Download Indicador Magic Bird
Osmani Horowitz
Why the median? The magic quadrant is an engagement tool so we need to distribute the customers in a way that we can avoid wrong interpretation. Mediana gives you 50% of customers in each side of the quadrant. This will create a better distributed chart.
The greater honeyguide (Indicator indicator) is a bird in the family Indicatoridae, paleotropical near passerine birds related to the woodpeckers. Its English and scientific names refer to its habit of guiding people to bee colonies. Claims that it also guides non-human animals are disputed.
The greater honeyguide feeds primarily on the contents of bee colonies ("nests"): bee eggs, larvae and pupae; waxworms; and beeswax. (Honeyguides are among the few birds that can digest wax.) It frequently associates with other honeyguides at bees' nests; immatures dominate adults, and immatures of this species dominate all others. Like other honeyguides, the greater honeyguide enters bees' nests while the bees are torpid in the early morning, feeds at abandoned hives and scavenges at hives robbed by people or other large animals, notably the honey badger.
The greater honeyguide is known to guide people to the nests of wild bees.[2][3] A guiding bird attracts a person's attention with wavering, chattering "'tya' notes compounded with peeps or pipes",[4] sounds it also gives in aggression. The guiding bird flies toward an occupied nest (greater honeyguides know the sites of many bees' nests in their territories) and then stops nearby the nest. Honey-hunters then do a final search for the bee colony, and if deemed suitable, harvest honey from the bee colony through the use of fire and smoke to subdue the bees, and axes and machetes to expose the colony. After harvesting the honey, the honeyguide eats wax that is left.[5]
In addition to being a predator of insects and a mutualist with its follower species, the greater honeyguide is a brood parasite. It lays white eggs in series of 3 to 7, for a total of 10 to 20 in a year. Each egg is laid in a different nest of a bird of another species, including some woodpeckers, barbets, kingfishers, bee-eaters, wood hoopoes, starlings, and large swallows. It is common for the female greater honeyguide to break the host's eggs when laying her own.[15] All the species parasitized nest in holes, covered nests, or deep cup nests. The chick has a membranous hook on the bill that it uses, while still blind and featherless, to kill the host's young outright or by repeated wounds.
The imitative approach tries to meticulously copy nature or real objects derived therefrom. A good example would be artificial fowers. Today, the level of sophistication in these products is so high that it is almost impossible to tell top quality artificial fowers apart from real ones, just by looking at them. However touching them spoils the magic because they are made of plastic or textile (although this may change in the near future as well). Sampuru (Japanese food models) are another interesting utilization of representation by faithfully copying the original item. These food models have been used in Japan since the 1920s in order to represent food items sold in cafeterias and restaurants, without the risk of spoiling the sample and having to throw it away each day (Lombardi & Hashi, 2014). Earlier sampuru were made of wax but today they are made from durable polymers and they are crafted in such realistic detail that they look quite appetizing. A second biomimetic approach is bioinspiration. Nature has always been an inspiration for artists and designers. Proof of this pattern can be found as early as the paleolithic era, depicted in cave paintings of animals such as cattle, horses, birds, and feline. One of the peak periods of inspiration for artists, architects, and designers was the Art Nouveau (Jugendstil) movement (1890-1910). This style emphasized organic forms and natural elements (Sağocak, 2003). The artistic illustrations of plants, animals, and marine creatures by German biologist Ernst Haeckel in his book Kunstformen der Natur (Art Forms of Nature, 1899-1904), posters, drawings, and oil paintings of the Czech artist Mucha, the famous organic-shaped buildings and furniture of Spanish architect Gaudi, and glass items designed by Émile Gallé in Nancy and Louis Comfort Tiffany in New York are just some examples from this brilliant period.
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