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    SHARE Although studying creativity is considered a legitimate scientific discipline nowadays, it is still a very young one.

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    In the early s, a psychologist named J. Guilford was one of the first academic researchers who dared to conduct a study of creativity. He challenged research subjects to connect all nine dots using just four straight lines without lifting their pencils from the page.

    Today many people are familiar with this puzzle and its solution. In the s, however, very few were even aware of its existence, even though it had been around for almost a century.

    If you have tried solving this puzzle, you can confirm that your first attempts usually involve sketching lines inside the imaginary square. The correct solution, however, requires you to draw lines that extend beyond the area defined by the dots. Only 20 percent managed to break out of the illusory confinement and continue their lines in the white space surrounding the dots.

    The symmetry, the beautiful simplicity of the solution, and the fact that 80 percent of the participants were effectively blinded by the boundaries of the square led Guilford and the readers of his books to leap to the sweeping conclusion that creativity requires you to go outside the box.

    The idea went viral via s-era media and word of mouth, of course. Overnight, it seemed that creativity gurus everywhere were teaching managers how to think outside the box. Management consultants in the s and s even used this puzzle when making sales pitches to prospective clients. Because the solution is, in hindsight, deceptively simple, clients tended to admit they should have thought of it themselves.

    Or so their consultants would have them believe. There seemed to be no end to the insights that could be offered under the banner of thinking outside the box. Speakers, trainers, training program developers, organizational consultants, and university professors all had much to say about the vast benefits of outside-the-box thinking. It was an appealing and apparently convincing message.

    Indeed, the concept enjoyed such strong popularity and intuitive appeal that no one bothered to check the facts. No one, that is, before two different research teams —Clarke Burnham with Kenneth Davis, and Joseph Alba with Robert Weisberg—ran another experiment using the same puzzle but a different research procedure.

    Both teams followed the same protocol of dividing participants into two groups. The second group was told that the solution required the lines to be drawn outside the imaginary box bordering the dot array.

    Would you like to guess the percentage of the participants in the second group who solved the puzzle correctly? Most people assume that 60 percent to 90 percent of the group given the clue would solve the puzzle easily. In fact, only a meager 25 percent did. In other words, the difference could easily be due to what statisticians call sampling error.

    Solving this problem requires people to literally think outside the box. That is, direct and explicit instructions to think outside the box did not help. That this advice is useless when actually trying to solve a problem involving a real box should effectively have killed off the much widely disseminated—and therefore, much more dangerous—metaphor that out-of-the-box thinking spurs creativity.

    After all, with one simple yet brilliant experiment, researchers had proven that the conceptual link between thinking outside the box and creativity was a myth.

    But you will find numerous situations where a creative breakthrough is staring you in the face. They are much more common than you probably think.
    Deeply engaged in a bloody Civil War, President Abraham Lincoln did not hesitate when Congress presented him with legislation that could energize a weary nation. When he signed the Homestead Act ofPresident Lincoln sent a clear message that he believed the Union could and would endure, and that it would prosper.

    As a result, million acres of land, owned by the Federal Government, in 30 states, was offered for homesteading, thus creating the Westward Movement, one of the largest migrations of people in our nation's history. The pioneers spent months, sometimes up to a year - preparing for their trip West.

    Men saw to the wagons, animals, weapons, farm equipment and tools. The women salted meats and dried fruits and sweet corn, purchased coffee and beans and barrels of sugar and flour. They packed dishes, clothing, utensils, needles and thread…and they sewed.

    In fact, a great deal of sewing was done, as travel guides suggested that each family should bring enough bedding so that each man, woman and child would have blankets or quilts. While some quilts were packed as treasures in trunks, others were kept close at hand for daily use. They served a variety of purposes not only on the trip west, but also once the pioneers arrived at their destination. Through the years, quilts have become documents of history.

    They are the products of their society, influenced by the culture, and the environment of the people who made them. The history of America can be seen in the history of quilts. Stitched into these quilts is the rich heritage of thrifty self-sufficient women who helped homestead the land, the history of families sewn into quilts one patch or one stitch at a time, and the legacy of the art of quilting, passed on from generation to generation.

    Thousands of quilt blocks and patterns have been created and sewn through the decades. The quilt patterns or "blocks" that are displayed on the Quilt Trail were in the quilts used by pioneer women as they traveled West and homesteaded the prairie. They also depict other popular patterns used inwhen the Homestead Act was signed by President Lincoln, up until the Act was repealed in Follow the trail to learn more about quilt making and the history of quilts and how they truly are documents of history, reflecting who we were as a nation and a people.

    The earliest homesteaders had neither time or fabric to spare. Most of the quilts they made were utility quilts, quickly sewn together for warmth. The Nine Patch is one of the simplest and quickest quilts to sew, and because it was a good way to use up every small scrap of fabric available, it was used often.

    On the prairie, sewing was an essential skill. Young girls learned to sew blocks before they learned to read. At an early age, often as young as 3 or 4, girls were taught to piece simple blocks such as the Nine Patch. Many were very skilled at piecing a block by age 5. Edith White, who grew up in the mid's remembered, Before I was 5 years old, I had pieced one side of a quilt, setting at my mother's knee half an hour a day.

    This training was called fireside training. Log Cabin The Log Cabin block is one of the most well-known and popular of all patchwork patterns. To pioneers traveling West, it symbolized home, warmth, love and security.

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    The center square of the block was done in red to represent the hearth, the focal point of life in a cabin or home. The name, Log Cabin, comes from the narrow strips of fabric, or logs arranged around the center square. Each fabric strip or log was added to the pattern in much the same way logs were stacked to build a cabin; and because the straight lines and small pieces of the pattern could utilize almost any fabric scrap available, it often became the final step in the recycling of fabric.

    Many Log Cabin patterns were worked in two color schemes, lights and darks, divided diagonally in the middle. This represented the sun's east to west movement in the sky. As the sun rose, its light shown on the cabin, creating the light side of the block. As the sun traveled west, part of the cabin was left in the shadow, creating the dark side of the block. This is often called the Sunshine and Shadow pattern.

    Pinwheel Nineteenth century quilts were primarily practical; beauty was secondary. Quilts served as window and door coverings. Hanging quilts on the dirt walls of a soddie, made them seem more homelike. Quilts could serve as privacy walls, creating sleeping areas in a soddie, or one room cabin. Quilts folded and laid on a board placed between two chairs or tree stumps, became a sofa. When a quilt became so badly worn around the edges that even rebinding could not rejuvenate it, a seamstress would cut it down to eliminate the worn areas, or rework it into a child's quilt.

    Any quilt was too precious to discard. The importance of quilts in women's lives was best expressed in the statement of one 19th century homesteader, Lydia Roberts Dunham, who said, "I would have lost my mind if I had not had my quilts. Homesteaders traveling West used the stars for guidance; and they looked upon stars as religious symbols of their faith in God. There are hundreds of star patterns. Some quilts have just one large radiating star, often called the Star of Bethlehem or Blazing Star, while in other quilts, dozens of smaller stars are used.

    The simplest and most popular star pattern is an eight-pointed star. A star pattern is not an easy design to cut or sew. Precision is extremely important as any inaccuracy in cutting or piec-ing is multiplied as pieces are added. If poorly pieced, the quilt will not lie flat when finished. An intricate star pattern was one way for a woman to show her needlework skills. Many times the quilt maker deliberately sewed a mistake somewhere in the quilt. It is thought, by some, that this reflected the maker's faith in God; for only God can make a perfect thing.

    Crazy Quilt The Crazy Quilt is probably the oldest of quilt patterns.

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    Early quilters used any scrap or remnant available, regardless of its color, design, or fabric type. Worn out clothing, women's calico dresses, men's pants and shirts, household linens, and other oddly shaped fabric scraps were fitted and stitched together. The result was a hodgepodge of color, and a quilt with a story behind each scrap. Making utilitarian quilts fell out of favor in the late 's and early 's as America became more industrialized and technology brought improvements to the home.

    The Crazy quilts or throws of this era featured rich colors and textures and were used to decorate the parlor. Skill in fine embroidery was emphasized. Victorian quilters filled their quilts with bits and pieces of their personal past; a piece of father's vest, a husband's tie, lace from a wedding veil, or ribbons commemorating political events.

    Rose of Sharon One of the oldest applique quilt patterns is the Rose of Sharon. The Rose of Sharon, mentioned in the Bible, might actually refer to a wild tulip that grows today on the plains of Sharon in Palestine. When the Bible was translated into English, the word rose was used in place of the word tulip. During the s, there was a custom for a young girl to make a baker's dozen of quilt tops before she became engaged. This collection consisted of 12 utility quilts, and one great quilt, which was pieced or appliqued, as a show piece for a bed.

    The Rose of Sharon was often used for the great quilt. Many young women traveled West as brides, their great quilt folded safely in a trunk. The Whig Rose is another name for this pattern. It is thought the name came from the Presidential election. The newly formed Whig party hoped to beat out Democrat, Andrew Jackson.

    The Whig party dissolved in the mid 's, but the pattern name lived on. Friendship Quilt The quilts the homesteaders brought with them were a comfort to these women who traded their home, family and friends in the East, for the uncertainty of traveling through vast prairies in the West.

    A quilt that held special value to the pioneer women was the Friendship Quilt. Often it was done is secret, and then given to the woman as a going away gift. It usually was a group effort, with each block being sewn by a friend or relative with their name embroidered in the center. Putting a Friendship quilt on the bed, gave a woman a sense of connection with her former way of life.

    It kept alive the memory of family and friends, providing comfort and company during the difficult days of homesteading. One woman homesteader said, "When I get lonely, I read the names on my quilt. God's Eye America was founded on the principle of religious free-dom, so quilts that reminded the homesteaders of their devotion to God were especially meaningful. The trip to new land was filled with danger and daily challenges which tested even the strongest men and women.

    It was a rare person who did not lose a family member, often a child, along the trail. The practice of using quilts as burial shrouds was fairly common among westward travelers.

    Wood was often scarce for coffins, so families used what was available and appropriate. Wrapping a loved one in a quilt was a way of not only preparing the body for burial, but of giving reassurance to the living that the decreased person was still linked to his or her family. A quilt that carried a Biblical name was a source of comfort, and with their enduring faith, kept the family going.

    Wild Goose Chase Nature was an obvious and rich source for quilt patterns. There are numerous patterns named for trees, flowers, animals and birds. The homesteaders watched the migration of flocks of geese and created quilts with that in mind. Although the triangle shape is used in hundreds of other quilt designs, in this quilt block, triangles represent the geese. Pioneer women expressed their artistic abilities and creativity in the way they arranged the triangles or geese, and in the colors they used.

    That may be one reason why the Wild Goose Chase pattern has at least 14 variations. Quilting was not just a woman's activity. Over the years, men have also been quilters. In fact, when they were boys, at least two presidents, Calvin Coolidge and Dwight D. Eisenhower, helped their mothers piece quilts. Corn and Beans Quilt patterns reflected our country's agricultural society and the family's dependence on the crops they harvested, the fruit and vegetables they grew, and the foods they preserved.
    However, please sign up for our email list to receive information about next year's China Tour An amazing journey to China awaits you on this unique and custom itinerary planned with quilters and textile enthusiasts in mind.

    However, we will also be visiting those must-see areas such as Xian with its Terracotta Warriors, the Forbidden City and the Great Wall. Deb has spent countless hours designing an incredible itinerary for those who love quilts as well as history enthusiasts, taking you into the heart of China and introducing you to its years of textile history, civilization and enchanting culture. D, S Day 2: At the airport, we will be met by our guide and driver for transfer to our city center hotel.

    After checking into our rooms and getting settled, we will meet for a get acquainted traditional Chinese dinner together. This morning after breakfast at our hotel, we will depart for Wuzhen Water Town.

    Chinese tradition is still very much alive in Wuzhen and it is known for its time-honored art of making indigo-dyed printed cottons. For hundreds of years, the indigo cloth of Wuzhen has been used for curtains, scarves, clothing and tablecloths for every household in the countryside of the Zhejiang Province. We will be stopping for a tour of a dying factory and during our tour in town, it may be possible for us to see women in their indigo-blue dresses operating spinning wheels or looms.

    After our full day visit in Wuzhen, we will return to Shanghai for dinner before ending our day at the hotel. Following breakfast, we will travel by coach to Nantong. Nantong, is in the Jiangsu Province and is known as a "Pearl of the River and Sea", this is a city with a history dating to the Chinese Han Dynasty and it has been found that primitive clan inhabitants lived in this region 5, years ago. The gallery houses over 1, different styles of antique blue calico as well as drawings.

    After lunch in this charming area, we will return to our hotel, we will meet for dinner together later in the evening. Today we will have a guided tour of Shanghai.

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    Our first stop is Shanghai Old street, which originated in the Qing Dynasty. Then, the tour stops at the Bund, Shanghai's waterfront, which is well known as the international Architecture Exhibition. Here you'll enjoy the wonderful view of both sides of the Huangpu River drive along the former French Concession then we will transfer to visit a Shanghai Arts and Crafts Store. The impressive collection here includes a display of dying tools, wooden printing blocks and wax paper cutouts.

    The owner of the museum is an old Japanese woman, Kubomasa, who founded the museum in You will be able to stay in town for shopping and return to the hotel at your leisure, or return to the hotel at the end of our scheduled day. Later in the evening, we will be meeting at an appointed time for dinner. This morning after breakfast we will be transferred to the airport where we will take a flight to Guilin.

    Located in the northeast of the Guangxi Zhuang Autonomous Region in South China, Guilin is considered to be the pearl in China because of its natural beauty and historic treasures. The city has been the political, economic and cultural center of Guangxi since the Northern Song Dynasty After our arrival, we will have a sightseeing tour that will include a stop at the Reed Flute Cave.

    The stalagmite and flowers of grotesque shapes in the caves create breathtaking spectacles, which are a real feast for the eyes. You will also have a chance to enjoy the pearl market, before continuing to visit Elephant Trunk Hill, named due to the fact that it resembles an elephant drinking water.

    Elephant Trunk Hill is an important symbol and landmark of Guilin. Our final visit will be to Whirlpool Fubo Hill, which stands magnificently on the side of the river. This evening we will enjoy dinner together. These terraces were first built in the Yuan Dynasty and were completed in the Qing Dynasty by the Zhuang people and the Yao people. We will visit the Yao minorities village, where it is custom for women to wear red, and to cut their hair only once in their life - when they are 18 and ready to enter adulthood.

    Being well-known as "the First Village of Long Hair under Heaven" it often possible to see some of the village women washing their hair at a nearby stream; the amazing landscapes with long-hair girls is rare indeed. This evening following dinner we will catch a short flignt to Xian where we will be transferred to our hotel. The warriors we will see are part of an eight thousand strong underground army buried in front of the Emperor Qinshihuang's tomb BC to defend him in the afterlife.

    It now houses the Palace Museum. Following lunch, we will have free time on our own to explore the city. You may wish to make a stop at Pearl City; from silks to bags to flutes, this enormous market has it all. Put your bargaining hats on, one never pays full price here and the sellers are insulted if you do not bargain!! An amazing day awaits as this morning we depart for Badaling and the Great Wall of China. The wall is known as one of the 7 wonders of the modern world.

    It is the only landmark that can be seen with the naked eye from space, and we will have time to enjoy a walk on the wall while taking in the impressive structure and its amazing vistas. Following lunch at a local restaurant, we will stop at the Xiushui Street Bazaar. We will end our day at the Panjiayuan Market, which is the best antique and flea market in China.

    From trinkets to treasures, Mao caps to Ming pottery, whatever your heart desires from any part of the Middle Kingdom - village handicrafts, Yinxing teapots, Tibetan trunks — a plethora of beads think embellishing! Our day will end with dinner together. This morning we will visit the Temple of Heaven, which was constructed from to during the reign of the Yongle Emperorwho was also responsible for the construction of the Forbidden City.

    Following lunch, we will enjoy the afternoon at the famed Summer Palace which was Constructed in the Jin Dynasty By the time of the Qing Dynastyit had become a luxurious royal garden providing the royal families with rest and entertainment. The remainder of our day will be free to finish up any last minute shopping or to relax at the hotel. We will gather in the evening for a farewell dinner. As all journeys must come to an end, after breakfast today we will be transferred to the airport for our flight to San Francisco.
    I was elated when he agreed to take a break from overseeing one of Boston's best fine dining establishments to chat with me about cheese.

    I'm curious about the "Certified Cheese Professional" qualification. I guess it is to a degree. The ACS gave the first exam in August last year and another exam this year. Eventually, they hope to give it twice a year. I think about were certified last year and there were at least a certified this year. So, that means there must be about Certified Cheese Professionals. If someone is interested in taking the exam, what are the necessary qualifications?

    They have to have about 4, hours of documentable work experience, paid or unpaid, in the cheese profession during the last six years.

    How did you get your experience? I got it all by working at L'Espalier. When I first came here 31 years ago, there was a small cheese program in place. It was all European cheese. There wasn't really much in the way of American cheese then. We offered about 10 different cheeses on any given night. After working here for about five years, I took over the program almost by happenstance. I found that I had a head for cheese, or perhaps I should say a nose for cheese.

    But most importantly, I was interested in cheese. With regards to cheese, what changes have you noticed during the last 30 years?

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    Tastes have changed dramatically. Americans are a lot more open to new ideas and tastes. There has been a cheese revolution in this country. We're very fortunate here in New England to be living in one of the hubs of cheese making.

    Does cheese that's imported from France have to be pasteurized?

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    No, it does not. The rule is that raw milk cheeses have to be aged for more than 60 days to be legally sold in the USA.

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    That applies to cheeses that are both made in this country and that are imported. Therefore, it has become much easier for European cheese makers to pasteurize the cheese if they're sending it to this country. For soft cheeses they don't have any other option because your average small cheese isn't going to make it to 60 days. Camemberts and Bries will almost always be made from pasteurized milk if they're imported.

    Is there a cheese that you would like to bring to the USA but that you think wouldn't be appreciated by your customers? I don't usually have Mimolette at the restaurant. There was some sort of a health scare about it in Boston recently. It would probably be something as basic as an unpasteurized Brie or Camembert. Wouldn't it be wonderful if we could bring a real raw milk version to this country? How much of your time do you spend visiting cheese makers in Europe and the United States?

    I probably get to Vermont more often than anyplace else. I like to visit farms in New England so I do that with some frequency. I haven't been to Europe in about two years. I've probably traveled in Italy more than I have in other countries in Europe. What is your dream cheese destination in Europe? You know where I wish I was right now? At the huge Cheese Festival in Bra, Italy. It's a small town in the Piemonte region where to my understanding aboutpeople are gathering this week to taste cheese from all around the world.

    There are definitely more Italian cheeses than anything else at the festival but there will also be American cheese makers showing their cheeses.

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    I haven't noticed American cheese at the markets in Paris. Do many American cheese makers export their cheese to Europe?

    Is there a book that you recommend to people who want to learn more about cheese? The newest one is called "Mastering Cheese". It's the most in-depth book but it's not so in-depth that an amateur couldn't pick it up and be fascinated and learn an awful lot.

    And now for a question about etiquette. In a restaurant, what's the socially acceptable number of cheese selections to take from a cheese cart. In Paris, I usually ask for three to four different kinds of cheese. Oh, I guess that varies. If I'm putting together a plate as part of our tasting menu, I usually include six to eight different kinds of cheese.

    I like to include all three milks - cow, sheep and goat - and different styles. My one piece of advice to people selecting their own cheese is to sample a variety. If a guest's selections are identical, I'm almost always going to give them a bonus cheese, something that I think they should try. L'Espalier's cheese cart features about 30 different kinds of cheese. Which countries do they come from? Most of them come from the United States.

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    Probably two-thirds to three-quarters are New England cheese and the rest are from other parts of the country. I love Italian cheese so I always have a few Italian cheeses, sometimes more than a few. And it's always rounded out with something French, Swiss and often Spanish.

    As a Swiss-by-marriage, I have to ask which is your favorite Swiss cheese? It's made by Walter Ross. The name means "sitting in a cellar" because it's aged for ten months. Is there anything else that you would like to add? It has been fairly exciting to grow with the cheese revolution in New England, to be able to support so many wonderful local cheese makers and to watch as they improve their craft.

    American cheese has really caught up with European cheese, not in every instance but they've learned really, really quickly.

    Five years ago, almost no one was making washed rind cheese in this country and now there are unbelievably fabulous washed rind cheeses, incredible Alpine style cheese. It's different than what you find in Switzerland but really, really good. In addition to being a Certified Cheese Professional, you're also an artist. Yes, I'm a painter. Some of my work is at Gallery Naga on Newbury Street. I had a one person show there last January.

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    1. Was wearing my latex suit listening to your video. It helped me a lot and I was able to keep up. Would love another video like this.

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