Lavender

Lavender (pronounced lav-uhn-der)

(1) As a color, a pale bluish purple, similar to or variations of lilac & violet.

(2) Of or pertaining to something of the shade.

(3) In botany, any of the various Old World perennial shrubs or herbaceous plants or shrubs belonging to the genus Lavandula (family Lamiaceae (labiates)), of the mint family, especially Lavandula angustifolia, and cultivated for its spikes of fragrant mauve or blue flowers and as the source of a fragrant oil.

(4) The dried flowers or other parts of this plant placed among linen, clothes etc (usually in small, porous bags (called lavender bags)), for the scent or as a preservative.

(5) As lavender water (historically also called toilet water), a solution of oil of lavender, used sometimes as an aftershave.

(6) In informal use, of or relating to a homosexual orientation in men (archaic); an effeminate male (used as both noun & adjective).

(7) As lavender marriage, a type of marriage of convenience undertaken by gay man and lesbian women, often as a form of professional protection.

(8) In film production, a kind of film stock for creating positive prints from negatives as part of the process of duplicating the negatives (obsolete).

(9) A washer; one (especially a woman) who washes clothes (archaic).

(10) As a euphemism, a woman employed in prostitution or having loose morals (archaic).

(11) In sexual politics, an only briefly used and now obsolete descriptor: (1) pertaining to LGBT people and rights (as lavender collar which was replaced by rainbow collar (a reference to the gay pride flag)) and (2) a militant strain of lesbian feminism which opposed heterosexism.

1225–1275: From the Middle English lavendre, from the Anglo-French lavendre, from the Old French lavandiere (the lavender plant), from the tenth century Medieval Latin lavandārius & lavendula, a variant of livendula, a nasalized variant (unrecorded) of lividula (a plant livid in color).  The French forms may be from the Latin lividus (bluish; livid), but was certainly influenced by the French lavande and the Italian lavanda (a washing), from the Latin lavare (to wash), from the primitive Indo-European root leue- (to wash), the link being the flower being used to scent washed fabrics and as a bath perfume.  The Latin lavō (I wash, bathe; I wet, moisten) was from the Proto-Italic lawāō, from the primitive Indo-European lewhs (to wash).  It was cognates with the Ancient Greek λούω (loúō) & λοέω (loéō), the Albanian laj, the Old Armenian լոգանամ (loganam) and the Old English lēaþor (from which English gained lather).  Lavender is a noun & adjective, lavendering is a verb and lavendered is a verb & adjective; the noun plural is lavenders).

The adjective in the sense of “a pale purple color, of the color of lavender flowers” dates from 1840", the noun as a color noted since 1882.  The identical Middle English word meant both "laundress; washerwoman" and "prostitute, whore; camp follower", the origin of that probably being the roles being performed by the same personnel, one presumably before sunset, the other after.  In politics, lavender enjoyed a brief currency as (1) pertaining to LGBT people and rights (as lavender collar which was replaced by rainbow collar (a reference to the gay pride flag) and (2) a descriptor of a militant strain of lesbian feminism which opposed heterosexism.

Lindsay Lohan with lavender colored hair, smoking.

The surname does exist as Lavandar but the more common spelling is Lavender, regarded by genealogists as English but of early French origin.  Introduced by the Normans after the conquest of 1066 it is occupational and derived from lavandier, applied especially to workers in the wool industry employed to wash raw wool or rinse the cloth after fulling. Job-descriptive surnames originally denoted the actual occupation of the name-bearer and only later became hereditary when a son or perhaps a daughter followed the father into the same line of business.  The surname first recorded in 1273 on the “Hundred Rolls” of Cambridgeshire and the earliest known instance in the US record is from New York in 1846 although its likely (possibly with variations of spelling) there were earlier cases of immigration.  The first recorded spelling of the family name was la Lauendere which, dated 1253, was entered in the “Pipe Rolls” of Oxfordshire during the reign of Henry III (1207–1272; King of England 1216-1272) and over the centuries, in the British Isles, Europe, the US and the British Empire, the spelling evolved in several forks until the modern Lavender emerged as the most common.

Wedding day of film star Rock Hudson (1925–1985) & Phyllis Gates (1925–2006), Santa Barbara, California, 9 November 1955.They separated in 1957, the divorce granted the next year.

A lavender marriage is one between a man and woman undertaken as a marriage of convenience to conceal the socially stigmatized sexual orientation of one partner or both.  The color lavender had an association with gay men going back centuries and it’s thought the origin was based on the idea of a shade somewhere between pink (girl) & blue (boy).  Although there’s much evidence to suggest there’s a long tradition of the practice in many cultures, the term “lavender marriage” seems to date only from 1895 and came into wide use only in the mid twentieth century where it was used almost exclusively, knowingly to describe marriages in the Hollywood film industry between couples known not to be straight.  In some cases the marriages were a professional necessity because of contracts of employment which essentially proscribed all aspects of homosexuality.  Although in the west the structural reasons for lavender marriages have substantially been dismantled, they are known still to occur, especially in communities where social mores reflect the less progressive views of their countries of ethnic origin.

Inkhorn

Inkhorn (pronounced ingk-hawrn)

A small container of horn or other material (the early version would literally have been hollowed-out horns from animals), formerly used to hold writing ink.

1350-1400: From the Middle English ynkhorn & inkehorn (small portable vessel, originally made of horn, used to hold ink), the construct being ink +‎ horn.  It displaced the Old English blæchorn, which had the same literal meaning but used the native term for “ink”.  It was used attributively from the 1540s as an adjective for things (especially vocabulary) supposed to be beloved by scribblers, pedants, bookworms and the “excessively educated”).  Inkhorn, inkhornery & inkhornism are nouns, inkhornish & inkhornesque are adjectives and inkhornize is a verb; the noun plural is inkhorns.

Ink was from the Middle English ynke, from the Old French enque, from the Latin encaustum (purple ink used by Roman emperors to sign documents), from the Ancient Greek ἔγκαυστον (énkauston) (burned-in”), the construct being ἐν (en) (in) + καίω (kaíō) (burn). In this sense, the word displaced the native Old English blæc (ink (literally “black” because while not all inks were black, most tended to be).  Ink came ultimately from a Greek form meaning “branding iron”, one of the devices which should make us grateful for modern medicine.  Because, in addition to using the kauterion to cauterize (seal wounds with heat), essentially the same process was used to seal fast the colors used in paintings.  Then, the standard method was to use wax colors fixed with heat (encauston (burned in)) and in Latin this became encaustum which came to be used to describe the purple ink with which Roman emperors would sign official documents.  In the Old French, encaustum became enque which English picked up as enke & inke which via ynk & ynke, became the modern “ink”.  Horn was from the Middle English horn & horne, from the Old English horn, from the Proto-West Germanic horn, from the Proto-Germanic hurną; it was related to the West Frisian hoarn, the Dutch hoorn, the Low German Hoorn, horn, the German, Danish & Swedish horn and the Gothic haurn.  It was ultimately from the primitive Indo-European ḱr̥h-nó-m, from ḱerh- (head, horn) and should be compared with the Breton kern (horn), the Latin cornū, the Ancient Greek κέρας (kéras), the Proto-Slavic sьrna, the Old Church Slavonic сьрна (sĭrna) (roedeer), the Hittite surna (horn), the Persian سر (sar) and the Sanskrit शृङ्ग (śṛṅga) (horn

Inkhorn terms & inkhorn words

The phrase “inkhorn term” days from the 1530s and was used to criticize the use of language in an obscure or way difficult for most to understand, usually by an affected or ostentatiously erudite borrowing from another language, especially Latin or Greek.  The companion term “inkhorn word” was used of such individual words and in modern linguistics the whole field is covered by such phrases as “lexiphanic term”, “pedantic term” & “scholarly term”, all presumably necessary now inkhorns are rarely seen.  Etymologists are divided on the original idea behind the meaning of “inkhorn term” & “inkhorn word”.  One faction holds that because the offending words tended to be long or at least multi-syllabic, a scribe would need more than once to dip their nib into the horn in order completely write things down while the alternative view is that because the inkhorn users were, by definition, literate, they were viewed sometimes with scepticism, one suspicion they used obscure or foreign words to confuse or deceive the less educated.  The derived forms are among the more delightful in English and include inkhornism, inkhornish, inkhornery inkhornesque & inkhornize.  The companion word is sesquipedalianism (a marginal propensity to use humongous words).

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

Inkhorn words were in the fourteenth & fifteenth centuries known also as “gallipot words”, derived from the use of such words on apothecaries' jars, the construct being galli(s) + pot.  Gallis was from the Latin gallus (rooster or cock (male chicken)), from the Proto-Italic galsos, an enlargement of gl̥s-o-, zero-grade of the primitive Indo-European gols-o-, from gelh- (to call); it can be compared with the Proto-Balto-Slavic galsas (voice), the Proto-Germanic kalzōną (to call), the Albanian gjuhë (tongue; language), and (although this is contested) the Welsh galw (call).  Appearing usually in the plural a gallipot word was something long, hard to pronounce, obscure or otherwise mysterious, the implication being it was being deployed gratuitously to convey the impression of being learned.  The companion insult was “you talk like an apothecary” and “apothecary's Latin” was a version of the tongue spoken badly or brutishly (synonymous with “bog Latin” or “dog Latin” but different from “schoolboy Latin” & “barracks Latin”, the latter two being humorous constructions, the creators proud of their deliberate errors).  The curious route which led to “gallipot” referencing big words was via the rooster being the symbol used by apothecaries in medieval and Renaissance Europe, appearing on their shop signs, jars & pots.  That was adopted by the profession because the rooster symbolized vigilance, crowing (hopefully) at dawn, signaling the beginning of the day and thus the need for attentiveness and care.  Apothecaries, responsible for preparing and dispensing medicinal remedies, were expected to be vigilant and attentive to detail in their work to ensure the health and well-being of their patients who relied on their skill to provided them the potions to “get them up every morning” in sound health.  Not all historians are impressing by the tale and say a more convincing link is that in Greek mythology, the rooster was sacred to Asclepius (Aesdulapius in the Latin), the god of medicine, and was often depicted in association with him.  In some tales, Asclepius had what was, even by the standards of the myths of Antiquity, a difficult birth and troubled childhood.

The quest for the use of “plain English” is not new.  The English diplomat and judge Thomas Wilson (1524–1581) wrote The Arte of Rhetorique (1553), remembered as the “the first complete works on logic and rhetoric in English” and in it he observed the first lesson to be learned was never to affect “any straunge ynkhorne termes, but to speak as is commonly received.”  Wring a decade earlier, the English bishop John Bale (1495–1563) had already lent an ecclesiastical imprimatur to the task, condemning one needlessly elaborate text with: “Soche are your Ynkehorne termes” and that may be the first appearance of the term in writing.  A religious reformer of some note, he was nicknamed “bilious Bale”, a moniker which politicians must since have been tempted to apply to many reverend & right-reverend gentlemen.  A half millennium on, the goal of persuading all to use “plain English” is not yet achieved and a fine practitioner of the art was Dr Kevin Rudd (b 1957; Australian prime-minister 2007-2010 & 2013): from no one else would one be likely to hear the phrase “detailed programmatic specificity” and to really impress he made sure he spoke it to an audience largely of those for whom English was not a first language.

An inkhorn attributed to Qes Felege, a scribe and craftsman.

Animal horns were for millennia re-purposed for all sorts of uses including as drinking vessels, gunpowder stores & loaders, musical instruments and military decoration and in that last role they’ve evolved into a political fashion statement, Jacob Chansley (b 1988; the “QAnon Shaman”) remembered for the horned headdress worn during the attack on the United States Capitol building in Washington DC on 6 January 2021.  Inkhorns tended variously to be made from the horns of sheep or oxen, storing the ink when not as use and ideal as a receptacle into which the nib of a quill or pen could be dipped.  Given the impurities likely then to exist a small stick or nail was left in the horn to stir away any surface film which might disrupts a nib’s ability to take in free-flowing ink, most of which were not pre-packaged products by mixed by the user from a small solid “cake” of the base substance in the desired color, put into the horn with a measure starchy water and left overnight to dissolve.  The sharp point of a horn allowed it to be driven into the ground because the many scribes were not desk-bound and actually travelled from place to place to do their writing, quill and inkhorn their tools of trade.

A mid-Victorian (1837-1901) silver plated three-vat inkwell by George Richards Elkington (1801–1865) of Birmingham, England.

The cast frame is of a rounded rectangular form with outset corners, leaf and cabuchons, leaf scroll handle and conforming pen rest.  The dealer offering this piece described the vats as being of "Vaseline" glass with fruit cast lids and in the Elkington factory archives, this is registered, 8 Victoria Chap 17. No. 899, 1 November 1841.  “Vaseline glass” is a term describing certain glasses in a transparent yellow to yellow-green color attained by virtue of a uranium content.  It's an often used descriptor in the antique business because some find the word “uranium” off-putting although inherently the substance is safe, the only danger coming from being scratched by a broken shard.  Also, some of the most vivid shades of green are achieved by the addition of a colorant (usually iron) and these the cognoscenti insist should be styled “Depression Glass” a term which has little appeal to antique dealers.  The term “Vaseline glass” wasn’t used prior to the 1950s (after the detonation of the first A-bombs in 1945, there emerged an aversion to being close to uranium) and what's used in this inkwell may actually be custard glass or Burmese glass which is opaque whereas Vaseline glass is transparent.  Canary glass was first used in the 1840s as the trade name for Vaseline glass, a term which would have been unknown to George Richards Elkington.

English silver plate horn and dolphin inkwell (circa 1909) with bell, double inkwell on wood base with plaque dated 1909.  This is an inkwell made using horns; it is not an inkhorn.

So inkhorns were for those on the move while those which sat on desks were called “ink wells” or “ink pots” and these could range from simple “pots” to elaborate constructions in silver or gold.  There are many ink wells which use horns as part of their construction but they are not inkhorns, the dead animal parts there just as decorative forms of structure.

Dr Rudolf Steiner’s biodynamic cow horn fertilizer.

Horns are also a part of the “biodynamic” approach to agriculture founded by the Austrian occultist & mystic Rudolf Steiner (1861-1925), an interesting figure regarded variously as a “visionary”, a “nutcase” and much between.  The technique involves filling cow horns with cow manure which are buried during the six coldest months so the mixture will ferment; upon being dug up, it will be a sort of humus which has lost the foul smell of the manure and taken on a scent of undergrowth.  It may then be used to increase the yield generated from the soil.  It’s used by being diluted with water and sprayed over the ground.  Dr Steiner believed the forces penetrating the digestive organ of cows through the horn influence the composition of their manure and when returned to the environment, it is enriched with spiritual forces that make the soil more fertile and positively affect it.  As he explained: “The cow has horns to send within itself the etheric-astral productive forces, which, by pressing inward, have the purpose of penetrating directly into the digestive organ. It is precisely through the radiation from horns and hooves that a lot of work develops within the digestive organ itself.  So in the horns, we have something well-adapted, by its nature, to radiate the vital and astral properties in the inner life.”  Now we know.

Very

Very (pronounced ver-ee)

(1) In a high degree; extremely; exceedingly (used as an intensive emphasizing superlatives or stressing identity or oppositeness).

(2) Actual, precise; particular.

(3) Mere (in certain contexts) or sheer; utter (depending on context).

(4) Being such in the true or fullest sense of the term; extreme.

(5) True; genuine; worthy of being called such; rightful or legitimate.

(6) Pure, simple, plain.

1200–50: From the Middle English verray & verrai (true, real, genuine (and in the fourteenth century "actual, sheer")), from the Anglo-French verrai, from the Old French verai (true, truthful, sincere; right, just, legal) (from which French gained vrai), from the (assumed) Vulgar Latin vērācus, an alteration of the Classical Latin vērāx (genitive veracis) (truthful) from vērus (true (and source of the Italian vero)); the construct of vērāx was vēr(us) (true (and cognate with the Old English wǣr & the German wahr (true, correct)) + -āx (the adjectival suffix).  The ultimate source was the primitive Indo-European weh- (true, benevolent), source also of the Old English wǣr (true, correct), the Dutch waar (true), the German wahr (true) and the Icelandic alvöru (earnest).  It displaced the native Middle English sore & sār (very), from the Old English sār (grievous, extreme) which was related to the German sehr, the Dutch zeer, the Middle English wel (very (from the Old English wel (well, very)).  Other links include the German wohl, the Dutch wel, the Swedish väl, and the Middle English swith (quickly; very), from the Old English swīþe (very).  Very is an adverb & adjective and the adjectival forms verier & veriest are obsolete.  The adverb verily is effectively obsolete except for ecclesiastical use where if remains familiar in ritualistic phrases such as “verily I say unto you”.

Circa 1914 Webley & Scott Mark 1 British Royal Flying Corps (RFC) Very Pistol, brass frame with steel barrel, composition grips and 1½ inch (40mm) bore.  The short barrel design was unusual and permitted the pistol to be fitted to a mount on the side of the aircraft.

Very (as a proper noun) is spelt with an initial capital if referring to the most common type of flare gun, named after US Navy Lieutenant Edward W Very (1847–1910) (although the devices are sometimes spelt Verey).  Lieutenant Very’s invention was a large caliber single-shot pistol with a single action firing mechanism, designed fire into the air flares to signal position, usually to indicate distress and the need for assistance.  The older Very pistols were always metal and typically built with a one inch (50 mm) bore while more modern versions are often fabricated in plastic with a 12 gauge (¾ inch (19 mm) bore.  The plastic versions are usually brightly colored to make them easier to find in an emergency and to distinguish them from handguns.  The flares are available in red, green and "white star", use governed by rules which vary according to use (aviation, at sea, when using explosives etc).

It was the misuse of a Very pistol which provided the inspiration for Smoke on the Water, the most famous song by the band Deep Purple.  In December 1971, the band were in Montreux, Switzerland to record an album at an entertainment complex attached to the town’s casino.  The evening before recording was due to begin, as part of the Montreux jazz festival, Frank Zappa and the Mothers of Invention were playing a concert in the casino theatre, during which a member of the audience fired a flare gun, igniting the ceiling, the crowd initially thinking the pyrotechnics were part of the show.  The fire burned the casino to the ground and the members of Deep Purple, watching the blaze from across the lake were inspired to write Smoke on the Water which was released three months later on the Machine Head album.

Frank Zappa and the Mothers

Were at the best place around

But some stupid with a flare gun

Burned the place to the ground

The adverb verily (in truth) dates from the early fourteenth century, the construct being the Middle English verray (true, real), from verray (true, very) + -ly.  The –ly prefix was from the Middle English -ly, -li, -lik & -lich, from the Old English -līċ, from the Proto-West Germanic -līk, from the Proto-Germanic -līkaz (having the body or form of), from līką (body) (from whence Modern German gained lich); in form, it was probably influenced by the Old Norse -ligr (-ly) and was cognate with the Dutch -lijk, the German -lich and the Swedish -lig.  It was used (1) to form adjectives from nouns, the adjectives having the sense of "behaving like, having a likeness or having a nature typical of what is denoted by the noun" and (2) to form adjectives from nouns specifying time intervals, the adjectives having the sense of "occurring at such intervals".  The feminine proper name Vera is from the Latin (where literally it meant “true”)

Lindsay Lohan in very low-cut dress, New York Fashion Week, 2011.

The word very is common and familiar in English and in most of the ways it’s used, well understood.  Most past participles which have become established as adjectives can (like almost all adjectives in English) be modified by the adverb but this does not extend verbs although there are of course sentences where it’s not immediately clear if a certain past participle is adjectival and thus able to be modified by very without an intervening adverb.  In practice however, whatever the objection of the grammar Nazis, such sentences usually manage to convey the intended meaning although the adverb tends to be superfluous and detracts from the elegance of expression.  Technically, adverbs of degree such as very, too & quite should be used only to qualify adjectives and not to qualify past participles that follow the verb to be, since they would then they would be qualifying verbs.  With the exception of certain participles (disappointed, tired et al) that have come to be regarded as adjectives, all other past participles are qualified by adverbs such as much, greatly & seriously et al.

As an adverb synonyms (depending on context) can include extremely, exceedingly, exceptionally, especially, tremendously, immensely, vastly. hugely, extraordinarily, extra, excessively, overly, over, abundantly, inordinately, singularly, significantly, distinctly, outstandingly, uncommonly, unusually, decidedly, particularly, eminently, supremely, highly, remarkably, really, truly, mightily, thoroughly, most, très, right, terrifically, awfully, terribly, devilishly, madly, majorly, seriously, desperately, mega, ultra, stinking. damned, devilish, hellish, frightfully, well, bloody, jolly, dirty, fair, real, mighty, powerful, awful, darned, bitching & exceeding.  As an adjective synonyms (depending on context) can include actual, precise, exact, actual, particular, specific, distinct, ideal, perfect, appropriate, suitable, apt, fitting, fit & right.

As an intensifier, very is used to add emphasis to adjectives that have some quality of variation (long, big et al) and while hardly adding precision, the adverb can, if thoughtfully applied, enhance the meaning.  What the grammar Nazis don’t like is where very is used to modify words of single or absolute value and the one which most excites their interest is probably “unique”.  Unique does of course suggest a one-off and that meaning, noted since the 1610s remains current but the once erroneous sense of "remarkable, uncommon" had become common since the late nineteenth century, especially in commerce and has become so prevalent it can no longer be thought wrong except if used in a way deliberately deceptive or misleading.  In that sense using “very” to modify unique functions in a different manner than it operates upon words like “tall” or “capacity” et al; it exists as emphasis rather than intensify.  For that reason “most” or “quite” are also often used (especially in commerce) to modify unique.

Wiggle

 Wiggle (pronounced wig-uhl)

(1) To move or go with short, quick, irregular movements from side to side.

(2) To cause to wiggle; move quickly and irregularly from side to side.

(3) A wiggling movement or course.

(4) A wiggly line.

(5) In (mostly northern) US cooking, a form of tuna casserole (usually made with tinned peas or carrots and used also to describe describe creamed tuna on toast; known as a bechamel sauce, especially in the New England states.

1175–1225: From the Middle English wiglen; akin to the Old English wegan (to move), wēg (motion) & wicga (insect) and probably related to the Norwegian vigla (to totter), frequentative of vigga (to rock oneself).  The Dutch and Middle Low German was wiggelen, though to be from the Middle Dutch wigelen (to wiggle) and perhaps the Middle Low German wigelen, frequentative of wiegen (to rock) from wiege (cradle).  The most common idiomatic form is “get a wiggle on”, an informal, usually friendly, suggestion to hurry.  Synonyms include twist, squirm, jerk, wag, writhe, jiggle, wave, wriggle, shimmy, zigzag, waggle, twitch & worm and forms are created as required including the intriguing outwiggled & outwiggling.  Wiggle is a noun & verb, wiggler is a noun, wiggly is an adjective and wiggled & wiggling are verbs; the noun plural is wiggles.  

Donald Trump meets the Wiggles.

Formed in Australia in 1991 as a television musical quartet, The Wiggles were noted for their distinctive and brightly colored skivvies (red, yellow, blue and purple).  Although there were personnel changes (which sometimes attracted controversy), during its first two decades, the membership was exclusively male but in 2012, Emma Watkins (b 1989), previously performing anonymously as Dorothy the Dinosaur, became the Yellow Wiggle and the group dynamics changed, such was her popularity with the audience that almost instantly she dominated, the male members now barely noticed except as her performing backdrop.  This had the advantage of rendering the red, blue and purple wiggles essentially commodities and thus easily replaced without adverse audience reaction but did seem to create a dependence on her which some suggested might might threaten the longer-term survival of the brand.  Those concerns will soon be tested by a raft of changes in the wake of the Yellow Wiggle's announcement in October 2021 she was passing on the skivvy, retiring from the group to pursue a Ph.D in sign language and dance.  For students of branding and marketing that would have been interesting enough but it coincided with the Wiggles deciding to revamp the line-up to encompass a more ethnically diverse range of performers, presumably to entice interest from the parents of more ethnically diverse families, the theory being they too have disposable income to spend on concerts and merchandize.  For all sorts of reasons, the outcome will be interesting.

In the jargon of fashion, a “wiggle dress” is a garment with a hem is narrower than the hips, the cut inducing the wearer to walk in short strides with the legs close together, the sway producing a wiggle of the hips.  A “wiggle” is subtly different from a “wobble” as Lindsay Lohan illustrates.

Synesthesia

Synesthesia (pronounced sin-uhs-thee-zhuh or sin-uhs-zhee-uh)

(1) In neurology and psychology, a neurological or psychological phenomenon in which a particular sensory stimulus triggers a second kind of sensation.

(2) The association of one sensory perception with, or description of it in terms of, another, unlike, perception that is not experienced at the same time.

(3) In literary theory or practice, an artistic device whereby one kind of sensation is described in the terms of another.

(4) In medical diagnostics, where a sensation felt in one part of the body as a result of stimulus that is applied to another, as in referred pain.

1881: From the Modern French or the New Latin and derived from Ancient Greek σύν (sún (with) or syn (together) + αἴσθησις (aísthēsis), (sensation; feeling) from the primitive Indo-European root au (to perceive) + abstract noun suffix -ia.  The word was modelled after existing construction anaesthesia.  Traditional spelling in the British Empire was synæsthesia but the US form synesthesia appears now global.  The meaning in psychology relating to the senses (colors that seem to the perceiver to having odor, etc.) is from 1891.  Synesthesia & synaesthete are nouns, synaesthetic is an adjective and synesthetically is an adverb; the noun plural is synesthesias..

Clinicians have two categories of synesthesia: projective and associative.  Those who project see actual colours or shapes when stimulated whereas associators will feel an involuntary connection between the stimulus and the sense that it triggers.  For example, in the form chromesthesia synesthesia (sound to color) a projector would listen to a piano and see a purple shape whereas an associator might respond to the music by thinking it “sounds” purple.  There are a number of types of synesthesia, the best known of which grapheme-color synesthesia or the association of colours with letters or words.  In auditory-tactile synesthesia, certain sounds can induce sensations in parts of the body and debate continues about whether the near-universal reaction(s) induced by finger nails on a blackboard indicates synesthesia is a spectrum condition or this example is endemic in human physiology.   Lexical-gustatory synesthesia is the phenomenon of certain tastes being experienced upon hearing certain words.  Mirror-touch synesthesia is where someone feels the same sensation another person feels such as when a synesthete sees another touched on the arm; the synesthete involuntarily feeling a touch in the same place.  Logically, every possible combination of experiences which can occur can be a type of synesthesia.  Something need not be wide-spread to be a type of synesthesia, it needs just to be specific.

Winter Landscape (1909), oil on cardboard by Wassily Kandinsky, Hermitage Museum, Saint Petersburg, Russia.

In Russian painter and art theorist Wassily Kandinsky’s (1866–1944) particular synesthesia, color and music inextricably were tangled and so precise was it that he associated each note with an exact hue and it was so intrinsic to his being that he once observed: “…the sound of colors is so definite that it would be hard to find anyone who would express bright yellow with bass notes or dark lake with treble.”  It meant his experience of music was heightened, indeed defined, by the range of visual perceptions which shifted with every note.  The music of Richard Wagner (1813–1883) has had its consequences, good and bad, and it was his vivid visual response to a performance of Wagner’s Lohengrin (1850) at Moscow’s Bolshoi Theatre that he abandoned his successful career as a lawyer and devoted himself to the painting which had been his hobby.  Accepted as a student at Munich’s Academy of Fine Arts, he later described the Wagnerian transformation of his life: “I saw all my colors in spirit, before my eyes. Wild, almost crazy lines were sketched in front of me.”  Wagner has led a few astray but he took Kandinsky on a good path; the world needs more artists more than it needs more lawyers.

Composition VII (1913), oil on canvas by by Wassily Kandinsky, State Tretyakov Gallery, Moscow, Russia.

Music remained critical to the development of Kandinsky’s abstract paintings and noting the way the Viennese composer Arnold Schoenberg (1874–1951) had abandoned tonal and harmonic conventions in his compositions, he rejected the figure or recognizable object in favor of shapes, lines, and discordant colors which he deployed overlaid on texture to create a rhythmic visual experience which as closely as possible emulated in a two-dimensional space the emotional response he’d experienced when hearing the sounds.  Unsurprisingly, Kandinsky gave many of his paintings musical titles, such as Composition or Improvisation and it wasn’t unusual for critics to use phrases like “Kandinsky’s symphony of colors”.

Lindsay Lohan in blue & yellow as Wassily Kandinsky might have imagined her. 

Kandinsky also perceived color also had the ability to touch the feelings of the viewers, yellow able to disturb while blue awakened the highest spiritual aspirations.  That may have been mapping his experience as a synaesthete on to those not able to enjoy the gift but it was certainly an insight into his visions.  In 1911, Kandinsky published Über das Geistige in der Kunst (Concerning the Spiritual in Art) in which he defined the three types of painting: impressions, improvisations and compositions.  Impressions were based on an external reality while improvisations and compositions depicted images summoned from the unconscious, compositions the more formal of the two.  The treatise is one of the landmarks in the theoretical foundations of abstraction and remains an important contribution to an explanation of the techniques with which art can be constructed in an attempt to evoke psychological, physical, and emotional responses.

Thermal

Thermal (pronounced thur-muhl)

(1) Of, relating to, or caused by heat or temperature (also thermic); of, relating to, or of the nature of thermae.

(2) As (both noun and adjective) thermal blanket or thermal underwear (as a noun, always referred to in the plural (thermals) even if describing a single item), items designed to aid in or promote the retention of body heat.

(3) In meteorology, a column of rising air caused by local unequal heating by the sun of the land surface, especially such a current when not producing a cloud; widely used in aviation and of especial importance in gliding, a borrowing of the techniques used by birds. The air usually rises until it is in equilibrium with the surrounding atmosphere.

(4) In stonemasonry, a rough finish created with a blowtorch.

1756: From the French thermal (buffon), from the New Latin thermalis, from the Ancient Greek θέρμη (thérmē) (heat; feverish heat), from the primitive Indo-European gwher (to heat, warm).  The construct was therm + -al (from the Latin adjectival suffix -ālis, or the French, Middle French & Old French -el, -al; used mostly but not exclusively with word of Latin origin).  The sense of "having to do with heat" is first recorded 1837; the noun meaning "rising current of relatively warm air" was first noted in 1933 in the context of aviation.  Geothermal first used in 1875; hydrothermal in 1855, exothermal in 1874; athermanous in 1839, hyperthermia in 1878, isotherm in 1850, endothermic in 1869 (1947 as applied in biology) and thermometer as early as the 1597 although the most familiar (pre-digital) version with mercury encased in glass, was invented by Fahrenheit in 1714.  Thermal is adjective in the singular and a noun in the singular or plural, thermally is the adverb.  The most common derivations are the adjectives hyperthermal and the adverb hyperthermally but in engineering and science there’s also therm, therma, thermacogenesis, thermae, aerothermal, thermometric, thermometrical & thermaesthesia.  Thermal is a noun, verb & adjective; the noun plural is thermals.

Thermal Reactive Nail Polish

Thermal reactive nail polishes change color depending on both body and ambient temperature.  Nail polish is especially suitable for thermal reactivity because the extremities of the body (fingertips, toes, ears & nose) vary in temperature much more than parts closer to the core.  Usefully, they work with even the thickest base and top-coats which affords additional protection for the thermal-reactive chemicals, the color-changing properties affected not at all if multiple coats are applied.

The process is entirely heat-dependent and thus constantly variable.  In this example the reaction produces purple in reaction to cold and aqua to warmth; because the temperature of the nail greatly can vary between base and tip, the ombré effect (colors blending from one hue to another) will fluctuate.  The chemical reaction does rely on the top coat being fully dry and, depending on manufacturer, this can take up to an hour.  The special properties don't last forever but, if correctly sealed, stored in a dark place and not exposed to extremes of heat and cold, the liquid will for months continue to be reactive.

Chemically, the thermal reactivity works because the polish is infused with a leuco (“white” in Ancient Greek) dye, the word a little misleading in this context because leuco dyes have two forms: one clear, the other colored. The reversible transition between the two colors may be caused by heat (thermochromism), light (photochromism) or pH (halochromism) and in other (often industrial) applications, it’s possible irreversibly to change colors, usually from a redox reaction.

For thermal nail polish, the dye comes packaged in tiny spheres called microcapsules, each only 1-10 microns in diameter but containing three chemicals: (1) leuco dye which changes color reversibly, the color depending on the dye which, when combined with a proton or hydrogen ion, becomes colorless.  (2) A weak acid which acts as a catalyst, donating the hydrogen ion.  (3) A solvent which induces a color change at a desired temperature.  When cool, the solvent solidifies, the hydrogen remaining stuck to the acid and thus not interacting with the colored dye.  When hot, the solvent melts, the weak acid dissociates, the hydrogen ion binds to the dye, and the dye is colorless.  The temperature-shift range is about 5ºF (3ºC).

Those not content with the commercially available color combinations easily can brew their own thermal reactive polish.  Leuco dyes are available in many colors and come as a powder, slurry, epoxy, or water-based ink but only the powder is suitable and the transition range should hover 88ºF (31ºC) because nails are cooler than body temperature.  The choice of polish color dictates the result.  A white polish will produce a pastel result, a pale color will switch between the original and the combination of the leuco and the color so a mix of pink polish and a blue leuco dye yields a color shift from pink to purple.

To mix, place 1-2 small ball bearings in empty nail polish bottle and fill with polish to about half-way.  Add leuco dye to achieve desired color (about ⅛ teaspoon) and, if ambient temperature is high, chill the bottle to see result.  When mixing, cap bottle and gently roll it; do not shake because this will cause cavitation, the formation of air bubbles which impede the blending.  If the polish is too thick, add a few drops of nail polish thinner or clear top-coat but never acetone or other nail polisher remover because these chemicals ruin the mix.  Glitter or holo may be added according to taste.

Lindsay Lohan on skis in fuchsia, Falling for Christmas (Netflix (2022)), her thermal base layer unknown.

When skiing or mountain climbing, thermal underwear is usually the ideal choice for what is called the “thermal base layer”, a combination which consists usually of a top and a pair of leggings.  Outer layers of ski clothing perform better when a thermal base layer is worn because the moisture from the body rapidly is wicked away in a capillary action, permitting the breathable fabrics of the outer garments more efficiently to dissipate the moisture more efficiently.  It’s often thought the only purpose of thermal underwear is to increase body temperature but it’s the symbiosis between the thermal base layer and the outer coverings which regulate body temperature, maintaining comfort in both colder and warmer conditions.  By volume, most thermal underwear is made from Polyester (a type of plastic called polypropylene), often augmented with Lycra and all these garments are produced in a very tight weave which delivers good thermal qualities and what the manufacturers call a high “breathability factor”.

Also used is fine wool which, being a natural fibre, is preferred by many and it does posses the virtues of offering both comfort and efficient thermal qualities.  The choice between the types of construction is less about specific differences in thermal performance than how one’s skin reacts and sometimes this is something which can be judged only after prolonged exposure in a variety of temperatures.  All types are available in both short and long (sleeves & legs) versions and because the material is so thin, the longer cuts intrude not at all upon the fit of gloves and boots and the choice is again one of personal preference although, in extreme conditions, the full-versions should always at least be packed.