When special circumstances require help beyond Life Groups, the primary place that we work out care and counseling, we partner with professional biblical counselors in meeting the emotional and spiritual needs of the church. These Jesus-centered, grace-driven ministries offer biblical counseling for those seeking healing, freedom and wisdom in all areas of our daily lives. Contact Pastor of Care,Pete Brooks, by clicking the button below.
Our desire is to see the essential needs of our members met. Our Deacon Ministry team has the important responsibility of providing leadership to this benevolence distribution. If you or someone you know within our church is in such need, contact us by clicking the button below.
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Our desire is to see that the members of our church receive care and support in times of need. An important role of our elders and deacons is to comfort the sick, walk alongside the grieving, visit the lonely, and pray for the needs of the people in our care. To share a need in any of these categories, please contact Pastor of Care, Pete Brooks by clicking the button below.
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This 13-Session discipleship program is a gospel-centered resource that gently helps people confront the roots of their sin and suffering and leads them to embrace the freedom found only in Christ's redemption. Participants will benefit from large group teaching, small group community as well as one-on-one mentoring. To learn more and to register, visit the STEPS webpage by clicking the button below.
Helping people and places encounter Jesus is an impossible vision apart from prayer. If we are going to experience God renewing our lives and relationships as well as using us as instruments of renewal in the world, we must become a praying people. To learn more about some of our prayer initiatives and resources, click the button below.
At CATC we believe that prayer precedes power. Join us Sunday mornings before service from 8:15-8:45am in the Conference Room as we ask God to manifest himself in power in our church and community. Childcare for birth-5th grade will be available. If you have any questions, contact Pastoral Resident, Austin Glenn.


text:
package com.talk.demo.datepicker;

import android.app.DatePickerDialog;
import android.app.Dialog;
import android.app.DialogFragment;
import android.os.Bundle;
import android.widget.DatePicker;

import com.talk.demo.setting.LuckDayActivity;

import java.util.Calendar;

public class DatePickerFragment extends DialogFragment implements DatePickerDialog.OnDateSetListener {

	@Override
	public Dialog onCreateDialog(Bundle savedInstanceState) {
		final Calendar c = Calendar.getInstance();
		int year = c.get(Calendar.YEAR);
		int month = c.get(Calendar.MONTH);
		int day = c.get(Calendar.DAY_OF_MONTH);

		return new DatePickerDialog(getActivity(), this, year, month, day);
	}

	public void onDateSet(DatePicker view, int year, int monthOfYear,
			int dayOfMonth) {
		((LuckDayActivity) getActivity())
				.setDate(year, monthOfYear, dayOfMonth);
	}

}

redpajama_set_name: RedPajamaGithub


There's something ineffable about '90s girl group the Spice Girls, in part because they're all pretty elusive these days. Yes, some of them still make music and/or still participate in music-related activities — shout out to Mel B, who starred in the Broadway musical Chicago in February. But others seem to have dropped off the music scene in favour of other pursuits. We're talking about Posh Spice, the well-regarded fashion maven who once admitted that she lip-synched many a Spice Girls performance. It's not that she doesn't acknowledge her past. When she debuted an advertisement for her Target line featuring the song "Spice Up Your Life," Beckham told Refinery29, "I'm proud of my past, and I'm still very close to the other girls [in the group.]" About the group specifically, she said, "The Spice Girls were so much about girl power and fun, and there's an energy that the song brings to the ad; you can't help but smile and dance."
We couldn't agree more, which is why it's so damn exciting to hear that Posh Spice will make an appearance on James Corden's popular segment Carpool Karaoke. The music sleuths at NME discovered that the star shared behind-the-scenes footage of the shoot with Corden on her Instagram story.
Beckham, 42, joins the ranks of musicians like Mariah Carey, Adele, Britney Spears, Selena Gomez, and Sia, who have all sung in a car with the late-night host. The segment, which involves a star asking James Corden for a ride and subsequently singing their own songs in the passenger seat, has quickly become the Late Late Show's claim to fame. The skit is simple and very silly — it's just two people singing in a car — but that's exactly why it tends to go viral. It's almost out of character for Beckham, who's known for having a pretty serious demeanour.
"Top secret filming!" the pop star wrote over a video from the hair and makeup chair. Which, er, it's not so secret anymore, Ms. Beckham. You'll be singing "Wannabe" on The Late Late Show with James Corden sometime soon, and we're all very excited. Other footage involves the actual car involved in the carpooling — in the video, you can spot a camera plastered to the windshield, ready to capture all that sweet karaoke footage.
"So we are here, about to film Carpool Karaoke," Beckham narrates as Corden hops in the driver's seat. Alas, the video ends before Posh Spice launches into song. We'll just have to wait until the segment airs to see which songs Beckham sings with Corden. Oh, and by the way, we're still waiting on that Kanye West Carpool Karaoke we were promised.
Watch Beckham's full Instagram story, below.


During the initial years of company operations, conditions in Serbia were extremely difficult: wars broke out, the country was economically isolated, hyperinflation reached record heights, the international community imposed economic sanctions against the country in which Delta was doing business, big state and socially-owned enterprises had been liquidated and the economic environment had completely changed. Delta laid successful business foundations by making brave and efficient business choices and employing decent staff. Long-term cooperation with the world's leading companies followed as did the adoption of the business skills and principles of large corporations.
Delta was involved in the agricultural sector, trading in fruit and vegetables, and in the timber industry. The company first negotiated contracts with reputable companies such as Nike and Zeneca, and by 1991it had already founded the first private bank, Delta Bank.
The company's portfolio had expanded. It assumed in-country representation of leading companies such as Fiat, Nestle, Beiersdorf, (Nivea) and of many others. The resultant isolation of Yugoslavia slowed down the company's development and caused a stagnation of business in the Balkans. This lead to expansion into the Russian and Ukrainian markets. Two companies, members of Delta Holding, made significant profits for the company in that period: Delta Sport (as a general distributor of Nike for the territory of CIS) and Delta International (as the majority owner of the Baikal Cellulose Integrated Plant that directed its products to the markets of Asia). Such a manner of doing business required a significant number of Delta Holding personnel to be expatriated and or moved from Serbia to the markets of Russia. The Company also started up a completely new business by establishing Delta Osiguranje (Delta Insurance).
In the autumn of 2000 with the move towards democracy, Delta Holding occupied the leading positions in all fields of its business. Owing to its solid foundations in business and business principles, the company was ready for the return and integration of the country into the international economic market place and system of doing business. The great changes taking place at that time in Serbia resulted in the reduction of business in the markets of Russia. The Company decided to leave the cellulose business and the capital acquired from the sale of the Baikal Cellulose Integrated Plant was directed and invested in the business in Serbia. As Serbia opened up to the outside world during the period of democratic transition and economic reform from 2001 to 2007, the climate encouraged fast growth within the company. The market leadership positions of Delta's existing agri-business and its representations of foreign companies' and brands in the domestic market had been strengthened. Simultaneously, the fields of investments had been broadened, and the company had entered new business arenas. With the opening of the first Maxi hypermarket, the era of strategic retail business got under way as the company began to vigorously develop the real estate business.
The company has experienced expansion through organic growth but also through acquisitions carried out by its own company for acquisition and brokerage services. By that time Delta Holding had 18,000 employees. In 2003 the company moved into new office buildings in New Belgrade which is company-owned property. When Delta Bank was sold to the Italian Banking Group, Banca Intesa, the accumulated capital formed the basis of a future investment cycle. The company has an important role also in the privatizations process of domestic and socially– owned enterprises and simultaneously has invested into real estate development, expansion of retail chains, and development of shopping malls. Delta Real Estate erected the first shopping mall in Belgrade, Delta City, and not long afterwards Delta City was erected in Podgorica, Montenegro. Then, in Belgrade, the Delta Company for real estate development together with their partner Hypo Alpe Adria Bank Belgrade built the residential area called Belville in New Belgrade, for Universiade 2009. At that time it was the biggest building site in the Balkans. Delta Maxi has expanded its retailing chain and has introduced new selling formats and new brands – Tempo, Honda and BMW are just two of the new companies represented by Delta in the territory of Serbia. Delta Osiguranje (Delta Insurance) also established the first private pension fund, and as such was extremely successful in breaking into the insurance market. It entered into a strategic partnership of a 50-50% cut with Generali Group, one of the biggest international insurance companies. Delta Sport represents Nike. Also, Delta Sport signed an agreement with Costa Coffee, one of the leading international coffee shop chains, with the franchise agreement aiming at expanding the network across the former Yugoslavia and Albania. Delta Sport became the representative of the Spanish Zara chain and sole representative of all Inditex brands for Europe.
The Company has been achieving its target of being a regional business leader. The Company entered the retail market of Bosnia and Herzegovina through the purchase of the Tropic retail chain. The Company opened its first retail shops in Montenegro and through its acquisition of the Piccadilly retail chain in 2007, Delta Maxi Group has expanded its business into the EU market.
In 2008 the company already had 24,200 employees. The company's development has been focused primarily not just in the retail business, agri-business and real estate market in Serbia but also in the markets of former Yugoslavia and Eastern Europe. The world economic crisis reached Serbia later than elsewhere. Delta took advantage of the global situation to carry out significant business process rationalization. It could be said that the crisis has strengthened the company since it was a period when the company optimized its businesses, and significantly improved the status and influence of Delta Holding both in the country and the region.
The years of crisis, despite complex market conditions, were the years when Delta Holding was doing business at its zenith and the time when the company prepared a forward-looking business strategy for the third decade of its existence.
The year of 2011 marked another great turning point in our business operations. We can rightfully call this period: new Delta.
Delta Maxi retail chain was sold to Belgian Delhaize Group. Delta's revenues from the sale of companies exceeded 1.5 billion euros.
Delta leaves the insurance business while selling the remaining share to its partner Generali Group.
Delta Agrar remains its strategic business, organized through five estates and food factories: Yuhor, Danubius, Mioni and Florida Bel.
Distribution activities expand by strengthening logistics and particularly by opening a new distribution centre of Delta Transport System.
Project "Young Leaders" was initiated with the aim of employing young experts.
While smaller in its range, the Company is more efficient than ever and has personnel and organization making it ready for new businesses.


text:
Category: Tools and Techniques
Colouring metals in the Far East
By Agnese Benzonelli
How far can someone go in the name of research? In my case quite a long way. For a month, I loosely taped tiny plates of metal to my hands and woke up every morning with green stains on them. I was investigating craft recipes employed in the far East since the fourteenth Century to create coloured metal and alloys used for beautiful small artefacts. Whereas Western taste preferred the natural colour and the polished lustre of metals, the Eastern preference was to use the process of chemical patination, where different chemicals react with the surface of copper and copper alloys to form new coloured compounds.
Fig.1: Left: a tsuba (handguard of Japanese sword) made of shakudo and gold; BM-TS244. Right: a Chinese gu-tong box; BM-1992,1109.2. Photos made by A. Benzonelli.
The Japanese created a whole class of coloured alloys, called irogane. They added small amounts of different elements to the copper and simmered it in a solution containing copper salts, alum, vinegar and other ingredients, to form coloured patinas on the surface. The most beautiful patina, shakudo, was made with copper and gold and achieved a deep blue-black colour. Combining a variety of alloy compositions and solution ingredients, they were able to create hues ranging from pale brown to black. Inlaying different irogane, gold, silver, and lacquers, they were able to create small artefacts and swords fittings with complex and visually impressive designs and patterns.
Fig.2: Picture of the 13 Japanese solutions created and tested taken from Japanese recipes reported in Eastern books.
Later on, Chinese craftspeople imported the technique from Japan, possibly through travellers or trying to copy the Japanese artefacts, and, from the Ming period (1368-1644), they used it to colour ink or tobacco boxes. In contrast to the Japanese irogane, the Chinese would patinate a gold-silver alloy only, which resulted in a dark colour similar to that of shakudo, which they called gu-tong. In both cases, the precious metal content was 1-3%, a larger amount would not affect the final patina colour.
There's not a lot known about the two different recipes the Chinese craftsmen employed to produce their patinas. However, we do know that one process they utilised was similar to that used by the Japanese to produce the irogane,butwe have no precise recipes for the solutions. Another involved handling the metal until the perspiration from their hands corroded the surface.
Creating and play with metal colours has always fascinated me. Why using gold and silver to achieve that dark colour, instead of cheaper alternatives? What was the role of the different ingredients used in the recipes? Could sweat really be used as a patinating solution? Why did Japanese recipes tell not add precious metals to bronze (copper alloyed with tin) but only to pure copper? Could it be confirmed through scientific analysis that the technology was really transmitted from the Japanese to the Chinese culture? To find answers, I needed to conduct a systematic experimental research which could explain the reasons behind the technological choices of Japanese and Chinese craftsmen.
I reproduced a series of alloys with tin, gold and silver, which I then patinated, following the recipes for shakudo and gu-tong from available texts. These are not numerous, as the recipes were mainly kept as secret and passed from father to son. We have city records, information sheets given by dealers and, in Japan, technical texts on metal working. I analysed the resulting patinas with techniques borrowed from modern material science, and used the experimental data as reference for the interpretation of historical patinated artefacts in museum collections.
I found that, for both the Japanese and Chinese recipes, the presence of gold in the alloy did, in fact, change the colour of the final patinas, which resulted in a better, more uniform and darker hue. I also noted how parameters such as the fine grade of surface polishing prior to the patination, the use of tin-free alloys, the selection of copper acetate as a main ingredient and the addition of vinegar are all processes and actions that led to a reduced patina growth. And as it turned out, sweat was indeed an effective patinating solution in the Chinese patination (as it can be noticed by the green corrosion products left on the hands), but the presence of gold in the alloy composition is nonetheless essential to obtain a dark hue, not achieved in gold-free alloys. Sweat is a slightly acidic solution, similar to that of used by Japanese craftsmen, essential to create a coloured copper oxide on the surface in just 48 hours of handling. Similarly, in both technologies cleaning of the alloy before or after the procedure suggested in Japanese texts and the abrasive action of the hands in the Chinese method are both similar and crucial steps in the patination process. I concluded from these findings that a dark patina was not the only feature that the craftsmen of both cultures had been striving for. They also seemed to be after a shiny appearance, given by the metallic lustre coming from the alloy.
Fig. 3: Alloys of different compositions patinated with Chinese patination.
In combining experimental and historical observations I gained an understanding of the intentions behind the technological choices made by the Japanese and Chinese artisans. My analysis confirmed the deliberate nature of these choices made to achieve dark and shiny blue-black colours otherwise impossible. This confirmed the importance of colour as a driver of these artisanal processes, and supports the idea that the knowledge was transmitted between the two cultures.
Was it worth in the end – the green hands and other discomforts suffered in the name of research? It was the first study to provide a scientific basis to our knowledge of the methods and choices made by those people, the ingredients they employed in making dark patinated artefacts, and contributed to our pool of knowledge of the artisanal methods and practices described in historical sources. So yes, it definitely was, and I would definitively do it again.
Around the Table: The Making and Knowing Project
This month on Around the Table, we have a very special treat. Many of our contributors have been a part of the Making and Knowing Project and we have enjoyed occasional updates on the project throughout the years. Here, we have an update and reflection provided by previous Recipes Project contributor Tillmann Taape, in coordination with his former Making and Knowing team.
In 2014, Pamela Smith founded the Making and Knowing Project, an initiative in pedagogy and research to investigate the intersection of "craft" and "science" in the Renaissance. Combining experimental laboratory work with more traditional ways of doing history, the Project has explored a unique manuscript source, BnF Ms. Fr. 640, a collection of notes and recipes on craft practices from 1580s Toulouse (see Pamela Smith's introduction to the Project in a previous post on the Recipes Blog). Over the past six years, the Making and Knowing Team and students of Columbia University's "Craft and Science" seminar have accumulated insights into early modern materials, making processes, and the relationship between nature and human artifice. Some of these previously featured on this blog, in posts on making powder for hourglasses and the role of sensory perception in artisanal expertise. The sum total of our work has recently been published in Secrets of Craft and Nature in Renaissance France: A Digital Critical Edition and English Translation of BnF Ms. Fr. 640, containing intensively marked-up versions of the manuscript text (diplomatic and normalised transcriptions plus an English translation), over a hundred essays by collaborating scholars, "expert makers," and students, as well as other resources such as a glossary of over 13,000 technical terms in Middle French. [1] Looking back over the past years, our intense experimental, historical, and digital engagement with this fascinating text has changed the way we think about recipes and how to read them as historians.
Recipes, instructions, observations: texts of action
Fig. 1. A page from BnF Ms. Fr. 640 showing headers and text units. Bibliothèque nationale de France, Paris. Source: gallica.bnf.fr.
Ms. Fr. 640 consists of around one thousand semantic units of text, usually with a heading in a distinct italic script, followed by anything from a few lines of text to several pages of densely-written observations, corrections, and marginal annotations (see Fig. 1). Are these recipes? We started out calling them that, and to be sure, many of them have the structure and elements one would expect of a recipe: a statement of the end product(s), often in the header, enumerations of ingredients, with or without indication of the amount, and instructions for what to do with them, in more or less the intended sequence – sometimes the "author-practitioner," as we call him, gets halfway through a sentence of instructions and only just saves himself with a "…having first done x." [2] There is even a group of entries/text units on making varnishes and colouring wood that fits the definition of a recipe like a glove: the great majority start with the imperative prens or prenes ("take!"), the French equivalent of the Latin imperative recipe that gives us the English word for recipe. Four of these are explicitly labelled as a "recipe" (recepte), as in "Another recipe for making varnish" (fol. 73v).
But there are also pages filled with magic tricks, pranks, silly puns, and early modern equivalents of the dad-joke (How do you fix a candlestick to the wall without making a hole? – Have a servant hold it). Other passages break out of the recipe form through their sheer meandering length. Once the author-practitioner gets going on his favourite topic – different types of sand for making casting molds – he often does not stop for at least a few pages. What starts as a note on "experimented sands," for example, promptly grows into a lengthy discussion of diverse sands and their merits, including the author-practitioner's own observations and speculations about future improvements, more closely resembling detailed field notes than a mere recipe (fol. 85v–87v). Given this variety, we eventually decided to call these units of text "entries" – a more neutral and capacious term that takes its cue from the overall structure of the text more than the content.
It is clear, however, that the vast majority of entries – "recipes" or not – have one thing in common: they are texts of action. Whether walking potential readers through metalworking techniques or observing how different artisans (from day labourers to goldsmiths) do their jobs, these entries encode sequences of gestures and material processes. The challenge for historians is that writing encodes action imperfectly. However detailed the recipe, there is always much that remains unsaid, and perhaps cannot be said, but only known and experienced by the body performing the action. This is true of modern recipes, of course, but add a few hundred years, and a recipe becomes like a fossilised, flattened husk of a once-dynamic process unfolding in real time. Much of the Making and Knowing Project's work has focused on how to re-hydrate this instant noodle of practical expertise to the extent where it makes a certain amount of sense to modern historians. Reading alone, it turns out, doesn't get us very far. With their sparse prose and minimal structure, often only amounting to a list of ingredients and a handful of imperatives (chop, mix, heat, etc.), recipes deflect the kinds of analytic tools that historians are used to unleash on their sources. In a sense, the Project was founded around the idea that recipes and other texts of action become more fully accessible when we place them back in a context of action, reading them with our hands rather than just with our eyes.
Performative reading and emergent knowledge
Thus the Making and Knowing Laboratory was born. Housed in a 1940s chemistry lab at Columbia University, it has been home to cohorts of students' hands-on reconstructions of objects and techniques described in Ms. Fr. 640. In its drawers and shelves, a peculiar material microcosm has accumulated, from tiny vials of pigments to counterfeit jasper made from buffalo horn to preternaturally preserved plants and animals.
While it seemed obvious from the outset that reconstructing or "acting out" recipes would tell us more than simply reading them, precisely what the payoff would be was not at all clear. In that sense, the Project was itself a true experiment. In a recent article that forms part of a special issue on "Rethinking Performative Methods in the History of Science," the Making and Knowing Team had occasion to reflect on what we have gained from our reading-by-doing approach to recipes, for both pedagogy and research.[3]
Fig. 2. Foot of a life-cast lizard showing traces of the pin used to fix the animal in place during moulding (detail). Wenzel Jamnitzer, Writing box, c. 1560, silver, 22.7 x 10.2 cm x 6 cm. Kunsthistorisches Museum, Vienna, Kunstkammer, 1155 bis KK 1164. Photograph by Pamela H. Smith and Tonny Beentjes.
One of the key outcomes of hands-on work is that it recalibrates our eyes and hands in a way that allows us to appreciate the material literacy artisans of the past must have possessed. Early on in their research on lifecasting, a technique whereby a real animal or plant is molded in plaster and then cast in metal, Pamela Smith and Tonny Beentjes noted hitherto unexplained knob-like protrusions on the feet of lifecast lizards (Fig. 2). Their reconstruction of lifecasting instructions in Ms. Fr. 640 revealed that these protrusions were caused by metal pins used to fix the dead lizard on its clay base before molding.[4] This performative research produced a more informed reading not only of the text, but also of surviving lifecast objects whose subtle traces of the making process now revealed themselves to the attuned eye.
Starting out as a way of answering pre-formulated questions, reconstruction also turned out to be a powerful way of raising new questions that do not arise from reading alone. The work of making hourglass sand according to a recipe in Ms. Fr. 640 (introduced in a previous post by Stephanie Pope on this blog) involved mixing salt with molten lead. Having got this far, our students balked at the instructions to wash this mixture in water. Would this dissolve the salt and thus undo their work? As it turns out, it does not, but their question sparked further research into the interaction of hourglass sand and water, turning up a fascinating story: until the middle of the eighteenth century, it was impossible to blow an hourglass in one piece, and since there was always a danger of moisture entering through an improperly sealed joint between the two halves, it was imperative that hourglass sand be non-hygroscopic, i.e. non-reactive with water. Thus the hands-on reading of the recipe led to detailed questions about materials, production, and calibration – questions that would not have been raised by a "dry" reading of the recipe.
Other entries encode cultural and spiritual meanings that emerge fully in doing rather than reading. A recipe for burn salve, for example, includes instructions to wash with holy water for specific intervals, measured by the time it takes to recite the paternoster (the Lord's Prayer in Latin). The connections to religion and timekeeping practices are obvious at first read, but the full extent of their relationship with the process and the final product only emerge when we immerse ourselves in the making process. As we add holy water while reciting prayers, we can witness the dramatic transformation of the transparent yellowish mixture of wax and linseed oil into a thick, fluffy substance of an opaque white – a vivid material instantiation of the spiritual purification implicit in the use of prayers and holy water (Vid. 1).
Vid. 1. Burn salve made according to the recipe in Ms. Fr. 640 (fol. 103r). Note the transformation of the transparent yellow mixture of melted wax and linseed oil into a thick white salve (beginning at around 04:15). (c) The Making and Knowing Project (CC BY-NC-SA).
Such insights from our own experience into the mental and cultural worlds of people in the past are powerful and evocative, but they need to be taken with a pinch of salt. Historians have shown that early modern people had diverse and completely different ways of understanding and experiencing their bodies compared to us moderns. For a start, few of us trained our bodies to specific manual tasks and expertise through years of apprenticeship. And that is before we get into problems of historical authenticity surrounding the use of pure modern ingredients and reading the paternoster off a laptop screen rather than reciting it by heart from lifelong habit. Properly considered, however, these limitations of reconstruction can be turned into a virtue, especially in a pedagogic context. They force students to think carefully about the historicity of materials and embodied experience, and thus help them problematise terms such as "body," "craft," and "nature" – categories that historians take for granted at their peril. Future researchers leave the laboratory with a greater critical awareness of what it means to understand material processes and to know by doing rather than through text, both in the present and the past.
All of this underscores a key point about recipes as texts: they are texts of action, and to fully read them, we have to get our hands dirty, however imperfect our modern ingredients and bodies may be for the job. The knowledge encoded in recipes is practical and, to use Pamela Smith's term, emergent: it unfolds not in the reading, but in the doing. At best, reconstruction allows us glimpses into past worlds of materials and expertise; at worst, it shows us the gaps in the recipe that most early modern artisans or householders would have easily filled in, and the gaping holes in our own mastery of the requisite materials, gestures, and ideas.
The Making and Knowing Project is committed to sharing its own "recipe" for the kind of historical, practical, and digital work that we have been doing. In addition to the Digital Critical Edition, we are preparing a "Research and Teaching Companion" – a scalable template for hands-on teaching and online editions that teachers and researchers can adapt to their own needs. It will be ready in about a year's time, and we look forward to bringing it to the "Around the Table" series.
Thanks, Tillmann, for the update on Making and Knowing! If you'd like to feature a project, scholar, or institution on Around the Table, please email Sarah Kernan.
[1] Making and Knowing Project, Pamela H. Smith, Naomi Rosenkranz, Tianna Helena Uchacz, Tillmann Taape, Clément Godbarge, Sophie Pitman, Jenny Boulboullé, Joel Klein, Donna Bilak, Marc Smith, and Terry Catapano, eds., Secrets of Craft and Nature in Renaissance France. A Digital Critical Edition and English Translation of BnF Ms. Fr. 640 (New York: Making and Knowing Project, 2020), https://edition640.makingandknowing.org.
[2] Francisco Alonso-Almeida, "Genre conventions in English recipes, 1600–1800," in Reading and Writing Recipe Books, 1550–1800, eds. Michelle DiMeo and Sara Pennell (Manchester: Manchester University Press, 2013), 68–90.
[3] Taape, Tillmann, Pamela H. Smith, and Tianna Helena Uchacz, "Schooling the Eye and Hand: Performative Methods of Research and Pedagogy in the Making and Knowing Project," Berichte zur Wissenschaftsgeschichte 43, no. 3 (2020): 323–40.
[4] Pamela Smith and Tonny Beentjes, "Nature and Art, Making and Knowing: Reconstructing Sixteenth-Century Life-Casting Techniques," Renaissance Quarterly 63, no. 1 (2010): 128–79.
Revisiting Lisa Smith's Coffee: A Remedy Against the Plague
Editor's note: Today, we revisit a post by our editor Lisa Smith on the use of coffee as an eighteenth century cure-all against smallpox and the plague. The botanist Richard Bradley claimed that coffee would be effective in treating such diseases because it 'lifted the spirit'. I certainly find that caffeine lifts my spirits, even if temporarily, but we know that high spirits are unfortunately no protection against COVID-19 and other viruses. Still, there is no harm in taking a break – caffeinated or not – and I hope that this post will give you good cheer. Laurence Totelin
By Lisa Smith
1721, London: The plague raging in Marseilles threatened London's busy ports. The British government took action, asking a core group of physicians to devise a plan in case the plague reached London. Smallpox was already rampant and the King had ordered a series of inoculation experiments on prisoners. Troubled times.
Enter the impecunious botanist Richard Bradley. (I discussed his interesting life in a recent blog post.) When he wasn't in debt to booksellers, he made a living from popular medical and scientific writings, such as The virtue and use of coffee, with regard to the plague, and other infectious distempers (London, 1721). He wrote: "At this time, when every Nation in Europe is under the melancholy Apprehension of an approaching Plague or Pestilence, I think it the Business of every Man to contribute, to the utmost of his Capacity, such Observations, as may tend to the Service of the Publick."
And in the face of the plague and smallpox he offered… coffee. Remedies prescribed by other physicians, he insisted, "are little different from each other." Coffee, however, "is of excellent Use in the time of Pestilence, and contributes greatly to prevent the spreading of Infection." Who knew?
Apparently the Turks. Bradley explained: "in some Parts of Turkey, where the Plague is almost constant, it is seldom mortal in those Families, who are rich enough to enjoy the free Use of Coffee." In his treatise, he discussed coffee's efficacy and provided (most tantalizingly for the coffee-mad Brits) "an Account of the best Method of roasting the Berries, and preserving them after roasting."
Coffee tree (Coffea arabica). Line engraving by H. Burgh, c.1726
Credit: Wellcome Library, London. Wellcome Images
I present to you Bradley's instructions for preparing coffee. First, he recommended spreading out the ripe berries to dry and harden beneath the sun. The husks were then to be removed so that the berries could be toasted in an "airy place to clean them." Finally, the berries were ready for the roaster, and this was an important step: the roasting process, Bradley claimed, would determine "the Goodness of the Liquor." Never fear, though, Bradley had "taken some pains to experience the best Method of roasting it." His conclusion was that the berries would be heated most equally by placing them in an iron vessel and turned on a spit over a clear or charcoal fire. His personal preference was "roasted in a middle way, not overburnt." To modern readers, this seems like a lot of work, but Bradley reassured his readers that this process could easily be done at home, as apparently many "Persons of Distinction in Holland" did.
Making the beverage also required special equipment and techniques. To prepare the decoction, earthen or stone vessels were best, as metal spoiled the flavour. Boiling the coffee evaporated "too much of the fine Spirits". Pouring boiling water over the powder of ground berries and infusing it for four or five minutes in front of the fire would be better and "much exceeds the common way of preparing it." He provided an alternative, too: grinding the berries into powder, adding the powder and water into a stone or silver coffee pot and leaving the pot in front of the fire for a couple minutes. The liquid was always "thick and troubled" after brewing, but could be made "clear enough for drinking" by adding a spoonful or two of cold water to force the grounds to sink.
Coffee was worth the effort, being the ultimate cure-all. Bradley described its many virtues, which included treating head pains, vertigo, lethargy, coughs, moist and cold constitutions, consumptions, swooning fits, digestive problems, sleepiness, running humours, sores, scrofula, drunkenness, rheumatism, gout, intermitting fevers and infection. It could also purify the blood, provoke urination, stimulate the menses and deworm children. Indeed, it was particularly beneficial for menstruating women. According to Bradley, Arabian women drank coffee during their "periodical Visits, and find a good Effect", such as contraction of the bowels and toned up genitals. Coffee was not for everyone though. Those suffering from melancholy vapours, hot brains, or paralysis should avoid it.
The reason that coffee would be so efficacious in treating infectious disease was that it lifted the spirits—and those "whose Spirits are the most overcome by Fear, are the most subject to receive Infections". The correct use of coffee supported the drinker's "vital Flame", protecting the drinker from fear and despair. To gain coffee's maximum benefits, Bradley recommended the following dosage: at least twice a day, first in the morning and at four in the afternoon.
Coffee breaks: good for your health!
Touching the Perfect "Noir de Flandres": a visitor's experience at the Museum Hof van Besleyden
By V.E. Mandrij
The colour black is the reason why I became an art historian specialising in Netherlandish oil painting. From the backgrounds of 17th-century still-life paintings, to nocturnal representations with strong chiaroscuro and portraits of rulers dressed in fancy velvety clothes, black shades are omnipresent and mesmerizing. I always wonder: How can a colour be so deep, intense, and vibrant?
If painters could represent in painting cloths with black pigments, it means that people in the past could dye their fabrics in such dark tones. Which materials and processes can produce this colour so rare in Nature? The Museum Hof van Besleyden, in Mechelen, tries to answer these questions in the research-driven exhibition "Back to Black". This exhibition presents some of results reached by the interdisciplinary research project ARTECHNE.
Black as a Time Machine
After walking for a while in the museum, which is dedicated to the history of Mechelen, visitors are welcomed in a small room by old portraits of Flemish dignitaries. Their elegant black clothing and severe glance remind us of the power they once held. A little further, the visitor encounters a contemporary installation consisting of long and irregular pieces of black wool suspended from the ceilings. There is a common thread between these artworks: the flaps' colour is produced by a similar dying process to the one used five centuries earlier to dye the clothes depicted in the paintings.
This room informs us about the making of black dyes that has been transmitted in French, Dutch, German, and Italian over the centuries through recipes and through masters in artists' workshops. The choice of Mechelen as a location for this exhibition is perfect: the city was well-known for its production of "Burgundian Black", or "Noir de Flandres", in the 16th century.
Installation by Claudy Jongstra. Image credit: Sophie Nuytten
Artistic Process, Natural Ingredients
Objects and documents illustrate the transhistorical voyage of European knowledge regarding black colour technologies. On one side of the room, a sample book with pieces of silk, wool and linen dyed in black shows the results of (re)enactment of historical techniques learnt and tested during workshops organised as part of the ARTECHNE project. The dyed fabrics are presented together with the list of ingredients and the illustrated recipes providing these shades. The black colour offers a wide variety of nuances depending on the recipes' components, materials' reaction while drying, and the fabric.
On the other side of the room, jars with ingredients such as plant-based materials necessary for the experimental reconstructions of black dyes are displayed on shelves. For the 21st-century viewer, who tends to forget how and with which materials the final products sold in stores are manufactured, it is useful to remember that it originally comes from natural elements!
Recipes and samples. Image credit: Sophie Nuytten
Recording the Making
A short movie shows footage shot during the Burgundian Black Collaboratory in Claudy Jongstra's atelier in Friesland, where the artist has been experimenting for a long time with dying techniques involving natural ingredients. Dressed in winter clothes, participants are stirring liquids in boiling cauldrons, while other are mixing together strange ingredients. As if it were a secret rally of alchemists, apprentices follow directives of experts, artists, practitioners, and dye specialists, who master old techniques. This video provides visitors with an overview of the different steps to follow in order to obtain the results they have in front of their eyes. Moreover, this recording reminds us that the success of a recipe does not only rely upon one's ability to understand textual sources, but also on the discussions with knowledgeable and experimented people, as participants described in previous posts.
Touching Black Stuff
The curators offered visitors the thrilling opportunity to touch objects in the museum. On a table, pieces of black fabrics invite them to give their opinion about the final products by manipulating the samples and filling a questionnaire. Viewers can decide which textile looks and feels the most expensive, elegant, or beautiful. This interaction between people and objects in the context of a museum provides an agreeable feeling of playing a role in the research. Alongside, visitors can write down on paper cards some concepts that they associate with 'black' to create a contemporary overview of the collective imagination connected to this colour.
Visitors touching samples of black fabrics. Image credit: J. Boulboullé
Binding Together Academic Research and Public Institutions
For those who find academic research difficult to grasp, bringing the results of interdisciplinary projects into a museum builds bridges between public institutions and academia. Moreover, it highlights the importance of collaborating with different protagonists of the art world, such as art historians, artists, artisans, conservators, curators, and art technologists.
This exhibition is therefore likely to attract a large public to the museum. The black colour remains a favourite colour in the textile industry nowadays and continues to fascinate people. Furthermore, the focus on the technical making allows a large potential of interactive activities.
In brief, I left the museum with a mind full of new sensations and an impression of having participated in something special.

redpajama_set_name: RedPajamaCommonCrawl


Last summer, I joined and created a small website. I had to leave it alone a time because of my work : I hadn't much time left.
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18 Aug - 2 min - Uploaded by Andy Lindner Jazzkantine - Highway to hell Andy Lindner. Loading Unsubscribe from Andy Lindner. Lyrics to 'Highway To Hell' by Jazzkantine Feat. Tom Gaebel. Living easy / Loving free / Season ticket for a one way ride / Asking nothing / Leave me be / Taken. Highway to Hell by Jazzkantine feat. Tom Gaebel - discover this song's samples, covers and remixes on WhoSampled.
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text:
Park Chan-wook named jury member at Venice
Sympathy for Lady Vengeance
(친절한 금자씨 - 2005)
3-Iron
(빈집 - 2004)
(오아시스 - 2002)
The Surrogate Woman
(씨받이 - 1986)
Korean director Park Chan-wook has been selected as a jury member of the upcoming 63rd Venice International Film Festival. Actress Catherine Deneuve (France) will be the jury president. Director and screenwriter Juan Jose Bigas Luna (Spain); producer Paulo Branco (Portugal); director, producer and screenwriter Cameron Crowe (U.S.); and actress Chulpan Khamatova (Russia) round out this year's Venice jury.
The Italian city of Venice will host the festival from August 30 until September 9. During that period the jury will choose winners of the Golden Lion (best film), Silver Lion (best director), Special Jury Prize, Coppa Volpi (one for best actor and one for best actress), Marcello Mastroianni Award (best young actor or actress), and Osella (one for best technical contribution and one for best screenplay).
Park Chan-wook was presented with three awards from smaller juries at last year's Venice International Film Festival for "Sympathy for Lady Vengeance". Other awarded Korean films at the festival's previous editions include Kim Ki-duk's "3-Iron", Lee Chang-dong's "Oasis" (both winners of the Best Director award) and Im Kwon-taek's "The Surrogate Woman" (which won Best Actress for the performance of Kang Soo-yeon).
Yi Ch'ang-ho (KOFIC)
Source : www.koreanfilm.or.kr...
Chinese Spinoff of My Sassy Girl
The popular Korean comedy My Sassy Girl (2001) will be remade again, this time into a television drama for Chinese television. The shooting of the drama is scheduled to start in September this year and it will be broadcast in 2007. Korea (production company K 1 Film) and Japan are also involved in t,...More
Korean TV animated film Giant's Friend released in the world market
Korean TV animated film Giant's Friend advances into the world market with a grand joint-venture contract with a major French company.
"The animated film Giant's Friend has entered into a joint-venture contract worth 8.5 million dollars 'the biggest figure in the history of Korean TV animation i,...More
Korean Movie "The Host" Be Invited to Sitges International Film Festival
The film "The Host" directed by Bong Joon-ho has been invited to the competition sector of the 39th Sitges International Film Festival, one of the world's top three fantasy movie festivals, which will be held in Spain on October 6.
At last year's festival, actress Lee Yeong-ae won the Best Actres,...More


Many countries restrict sales of neomycin, the active therapeutic ingredient in Neomycin / polymyxin b / pramoxine. neomycin can ask also be found in the catalog of its producer x gen pharmaceuticals inc. I was seeing decided improvement with meticillin, but am concerned i will not see as those good of improvement with the neomycin.
How do Beauty counter dew skin moisturizer deep spf 20 analogues treat psoriasis?
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What are other benefits of Phenoxypropazine ?
This label update will also include a warning to mothers that the breastfeeding is not always recommended when from taking azilsartan medoxomil or nitric oxide, as resolving this could increase the risk rules of serious adverse reactions in the breastfed infants.
Continue reading What are other benefits of Phenoxypropazine ?


text:
Gretchen Warner '97 Appointed Head of The Madeira School
Gretchen Warner '97
Gretchen Warner '97 has been named head of school at The Madeira School in McLean, VA, effective July 1. Warner is in her 15th year at The Archer School for Girls in Los Angeles, where she serves as director of the upper school. She has taught chemistry and served as Archer's dean of academic affairs, dean of students, and STEM coordinator during her tenure there.
Warner will become the 10th head of school at Madeira, an all-girls' boarding and day school with an enrollment of 325 students.
"I love when people ask me, 'What do you do for a living?'" Warner says. "While I will soon be the head of The Madeira School, I think of my principal occupation as building, shaping, and innovating a school that develops the future female leaders of the world. As a teacher and administrator, I know how critical it is to teach girls in the way they thrive—with hands-on learning and making the work relevant and applicable to relationships."
Warner and her husband, Robin Laqui, are both originally from the eastern U.S., and met as undergraduates at Virginia Tech. (Warner grew up in Allentown, PA; after completing her bachelor's degree, she earned a master's from the University of Virginia.)
"As a classroom teacher and while taking on more significant leadership roles as an administrator, I have loved learning about the ways schools work and what makes them highly functional and collaborative, and I have continually sought out ways I can serve a school's mission from multiple perspectives," she says. "All of this has led me down the path to headship and ultimately to Madeira."
As a student at Mercersburg, Warner was captain of the swim team, a declaimer for the Marshall Society, and a dormitory prefect in South Cottage.
Athletic teams from Mercersburg and Madeira meet each year in a number of sports as part of the M Cup competition, a yearlong multisport competition between the two schools. (Mercersburg won the inaugural competition in 2018-2019, and entering the winter athletic season, the Blue Storm leads the Snails, 9-4, in this year's standings.) The event was established by Mercersburg's director of athletics Rick Hendrickson (who, incidentally, served as Warner's adviser while she was a student at Mercersburg) and Madeira athletic director Katie LaRue (who served as Mercersburg's associate athletic director and head girls' basketball coach from 2011 to 2016).


30 - 40 year old male. European.
Not at the top of his profession but heading there. He works for a specialist fabrics company that sources material around the world, perhaps a family business. He loves his job. There is still a naivety about him. There's a youthful hunger for the world that we see satisfied at the end of the film.
He needs to have a distinctive look so that we defiantly recognise him at the end of the film. Perhaps blond or with freckles etc. Unique without being 'freakish'. He's an attractive guy who has a thirst for adventure. Someone who is open minded and would immerse himself in other cultures.
She has risen to a position of international acclaim through hard work and talent. She's a strong character: determined, highly intelligent, charming and has a great sense of humor. She has managed to balance creating a successful clothes label and having a family. She's achieved all of this in a culture that traditionally doesn't encourage women to have careers. She's an impressive woman.
35 – 45 yrs, Male. South American or European,.
Well traveled. He has something about him that tells us he's lived beyond his years. He's comfortable in foreign environments, and thrives off them. Lives a transient life, always on the move. You feel he could cope with any situation thrown at him. He'd feel equally comfortable talking to a street kid or a member of high society. He's a chameleon of sorts, switching between photojournalist mode, able to disappear in a scene to capture it honestly as possible and an artist, the centre of attention, dressed accordingly to show off his latest work.
Up to 60 years. Male.
Slightly unkempt, stubble, athletic and healthy tan from being outside. Soulful. A true depth that comes from living life to the full.
I imagine he's one of those guys you meet who is totally self sufficient, a jack of all trades whose skills have kept him on the road for the past couple of years. A bar back in one town, mechanic in another. An instant likeability that means he's never short of company. Always on the move.


London-born illustrator, wood engraver, and lithographer John Farleigh (also known as Frederick William Charles Farleigh) left school at fourteen to apprentice at the Artists Illustrators Agency. He then studied, and later taught, at the Central School of Arts and Crafts in London. He received widespread acclaim for his book illustrations commissioned by George Bernard Shaw (The Adventures of the Black Girl in Her Search for God) and D. H. Lawrence (The Man Who Died). Throughout his career, Farleigh (19001965) exhibited his work extensively, and he was a founding member and a longtime chairman of the Crafts Centre of Great Britain. He may be best known, however, for the posters he designed for London Transport; the four presented here were part of a series called Londons Country, published to promote the companys Green Line service to local scenic attractions.


text:
Q: Why does adding  shrink my web page's body? I'm trying to display a full-screen iframe but the height of my website seems to be stuck at 155px; When I removed the doctype, it was magically fixed!
Try it with and without the doctype declaration:
<!DOCTYPE html>
<html>
<body>
<iframe src="http://example.com" style="border: 0; width: 100%; height: 100%"></iframe>
</body>
</html>

Why does this happen and how can I get a full-screen body while keeping the HTML 5 doctype declaration?

A: Cause (referencing comment by Frederic Hamidi): the HTML5 body is elastic on the Y-axis.
Solution: Make the body (updated:) and hmtl height 100%.
html, body{
    height: 100%;
}

A: When you remove the doctype, you put browsers into 'quirks mode' and it's like 1999 all over again as the whole box model changes. Never do that. Any results you get from removing the doctype should be ignored because it means nothing. Modern web pages require a doctype.
As far as a full screen body goes, you need to remove the margins or padding from the html and body elements which browsers will insert on their own. In addition, you set the iframe's height/width to 100% but give no reference for that 100%. In other words, 100% of what?
The answer to that question is, it's always 100% of the parent element but what is the parent elements height set to? Right now, it's nothing.

redpajama_set_name: RedPajamaStackExchange


This weekend we were dropping the Minx off for an eleven day camp at magical Canoe Island in the San Juan Islands, a couple of hours north west of Seattle (overnight camp!!!) and decided to make a weekend of it. On a bit of whim, we booked ourselves on a whalewatching trip to see the islands' pods of resident orcas in the San Juans. Long time readers of this blog may remember that we've been twice before and not spotted even the fin of a single whale - the mythical orcas were obviously a figment of the Washington Tourist Board's imagination.
We set off on a glorious afternoon through the beds of bull kelp.
The Husband and the Minx were excited.
and other whalewatching boats (always a good sign).
And then, behold! A fin!
until, peekaboo I see you!
Wildlife photography is HARD, people! The boat is always gently rocking, the boats are not permitted to get too close, and those pesky whales would pop up and disappear when you were least expecting it. These pics are the best out of dozens and dozens I took, of several different orcas. Male orcas have straight side fins and females have curved ones, and that's mostly all you get to to see.
We also had the company of a whitesided dolphin who kept racing our boat before moving over to the side to breathe. Our captain was really excited by this as apparently they're rare in the San Juans and it was the first he had seen all year.
After a while the dolphin spurned us, to go and play with one of the orcas! I would have loved to have had an underwater camera at this point.
After that we headed back to Eastsound, and into the most glorious sunset. The stunning beauty of the day and of those playful giants of the ocean will live for a long time in my mind. Sometimes magical is not a strong enough word. How lucky we were.


The top and bottom edges of the throttle plate are beveled. Slide starter housing 1 over armature 2 , aligning notch with insulated terminal. Follow the instructions for the leak- down tester you are using to determine the likely problem area s. Disconnect the fuel hose from All Except Models 540000, 610000 the carburetor fuel inlet 6 , Fig. Disassemble and check connecting rods, 9.
Install the float bowl assembly to the carburetor 6. Torque nuts 7 to 25 in. Remove air cleaner knob 1 and cover 2 , Fig. Remove and discard all old gaskets, seals and Fig. Remove screw 25 and choke plate 24 , Clean Carburetor Fig. Inspect all parts for wear, cracks, nicks and burrs.
Torque nuts and screws to 65 in. Insert screw 2 and washer 1 through pilot 3 ball bearing, Fig. Remove governor control bracket with actuator. Push down on armature and brush end cap. Since many types of equipment 3.
Is there more parts that I am not aware of? Tie a temporary knot 4 , Fig. Remove any carbon or ridge at the top of the cylinder bore. Install emulsion tube body 8 with new gasket body. The machine has about 2500 hours on it. Briggs manual 272144 contradicts itself on the pages that show the cylinder numbering. LawnMowerForum is a lawn care and mowing community where members share knowledge and experience about owning, operating, and repairing mowing equipment, as well as caring for their lawns! Assemble new retainer to shaft. The dimensions for the block are: g.
ƒ Replace worn or damaged components. Pry up on retainer until C-ring snaps into groove in retainer, Fig. Inspect pump drive gear 2 for worn or chipped 2. Remove float and inlet needle. Assemble governor spool 2 to camshaft except Models 540000, 610000. This allows the weight of the carburetors.
Run engine for 5 minutes allowing engine to reach operating temperature. Remove and discard oil filter. † ‡ ' Install Governor Crank Fig. Install valve covers with new gaskets and valve cover seals 6 , Fig. Position bowl drain as shown.
Note location of spring tab 5 and location of spring anchor 4 on center post of starter housing. . All carburetor adjustments performed with the en- gine running must be made with the air cleaner installed. Set meter to test for continuity. Torque screw or solenoid to 45 in. Lubricant 93963 before installing valves. Install float assembly to carburetor body, Fig.
More like one or one and a half quarts, at most. Replace pulley if ƒ damaged or worn. Remove head bolts 5, 6, 7, 8 and cylinder head, Fig. We wish to make an internet site beneficial for many people. Per- form adjustments exactly in the sequence shown.
Install fixed main jets 20 , Fig. Remove throttle shaft 13 and spacer 14. Assemble spacer 9 onto choke shaft. Assemble governor lever 3 to governor shaft. Runs rough ' ' 5. Assemble bowl gasket 9 to body. Remove air cleaner cover knobs 1 and cover 2 , Fig.


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About a year ago, our friend's girlfriend moved into the building next door. Besides making the most delicious margaritas, she also owns a mint colour classic vespa. For a few months now I kept on telling Balazs how much I adore her ride but I wasn't brave enough to ask her myself if she would take me for a spin one day. Anyway, somehow the word slipped out and today afternoon she is picking me up for a ride. I can't wait! Wish I could look half as stylish as those girls above.
How do I commute? On foot or by car.
I wish I had one! it just looks so romantic!
I would love to ride around my neighborhood. I think I would be too nervous to venture much further, the traffic in Phoenix, where I live, is quite heavy and fast.
if i wasn't so terrified of riding on one i would buy while living in spain... but they can not possibly be safe.
I had one of these... a sky blue Honda. I loved her.
That is so sweet of her! I bet you two will be all the other passengers' envy as you zip around on that cool vespa.
My husband is OBSESSED with vintage Vespas, has been ever since he was a child. So it's always been a dream of ours to own a pair and ride around town.
It wouldn't make sense for me to have one where I live now. But, if I ever move to the city, I'm getting my hands on one of these! I've always wanted a mustard yellow one!
We have a motorcycle, haven't been on it since having the baby. My hubby always begs to take me out for a ride but I decline the offer.
My ridin' days are over.
I miss all of the Vespas we'd see when we lived in Italy. All of the different colored ones are fabulous!
This sounds like so much fun! Enjoy the ride! xo.
i've wanted one of those vespas for ever... they're sooooo cute!!!


text:
Export Monitor 2018
Series: Global Trade and Investment
Nick Marchio and Joseph Parilla Monday, April 30, 2018
MetroMediaRelations@brookings.edu 202.238.3139
PDF File Methodology
Exports increased in most of metro America in 2017 amidst rising uncertainty in national trade policy
Even as the largest economy in the world, the United States must continue to export goods and services to take advantage of the fact that 85 percent of economic growth will occur abroad over the next five years.
Local economies—whether large metropolitan areas, smaller cities and towns, or rural areas—also depend on exports to support growth and well-paying jobs. Since 2010, the Brookings Export Monitor has estimated goods and services exports as part of a Global Cities Initiative, which seeks to strengthen the international competitiveness and connections of cities and metro areas. In this latest installment, we examine recent exporting trends across the country as well as take a deeper dive into the connection between politics and national trade policy; in particular, we analyze how local economies are implicated in the recent round of Chinese tariffs on U.S. exports.
Export profiles (PDF)
To view or download export data at the county, metro, state, or national level, please click here.
Exports grow in 2017, especially in energy metro areas
In 2017, the U.S. economy exported nearly $2 trillion in goods and services, which accounted for 10.3 percent of GDP and supported 12.7 million total jobs or 8.4 percent of U.S. employment. Exports increased by 2.3 percent from 2016 to 2017, slightly below overall GDP growth of 2.4 percent. The country's 2017 export intensity has still not surpassed its peak of 11.8 percent of GDP in 2011 but is higher than it was in 2003 (7.9 percent).
Joseph Parilla and Nick Marchio
The Avenue
US metros most exposed to a Trump trade shock
Joseph Parilla and Mark Muro
How Trump's steel and aluminum tariffs could affect state economies
Max Bouchet and Joseph Parilla
Oil and gas and manufacturing exports accounted for most of U.S. export growth in 2017, which reflects a bounce back from a poor manufacturing year in 2016. At a regional level, the South grew exports at the fastest clip (4.7 percent) relative to the West (0.7 percent), Midwest (0.8 percent), and Northeast (1.6 percent). Exports of oil and gas and manufacturing products primarily drove southern export growth, accounting for $13 billion and $12 billion, respectively. Incredibly, exports in these sectors from the South alone accounted for 58 percent of the nation's export growth.
Most exporting occurs in the nation's metropolitan areas. Of the 12.7 million export-related jobs, 11 million concentrate in metro areas. And, like the nation, exports grew in the nation's metro areas, although export intensity remains below its 2013 peak of 11.5 percent at 10.0 percent. Three-quarters of the nation's 381 metro areas experienced positive export growth in 2017, including 77 of the nation's 100 largest metropolitan areas.
Energy-intensive metropolitan areas expanded exports in 2017 at the fastest rate, including New Orleans (12.5 percent annual export growth), Houston (9.6 percent), and Baton Rouge (6.2 percent). Each of those metro areas are among the most export-intensive in the nation.
Nick Marchio
Former Senior Research Analytics Manager and Associate Fellow - Metropolitan Policy Program
Joseph Parilla
Fellow - Metropolitan Policy Program
Twitter joeparilla
By contrast, metro areas that specialize in aircraft, travel and tourism, and pharmaceuticals exports showed much slower growth. The steepest annual export declines occurred in Toledo (-4.1 percent), Wichita (-4.1 percent), Seattle (-3.5 percent), and Honolulu (-3.8 percent).
Overall, notwithstanding the bounce-back year for manufacturing exports and the energy export surge, the trade profiles of the nation's 100 largest metropolitan areas continue to evolve toward services. From 2003 to 2017, the services share of exports in these markets increased from 38 to 47 percent. Meanwhile, manufacturing accounts for 55 percent of national exports overall, but over the longer term manufacturing exports have not been expanding at the same rate as sectors like finance, technology, tourism, and education and medical services.
Politics and trade, inextricably linked
These industrial transitions are central to understand the trade policy dynamics at play under the Trump administration.
Table 1 illustrates how the industrial structure of communities aligns with voting patterns in the most recent presidential elections. Republican voters, in general, are much more likely to live in counties that specialize in commodities and manufacturing, while Obama and Clinton voters are much more likely to live in counties specializing in services.
President Trump put trade front and center of his campaign agenda, drawing support from voters whose local communities most intensely bore the brunt of trade-related job losses.
Trump swing counties—meaning those counties that voted for President Obama in 2008 and 2012, and then flipped to President Trump in 2016—have a 44 and 28 percent higher export concentration in agriculture and manufacturing, respectively, than the nation as a whole. These sectors were more exposed to trade competition than advanced services such as finance, tech, and education and medical services. Moreover, Trump swing counties happen to host industries most severely harmed by the last 40 years of unfavorable exchange rates for exporters and offshoring (issues that he directly acknowledged during his campaign).
Our conclusion is not that the economic and industrial circumstances in their communities was the only, or even the primary, reason voters supported President Trump. However, the patterns above provide some striking relationships between voter behavior and the industrial makeup of their surrounding counties. And it is not illogical to conclude that campaign promises to negotiate better trade deals likely resonated with these voters given the industries that drive job growth (or job decline) in their communities.
U.S.-China trade war: Which communities are on the front lines?
Which brings us to the present moment. Campaign promises around trade have evolved into specific proposals to introduce higher tariffs on select products from major trading partners, most prominently China.
China has responded by threatening import tariffs on 234 products. Recently, our colleagues examined where the industries that produce those commodities concentrate, noting that there were about 2 million jobs in those industries nationwide. But not all those jobs are tied to trade nor are they tied to trade with China.
To extend that analysis, we converted the 234 products to four-digit NAICS industry definitions and examined the share of overall U.S. exports in tariff-affected commodities among each four-digit industry going to China. For instance, aircraft were included in China's tariff list, so we estimated the share of total U.S. aircraft exports that go to China using national trade data. We then assigned that national ratio to each U.S. county.
Based on this method, we estimate that there are about 150,000 direct export jobs that are affected by the Chinese tariffs. But those jobs support an additional 150,000 jobs, which means that there are a little under 300,000 jobs that are directly implicated by the Chinese tariffs. The difference between this estimate and the 2 million estimate from our colleagues is that our analysis attempts to isolate those jobs that are dependent on exports to China in those industries.
Metropolitan areas that specialize in agriculture, aerospace, and automotive manufacturing are most exposed to the Chinese tariffs. The metro areas with the largest share of tariff-affected export jobs are Wichita, Kan. (8.6 percent of export-supported employment, 2,900 jobs), Bakersfield, Calif. (7.7 percent, 1,800 jobs), Jackson, Miss. (7.2 percent, 1,000 jobs), and Stockton, Calif. (6.6 percent, 1,000 jobs). Seattle has, by far, the highest total number of jobs at risk, with just over 16,000.
The metro areas listed above represent a cross-section politically—from redder parts of the South and Midwest to bluer districts in metro areas in California and Washington. While a diversity of places will be implicated, counties that voted for President Trump are more exposed to the Chinese tariffs, as measured by the share of exports in tariff-affected industries (3.9 percent) and the direct and indirect jobs those exports support (187,600). Comparatively, in counties that voted for Clinton, 1.7 percent of exports are in tariff-affected industries, which support 104,000 direct and indirect jobs. Moreover, Trump counties will bear the brunt of the tariff costs accounting for 60 percent of the export value at risk, 68 percent of direct export supported jobs at risk, and 64 percent of total export supported jobs at risk.
This analysis of metro-level exports comes at a time of great trade policy uncertainty. Currently, the relatively short product list means that the impact of the U.S.-China imbroglio is not yet widespread enough to inflict significant economic damage. Yet, our analysis suggests that the result of the Trump administration's tariffs on China are countervailing measures by the Chinese that would disproportionately target the export base of communities that elected the president. While not yet a full-fledged trade war, the rumblings between the world's two largest economies is yet another signal of a new era in U.S. trade policy, one that local and state leaders ought to be watching closely.
The authors thank Max Bouchet and Sifan Liu for research assistance.
The Export Monitor is made possible by the Global Cities Initiative, a joint project of Brookings and JPMorgan Chase to help metropolitan leaders grow their regional economies by strengthening international connections and competitiveness. GCI activities include producing data and research to guide decisions, fostering practice and policy innovations, and facilitating a peer-learning network. Brookings recognizes that the value it provides is in its absolute commitment to quality, independence and impact, and makes all final determinations on its own scholarly activities, including the research agenda and products. To learn more about the Global Cities Initiative, visit the homepage here.
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text:
Christopher Jude McCarroll
Remembering from the Outside: Personal Memory and the Perspectival Mind
Christopher Jude McCarroll, Remembering from the Outside: Personal Memory and the Perspectival Mind, Oxford University Press, 2018, 220pp., $74.00 (hbk), ISBN 9780190674267.
Reviewed by Felipe De Brigard, Duke University
Until very recently, the field of philosophy of memory was almost non-existent. But in the last decade, there has been such a resurgence of interest in philosophical questions pertaining to memory and remembering that it is becoming one of the most active areas in the philosophy of mind. Christopher Jude McCarroll's book is a wonderful addition to this fascinating and growing research area. In it, McCarroll discusses an intriguing phenomenon: the fact that we often remember autobiographical episodic memories, both voluntarily and involuntarily, from a point of view other than the one from which we experienced the original event. Known in the psychological literature as the field/observer distinction, memory's capacity to shift perspectives has intrigued researchers since, at least, Giovanni Nigro and Ulric Neisser's seminal work in 1983. I don't think I'm exaggerating when saying that McCarroll's extraordinary book constitutes the most up-to-date, thorough, and thought-provoking study of the field/observer phenomenon since then. This book promises to become a landmark work, not only for philosophers, but also for cognitive scientists, social psychologists, and others interested in memory, imagination, and perspective-shift in mental simulation.
According to its preface, the book has
four nested and interdependent aims: 1) to defend the possibility that genuine memories can be recalled from an observer perspective, 2) to understand observer perspectives better, 3) to understand personal memories more fully by way of understanding observer perspectives, and 4) to provide an understanding of the perspectival mind, by way of understanding personal memories and observer perspectives. (p. ix)
But along the way, in the seven chapters that constitute this monograph, McCarroll manages to argue for many less overarching but equally important claims, with varying degrees of controversy, each of which contributes to several ongoing discussions in the philosophy of memory.
The book begins with a short history of the field/observer distinction and some of the key issues that the phenomena of observer memories pose to both philosophical and scientific accounts of remembering. In particular, McCarroll reviews a number of extant arguments aimed at concluding that observer memories are neither genuine nor veridical autobiographical memories, either because 1) the event is remembered from a perspective other than the one from which it was experienced, 2) observer memories constitute marked distortions from the original event, or 3) the observer perspective involves, in the content of the recollection, a representation of oneself from a position other from that which one actually occupied. Many of these arguments are relatively well-known, and tacitly accepted, by both preservationists and constructivists about memory. But McCarroll promises to go against the orthodoxy and argue instead that observer memories can be both genuine and veridical, that they need not involve more distortion than ordinary reconstructed field memories, and that the perspective from which we tend to remember observer memories is, in fact, unoccupied, and thus the moniker "observer memories" is actually a misnomer; better to refer to these sorts of mental events as memories "from the outside". Lots of promises, I know, but, boy, does he deliver.
One of the first and most clever steps in his argumentation comes from the distinction between constructive encoding and reconstructive retrieval, which he introduces in Chapter 2, and further elaborates in Chapter 3. One of the main arguments against the claim that observer memories are genuine memories comes from what McCarroll calls the "perceptual impossibility argument". This argument, which appears in the philosophical literature on memory in various guises, basically asserts that observer memories cannot be genuine memories because their content involves seeing oneself from the outside, which cannot possibly be the content of the initial perception, as it is impossible to perceive oneself from the outside. As such, observer memories represent a perceptual impossibility. But McCarroll disagrees. He thinks that partisans of the perceptual impossibility argument neglect the fact that, in addition to visual perception, experiences involve a plethora of sensory, temporal, proprioceptive and spatial information, all of which participate in the process of memory encoding. Of course, not everything that is experienced gets to be encoded in memory, as the process of encoding is both selective and constructive. Yet, for that very same reason, it is perfectly feasible that, during encoding, we may get to include not only egocentric but also allocentric information about our surroundings, in addition to other kinds of perceptual information. And if allocentric information is available during encoding, then information about personal experiences may be encoded already from a perspective other than our typical first-person point of view. Remembering from the outside may not only be a product of reconstruction at retrieval: experiences may already be encoded as being perceived from an external point of view.
In Chapter 3, McCarroll develops this extremely intriguing idea, and further argues against both preservationists and constructivists (myself included [De Brigard 2014]), for whom observer memories are clear cases of memory distortion and, thus, of ordinary yet false recollections. But why should that be so? The content available at encoding is much richer than we normally acknowledge, for it includes internal and external, multi-modal, egocentric and allocentric information. We often forget that what we experience is not limited to light bouncing off external objects and hitting our retina, or sound waves caressing the hairs in our cochlea. We experience the world while we think, reflect, imagine, and mentally simulate our surroundings. The availability of rich allocentric information, then, enables us to think about observer memories as being not only the product of reconstructive retrieval but also of constructive encoding. Moreover, the fact that we can encode an experience with proprioceptive, kinesthetic and affective content helps to explain both why we can non-inferentially know that the person seen "from the outside" in an observer memory is oneself, and why recollection of observer memories is accompanied by the same "warmth and intimacy" -- to use the Jamesian trope -- we normally feel when retrieving episodic memories of our personal past, despite their unusual perspective. If we can experience the world from the outside, and encode memories from an external perspective, then it is not true that all observer memories are distorted. Sure, just as with field memories, observer memories may sometimes be distorted and false, but then again they might very well be genuine and true. Even constructivists -- myself included -- need to accept that we have no reason to think that a perspective shift in autobiographical recollection de facto involves more construction at encoding, and more reconstruction at retrieval, than memories that are recollected from a field perspective.
Observer memories are typically described as recollections of past personal events in which we see ourselves from the perspective of an external observer. This characterization strongly suggests that such an external observer is, in fact, oneself. As a result, some have argued (e.g., Vendler 1979) that observer memories cannot be genuine memories, let alone veridical memories, because of the tripartite nature of their mnemonic content. That is, unlike field memories, in which the remembering self and the remembered self are taken to be one and the same (in part because they both share the same point of view), observer memories introduce another self -- the observed self -- that does not share the point of view of either the remembering self or the observing self. However, McCarroll disagrees with this characterization, and in Chapter 4 he masterfully argues for the claim that when we remember from the outside, the perspective of the observer is, in fact, unoccupied. It is wrong, then, to think that when I remember myself in a particular past episode from an observer perspective, I am thereby also representing myself as being precisely such an external observer. On the contrary, McCarroll argues, it is simply not the case that in addition to the observed remembered self, with which the present remembering self immediately and non-inferentially identifies, there is a need to further postulate a third remembered self occupying the point of view from which the remembered event is recalled. The allocentric spatial information available at encoding, and later on accessible at retrieval, allows us to adopt a plethora of points of view from the outside without additionally requiring us to think of ourselves as the occupants of such perspectives. I can mentally simulate the allocentric space surrounding my experience of the world right now, and later on recall it from a bird's eye point of view, but in so doing I need not be the bird. In fact, there need not be a bird at all.
The traditional characterization of observer memories as involving a remembered observing-self also serves to explain why, despite the fact that one sees oneself from a perspective other than the one from which the original event was experienced, the memory nonetheless is experienced with the same warmth and intimacy with which ordinary field autobiographical memories are felt. However, if McCarroll is right and remembering from the outside does not include an observer self as part of the mnemonic content, how come we don't feel undetached from the observed self, which appears to be no different than any other person included in a mnemonic content? The answer, spelled out in great detail in Chapter 5, involves a fascinating excursus into the nature of perspective, the ambiguities with the notions of "internal" and "external" points of view, and both empirical and conceptual evidence supporting the claim that while remembering from the outside may involve a shift in perspective, the mnemonic content can still include kinesthetic and proprioceptive information that makes the identification with the observed remembered self seamless, immediate, and non-inferential.
Curiously, despite the fact that in observer memories I recall myself from the outside, typically such recollections exhibit immunity to error through misidentification. This is very much unlike the apparently parallel case in which I see a photograph of myself, taken from the outside, but I fail to see the photographed individual as myself. Why is it that, when remembering from the outside, we are immune to error through misidentification? McCarroll's strategy to address this issue involves a variation on François Recanati's "Strong Moderate Relativism" framework (Recanati 2007). According to this framework, there is a difference between explicit and implicit de se thoughts. Misidentification errors in de se thoughts occur when the self is part of the explicit content. Intriguingly, Recanati rules out observer memories as genuine memories and considers the remembered observed self as part of the explicit de se content. But then, McCarroll asks, why is it that observer memories exhibit immunity to error through misidentification? Assuming -- contra Recanati, and as argued in the first part of the book -- that observer memories can be genuine memories, then they should be the sorts of de se thoughts for which misidentification errors should be possible. But they are not -- so what gives? McCarroll's solution is two-tiered: he first argues that in remembering from the outside the self is part of the implicit, not the explicit, content of the de se thought and, second, that remembering from the outside is simply a particular mode of presentation in which a remembered event can be recalled. Remembering from a field perspective is one way of recalling a particular event; the same event can be presented from a different point of view, e.g., from the outside.
To me, Chapter 6 is by far the most underdeveloped in McCarroll's book. But I do not mean this as a criticism: I think it is underdeveloped because it likely requires a much longer treatment. Much of what he says there would likely be controversial for philosophers of language and semanticists, yet for that reason it constitutes a rich source of questions for future research. Many of those questions are anticipated in the seventh and final chapter, where McCarroll weaves together many threads discussed throughout the book, and reminds us how they come to inform the four aims the book was set up to answer. I really can't recommend this book enough. As an interdisciplinary researcher, and as someone who is interested in philosophical and scientific questions about the nature of memory and remembering, McCarroll's book has it all: it offers a thorough and illuminating review of the philosophy and the psychology of observer memories, it adumbrates the phenomenon of remembering from the outside with autobiographical and fictional examples, and it presents clearly articulated and thoroughly developed arguments in favor of the claim that observer memories can be genuine, veridical, and definitely worth thinking about.
De Brigard, F. (2014). Is memory for remembering? Recollection as a form of episodic hypothetical thinking. Synthese, 191, 155-185.
Nigro, G., & Neisser, U. (1983). Point of view in personal memories. Cognitive Psychology, 15, 467-482.
Recanati, F. (2007). Perspectival Thought: A Plea for (Moderate) Relativism. Oxford University Press.
Vendler, Z. (1979). Vicarious Experience. Revue de Mètaphysique et de Morale. 84(2): 161-173.


When was Upshur County, WV Created?
Upshur County was established on March 26, 1851 from parts of Barbour County, Lewis County and Randolph County.
What is the County Seat of Upshur County, WV?
What counties are adjacent to Upshur County, WV?
Bordering Counties are Harrison County, Barbour County, Randolph County, Webster County, Lewis County.
Where can find Upshur County Birth, marriage, Divorce and Death Records?
Upshur County vital records can be found at the West Virginia Office of Vital Records which has copies of birth and death records from January 1917 to present; marriage records from 1921 to present and divorce records from 1968 to present. There is a fee for each copy requested. Please refer to the information to the Statewide Vital Records in West Virginia for current fees and application process.
You can search online for Upshur County Birth, Marriage, Divorce or Death Records. You can also Order Electronically Online or can download an application for West Virginia Birth Certificate, Marriage Certificate, Death Certificate Applications to mail.
What Upshur County, WV census records are available?
There are many types of census records for Upshur County guide you in researching your family tree. Federal Population Schedules are available for 1860, 1870, 1880 (free index), 1890 (fragment), 1900, 1910, 1920, 1930, 1940.
What genealogical records can I find in the Upshur County Courthouse?
What genealogical and historical societies, archives, museums, associations and libraries are available for Upshur County, WV?
A list of Upshur County Historical and Genealogical Societies, Libraries, Archives. See also list of Statewide West Virginia Archives, Historical & Genealogical Societies.
Where can I connect with other Upshur County, WV Researchers through message boards and forums?
What other genealogical resources are available in Upshur County, WV?
The following are web links to Genealogy, Records and Resources pertaining to Upshur County. Each of these genealogy links fall into 3 categories: Business oriented Sites, Personal Sites or Organization Sites. Some have free access some have to have a payment. This is basically a list which has been collected or submitted. I do not endorse or promote one genealogy site above another.
West Virginia Military Records (fold3.com) provides access to military records, stories, photos, and personal documents belonging to the West Virginia women and men which served. Ideal for Upshur County genealogists, researchers, historians and more.