Lava

Lava (pronounced lah-vuh or lav-uh)

(1) The molten, fluid rock that issues from a volcano or volcanic vent (sometimes accumulating, occasionally permanently) in a volcano’s “lava lake”.

(2) The rock formed when this solidifies, occurring in many varieties differing greatly in structure and constitution.

(3) In fashion, as “lava dress” (sometimes volcano dress), a long, flowing gown, classically in orange and black fabric, styled to recall a vertiginous lava flow.

(4) A shade of red which tends to orange, recalling the color of red-hot, molten lava.

(5) As Lava Lamp, the trademarked name of a electric decorative lamp made of a transparent, (usually tapered) cylinder containing a liquid in which a colored wax (or wax-like substance) is stimulated by the heat of the light bulb to change into randomly separating, seemingly luminous shapes which constantly rise and descend.

1740–1750: From the Italian lava (molten rock issuing from a volcano), from the Neapolitan or Calabrian dialectal lava (avalanche, torrent or stream; downpour overflowing the streets).  The original use in Italian was to describe flash flood rivulets after downpours and only later to the streams of molten rock from Mount Vesuvius.  The once commonly supposed link with the Latin lavāre (to wash) (from the primitive Indo-European root leue- (to wash) was based on the idea of “a liquid flowing” but is now thought one of those creations of the medieval imagination and it’s just as unlikely there’s was any relationship with the Arabic لابة‎ (lāba) (black volcanic rock).  Lava is also wholly unrelated to larva (an early stage of growth for some insects and amphibians) which was from the Latin larva (ghost-like, masked) which may have been from the Etruscan Lār (Etruscan praenomen; titulary god) which appeared usually as Lares (guardian deities).  The alternative etymology is from the Latin labes (sliding down, falling), which influenced lābī (to slide, fall or slip) (a labina an “avalanche or landslide”).  The only adjective in modern use is lavalike (or lava-like).  The old adjectives lavatic (1805), lavic (1822) & laval (1883) all fell into disuse by the twentieth century (although their occasional revival in the technical literature would not be unsurprising) and lavaesque seems never to have been coined.  The palindromic Laval did endure in France as both a locality name and surname and is remembered because of Pierre Laval (1883–1945), prime minister of France 1931-1932, 1935-1936 & de facto prime minister in the Vichy Government 1942-1944, executed by a French firing squad in 1945.  Lava is a noun and the obsolete lavatic, lavic & lavalike were adjectives; the noun plural is lavas.

Lindsay Lohan in Pucci triangle lava-print bikini, The Bahamas, May 2007.  Pucci are noted for the shapes and colors printed on their fabric but their minimalist website is worth visiting as a reminder of how good Italian design can be.

What Pucci did for their "Lava" range was take the shapes and curves assumed by a lava flow and render it with colors sometimes never seen in volcanology.  The terms lava and magma (from the Ancient Greek μάγμα (mágma) (paste)) are sometimes used interchangeably but to geologists and volcanologists the distinction is that Magma is molten rock which exists beneath a planet’s surface and become lava only when it flows from a volcano or volcanic vent.  Magma thus does not always become lava, sometimes cooling and solidifying as rock beneath the surface and sometimes collecting in a magma chamber.  A magma chamber differs from a lava lake in that the pleasingly alliterative latter describes the (usually large) large pool of molten lava that forms in a volcanic crater (although volcanologists do use the term also of lava which “sticks” to a volcano’s surface and doesn’t flow further.  They also in some cases call the extrusive igneous rock formed when it hardens and cools “lava” although this is not in general use, laypeople associating both “magma” and “lava” with the material in its molten state.

1976 Lincoln Continental Mark IV, Pucci Edition (left) and the opera windows of the designer series Mark IVs (right), into which was etched the house's name.  The other designers were Bill Blass, Cartier & Givenchy and presumably something of an owner's character could be determined by their choice.  The ownership of the Mark IVs was overwhelmingly male and if a young lady heard one suggest she "come and see my etching", on the basis of what she saw on the opera window, she could elect to proceed or decline, fashion choices as good a criterion as any in such decisions. 

Although there was little else in the cars which suggested much influence from Italy, Pucci was one of four fashion houses chosen by the Ford Motor Company (FoMoCo) to provide “touches” for “designer” editions of the 1976 Lincoln Continental Mark IV and the Pucci package (in “vintage burgendy with a loose pillow velvety burgendy velour interior”) added US$2000 to the MRP (manufacturer’s recommended price) of US$11,060.  The creation of the designer editions was an attempt to stimulate demand because the sales numbers in 1974-1975 had proved disappointing, something attributed both the downturn in the economy and the Mark IV having been on the market since late 1971, the only changes since the addition of (1) emission controls which reduced power & impaired drivability and (2) huge, heavy, impact resistant bumpers, neither of which much engaged potential buyers.  The economy improved somewhat in 1976 but the “touches” of the fashion houses must have helped because after sinking to 47,145 in 1975, sales the next year for the Mark IV’s final season rebounded to 56,110.  The designer editions accounted for almost a third of that volume, FoMoCo so pleased the contracts were renewed and those who want a classic Pucci Lincoln can choose a Mark IV (1976), Mark V (1977-1979) or Mark VI (1980-1983), the detailing changing with each version although the Pucci name was always etched into the opera windows on the C-pillar.  Now part of the LVMH (Moët Hennessy Louis Vuitton) multinational conglomerate, in their corporate history there seems to be no mention of Pucci’s involvement with Lincoln’s “land yachts” but it must at the time have seemed a good idea.

Lava flowing over snow and ice, demonstrating the “Leidenfrost effect”.  The Leidenfrost effect (known also as “film boiling”) describes the phenomenon in which a liquid, close to a solid surface of another body that is significantly hotter than the liquid's boiling point, produces an insulating vapor layer that prevents liquid rapidly from boiling.  This happens because of “repulsive force”; droplets hovering over the surface, rather than making physical contact.  In a charming linguistic coincidence, the “frost” element in the word is not a reference to frozen water but from the name of German physician Johann Gottlob Leidenfrost (1715—1794), who first documented the phenomenon in De aquae communes nonnullis qualitatibus tractatus (Tract about some qualities of common water, 1756).  The son of a preacher, Dr Leidenfrost began his academic career studying theology before switching to medicine.  Until modernity overtook the twentieth century, the church was a source of many scientists, not all of whom abandoned their faith.  The German Leiden can be both a noun and verb; as a verb (leiden) it means “to endure” or “to suffer” but in idiomatic use it’s used in that sense also to mean “to tolerate” although most often in the negative (such as “Ich kann ihn nicht leiden” (I can't stand him.))  As a noun (das Leiden), it means “pain”, “suffering” or “affliction”.  The German Frost means “frost or freezing temperatures”.  Thus the surface analysis of the surname “Leidenfrost” is “enduring frost” or “suffering from frost” and onomasticians (or onomatologists, those who study surnames, a sub-branch of anthroponymy (the study of proper names) suspect the origin was something to do with those who live in cold or icy places although it may also be toponymic, referring to individuals from specific locations in Germany Leidenfrost in Thuringia or Leidenfrosten in Saxony-Anhalt.

Lava lake, Mount Erebus, Antarctica.  Some 60 m (200 feet) in diameter, it sits within a small pit crater within the post-caldera summit and is phonolite in composition.  It may or may not remain a permanent feature.

The rock formations created by cooled magma at Mount Erebus proved especially interesting to those researching the history of the Earth’s magnetic field.  Geophysicist Dr Catherine Constable (b 1958) was studying the data used to refine a model explaining the mechanism of the earth’s occasional magnetic field reverses (from the familiar north & south polarity to the reverse where they swap) and found lava to be a substance keeping a perfect recorder of the field.  All magmas contain enough iron-rich minerals to detect the field and these align themselves toward the field as the lava freezes. As a result, the magnetic field at that moment is recorded: set in time and set in stone.  Over geological time, quite what the frequency (or the rapidity) of the shift isn’t clear and while studies suggest historically there’s be a swap every few hundred thousand years, it’s been almost a million years since the last so while one “might” be (over)due, Dr Constable says there’s no available evidence one is in progress or even imminent.

Catriona Gray (b 1994; Miss Universe 2018) in lava dress by Filipino designer Mak Tumang (b 1986) which used a image of lava flowing down Mayon Volcano, rendered in Swarovski crystals, Bangkok’s Impact Arena, Thailand, December 2018 (left) and lava flow on Tungurahua volcano, Huambalo, Ecuador (right).

Catriona Gray on the catwalk, lava flowing.

Lava cup-cakes

Lava cakes can pay tributes to volcanologists in different ways.  They can feature a magna chamber which, upon slicing can feed a lava flow or they can formed with an exposed crater in which sits a lava lake.  Professional chefs can produce the effects with room-temperature “lava” but usually these are for display and the cakes work best with hot, melted chocolate and obsessives use a variety of ingredients (peanut butter, raspberries, orange colored icing et al) to attempt to emulate the variegated colors of the real stuff.  They work best with dark chocolate but sweeter types can be used (or a blend).  Lava cakes can be made at larger scales but the laws of physics (both thermal and structural) mean full-sized constructions can be challenging (and messy) so most produce lava cup-cakes.  Because, in a sense, lava cakes are a kind of civil engineering, some very complex recipes have been created but the following will make 6-8 cup-cakes (depending on the size of the muffin tins) and it has the virtue of simplicity:

Ingredients

4 tablespoons of unsalted butter at room temperature (plus some with which to grease the muffin tray).

A third of a cup of granulated sugar (plus some to sprinkle in the muffin tray).

3 large eggs.

A third of a cup of all-purpose flour.

A quarter teaspoon of salt.

8 ounces of dark chocolate, melted (for best results, delay the melt process until ready to blend (step (8) below).

6-8 squares (from the standard blocks) of dark chocolate.

Icing (confectioners') sugar, for dusting.

Whipped cream or ice cream, for serving (optional).

Fruit for serving (optional and most choose a red or orange variety).

Instructions

(1) Preheat oven to 400°F (205°C).

(2) Grease the cups of muffin tray with butter, ensuring the coasting is light and consistent.

(3) Sprinkle some granulated sugar over the muffin tray and ensure each has buttered cup has a consistent coating.  Shake off any excess grains.

(4) Spoon some granulated sugar into each cup, swirling to make sure the cup is completely lined.

(5) Blend the butter and granulated sugar until the mix is creamy.

(6) To this mix, as the eggs, one at a time, blending them in after each addition.

(7) To this mix, beat in flour and salt (on a low speed) until combined.

(8) To this mix, add the molten chocolate, and beat until combined.  Don’t be off-put if the mix seems either more or less viscous that you might expect.

(9) Pour mix into the greased cups. Fill only to half-way.

(10) In the centre of each cup, place one of the chocolate squares.

(11) Add the remaining mix to each cup but, because the mix will expand, don’t fill higher than three-quarters.

(12) Put tray into the heated oven, baking until the middle of the cakes no longer jiggle (should be no more than 8-12 minutes and if left too long, they’ll cease to be lava cup-cakes and become chocolate cup-cakes).  Because there’s some risk of spillage, place baking paper underneath the tray.

(13) Remove tray from oven and allow it to sit for 7-8 minutes.

(14) Up turn tray on a plate or other suitable flat surface and remove cup-cakes so the conical aspect resembles volcano.

(15) Dust with the icing (confectioner's) sugar and serve with vanilla ice cream or whipped cream, adding some sort of fruit if desired.  Upon being sliced, the magma should ooze out, lava-like.

The Lava Lamp

The decorative lava lamp was invented in 1963 by Edward Craven Walker (1918-2000), a Word War II (1939-1945) RAF (Royal Air Force) pilot who was inspired by a rigged-up egg-timer he saw in a pub, the device made with oil and water in a bottle.  Oil and water being two immiscible (unable to mix) fluids, the timer worked by shaking the bottle, the egg deemed to be ready when the resulting blobs of oil had re-coagulated.  Knowing the world was well-supplied with cheap, reliable egg-timers, Craven saw little point in “making a better mousetrap” but he found the behavior of the blobs a pleasing piece of art and in his garage experimented with different fluids until he found a pleasing combination which produced just the effect he’d envisaged.  The characteristic shape of the lamp came about because the one seen in the pub used a standard cocktail shaker and the container in which Craven undertook his early research was an orange-squash bottle which was made in a similar shape; it proved ideal.  They work by the heat-soak from the incandescent light-bulb raising the temperature of the blobs, lowering both their density and the liquid's surface tension.  As the warmed blobs rise, they cool, lose buoyancy thus descend to the base where a wire with an active current breaks their surface tension, inducing re-coagulation.

Although associated with psychedelia, as well as lurid colors (the range expanded since the introduction of LEDs), lava lamps with plain black blobs in clear fluid are available.

The first lava lamp patent (Lava Lamp is a registered trademark in some jurisdictions) was applied for in 1963 and they were first displayed in 1965.  Very popular in the early-mid 1970s, by the 1980s the fad had passed, not because of the popular association of them with stoners imagined sitting staring at one for hours while the Grateful Dead played on the turntable (endlessly on repeat) but because they’d come to be thought of as plastic kitsch.  However, they never quite went away and while there are spikes in demand (associated usually with some appearance in some prominent piece of popular culture), there is clearly a constant demand for those who just like the look while others furnish according to retro schemes or like the odd ironic piece among their conspicuous good taste.

Lava Lamps and Random Number Generation

US-based Cloudflare is a “nuts & bolts” internet company which provides various services including content delivery, DNS (Domain Name Service), domain registration and cybersecurity.  In some aspects of the internet, Cloudflare’s services underpin as many as one in five websites.  For many reasons, the generation of truly random numbers is essential for encryption and other purposes but to create them continuously and at scale is a challenge.  It’s a challenge even for home decorators who want a random pattern for their tiles, their difficulty being that however a large number of tiles in two or more colors are arranged, more often than not, at least one pattern will be perceived.  That doesn’t mean the tiles are not in a random arrangement, just that people’s expectation of “randomness” is a shape with no discernible pattern whereas in something like a floor laid with tiles, in a random distribution of colors, it would be normal to see patterns; they too are a product of randomness in the same way there’s no reason why if tossing a coin ten times, it cannot all ten times fall as a head.  What interior decorators want is not necessarily randomness but a depiction of randomness as it exists in the popular imagination.

Wall of Entropy, Cloudflare, San Francisco.  Had this been in an installation in a New York gallery in 1985, it would have been called art.  

For most purposes, computers can be good enough at generating random numbers but in the field of cryptography, they’re used to create encryption keys and the concern is that what one computer can construct, another computer might be able to deconstruct because both digital devices are working in ways which are in some ways identical.  For this reason, using a machine alone has come to be regarded as a Pseudo-Random Number Generator (PRNG) simply because they are deterministic.  A True Random Number Generator (TRNG) uses something genuinely random and unpredictable and this can be as simple as the tiny movements of the mouse in a user’s hand or elaborate as a system of lasers interacting with particles.

One of Cloudflare’s devices encapsulating unpredictability (and thus randomness) is an installation of 100 lava lamps, prominently displayed on a wall in their San Francisco office.  Dubbed Cloudflare’s “Wall of Entropy”, it uses an idea proposed as long ago as 1996 which exploited the fluid movements in an array of lava lamps being truly random; as far as is known, it remains impossible to model (and thus predict) the flow.  What Cloudflare does is every few milliseconds take a photograph of the lamps, the shifts in movement converted into numeric values.  As well as the familiar electrical mechanism, the movement of the blobs is influenced by external random events such as temperature, vibration and light, the minute variations in each creating a multiplier effect which is translated into random numbers, 16,384 bits of entropy each time.

Wall of Entropy, Cloudflare, San Francisco.  Note the arrangement of colors which avoids any two being together, in the horizontal or vertical, something which probably was a deliberate choice rather than randomness although, there's no reason why, had the selection truly been random, this wouldn't have been the result.  Were there an infinite number of Walls of Entropy, every combination would exist including ones which avoid color paring and ones in which the colors are clustered.  What Cloudflare have done in San Francisco is make the lamps conform to the popular perception of randomness and that's fine because the colors have no effect on the function.