Triennial Catalogue annotated by Jeremy Belknap, 1791

The collection holds a heavily interleaved 1791 Triennial Catalogue annotated, in part, by Jeremy Belknap. A note by Harvard Librarian John Langdon Sibley, on the verso of the flyleaf, indicates a second annotator: "It should be observed that this catalogue is in the handwriting of two persons, Dr. Belknap & probably interlineations & additions by Rev. Dr. [John] Eliot. The interlineing part should not be too confidently relied on for accuracy. J. L. Sibley, April 14, 1848." The volume contains biographical notes, newspaper clippings, excerpts from manuscript and printed sources such as New England's First Fruits, the manuscript memoirs of Charles Chauncey, and John Winthrop's Journal, and a 1795 letter from Isaac Mansfield. In the letter, Mansfield references an item he believed to be written by his grandfather, Ames Cheever (Harvard AB 1707), and briefly describes his grandfather. A list of election sermon orators with dates is also pasted into the inside back cover, along with an obituary of the Rev. John Wales (Harvard AB 1728) from the Boston Post-Boy, March 4, 1765.

Diary of Henry Flynt, 1723-1747

This diary, effectively a commonplace book, documents Flynt's daily activities and personal reflections from 1723 to 1747. Many entries concern his dealings with family members, business associates, acquaintances, ministers, and political officials. The diary includes a list of books Flynt loaned to others from 1723 to 1743 and detailed financial entries from 1724 to 1747. These entries provide information about the costs of goods and services, as well as Flynt's consumption habits; they detail where he traveled, what he ate and drank (including, apparently, many pounds of almonds), what he read, and many other aspects of daily life. The diary also contains entries related to Flynt's land holdings and other investments, as well as copies of meeting minutes from several sessions of the Harvard Board of Overseers.

Simulation Results on the Impact of Changes in the Main EU Policy Tools on Farm Investment Behaviour. Factor Markets Working Document No. 56, June 2013

This paper completes the comparative analysis of the investment demand behaviour, of a sample of specialised arable crop farms, for farm buildings and machinery and equipment, as a function of the different types and levels of Common Agricultural Policy support, in selected European Union Member States. This contribution focuses on their quantitative interdependence calculating the relevant elasticity measures. In turn, they constitute the methodological tool to simulate the percentage expected change in average net investment levels associated to the implementation of the, recently proposed and currently under discussion, reductions in the Pillar I Direct Payments disbursed under the Common Agricultural Policy. Evidence suggests a statistically significant elastic and inelastic relationship between both types of subsidies and the investment levels for both asset classes in Germany and Italy, respectively. An elastic dependence of investment in farm buildings on decoupled subsidies exists in Hungary while changes in the level of coupled payments appear to translate into less than proportional changes in the demand for both farm buildings and machinery and equipment in France. Coupled payments appear to influence the UK demand for both asset classes in an elastic manner while decoupled support seems to induce a similar effect on investment in machinery and equipment. Since the currently discussed Common Agricultural Policy reform options imply, almost exclusively, a reduction in the level of support granted through Direct Payments, simulated effects were expected to reveal a worsening of the farm investment prospects for both asset types (i.e., a larger negative investment or a smaller positive one). The actual evidence largely respects this expectation with the sole exception of investment in machinery and equipment in France and Italy reaching smaller negative or larger positive levels irrespectively of the magnitude of the implemented cuts in Direct Payments.

Measurements of π±, K±, K0s, Λ and proton production in proton–carbon interactions at 31 GeV/c with the NA61/SHINE spectrometer at the CERN SPS

Measurements of hadron production in p+C interactions at 31 GeV/c are performed using the NA61/SHINE spectrometer at the CERN SPS. The analysis is based on the full set of data collected in 2009 using a graphite target with a thickness of 4% of a nuclear interaction length. Inelastic and production cross sections as well as spectra of π±, K±, p, K0s and Λ are measured with high precision. These measurements are essential for improved calculations of the initial neutrino fluxes in the T2K long-baseline neutrino oscillation experiment in Japan. A comparison of the NA61/SHINE measurements with predictions of several hadroproduction models is presented.

Mean arterial pressure and vasopressor load after out-of-hospital cardiac arrest: Associations with one-year neurologic outcome

THE AIM OF THE STUDY There are limited data on blood pressure targets and vasopressor use following cardiac arrest. We hypothesized that hypotension and high vasopressor load are associated with poor neurological outcome following out-of-hospital cardiac arrest (OHCA). METHODS We included 412 patients with OHCA included in FINNRESUSCI study conducted between 2010 and 2011. Hemodynamic data and vasopressor doses were collected electronically in one, two or five minute intervals. We evaluated thresholds for time-weighted (TW) mean arterial pressure (MAP) and outcome by receiver operating characteristic (ROC) curve analysis, and used multivariable analysis adjusting for co-morbidities, factors at resuscitation, an illness severity score, TW MAP and total vasopressor load (VL) to test associations with one-year neurologic outcome, dichotomized into either good (1-2) or poor (3-5) according to the cerebral performance category scale. RESULTS Of 412 patients, 169 patients had good and 243 patients had poor one-year outcomes. The lowest MAP during the first six hours was 58 (inter-quartile range [IQR] 56-61) mmHg in those with a poor outcome and 61 (59-63) mmHg in those with a good outcome (p<0.01), and lowest MAP was independently associated with poor outcome (OR 1.02 per mmHg, 95% CI 1.00-1.04, p=0.03). During the first 48h the median (IQR) of the TW mean MAP was 80 (78-82) mmHg in patients with poor, and 82 (81-83) mmHg in those with good outcomes (p=0.03) but in multivariable analysis TWA MAP was not associated with outcome. Vasopressor load did not predict one-year neurologic outcome. CONCLUSIONS Hypotension occurring during the first six hours after cardiac arrest is an independent predictor of poor one-year neurologic outcome. High vasopressor load was not associated with poor outcome and further randomized trials are needed to define optimal MAP targets in OHCA patients.

Eliciting Euphoria Online: The Aesthetics of “ASMR” Video Culture

“Autonomous Sensory Meridian Response” (ASMR) is a term that has emerged online to describe a mysterious tingling sensation that some people experience in response to particular audiovisual and interpersonal “triggers.” Initially coalescing via discussion threads on health forums, ASMR culture quickly began using platforms like YouTube and Reddit to exchange trigger videos. This paper frames the emergence of ASMR video culture as an example of how bodies and algorithms are conspiring to bring into being new cultural forms that can seem literally inexplicable on first encounter. Treating videos as “inputs,” judged not as messages to be understood or interpreted but by their ability to elicit particular affective and somatic “outputs,” ASMR communities cultivate a quasi-cybernetic relationship with the moving image, using video as a vehicle for “feeling out” phenomena that seem to thwart linguistic articulation and rational comprehension.

Beyond Fashion Tips and Hijab Tutorials: The Aesthetic Style of Islamic Lifestyle Videos

Among young women, lifestyle videos have become extremely popular on YouTube, and a similar trend has emerged among young Muslim women who share modest fashion tips and discuss religious topics. This paper examines the videos of two prominent Muslim women on YouTube, Amena Khan and Dina Torkia, in an effort to understand how they engage with aesthetic styles in order to work against Western stereotypes of Muslim women as oppressed and lacking individuality. Islamic lifestyle videos might appear to simply promote a vacuous focus on appearances, but I argue that it is through the aesthetics and affects of these videos that Amena and Dina do political work to redistribute the sensible and shift what is considered attractive, beautiful and pleasurable in Western society. Additionally, the hybrid aesthetic styles and affects of authenticity and pleasure, which are possible in digital spaces like YouTube, offer Amena and Dina the chance to control their own visual images and to resist being coopted as icons of Western freedom or Islamic piety.

Amateurism and the Aesthetics of Lego Stop-Motion on YouTube

Do the “democratization” of media and the proliferation of online participatory culture undermine the aesthetic hegemony of professional filmmakers? This article is a case study of both more and less popular animated Lego videos, also called “brickfilms,” that asks how amateur videos adhere to and/or depart from professionalized aesthetic standards. It addresses the definitions of professionalism and amateurism and proposes that the dichotomy between democratization and ongoing elitism is insufficient to describe the complex dialogue between professional film aesthetics and amateur production—a dialogue that is diverse but nonetheless follows certain patterns. These patterns link Lego videos to silent era cinema as well as contemporary professional live-action and stop-motion animation. Furthermore, a mixture of parody, pastiche, and homage suggest that amateur work has a variety of affective relationships to professional work. Ultimately, amateur filmmaking indicates a negotiation of professional standards rather than slavish adherence.

Race at the Interface: Rendering Blackness on WorldStarHipHop.com

WorldStarHipHop.com (WSHH) is an online video aggregating website that describes itself as “the premiere online hip hop destination” and a home for “urban media.” Yet, browsing through the site provides little clarity on what constitutes a hip-hop video or urban Internet space because of the disparate video content, the actual racial diversity of the performers, and the website’s generic design. As a result, WSHH’s taglines make a strange claim about the current state of the black musical tradition. Through close readings of the site, this article considers the architecture of this space of interracial exchange and identifies the interface as an example of Modernist architectural simplicity. I argue WSHH’s modular design is flexible enough to include non-black bodies, while remaining a black “urban” space. Thus, the site’s straightforward architecture paradoxically becomes the scaffolding of a much more complex, de-corporealized, and “shareable” blackness.

“How Do You ‘Do’ Bokeh?” The Aesthetics of How-to Videos about Background Blur and Eroticized Women

Producers of online instructional videos about bokeh emphasize disks of light and out-of-focus backgrounds. They demonstrate how camera lenses and technical features can render bokeh, or unfocused areas. Photographic and video bokeh ordinarily appears away from the center of attention. The bokeh genre, in opposition to typical photography and video practices, foregrounds the peripheral and proposes aesthetics and ways of looking by seeing and not seeing objects. However, producers of online instructional videos about bokeh sometimes couple their sensual aestheticization of backgrounds to their stated attempts to satisfy viewers’ investments in filling foregrounds with images of objectified women. These producers emphasize unconventional aesthetics as a means of establishing their creative and technical expertise and obscuring their reproduction of traditional conceptions of women as viewable and controllable. Close textual analysis, literature on photography and transparency, and feminist considerations of representation allow me to consider the aesthetics and functions of this how-to form.