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Historic Print (S): [House with simulated thatched roofing, Cedarhurst, Long Island, New York]

This is a museum quality, reproduction print on premium paper with archival/UV resistant inks.

Date: [no date recorded on caption card]

Subject:

SOURCE: Library of Congress .

WHAT IS LATENT DEMAND AND THE P.I.E.?

The concept of latent demand is rather subtle. The term latent typically refers to something that is dormant, not observable, or not yet realized. Demand is the notion of an economic quantity that a target population or market requires under different assumptions of price, quality, and distribution, among other factors. Latent demand, therefore, is commonly defined by economists as the industry earnings of a market when that market becomes accessible and attractive to serve by competing firms. It is a measure, therefore, of potential industry earnings (P.I.E.) or total revenues (not profit) if a market is served in an efficient manner. It is typically expressed as the total revenues potentially extracted by firms. The ?market? is defined at a given level in the value chain. There can be latent demand at the retail level, at the wholesale level, the manufacturing level, and the raw materials level (the P.I.E. of higher levels of the value chain being always smaller than the P.I.E. of levels at lower levels of the same value chain, assuming all levels maintain minimum profitability).

The latent demand for roofing asphalts is not actual or historic sales. Nor is latent demand future sales. In fact, latent demand can be lower either lower or higher than actual sales if a market is inefficient (i.e., not representative of relatively competitive levels). Inefficiencies arise from a number of factors, including the lack of international openness, cultural barriers to consumption, regulations, and cartel-like behavior on the part of firms. In general, however, latent demand is typically larger than actual sales in a country market.

For reasons discussed later, this report does not consider the notion of ?unit quantities?, only total latent revenues (i.e., a calculation of price times quantity is never made, though one is implied). The units used in this report are U.S. dollars not adjuste .

“As his “mewling gato with a dewy nose,” Manson tips us to the vulnerable flesh of our worlds as much as to the conversational implicature of our words. In this “music of the fires and the chutes,” we hear Hart Crane throttled to the “bubble-fluff concentration” of a tone, whose source is unique, whose interior integrity broadcasts news to all. Listen when this “bird of rooftops” changes tune, and hear an urgent song, for ears, for heart, for shelter. Jonathan Skinner Out of a variety of sonic materials-echoes, “clackings,” puns, “lashings,” poundings, “drillings,” rhymes and cacophonies-Douglas Manson builds an unhinged house, the necessary product of a “post-Cold-War war” world. If, as Heidegger tells us, “Language is the house of Being” and “Those who think and those who create with words are the guardians of this home,” then Manson is both builder and guardian. But he does not stay comfortably at home. Roofing and Siding hunkers down for the winter and it goes on pilgrimage. It sings and scoffs at the same time. Fascinating and frightening to inhabit: there is a jungle in this house. Sasha Steensen i’ve arrived at a blurb. i’m not exactly a hundred percent satisfied. it’s really short, and while it does justice to the scope of the project, the shifting identities, the wide soundscapes, it does not attest to the attention to detail, the microscoping. as in the first poem, “Chaff,” the view is wide from faraway, but up close it shrinks and shrinks. my blurb doesn’t address the shrink, the elusive interior: Sidereal high, a real wide worldview. Matthew Klane ” .

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