Etching

Etching (pronounced ech-ing)

(1) The art, act or process of making designs or pictures on a metal plate, glass etc, by the corrosive action of an acid instead of by a burin.

(2) An impression, as on paper, taken from an etched plate.

(3) The design so produced.

(4) A flat (usually metal) plate bearing such a design.

1625–1635: The construct was etch + -ing.  The verb etch was from the Dutch etsen (to engrave by eating away the surface of with acids), from the German ätzen (to etch), from the Old High German azzon (to cause to bite or feed), from the Proto-Germanic atjaną, causative of etaną (to eat), from the primitive Indo-European root ed- (to eat) (from these sources English gained “eat”).  The suffix –ing was from the Middle English -ing, from the Old English –ing & -ung (in the sense of the modern -ing, as a suffix forming nouns from verbs), from the Proto-West Germanic –ingu & -ungu, from the Proto-Germanic –ingō & -ungō. It was cognate with the Saterland Frisian -enge, the West Frisian –ing, the Dutch –ing, The Low German –ing & -ink, the German –ung, the Swedish -ing and the Icelandic –ing; All the cognate forms were used for the same purpose as the English -ing).  The “etching scribe” was a needle-sharp steel tool for incising into plates in etching and the production of dry points.  Etching is a noun & verb; the noun plural is etchings.

The noun was the present participle and gerund of etch (the verbal noun from the verb etch) and was used also in the sense of “the art of engraving”; by the 1760s, it was used also to mean “a print etc, made from an etched plate" and the plates themselves.  The term etching (to cut into a surface with an acid or other corrosive substance in order to make a pattern) is most associated with the creation of printing plates for the production of artistic works but the technique was used also as a way to render decorative patterns on metal.  In modern use, it’s also a term used in the making of circuit boards.  In idiomatic use (often as “etched in the memory”), it’s used of events, ideas etc which are especially memorable (for reasons good and ill) and as a slang word meaning “to sketch; quickly to draw”.  The Etch A Sketch drawing toy was introduced 1960 by Ohio Art Company; a kind of miniature plotter, it was a screen with two knobs which moved a stylus horizontally & vertically, displacing an aluminum powder to produce solid lines.  To delete the creation, the user physically shook the device which returned the powder to its original position, blanking the screen.

Rembrandt's Jan Asselyn, Painter (1646) (left) and Faust (circa 1652).  Rembrandt (Rembrandt Harmenszoon van Rijn (1606-1669)) wasn’t the most prolific etcher but remains among the most famous and his output provides an illustrative case-study in the evolution of his mastering of the technique, his early work really quite diffident compared with his later boldness.

What came to be known as etching gained the name from the Germanic family of words meaning “eat & “to eat”, the transferred sense an allusion to the acid which literally would “eat the metal”.   Etching is an intaglio (from the Italian intagliare (to engrave)) technique in printmaking, a term which includes methods such as hard and soft ground etching, engraving, dry-point, mezzotint and aquatint, all of which use an ink transferring process.  In this, a design is etched into a plate, the ink added over the whole surface plate before a scrim (historically starched cheesecloth) is used to force the ink into the etched areas and remove any excess.  Subsequently, the plate (along with dampened paper) is run through a press at high pressure, forcing the paper into etched areas containing the ink.  The earliest known signed and dated etching was created by Swiss Renaissance goldsmith Urs Graf (circa 1485-circa 1525) in 1513 and it’s from those who worked with gold that almost all forms of engraving are ultimately derived.

Lindsay Lohan, 1998, rendered in the style of etchings.

A phrase which was so beloved by comedy writers in the early-mid twentieth century that it became a cliché was “Want to come up and see my etchings?”, a euphemism for seduction.  Probably now a “stranded phrase”, the saying was based on some fragments of text in a novel by Horatio Alger Jr (1832–1899), a US author regarded as the first to formalize as genre fiction the “rags-to-riches” stories which had since the early days of the republic been the essence of the “American Dream” although it wasn’t until the twentieth century the term came into common use (often it’s now used ironically).

The practice of making etchings, woodcuts or engravings of famous paintings became popular, both artistically and commercially (which may for this purpose be much the same thing) in the late sixteenth century and developed over the next 250-odd years, an evolution tied closely to technological progress in printmaking and the materials available to artists.  The trend seems to have been accelerated by the spread in northern Europe (notably certain districts in Antwerp, Rome and Paris) of copperplate etching & engraving and while it may be dubious to draw conclusions from the works which have survived, the artists most re-produced clearly included Titian (Tiziano Vecellio, circa 1490-1576), Raphael (Raffaello Sanzio da Urbino, 1483–1520) and Michelangelo (Michelangelo di Lodovico Buonarroti Simoni; 1475–1564), the most prolific in the business of reproductive engraving including the Dutch specialist Cornelis Cort (circa 1533–circa 1578 and known in Italy where he spent his final years as Cornelio Fiammingo) and the Flemish Sadeler family, scions of which operated in many European cities.

Melencolia I (Melancholy I (1514)), etching by the German painter & printmaker Albrecht Dürer (1471–1528).

By the seventeenth century, the practice was well established and an entrenched part of the art market, fulfilling some of the functions which would later be absorbed by photography and Peter Paul Rubens (1577-1640), among others, employed in his studio engravers whose task was to reproduce his paintings for sale with those etchings available in a variety of sizes (and thus price-points so there’s little which is new in the structures of the modern art market).  Again, in the eighteenth century, technological determinism interplayed with public taste as techniques were refined to adapt the works to what wasn’t exactly a production line but certainly an arrangement which made possible larger and more rapid volumes with printing houses commissioning runs (which could be in the hundreds) of engravings following (faithfully and not) British and Continental paintings, advances in mezzotint meaning a greater tonal range had become possible, mimicking the light and shade of oil paintings.  In genteel homes, various institutions and even museums, it was entirely respectable to have hanging: “prints after the Old Masters”.

But as technology giveth, so can it taketh away and it was the late eighteenth century invention of lithography and, a few decades later photography, which triggered a decline in demand, the constantly improving quality of the new mediums gradually displacing reproductive etching in the marketplace although the tradition didn’t die as artists such as Francisco Goya (1746–1828), Eugène Delacroix (1798–1863) and Édouard Manet (1832–1883) maintained (or, in a sense, “revived”) etching as a creative rather than reproductive discipline and historians regards the early-mid nineteenth century as the era in which etching became a legitimate genre in art and not merely a means cheaply of distributing representations of existing works.

Self portrait: reflection (1996), etching by Lucian Freud (1922–2011).

Under modern copyright law, as a general principle, the selling of etchings of works still in copyright is not lawful without the permission from the holder of the rights and while details differ between jurisdictions, the basic rule of modern law (the Berne Convention, EU directives, national statutes) is that the sale (or even public display) of a reproduction or derivative work (the latter something which obviously follows without being an obvious duplicate of a copyrighted artwork) requires the consent of the copyright owner.  That protection tends in most jurisdictions to last 70 years after the death of the artist (the “life + 70” rule) and what matters is not that a reproduction is new (in the sense of the physical object) but that it is derivative because (1) to a high degree it emulates the composition, form(s), and expression of the original and (2) in appearance it to a high degree resembles a pre-existing, protected work.  Thus, if produced and offered for sale without permission, the object will infringe on the rights of whoever holds exclusive or delegated rights of reproduction or adaptation.  With exact or close replicas it’s not difficult for court to determine whether rights have been violated but at the margins, such as where works are “in the style of”, of “influenced by”, judgments are made on a case-by-case basis, the best publicized in recent years being those involving pop music.

The Lovers (circa 1528), etching by Parmigianino (Girolamo Francesco Maria Mazzola, 1503-1540) of the Italian Mannerist school.

All that means is one (usually) can sell reproductions of works by those dead for at least 70 years and even works “in their style” as long as there’s no attempt to misrepresent them as the product of their original artist’s hand.  There are in copyright exceptions such as “fair dealing” & “fair use” but their range is narrow and limited to fields such as criticism, review, education or satire and does not extend to normal commercial transactions.  Additionally, there’s a work-around in that if something is found to have been sufficiently “transformed”, it can be regarded as a new work but this exception tightly is policed and the threshold high.  Additionally, in recent years, as museums and galleries have put content on-line, what has emerged is the additional complication of such an institution hanging on its walls paintings long out of copyright yet asserting copyright on its commissioned photographs of those works.  That development must have delighted lawyers working in the lucrative field but the courts came to read-down the scope, most following the principles explained in an action before the US Federal District Court (Bridgeman Art Library v. Corel Corp., 36 F. Supp. 2d 191 (S.D.N.Y. 1999), which held (1) copyright in a photograph can in many cases exist but, (2) if a photograph is a “purely mechanical copy of a public-domain work” there usually no protection, even if the taking of the image required technical skill in lighting, angle selection and such.

Morphinomanes (Morphine Addicts, 1887), etching and and drypoint by French artist Albert Besnard (1849–1934).

There was still something for the lawyers because inherently there remained two separate layers of rights at play: (1) copyright (intellectual property) which belongs usually to the artist or their estate and (2) the property rights (ownership of the physical object) which are held by whomever may possess lawful title to the object (this may align with possession but not of necessity).  In other words a museum will likely own the paint & canvas yet not the copyright, something analogous with the discovery made by the few diligent souls who troubled themselves to read the small print they’d agreed to when installing software: in most cases one had lawful title to the physical media (diskette, CD, DVD etc) but often nothing more than a revocable licence to use a single instance of the software. It’s possible lawfully to produce and sell etchings of Goya (the artist having had the decency to drop dead more than 70 years ago) but one may not without permission reproduce or trace from a museum’s copyrighted photo of a Goya (and institutions sometimes maintain separate conditions of use for low and high-resolution images).  Even if one paints, draws or etches by hand, depending on this and that, a court can still hold there’s been a “substantial reproduction” of the composition, colour and such has been effected and thus there’s been an infringement of the underlying copyright.  So, the rules in this area are (1) proceed with caution if producing art not wholly original and (2) if a young lady is asked: “Want to come up and see my etchings?”, she should proceed with caution.

Acephalous

Acephalous (pronounced ey-sef-uh-luhs)

(1) In zoology, a creature without a head or lacking a distinct head (applied to bivalve mollusks).

(2) In the social sciences, political science & sociology, a system of organisation in a society with no centralized authority (without a leader or ruler), where power is in some way distributed among all or some of the members of the community.

(3) In medicine, as (1) acephalia, a birth defect in which the head is wholly or substantially missing & (2), the congenital lack of a head (especially in a parasitic twin).

(4) In engineering, an internal combustion piston engine without a cylinder head.

(5) In botany, a plant having the style spring from the base, instead of from the apex (as is the case in certain ovaries).

(6) In information & communications technology (ICT), a class of hardware and software (variously headless browser, headless computer, headless server etc) assembled lacking some feature or object analogous with a “head” or “high-level” component.

(7) In prosody, deficient in the beginning, as a line of poetry that is missing its expected opening syllable.

(8) In literature, a manuscript lacking the first portion of the text.

1725-1735: From French acéphale (the construct being acéphal(e) + -ous), from the Medieval Latin acephalous, from the Ancient Greek ἀκέφαλος (aképhalos) (headless), the construct being ἀ- (a-) (not) + κεφαλή (kephalḗ) (head), thus synchronically: a- +‎ -cephalous.  The translingual prefix a- was from the Ancient Greek ἀ- (a-) (not, without) and in English was used to form taxonomic names indicating a lack of some feature that might be expected.  The a- prefix (with differing etymologies) was also used to form words imparting various senses.  Acephalous & acephalic are adjectives, acephalousness, acephalia & acephaly are nouns and acephalously is an adverb; the noun plural is acephali.

In biology (although often literally synonymous with “headless”), it was also used to refer to organisms where the head(s) existed only partially, thus the special use of the comparative "more acephalous" and the superlative "most acephalous", the latter also potentially misleading because it referred to extreme malformation rather than absence (which would be something wholly acephalous).  In biology, the companion terms are anencephalous (without a brain), bicephalous (having two heads), monocephalous (used in botany to describe single-headed, un-branched composite plants) & polycephalous (many-headed).

Acephalous: Lindsay Lohan “headless woman” Halloween costume.

The word’s origins were in botany and zoology, the use in political discussion in the sense of “without a leader” dating from 1751.  The Acephali (plural of acephalus) were a people, said to live in Africa, which were the product of the imagination of the writers of Antiquity, said by both the Greek historian Herodotus (circa 487-circa 425 BC) and Romano-Jewish historian Flavius Josephus (circa 37–circa 100) to have no heads (sometimes removable heads) and Medieval historians picked up the notion in ecclesiastical histories, describing thus (1) the Eutychians (a Christian sect in the year 482 without a leader), (2) those bishops certain clergymen not under regular diocesan control and later a class of levelers in the time of Henry I (circa 1068–1135; King 1100-1135).  The word still sometimes appears when discussing religious orders, denominations (or even entire churches) which reject the notion of a separate priesthood or a hierarchical order including such as bishops, the ultimate evolution of which is popery.

Acephalousness in its age of mass production: Marie Antoinette (1755–1793; Queen Consort of France 1774-1792) kneeling next to her confessor, contemplates the guillotine on the day of her execution, 16 October 1793.  Colorized version of a line engraving with etching, 1815.

In political science, acephalous refers to societies without a leader or ruler in the Western sense of the word but it does not of necessity imply an absence of leadership or structure, just that the arrangements don’t revolve around the one ruler.  Among the best documented examples were the desert-dwelling tribes of West Africa (notably those inhabiting the Northern Territories of the Gold Coast (now Ghana)), the arrangements of which required the British colonial administrators (accustomed to the ways of India under the Raj with its Maharajas and institutionalized caste system) to adjust their methods somewhat to deal with notions such as distributed authority and collective decision making.  That said, acephalous has sometimes been used too freely.  It is inevitably misapplied when speaking of anarchist societies (except in idealized theoretical models) and often misleading if used of some notionally collectivist models which are often conventional leadership models in disguise or variations of the “dictatorship of the secretariat” typified by the early structure of Stalinism.

The Acephalous Commer TS3

A curious cul-de-sac in engineering, Commer’s acephalous TS3 Diesel engine (1954-1972) was a six-cylinder, two-stroke system, the three cylinders in a horizontal layout, each with two pistons with their crowns facing each other, the layout obviating any need for a cylinder head.  The base of each piston was attached to a connecting rod and a series of rockers which then attached to another connecting rod, joined to the single, centrally located crankshaft at the bottom of the block, a departure from other “opposed piston” designs, almost all of which used twin crankshafts.  The TS3 was compact, powerful and light, the power-to-weight ratio exceptional because without components such as a cylinder heads, camshafts or valve gear, internal friction was low and thermal efficiency commendably high, the low fuel consumption especially notable.  In other companies, engineers were attracted to the design but accountants were sceptical and there were doubts reliability could be maintained were capacity significantly increased (the TS3 was 3.3 litres (200 cubic inch)) and when Chrysler purchased Commer in 1967, development ceased although an eight-piston prototype had performed faultlessly in extensive testing.  Production thus ceased in 1972 but although used mostly in trucks, there was also a marine version, many examples of which are still running, the operators maintaining them in service because of the reliability, power and economy (although the exhaust emissions are at the shockingly toxic levels common in the 1960s).

Acephalous information & communications technology (ICT)

A headless computer (often a headless server) is a device designed to function without the usual “head” components (monitor, mouse, keyboard) being attached.  Headless systems are usually administered remotely, typically over a network connection although some still use serial links, especially those emulating legacy systems.  Deployed to save both space and money, numerous headless computers and servers still exist although the availability of KVM (and related) hardware which can permit even dozens of machines to be hard-wired to the one keyboard/mouse/monitor/ combination has curbed their proliferation.

A headless browser is a web browser without a graphical user interface (GUI) and can thus be controlled only be from a command-line interface or with a (usually) automated script, often deployed in a network environment.  Obviously not intended for consumer use, they’re ideal for use in distributed test environments or automating tasks which rely on interaction between web pages.  Until methods of detection improved, headless browsers were a popular way of executing ploys such as credential stuffing, page-view building or automated clicking but there now little to suggest they’re now anymore frequently used as a vector for nefarious activity than conventional browsers with a GUI attached.

Browsing for nerds: Google’s acephalous Headless Chrome.

Headless software is analogous with but goes beyond the concept of a headless computer in that it’s designed specifically to function without not just a GUI or monitor but even the hardware necessary to support the things (notably the video card or port).  Whereas some software will fail to load if no video support is detected, headless software proceeds regardless, either because it’s written without such parameter checking or it includes responses which pass “false positives”, emulating the existence of absent software.  Headless software operated in a specialized (horizontal in terms of industries supplied but vertical in that the stuff exists usually in roles such as back-to-front-end comms on distributed servers) niche, the advantage being the two ends can remain static (as some can be for years) while the bridge between the two remains the more maintenance intensive application programming interface (API), the architecture affording great flexibility in the software stack.

Exorcise

Exorcise (pronounced ek-sawr-sahyz)

To seek to expel from a person or place an evil spirit by means of adjuration or solemn religious ceremonies.

1350-1400: Use of the verb predated this date but formerly it entered Middle English from the fourteenth century Old French exorciser from the Late Latin exorcizāre, derived from the Ancient Greek exorkízein (bind by oath; banish an evil spirit) and the sense "call up evil spirits to drive them out" was dominant by the sixteenth century.  In England, exorcize was actually an alternative spelling but this is now one the rare instances in English where the US adopted -ise rather than -ize which some etymologists suggest may have been because of the influence of "exercise" although why that would be compellingly persuasive seems never discussed.  What is more likely is the use of "exorcise" in so many church documents brought to the American colonies, there being more reluctance to edit "sacred" works.  Some US academic sources do suggest exorcize is "a rare but correct" alternative, a concession not extended to exercize.  The rarest of the related forms are exorcismal, exorcisory, exorcistical and the wonderful exorcistic.

The noun exorcism (a calling up or driving out of evil spirits) was a fifteenth century creation formation from the Late Latin exorcismus, from the Ancient Greek exorkismos (administration of an oath) which, in Ecclesiastical Greek existed as exorkizein (exorcise, bind by oath), the construct being ex- (out of) + horkizein (cause to swear), from horkos (oath) of uncertain origin although some have suggested there's a link to  herkos (fence), the idea being of a oath with boundaries one accepts as "restrictions, ties & obligations" or "a magical power that fences in the swearer".  It's speculative and one etymologist noted dryly that the discipline's enthusiasm to adopt the view "was restrained".  A fourteenth century form describing the ritual was spelled exorcization.

Exorcism: Vade retro satana (Step back, Satan)

Saint Francis and the Dying Impenitent (1788) by Francisco Goya (1746-1828)

Exorcism in Christianity is the practice of casting out demons from a person or place possessed by the Devil.  Although the biblical origins are dubious, depending on contested translations, by early in the second century of Christianity, the word was in general use and paintings of exorcists and their ceremonies are among the darker and more dramatic in medieval and later sacred art.

In the Roman Catholic Church, the rituals were formalized in 1614 because of Rome’s concerns about clandestine, underground exorcisms performed without their consent and the guidelines remained substantially unchanged until the Vatican’s revisions in 1999, a process necessitated by a late twentieth-century spike in demand.  Interestingly, for more than a decade after the Second Vatican Council (Vatican II (1962-65)), it was really not done for clergy to speak of Satan as if he really existed, the modernizing church preferring the language of psychology and psychiatry for those displaying symptoms which would once have been blamed on the Devil.

Exorcism of Nicole Aubry (1563), etching by unknown artist.

Popular culture, especially cinema, revived interest in the ritual, with both churches and the medical profession reporting an upsurge in claims of demonic possession and most significantly, Saint Pope John Paul II (1920–2005, pope 1978-2005) had a more robust attitude to the Devil’s role upon earth than any of his twentieth century predecessors.  In 2004, JPII again warned that occult and new age practices were raging out of control in Europe, providing gateways for evil that could result in demonic attachment and possession.

It’s been good business for the Holy See ever since.  The most recent Course on Exorcism and Prayer of Liberatio, held at the Pontifical Athenaeum Regina Apostolorum (an educational institute under the auspices of the Congregation of the Legionaries of Christ) in Rome, attracted some two-hundred and fifty priests from fifty countries.  Until the disruption caused by COVID-19, the week-long course, entitled Exorcism and the Prayer of Liberation had been held every year since 2005, attendance more than doubling over the years.  Cost per head was €300,  (Stg£252, US$315); bookings were essential and an entry-ticket included discounts on rooms and food & beverage in several Rome hotels.

The Exorcist’s “spider walk” scene.

Based on the William Peter Blatty (1928-2017) novel The Exorcist (1971), the film version (1973) was directed by William Friedkin (1935-2023) and that it did not win the Best Picture Academy Award is a mystery explained only by the prejudices held at the time by those members of the Academy of Motion Picture Arts and Sciences who cast ballots for The Sting (1973) a well-made but formulaic piece and hardly the a landmark like The Exorcist.  The “spider walk” scene was long the subject of speculation.  Not included in the original theatrical release, the director for years claimed it had never been shot and it was only when copies of the takes were found in the archives he admitted it had been done but that it couldn’t be used because the technology didn’t at the time exist to edit out the wires attached to a rail above which made the performance possible.  Subsequently it was revealed the scene had been shot without use of the harness designed for the purpose because it was performed by an experienced stunt double with gymnastic training.  Apparently the director didn’t include it because he thought it appeared too early and disrupted the sequence which is interesting because structurally, The Exorcist is far from perfect.  The spider walk scene was included in the “director’s cut” editions released the next century.

The Exorcism of Charles II of Spain

Charles II of Spain (Carlos Segundo 1661–1700), was the last king of the Spanish Habsburg dynasty, sovereign of the Spanish Empire which stretched from Mexico to the Philippines.  The only surviving son of his predecessor, Philip IV (1605-1665) and his second wife, Mariana of Austria (1634-1696), his birth was greeted with enthusiasm by the Spanish people because, as was the fashion of the time, had the old king died without a male heir, a war of succession (traditionally a bloody business) would have ensued.

However, Charles was physically disabled, disfigured, mentally retarded and found later to be impotent, usually a drawback for any king but a discovery which brought relief to many courtiers.  He uttered no words until the age of four, didn’t take his first step before he was almost nine, suffering throughout childhood a range of diseases including measles, varicella, rubella, and smallpox.  Left almost uneducated because of his frailty, his mother was regent most of his reign and he came to be known to history as El Hechizado (the Bewitched), the name applied because both court and country believed his mental and physical incapacities were due to an act of witchcraft.  Modern science suggests otherwise, the condition actually the consequence of the strong preference for endogamy within the Spanish branch of the Habsburg royal family which led to its segregation toward neighbor communities and the emergence of consanguinity.  In short, Charles II was inbred: his grandparents were at the same time his great-grandparents; her father, who was married to her sister's daughter, was also her great-uncle, and her mother happened to be her cousin as well.  One could see how things might not have turned out well and the condition was well-known in Europe and not restricted to aristocracy and royalty.  The slack enforcement of marriage laws on much of the continent was one of the reasons there were so many victims of the Nazi euthanasia (Aktion T4, 1939-1945) programme and the scandal of Byzantine Emperor Heraclius (circa 575–641; emperor 610-641) marrying his niece Martina (circa 590-circa 644) had been made still worse by the condition of some of the children the union produced.

However, to speak of incest in the royal family was just not done so the feeling at the time was to blame witches or the Devil and the court sought the advice of Fray Antonio Álvarez Argüelles, vicar of the Encarnación de Cangas del Narcea convent and a noted Asturian exorcist who advised “…last night the demon told me that the King is evilly bewitched to rule and to beget. When he was 14 years old, he was enchanted with a chocolate in which the brains of a dead man were dissolved to take away his health, corrupt his semen and prevent his generation”.

Exorcism of Charles II of Spain, engraving by Lechard, circa 1840.

That must have been convincing because soon after the king was subjected to what was, even by the standards of the time, a most macabre exorcism.  By coincidence, the remains of his ancestors were being transferred to a new pantheon at the Royal Seat of San Lorenzo de El Escorial and the exorcist had their coffins opened, conducting a ceremony in which the corpses of his relatives and, in an advanced state of putrefaction, that of their his beloved first wife (María Luisa de Orleans (1662-1689)), were exhibited, the hope being the array of the dead would drive off the demons so tormenting the king.

It was in vain and the suffering continued.  Ill his whole life and king since the age of three, he lingered until 1700, dying at thirty-nine, the announcement one of the more eagerly awaited events in the courts and chancelleries of Europe, such was the anticipation of the struggles which would erupt to decide the succession.  Summarizing a sad life in Carlos, the Bewitched (1962, published in the US as Carlos: The King who would Not Die), his English biographer John Langdon-Davies (1897–1971) wrote: "Of no man is it more true to say that in his beginning was his end; from the day of his birth, they were waiting for his death".  On his deathbed, his last words were: "Everything hurts".

Nudge

Nudge (pronounced nuhj)

(1) To push slightly or gently, especially with the elbow; a gentle push.

(2) To give a nudge.

(3) To annoy with persistent complaints, criticisms or pleas; to nag.

(4) In behavioral economics (and other disciplines), the use of positive reinforcement and indirect suggestions as ways to influence behavior.

(5) In internet use, a feature of instant messaging software used to get the attention of another user, as by shaking the conversation window or playing a sound.

(6) In gambling (slot machines; fruit machines etc), the rotation by one step of a reel of the player's choice.

(7) Slightly to move.

(8) In slang as “giving it a (bit of a) nudge”, high alcohol consumption in the context of binge drinking.

1665-1675: From the Middle English, a variant of the earlier nidge & knidge, akin to the Old English cnucian & cnocian (to knock).  In other languages, there were similar forms.  There was the Yiddish nudyen (to bore), first noted in English in 1877, apparently derived from the Polish nudzić (sometimes written as nudnik in translation (and both from Slavic words meaning "fret, ache”)) and in the 1960s modern Yiddish adapted nudge (nudjh in Modern Yiddish) to mean complainer or nagger (presumably to satisfy the demand from daughters-in-law needing descriptors of Jewish mothers-in-law).  In the Nordic region, dating from the seventeenth century there was the Icelandic nugga (to push, rub or massage) and the Norwegian nugge or nyggje (to jostle, rub, push slightly with the elbow), from the Proto-Germanic hnōjaną (to smooth, join together), from the primitive Indo-European kneh- which may have had some relationship to the Ancient Greek κνάω (knáō) (to scratch, scrape), source of the English noun acnestis (the section of an animal's skin that it cannot reach in order to scratch itself, usually the space between the shoulder blades).  There was also the Scots nodge (to push, poke, nudge), knidge (to push, squeeze), gnidge (to rub, press, squeeze, bruise) & knudge (to squeeze, press down with the knuckles) and the Middle Low German nucke, nücke & gnücke (a sudden push, shock, impetus).  Nudge is a noun & verb, nudged & nudging are verbs, nudger is a noun, nudgy is an adjective and nudgingly is an adverb; the noun plural is nudges. 

Nudge theory

The most famous example of a nudge is the etching of the image of a housefly into the urinals at Amsterdam's Schiphol Airport (actually an idea dating back decades).  It’s to nudge men towards “improving the aim" and one feminist critic suggested images of dartboards so “men could keep score.”  She may have been taking the piss.

First appearing in the 2008 book Improving Decisions about Health, Wealth, and Happiness by University of Chicago economist & Nobel Laureate Richard Thaler (b 1945) and Harvard Law Professor Cass Sunstein (b 1954), the concept of nudge theory became part of the orthodoxy of behavioral sciences, political theory and economics (although not without attracting critics).  It suggests the use of positive reinforcement and indirect suggestions to try to achieve non-forced compliance with desirable objectives.  Nudge theory attracted criticism from both left and right because it is a form of social engineering although the specifics of the critiques vary but it certainly was organizationally influential, the seemingly radical that government could maintain the freedoms enjoyed by citizens in the democratic West while simultaneously helping them make better choices in matters relating to their health, happiness & wealth.  Within months of publication, over 500 nudge units or departments had been created around the world, including institutions like the World Bank and United Nations (UN).  However, in recent years, critics have challenged the both the effectiveness of the idea and even that nudges by governments are inherently less intrusive and thus more likely to sustain civil freedoms than other approaches (taxes, legislation etc).  One obvious difficulty for both sides of the argument is that any attempt to find a correlation between nudges and alleged outcomes cannot easily be reduced to numbers so conventional economic modeling is often not useful.

Noted nudgers: Lindsay Lohan (b 1986) at dawn, resting in a Cadillac Escalade, Los Angeles, May 2007 (left) and Donald Trump (b 1946; US president 2017-2021 and since 2025) shaking hands with Richard Nixon (1913-1994; US president 1969-1974), Westin Galleria ballroom, Houston, Texas, 1989 (right).  The idiomatic Australian phrase “gave it a bit of a nudge last night” is an allusion to having taken too much strong drink.  In one of his less remembered remarks, Richard Nixon observed: “The mark of a leader, is whether he gives history a nudge.”  That Nixon certainly did although, were he to have his time again, some of the nudges would have been in a different direction and Lindsay Lohan too might do things a little differently.  Mr Trump would change not a thing.

Concur

Concur (pronounced kuhn-kur)

(1) To accord in opinion; to agree.

(2) To cooperate; work together; combine; be associated.

(3) To coincide; occur at the same time.

(4) To run or come together; converge (obsolete).

1375–1425: From the late Middle English concur (collide, clash in hostility), from the Latin concurrere (to run together, assemble hurriedly; clash, fight), in transferred use “to happen at the same time", the construct being con (the Latin prefix variation of cum (with; together)) + currere (to run).  The early meaning in English was "collide, clash in hostility," the sense of "to happen at the same time" didn’t emerge until the 1590s; that of "to agree in opinion" a decade earlier.  Ultimate root was the Proto-Italic korzō, derived from the primitive Indo-European ḱers (to run).  Related forms are the adverb concurringly and the adjectives concurring and concurrent.  Despite the rarity, the verbs preconcur, preconcurred & preconcurring, and the adjectives unconcurred & unconcurring are said to exist, at least to the extent no dictionary appears yet to have declared them obsolete or archaic.  The adjective concurrent is noted from the late fourteenth century though concurring is said (surprisingly) not to have been in use until the 1630s.  The first concurring opinion was recorded in 1720.  The sense "to coincide, happen at the same time" is from 1590s; that of "to agree in opinion" dates in English from the 1580s

In praise of the Privy Council

Concurrent is probably the most common adjectival form in general use.  Noted since the late 1300s, in the sense of “acting in conjunction, contributing to the same effect or event", it was from the Old French concurrent or directly from Latin concurrentem (nominative concurrens), present participle of concurrere.  The meaning "combined, joint" is from 1530s and in law, concurrent jurisdiction (that possessed equally by two courts and if exercised by one not usually assumed by the other) is recorded from 1767.

Lindsay Lohan and her lawyer in court, Los Angeles, December 2011.

Concur is one of many synonyms for “agree” and the one most favoured by judges on appellant courts to indicate they agree with (or at least acquiesce to) a judgment written by another.  That’s good because it means there’s less to have to read.  However, some judges prefer to pen their own judgments, helpful perhaps if they wish to explore some aspect of the case not elsewhere mentioned but otherwise a duplication of effort unless their prose serves to render readable what can be turgid stuff.  Then there are the dissenting judgments, of interest to academic lawyers and historians and sometimes a source of hope to those entertaining thoughts of an appeal.  That notwithstanding, those wishing just to know the state of law with certainty might long for a system in which appellate courts of appeal issued only the majority judgment with the dissenters encouraged to submit essays or letters to the editors of legal journals.

Etching of a sitting of a Judicial Committee of the Privy Council (1846).

That only one judgment was issued was the most appealing procedural aspect of the Privy Council, until 1968 and 1986 respectively, the highest court of appeal for Australian state and Commonwealth jurisdictions.  Properly styled The Judicial Committee of the Privy Council (JCPC), the Privy Council remains the ultimate court of appeal for some British Overseas Territories and Commonwealth countries.  Although the Privy Council’s decisions are mostly not binding on the UK’s domestic courts, the rulings are held to be extremely persuasive as other respected tribunals (US Supreme Court, Supreme Court of Canada etc) are regarded.  One quirk of the Australian Constitution is that, the 1986 Australia Acts notwithstanding, the High Court can issue a certificate referring certain cases to the council but none has been granted for a century and the court has long made clear there’ll be no more.  As a bit of a relic of English constitutional history and the established church, in the United Kingdom, the Privy Council retains appellant jurisdiction some domestic matters:

(1) Appeals from the Arches Court of Canterbury and the Chancery Court of York in non-doctrinal faculty causes.

(2) Appeals from the High Court of Chivalry.

(3) Appeals from the Court of Admiralty of the Cinque Ports and Admiralty prize courts.

(4) Appeals from the Disciplinary Committee of the Royal College of Veterinary Surgeons.

(5) Disputes under the House of Commons Disqualification Act, a role essentially similar to that the High Court of Australia (HCA) discharges as the Commonwealth’s Court of Disputed Returns.

Historically, the Privy Council dealt with cases thus referred without any known demand for multiple judgments or dissenting opinions; a fine example of judicial clarity and efficiency and one which judges in other courts never to admire, much less emulate.  Despite its exalted place in the legal hierarchy, the council has been a surprisingly flexible and informal court.  In 1949, it found, on technical grounds, the Commonwealth of Australia’s appeal in the bank nationalization case (Commonwealth of Australia v Bank of NSW [1949] UKPC 37, [1950] AC 235; [1949] UKPCHCA 1, (1949) 79 CLR 497 (26 October 1949)) couldn’t proceed but, because so many people had travelled over ten-thousand miles (17,000 km) to London (no small thing in 1949), it anyway heard the case and issued what would have been the substantive judgment.  If ever it’d been prepared to set the example of providing advisory opinions, the Privy Council would have been the best appellant court ever.  Unfortunately, In recent years, dissenting opinions have come to be issued.

Sitting of the Judicial Committee of the Privy Council, 18 June 1946.

M.R Jayaker, Lord Du Parcq, Lord Goddard (Lord Chief Justice), Lord Simonds, Lord Macmillan, Lord Simon, The Lord Chancellor (Lord Jowitt), Lord Thankerton, Lord Porter, Lord Uthwatt, Sir Madhavan Nair, and Sir John Beaumont.

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 etc) 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.

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.

An application of physics of thermodynamics and fluid mechanics, the lava lamps once so admired by stoned hippies work by exploiting differences in density, thermal expansion, and buoyancy within two immiscible fluids (ie they do not mix), the dynamics driven by a localized heat source and the construction is simple; in a variously shaped glass vessel, there is a wax-based compound (the “lava”, which typically is paraffin wax mixed with additives to adjust density and melting point), floating in a liquid (usually water or a water-based solution with salts or alcohols to achieve the desired density).  At the base of the vessel there is a source of light and heat which traditionally was an incandescent bulb, the heat a product of the inefficiency with which the energy was converted into light; when the bulb is switched on, the liquid becomes heated and as the wax absorbs some of this heat, it melts and thermally expands, density thereby decreasing to the point it’s slightly less dense than the surrounding liquid.  Buoyant force then causes the wax to rise through the liquid in blobs, randomness meaning tiny variations in surface tension and viscosity create infinitely different shapes of the rounded forms which cool as they move away from the heat source, meaning the wax contracts, increasing its density beyond that of the liquid, causing it to sink back toward the bottom.  Because it’s a closed system working on a continuous cycle, the heating & cooling repeats continuously and, component failure and material decay aside, in theory a lava lamp could run forever.

Kitsch at work: Lava Lamps and Random Number Generation

Some may have dismissed the Lava Lamp as "kitsch" but the movement of the blobs possesses properties which have proved useful in a way their inventor could never have anticipated.  The 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 so when Cloudflare has a problem, the world has a problem.  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.

Useful kitsch: Wall of Entropy, Cloudflare, San Francisco.  Had this been in an installation in a New York gallery circa 1972, 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.

The arrangement of colors which avoids any two being together, in the horizontal or vertical, 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 to the extent of perfectly matching rows, colums or sides.  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 (thus far observed) effect on the function.  In art and for other purposes, what's truly random is sometimes modified so it conforms to the popular idea of randomness.