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Boston Jerk

Antiquarian "receipts" published pre-1923 are of course in the public domain. For example, this 1796 receipt for Election Cake in Amelia Simmons's classic "American Cookery":

30 quarts flour
10 lbs butter
14 lbs sugar
12 lbs raisins
3 doz eggs
1 pint wine
1 quart brandy
4 oz cinnamon
4 oz fine colander seed
3 oz ground allspice

Wet flour with milk to the consistency of bread over night, adding one quart yeast; the next morning work the butter and sugar together for half an hour, which will render the cake much lighter and whiter; when it has rise, lightly work in every other ingredient except the plumbs, which work in when going into the oven.

Mmm, Election Cake...

Hope this helps.


I'd argue that the relationships between: author/chef - recipe - performer/chef - cooked food - diner,

is less like the relationships between: author - manuscript - printing press - book copy -reader,

and more like the relations between: playwrite (or composer) - script (or sheet music) - performer - theatrical work (or musical work) - audience.

The ontological differences would be relevant, though I don't have time at this moment to elaborate my thinking on this. I'll try to comment again later.


Please do comment more--I think the play analogy works well -- Derek Jacobi's trout amandine will be better than mine -- and I'd be interested to hear more -- I had not thought of plays/performers because, as you know, I do not approve of the theater.


Nelson Goodman thought and wrote about some of the issues that you are raising. One relevant aspect is considered here, although he is discussing music performance and scores, rather than food and recipes:

All and only those performances that fully correspond to, or “comply with,” the score count as performances of the work. Even one small mistake on the part of the performer, say, in replacing one note for another, is sufficient to declare that, technically, a different work has been performed. On the other hand, other, important aspects of standard musical notation are not in a notational system: indications of tempo, for instance, as well as the convention of letting the performer choose the cadenza, give great latitude to the performer. Hence, in Goodman's view, while two performances that sound almost exactly alike may not be performances of the same work, radically differently sounding performances may be. Notice, however, how the question of identity is here sharply distinct from the question of value: “the most miserable performance without actual mistakes does count as [a genuine instance of a work], while the most brilliant performance with a single wrong note does not” (Goodman 1976, 186).

I'd recommend following the above link to see how Goodman describes "autographic" and "allographic" art forms.

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hello friends, to be honest I really like the kitchen is one of my favorite subjects when I was in college made several university studies on culinary arts.

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However, and here is where it gets tricky, copying the receipt does not mean the same end product.

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The ontological differences would be relevant, though I don't have time at this moment to elaborate my thinking on this.

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As fruit needs not only sunshine but cold nights and chilling showers to ripen it, so character needs not only joy but trial and difficulty to mellow it. Do you understand?

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