIONSHIPS 101: What are they and how do they work?

“Open relationships” and “polyamory” are are two terms used to describe having the freedom to be sexually and/or emotionally involved with more than one person. Open relationships and polyamorous relationships are explicitly designed to be practiced honestly, with the mutual consent of all parties — where no one is deceived and everyone chooses to enter this type of relationship.

Some people in open relationships live with a “primary” lover or spouse, but occasionally have casual sexual relationships outside their marriages. Others have more than one committed long-term relationship concurrently. Still others are in “group marriages,” living with several adults who share sexual and spousal relationships. Some people call their lifestyle “relationship anarchy,” meaning that each relationship is allowed to evolve organically with very few restrictions or preconceptions about the form or substance of the relationship. And a few people are inclined toward multiple casual or less committed relationships, because they have an overriding commitment to their work, their art, political activism, raising children, or to community building.

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Many people try to live a monogamous lifestyle and find it just does not meet their needs. They come to believe that it is unrealistic to expect any one person to fulfill all their needs for intimacy, companionship, love, and sex.

People are drawn to an open relationship because they want either MORE or DIFFERENT. If they are looking for MORE, they are not getting quite enough of an important resource, such as not enough romance, attention, sex, time, etc. They want to supplement their current relationship by getting some of that missing quantity with someone else. If instead they want DIFFERENT, they enjoy their current relationship, but there is one crucial ingredient missing that really would make them happier, so they are seeking that from someone else. They may want a different type of sexual activity, or seeks a partner of a different gender, would like a person who is more romantic or adventurous, someone with whom they have some specific shared interest (“my partner hates camping and I love it”), or may just desire the novelty of sexual and romantic variety with a new person.

Living in a new way requires learning new skills and overcoming a lifetime of socialization. What sounds reasonable in theory is actually much more complicated, logistically as well as emotionally. People with the best of intentions often discover that they have many intense insecurities and fears based on core beliefs about themselves, about their partner(s), and about love, sex, and relationships.

Most people find that they experience jealousy, especially when first embarking on this lifestyle. It usually takes time, effort, and reassurance from partners to manage jealous feelings. Some people find that while they continue to feel jealous at times, these feelings are outweighed by a much more positive experience of the benefits and freedom of polyamory.

After the initial anxiety and discomfort subside, many people can handle an open relationship as long as they feel secure that they are loved and will not be abandoned. It usually helps to specify some parameters which feel safe and supportive, and negotiate with your partner to reach agreement on what type of relationship best fits your needs. For instance, is it okay to have only casual sex, or are you comfortable with them falling in love with someone else? Do you want advance notice if your partner meets someone and wants to initiate a sexual relationship? Does your spouse or partner have “veto power” over your choice of potential partners? Do you have an agreement on safe-sex guidelines to prevent being exposed to sexually transmitted infections? How much time can your partner spend with other lovers? Are you going to “come out” about your lifestyle to family, friends, and co-workers, or would you prefer to keep your relationships private? Most people experience less of the anxiety and insecurities and more of the satisfaction and rewards of a polyamorous lifestyle if they know what to expect, and feel secure that their partners will be honest and will abide by agreements.


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Custom Search

Saturday, 13 January 2018

Life's A Beach!

I'd been over to creator Alex Bader's Store called Studio Skye a few months ago and I bought some fantastic products there, Alex makes fairytale castles and exquisite landscaping items, woodland paths, dry-stone walls, river kits and all sorts.  You can walk down from the store into the wonderful countryside Alex has created so you can see the samples before you buy them.  Right at the bottom of the sim there is a virtual beach. It's in kit form, so if  you haven't got a beach texture already in your sim you can add your own beach.  Well I decided to buy it as my parcel of land is just grass and I wanted to put my virtual house right next to the ocean on a golden sandy beach.  In the kit you get a sand textured prim as a base, which I stretched until it covered the area I wanted. The other pieces are 100% mesh shaped into sand drifts with moving waves attached, plus some lovely natural looking rocks.  There are wedge shaped parts to fill in those awkward corners and bends as well, so putting it together was quite easy.  You can also modify the pieces.  I wanted some more rocks so I unlinked one of the parts and took the rocks to use them in another area of the beach.  I also bought some cliffs from the store, massive structures to separate the beach from the flat grassy area of my land. You can shrink the cliffs to suit your landscaping, there is also a splendid rock archway attached to one of the cliffs which looks great.  To make the area where the grass meets the sand a little more natural I added some mesh Gravel Ground, made by HPMD, to soften the hard lines. The Gravel Ground pieces are really handy if you are building a pond as they finish off the edges nicely.  So I'm really happy with my virtual beach and it was great fun to put together. Now I have to plan the rest of the land.  I love to make it up as I go along, so I never know what theme I will end up with eventually.

Janey Bracken

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Slots software

Slots are considered to be nearly the most popular gambling all over the world. Indeed, there is so much to say about slots. Slots are known to be the most favorite game at both physical and online casinos. With the development of IT-technologies and the Internet resources, the development of the slots software became easier and more available. Nowadays a lot of software providers can supply the best slots software:

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Players became really attached to their most favorite and trusted games. Indeed, slots are the entertainment number one all over the globe. Let us consider some slots software in particular.

Microgaming, their slot games

Microgaming was established in 1994. Since that time the company managed to conquer the gambling world due to the quality of the products. Microgaming slots are known all over the world and are sought after among gamblers. The most well-known slot games are considered to be themed slots like Private eye, Hot ink, Monkey king, etc.

Cryptologic and their slots

It is significant to know that this slots software provider was founded in Canada in 1995. Nowadays it is one of the gaming giants on the gambling market. It offers an array of the different games including slots online. The most famous are the themed slot machines like Wonder Woman, Superman, Batman and the others.

Playtech and their slot games

Playtech emerged as the slots software provider and simply gaming giant in 1999. Now such themed slots like Pink panther, Rocky, Fairy Magic, etc. powered by Playtech are coming soon be available to the gamers.

Rival gaming slots

It was launched in 2006, however, very fast gained recognition as the world software provider for online slots gambling. The most widely recognizable achievement of the company is the most famous iSlots.

Vegas Technology slots

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Top Game and 888 software

Crazy Jungle, Berry Flavors, Big Bang, Bingo slots, etc. are offered by Top Game software provider. 888 can offer City Life, Knights and Maidens, Swamp of Fortune, Top Spin snooker, Freaky fruit, Globetrotting, etc. exciting and thrilling slot games.

Have some time to enjoy Microgaming slots!


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January 16, 2010

Nothing to fear but self itself

Heard the one about the guest clarinetist that the NY Philharmonic refused to identify? Classical music’s impulse toward anonymity isn’t helping the art form.

Daniel Wakin’s NY Times article this week about the “mystery clarinetist” tells how Burt Hara, currently principal clarinetist at the Minnesota Orchestra (full disclosure: a client of ours), played a few concerts with the NY Philharmonic as part of an extended audition process for that orchestra’s own principal chair. Seems that music director Alan Gilbert singled Hara out for a solo bow, since the piece (Rachmaninoff’s Second Symphony) features the clarinet prominently. Nothing odd about that.

But since Hara wasn’t listed on the program, there was no way for the audience to know whom they were applauding for. Wakin apparently asked the NY Philharmonic and was rebuffed: the orchestra “declined to give further details about guest principals, or even to confirm that Mr. Hara was onstage.”

Which makes the NY Phil the only secret society that holds its meetings onstage in front of 2500 people.

Except that it’s not unique. Classical music has a pervasive fondness for anonymity and a corresponding ambivalence about personality and individuality. (That’s one way to understand the stubborn persistence of black-and-white dress on classical stages, the musicians’ lack of eye contact with audience members, the blandness and stiltedness of most spoken comments from the stage, and some other elements of classical culture that progressive ensembles like eighth blackbird and commentators like Greg Sandow are trying to change.)

Wakin notes the tension in the orchestra world between the subordination of ego required to make a collection of virtuoso players sound like one expressive instrument and the “spotlight moments when they play solo lines.” But it’s hardly a fair fight; anonymity usually trumps other values, as it did this week in Hara’s case.

It wins because it’s connected to some cherished ideas about the proper role of interpretation in music-making. Most classical players today – and most of the critics who write about them – have been trained in a (historically recent) value system that places the intentions of the composer at the heart of the musical enterprise. The musician’s job is to perform the music as the composer would have imagined it. Interpretative freedom is valued as long as it is seen as serving that ideal: getting closer to the score’s essence, revealing the music in new ways.

Which also means: not revealing the musician, except to the extent that doing so is necessary to the revealing of the music. The performer is a kind of conduit, not unlike a translator at the United Nations whose job is to render the nuances of what has been said without calling much attention to himself. He is the center of attention but also strangely absent.

Hence James Levine’s frequently-stated desire to “disappear” into the music he’s conducting, so that audiences are focused not on him but on the work. Daniel Barenboim and others have said similar things.

Wakin is right to remind us that these values of anonymity and (his word) secrecy are built into orchestra’s hiring practices. Musicians usually audition behind screens and without talking, to ensure that the listeners make their judgments on purely musical grounds and without considering ethnicity, gender, or other potentially biasing factors.

But along with the possibility of ethnic prejudice, doesn’t this practice screen out personality, body language, facial expression, and other human, social attributes of the candidate? And aren’t those kinds of attributes what makes one musician better at communicating through music than another, both to his fellow musicians and to audiences?

Symphony musicians would reply that that’s why they invite finalist candidates like Hara to sit in with the orchestra for a few days: to see what it feels like to play together.

Still, with faceless auditions setting the stage (literally), we shouldn’t be surprised that orchestra administrators have trouble getting musicians to break that fourth wall and make eye contact with patrons, smile before and after playing (in other forms of music, performers often smile while playing), or speak from the stage. None of these things are unheard of, but they’re a long way from being natural in the concert hall.

Nor should we be surprised that classical audiences – especially newcomers and infrequent attenders, but some regular attenders, too – tell researchers like us that they wish they felt more connection to the musicians. In a sense, we never know whom we’re clapping for.

As some of you have commented here, there are plenty of exceptions around the field. The conventions are changing…slowly. But I think progress will be faster and broader if we look beyond specific practices to the values that shape them. That’s part of what I’m trying to do with this blog, and I'll certainly need your help.

Claudia Eisen-Flack — January 19, 2010

I agree with your assessment that this was a strange incident and did not serve the audience, the performer or the organization well.

That said, I think that maybe in comparing classical music to other forms of music (e.g. jazz, contemporary ensembles, etc.) we are making a forced comparison and defining expectations of this genre that will be very hard (but not impossible) to deliver on.

It's possible to think of classical music more like theatre than other genres of music and when viewed in this light, some of the quirkier, more irritating aspects of classical performance become slightly less so (at least to me). The role of the actor on stage is to deliver the message of the playwright to the audience with all of the understanding, interpretation and nuance he/she can. In a truly outstanding performance, the actor is both the message and the medium - it doesn't matter who the actor is. We've all seen (hopefully) theatrical performances where this has been the case. Similarly, the role of the classical musician is to convey the composer's message to the audience and it shouldn't (although it still often does) matter who the performer is.

Interestingly, many of the things that bother us about classical music (lack of eye contact with the performers, no pre-performance chatter with the audience, etc.) are also true of the theatre, but they don't seem to both us (me) as much. It's when we start comparing classical performances to jazz,for example, that we start to feel let down. But maybe that's not a good or useful comparison. What is it about theatre that allows us to forgive the inherent formality of people on stage performing a pre-determined script when the same features bother us in a classical music setting? Just a thought (or question) or two.

Peter Linett — January 19, 2010

That's a great question, Claudia. I've wondered about theater in a similar vein. Like you, I'm not bothered by that 4th-wall formality at Steppenwolf, maybe because the performance itself is (on a good night) so human and present ("in the moment," in acting language), and because we in the audience have a role to play that influences the performance in a kind of dialogue: we laugh, or cry, etc. and they feed off it...more than most classical musicians feed of their audiences' reactions.

You and I may disagree, though, on how much the performer matters in the equation. Call me postmodern, but I want to be watching the actor and the character, hearing the musician (as a person, interpreter, communicator) and the score. On the other hand, I do still get excited about certain performances where the actor does disappear into the role (the male lead in Avatar is a terrific example).

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February 27, 2012

As the arts conversation shifts to 'creative placemaking,' will large institutions still count?

The NEA has been funding creative placemaking for a year or so, but it was only recently that I heard cultural economist Ann Markusen and her colleague Anne Gadwa — co-authors of a terrific 2010 whitepaper by that name — present their research for the University of Chicago’s Cultural Policy Center. It’s an exciting story about thriving, innovative arts activity from which the leading, mainstream cultural institutions are almost entirely absent.

In case the phrase is new to you, Markusen and Gadwa define creative placemaking as a process in which “partners from public, private, non-profit, and community sectors strategically shape the physical and social character of a neighborhood, town, city, or region around arts and cultural activities.”

As their case studies show, those activities only sometimes involve people showing up at an existing nonprofit arts venue. Most of the time, the action is out in the neighborhoods, in and around alternative venues: repurposed industrial sites, independent commercial entertainment venues, public outdoor spaces, etc. As Markusen and Gadwa write,

Instead of a single arts center or a cluster of large arts and cultural institutions, contemporary creative placemaking envisions a more decentralized portfolio of spaces acting as creative crucibles. In each, arts and culture exist cheek-by jowl with private sector export and retail businesses and mixed-income housing, often occupying buildings and lots that had been vacant and under-used.

Why? In part (and this is my take, not theirs) because these efforts aren’t really driven by the organizations we usually think of when we think of “the arts,” nor by the people we think of as “arts leaders” in the city in question. They’re driven by other community, civic, or business entities, and sometimes by artists or small, grassroots arts organizations. If we think of most major arts initiatives as top-down affairs, decided on and funded by the arts establishment, the placemaking projects that Markusen and Gadwa write about are bottom-up, or perhaps side-in.

Where are the major arts organizations in this new landscape? Slowly getting on the bandwagon, the authors imply. “Large cultural institutions, often inspired by their smaller counterparts, are increasingly engaging in active placemaking,” they write in their executive summary. But there are precious few examples in the rest of their report. ...

The other reason this absence makes sense is that the purposes of these creative placemaking efforts are different from the purposes of most large, established arts institutions. Or rather, they overlap, but not enough for real common cause. Creative placemaking, in Markusen and Gadwa’s formulation and in the NEA’s new way of thinking, is primarily a community and economic development tool:

Creative placemaking animates public and private spaces, rejuvenates structures and streetscapes, improves local business viability and public safety, and brings diverse people together to celebrate, inspire, and be inspired. In turn, these creative locales foster entrepreneurs and cultural industries that generate jobs and income, spin off new products and services, and attract and retain unrelated businesses and skilled workers.

The overlap, of course, is in those words “celebrate, inspire, and be inspired,” which pepper most organizations’ mission statements. But here it’s a means, not an end. Perhaps those world-class art museums, symphonies, theaters, and dance companies — the ones with their own halls and galleries to fill, endowments to manage, and international networks of artists and donors to cultivate — have to focus on their own institutional imperatives and can’t afford to think of themselves as a tool for other goals. Perhaps their leaders prefer to think about the arts as intrinsically rather than instrumentally valuable. Perhaps they believe they already contribute plenty to placemaking and civic vitality.

Seen through Markusen and Gadwa’s lens, though, those positions start to look a little inward and self-involved. And not just to the NEA, perhaps, but to many of the big national and regional foundations, where restructurings and new grant programs in recent years have shifted arts funding from a direct mode in which the arts are viewed as automatically good to an indirect mode in which the arts are worthy of support only to the extent that they help solve civic, economic, educational, and other shared challenges.

In other words, we may be seeing the end of the long, modernist era in which cultural institutions were supported automatically because they were bulwarks of excellence in certain venerable aesthetic traditions. (John Holden and others have made this point more eloquently.) In postmodern society, culture isn’t just treated as a tool, it’s defined as a tool: the category of activities we refer to when we say “the arts” is now determined in part by the uses to which those activities can be put.

Creative placemaking may not be the only set of uses, but the shift is clear. Relevance is now tied, probably irrevocably, to some kind of usefulness.

So for economic as well as philosophical reasons, this is no time for the nonprofit arts sector to distance itself from purposes and challenges larger than its own sustainability. It would be a mistake for major institutions to watch others play the new game, while they continue to play the old.

1 Comment »
emanuel — March 24, 2014

Well, why would large institutions be deprived of this? They have advantages for being well-known, stable and well-resourced, but they also have disadvantages: harder to communicate and implement changes, for example

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Why Rand Is Wrong About The ‘Twelve Attributes’, Part 2 – The Touchy-Feely Version

Oh, golly gee whillikers! It looks like I stepped on a toe or two! My bad. Time out! Take backs (sorta)!

For those whose delicate sensitivities interfered with seeing what I was saying, here it is again, without the commentary.

I am of the opinion that those who are in the business of blogging should take time to check facts, if things are presented as facts. Opinions are fine. Making up things just because you think no one will know any better is not.

Let’s just take a quick look at Rand’s post about the “Twelve Attributes of Obviously Manipulative Directories“, shall we?

1. General in subject matterNow, Rand does quickly qualify this with “this isn’t a bad thing on its own”… the problem being that it’s not a bad thing when taken in conjunction with anything else, either. “General in subject matter” means that the directory accepts many different categories, such as Arts, News, and Sports… in essence, it describes the vast majority of web directories that exist.

2. Anyone can get in – Obviously Google has stated many times that editorial discretion is an important factor in determining whether or not a particular directory should be considered worthwhile. It’s a standard company line. What is considered a worthwhile site is of course going to vary wildly from one editor to the next, and is completely subjective, but it is well known as something that Google touts. Rand doesn’t demonstrate anything at all to show that the directories that have been penalized are in fact doing this, however. Most of the ones I looked at have both submission rules as to what can and cannot be submitted, and reserved the right to remove websites. That is the very definition of editorial discretion.

3. Marketing to Webmasters – I can only guess at this point that perhaps Rand is thinking that the best place to market paid web directories, which are listings of websites, would of course be to anyone but webmasters.

4. Promoting Search Engine Link Value, not Traffic – Eh, I guess. Not too much to say about this one actually. Do please keep it in mind for #7, however.

5. Use of Manipulative Link Building – Perhaps. The methods he suggests as evidence of this are a bit weak, however.

6. Stuffing Links & Content to “Look Natural” – Not much to say about this one either, except still, not one single example of a directory actually doing this, so we can see what he is talking about.

7. Setting up “Premium” Sponsorships – He is saying now that offering more exposure in the directory, by either putting the listing at the top of the category or on more pages, is a sign of a “bad” directory. Since both of those things have more to do with traffic than PageRank, this is of course the opposite of what he said in #4.

8. Interlinking with Other Directories – Near as I can tell, either Rand is using the phrase “interlinking” in a new way. He’s saying in the body of this “attribute” that offering package deals with multiple directories is a sign of an “obviously manipulative directory”. He doesn’t actually explain why.

9. Common Popular Links – In a very similar manner to #8, the title of this one doesn’t match to what he actually describes. At all, actually. He says (I think) that for some reason if the most recent additions aren’t related, the search engines won’t like the directory. Again, no explanation why he thinks this.

10. Bid for Links – Well, I have no clue. I think he means bid for placement. He doesn’t explain how this is a way to manipulate search engine rankings. This sounds more like prominent placement equals more traffic. This is about directory owners playing off of the addictive and sometimes feverish nature of auctions in order to make more money per link.

11. Multiple Links with Your Choice of Anchor Text – This is the same as #4.

12. Banner Ads from Your Directory on SEO Sites – Same as #3.

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Samsung Galaxy S6 will be Launched on March 26

There are multiple rumors going around related to Samsung Galaxy S6 and Samsung  Galaxy S6 Edge. We are all familiar that Sprint is already taking pre-orders for the upcoming Galaxy S6 but now what we have seen from a verified Sprint employee is mind boggling. He posted a picture of Samsung Galaxy S6 and from the text at the bottom right corner we assume that the new Samsung flagship will be launched on 26th Mach.

The new image posted on the web by Sprint employee asks people to pre-register for either Samsung Galaxy S6 or S6 edge and they might end up winning one of the six Galaxy S6 units that are up for grab.

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This is indeed tempting but at the same time it hints at the 26th March launch of the Galaxy S6. Apart from this there are other signs as well which hints at the launch of S6 something around 26th March. The AT&T teaser says Spring 2015 and spring starts from 21st March.

Also Read: Samsung Galaxy S6 will have 20MP Camera

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At this time we are not sure about the exact date but we are sure of one thing that we will be right there at the official event covering it for you. We will also try to bring the live stream of the event through Samsung for our readers.

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Wins and Losses: Old Habits Die Hard

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The following piece was written by one of Jonah’s patients who wishes to only be identified as a 36-year-old male.

Befitting the New Year, you would think I’d be writing about my resolutions for 2017, but I have a win from this past Thanksgiving that I’d like to share.

A little about me

I was a dancer as part of a performing arts group, and I traveled throughout the world dancing and performing in various venues — some as big as football stadiums and others as intimate as a small conference room. I was very fortunate to have this experience growing up (I began performing at the age of 16 and “retired” at the age of 26.) and feel grateful to have the talent and courage to pursue this sort of lifestyle. I’ve been to almost every U.S. state (excluding Alaska and the Dakotas) as well as various cities around the world — Paris, Amsterdam, Taiwan, Yokohama, Toronto, etc. I loved seeing all the different cities and how different cultures interacted within themselves, with other cultures, and even with their surroundings.

As you can probably imagine, traveling the world was glorious, but it was not easy by any means. I lived out of a suitcase for 6 months at a time; missing family events while I was on tour was the norm; and our sense of “home” was based on how long we would be staying in Anytown, USA. We were also at the beck and call of the directors and the schedules they created. Rehearsals every day, 7 days a week from 9am to 6pm (or some days even later if we didn’t have a show); additional performances that really strained every minute for “ME” time; and when and what to eat (and usually how much to eat) were always decided for us. It’s not as bad as I just made it seem. Like I said, it was quite glorious. It was nice to not think about the outside world — everyday tasks were managed for me. It really allowed me to focus on why I was there: to be the best performer I could be.

Perfection is attainable…right?

Dancing, much like any other sport, is really tough on the mind, body, and spirit. To be the best, you really have to work hard and be committed to the craft (not to mention have good genes and be somewhat of a natural talent). After all, the producers don’t give solos to the 2nd-best dancer. Dancing is also very specific — there is only one correct way to stand in first position. Any slight variation thereof is, well, simply incorrect. One might perfect their skills in other sports (i.e., one might work hard enough to make 9 out of 10 free throws), but in dance, there is always something that can be improved. So the idea of dancing “perfectly” does not exist. Yet, to be accomplished in dance, you constantly strive for this perfection. The struggle to jump higher is real. Turn faster. Turn faster! TURN FASTER! Even though these pressures mainly came from within myself, I became so worried (and obsessed) about being the best that nothing I did was ever good enough. Somehow, I thought I could achieve something better than perfection.

This battle bled into all aspects of my life: from personal relationships and self-confidence to body image and diets. Especially the latter. I distinctly remember a moment during the high point of my career. We were in dress rehearsal, putting together the finishing touches before our big opening night. At this point, we were all dancing 7 days a week for 6 to 7 hours per day. I was in peak fitness. I also wasn’t eating much because there was a portion of the performance where the men had to perform shirtless, and well, I was self-conscience about that since I wanted to look perfect. I mustn’t have weighed more than 130 pounds (I’m 5’10”.). My director approached me and suggested I watch my diet for the next few days because I would be standing next to some of the other men. She glanced over at the skinniest performer. She didn’t need to say the words, “and you are bigger than he is,” as the look was enough for me to really think about what I was doing and, more importantly, why I was doing it.

That moment was so pivotal to my career as a dancer. For me, dancing was like having a relationship with a double-edged sword. I loved to dance and was so passionate to share that with the world. I was enamored by the craft, while being pricked by both ends, as dancing created an environment that allowed me to neglect healthy eating and nutrition choices. I have trouble dealing with and embracing my own body image (The constant critiques towards a dancer are never-ending.); I struggle with the concept of working out to live a healthy life versus exercising to burn calories/lose weight; and even more, I have a hard time figuring out how to tune in to my body to find what I want to eat, when to eat it, and, more importantly, when to stop eating because I’ve reached an acceptable level of fullness.

Now (over 15 years later), my life is completely different. I’m not dancing anymore, so there’s that. I knew I wasn’t going to be able to dance into retirement, so I decided to pursue a different career and won’t bore you with those details now…just know that my life as a world traveler is much less exciting. What is exciting though is that I’m the leader of my own ship. I am in control of how my story goes, and I’ve come to love this freedom in most aspects of my life.

Setting expectations

Years following, I had the hardest time staying “in shape” — I would try any sport that would help me keep the pounds off: yoga, running, triathlons, obstacle course races. And even though all the training helped to maintain my body shape, I was still unhappy with the results I was experiencing. After talking to my sister-in-law about her nutritionist, I thought I’d give it a shot.

You should’ve seen me in my first session with Jonah — looking back now, I think it was quite comical — I came into the office, strong and confident, ready to establish expectations for our future work. I said, “Listen, you can put me on any kind of diet, but I won’t give up my sweets. I love them too much!” I didn’t realize I had the experience all wrong — it wasn’t about the sweets. I would then be educated about the different theories of nutrition, their applications, and the work I had ahead of me.

During our sessions, we would work on binge eating, recognizing fullness, honoring my hunger, and celebrating my relationship with food. We talked about embracing my body image and what that meant for me. We formalized strategies for upcoming occasions where my old habits would challenge my new relationship with food. Most importantly, we didn’t give up my sweets!

So…about that win!

As I mentioned earlier, I have trouble accepting my level of fullness. I went from being told what to eat to complete eating freedom, so you can imagine the binge eating every Thanksgiving, year after year, leaving the dinner table filled to the brim with stuffing, cranberry sauce, and mashed potatoes. You name it, I would eat it — if I didn’t really like the taste — or even if I was already full — or because there was something about missing out on the taste that I couldn’t let go — or because I didn’t want to upset the host by not eating the food they’d so lovingly prepared for us that day.

I wanted this Thanksgiving to be different from previous years, however. This year, I came to dinner with a plan on how I was going to eat during this meal, and I was determined to stick to it! (Spoiler alert: I did!)

Plan of attack

Through my work with Jonah, we were able to formulate a plan, and it was simple (in theory). I was going to take an inventory of the available foods during our Thanksgiving feast. As I walked around, I recognized foods that were appealing to me — I really tried to tune in to my intuitive eating skills — and what foods I could skip out on. I say “in theory” because by doing inventory, I also had to accept the foods that were appealing and give myself permission to eat those foods without guilt (For the record, I love bread and butter…lots and lots of butter.).

The result: I don’t really like all three varieties of stuffing, I don’t need to eat them all, and no one was going to heckle me about trying them all. Most everyone else was too busy serving themselves anyway. This quick walk-through allowed me to really honor and respect my hunger. It gave me the opportunity to carefully select the foods I was so excited to eat — it was Thanksgiving after all.

For the first time I can remember, I left Thanksgiving dinner feeling comfortable in my own skin (and clothes) by not overeating. I am still on the high from this win, and it helps give me confidence going in to whatever meal comes next. It might not be the most exciting win, nor does it mean I am over battling my other eating issues. But it is a “W” in my column.

Don’t get me wrong

I have good days and bad days. There are days where I eat multiple times throughout the day without ever consulting my intuitive eater. There are times when I feel like I really need to get to the gym to burn off that cookie I had earlier. Even though my day-to-day’s nutrition success fluctuates, what I’ve realized is that it’s a work in progress, and I won’t deny myself (and you shouldn’t either) the ticks in the “W” column (the everyday wins). I’ve earned that “W” and proudly display it on my sleeve (Ok, not literally. I am writing this anonymously, so if I wore a “W” on my sleeve, it might give me away.). You should too. No matter how big or small.

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