Intertwingle

Intertwingle (pronounced in-tur-wing-guhl)

(1) To confuse or entangle together; to enmesh, to muddle.

(2) As intertwingularity, in computing and systems analysis & organization (of documents, data etc), to interconnect or interrelate in a complex way which appears to a user simple and lineal.

Late 1800s: Thought to be a portmanteau word, the construct being a blend of intertw(ine) + (interm)ingle and of interest to students of linguistics because it appears independently to have been coined at different times in different places.  The prefix inter- was from the Latin inter- (between, amid), a form of the prepositional inter (between).  Twine was from the Middle English twyn, twine & twin, from the Old English twīn (double thread, twist, twine, linen-thread, linen), from the Proto-West Germanic twiʀn (thread, twine), from the primitive Indo-European dwisnós (double), from dwóh (two).  The construct of mingle ming (from the From Middle English mingen & mengen, from the Old English mengan (to mix, combine, unite, associate with, consort, cohabit with, disturb, converse), from the Proto-West Germanic mangijan (“to mix, knead”), from the primitive Indo-European menk- (to rumple, knead)). It was cognate with the Dutch mengen (to mix, blend, mingle), the German mengen (to mix), the Danish mænge (to rub), the Old English ġemang (mixture, union, troop, crowd, multitude, congregation, assembly, business, cohabitation)) +‎ -le (a frequentative suffix of verbs, indicating repetition or continuousness).  It was cognate with the Dutch mengen (to mingle, mix) and the German mengen (to mingle, mix).  Interwingle is a noun & verb, intertwingling & intertwingularity are nouns and intertwingled is an adjective; the noun plural is intertwingularities.  By implication, the nouns intertwinglism & intertwinglist should exist but seem not to have been used.

Lindsay Lohan, who has led an intertwingled life.  The publicity shot for Just My Luck (2006) was wholly serendipitous and did not come from a session.

Intertwingle was used by Manmatha Nath Dutt (1855–1912) in The Dharma Sastra (Volume 1, 1896), one of his collections of translations into English of ancient Sanskrit & Hindu texts; under the Raj, he was a prolific translator and author and his use appears to the first known coining.  As a comic device, it was used by Montgomery Gordon Rice of Bradley Polytechnic Institute in a performance of Esmeralda (a fictional character in Victor Hugo's (1802–1885) novel Notre-Dame de Paris. 1482 (The Hunchback of Notre-Dame, 1831)) conducted during the April 1901 graduation ceremony and many instances of use have been jocular.  As a noun, the author Henry James (1843–1916) applied it as a nickname for a group of his Emmet female cousins (all of who were painters) and the use in that sense was in the vein of the way Admiral Lord Charles Beresford (1846-1919) would use “the souls” of some female acquaintances he thought discussed their feelings entirely too much.  For the US portraitist John Singer Sargent (1856–1925) it was his nickname for his early twentieth century genre paintings of his nieces, the Ormond sisters.  Sargent’s reference was to “element interchangeability”: his use of shawls as a motif and the easy substitution of one model for another, their artistic presence defined less by individual identity than the convoluted poses.  Coincidentally, as well as being one of Henry James’ “intertwingles”, the US artist Jane Emmet de Glehn (1873–1961) was one of Sargent’s muses. )

As the twentieth century progressed and in a number of fields there emerged a new literature exploring the concept of “everything being connected to everything else” and Tracy Baldwin Augur (1896-1974) found it handy (apparently as an eye-catching linguistic novelty) in a 1954 paper discussing urban planning, a discipline where truly there is much intertwingling.  Between 1933-1948 Augur had been principal planner for the TVA (Tennessee Valley Authority) and by the 1950s he was working for the URA (Urban Renewal Administration) and HHFA (Housing and Home Finance Agency), the proliferation of the alphabet soup of acronyms which had begun under the administration of Franklin Delano Roosevelt (FDR, 1882–1945, US president 1933-1945) not slowing in the post-war years.  In the discipline of town-planning the phrase “inextricably intertwined” was used in many contexts so perhaps the appearance of intertwingle was inevitable.

The use in IT and the analysis & organization of documents, data and such was in 1974 described as “intertwingularity” and defined as the deep and complex interconnection or interrelation of digital objects of any kind, and in a teleological sense the purpose was to make the connections permanently stable and accessible to users in a way which would seem seamless and lineal.  The noun intertwingularity was coined by US sociologist Dr Theodor Holm "Ted" Nelson (b 1937) and it appeared first in his book Computer Lib/Dream Machines (1974) which discussed the complexity of interrelations in human knowledge.  Dr Nelson’s most enduring legacy is Project Xanadu which, remarkably, has been in development since 1960, the objective (which evolved eventually) being a kind of macro-network, unifying all data, accessible through a simple, intuitive user interface.  Conceptually, that does of course sound like the vision imagined when the www (world wide web) was bolted onto to the internet but Dr Nelson’s critique of that sprawling, ubiquitous thing is that its “web page” approach is inherently flawed because, as IRL (in real life) when pages can be thrown away, deleting a page means a dozen or a billion hyperlinks once active around the planet are rendered instantly “broken”; what’s lacking is global content management to keep track of it all.  The project’s roots in 1960 envisages what would later be understood as hypertext but acceptance of Dr Nelson’s ideas took some time because he was speculating about hardware and software which did not then exist and would not for decades attain critical mass and the landmark Computer Lib/Dream Machines, while fleshing out the details, did so in a discursive manner better suited to modernist experimental fiction.

Conceptual illustration of intertwingling from Computer Lib/Dream Machines (1974).

Dr Nelson seems always to have liked the word “everything” (although he does allow that for some things, “most” is better”) and the most intriguing speculation, built on the notion of “everything being intertwingled”, was tied up with quantum entanglement which suggests connectivity need not be based on proximity or visible connection.  In this theory, what is now described as “dark energy” (the thus far undetectable stuff in the universe which the math of what has been detected suggests must exist) is thought potentially to be “time” itself, the universe’s most fundamental framework where it’s not so much that everything is “entangled” but that everything is (on a grand scale) a singularity and everything is happening at the same time with only the operation of (distance-based) relativity creating an observer’s perception of difference.

Applied Intertwingling: In fields like political science or organizational behaviour, the intertwingling of objects is often illustrated in ways which depict not only the existence but also the nature of a relationship.

Intoxicatingly simple in concept, the practical implications of the Xanadu resulted in something which became more complex as layers were implemented because each made obvious that more layers still were needed.  Lacking resources, Dr Nelson, cognizant of developments in computer networking, announced Xanadu should be thought a mechanism for handing information (regardless of physical location) as if existed in a unified repository.  While he didn’t use the phrase “virtual library” that seems to be how it would now be understood and in an interesting harbinger of how Facebook would in the twenty-first century describe its curated macro-space, he described Xanadu as a “docuverse”.  That was an interesting vision but development required cubic money and it wasn’t until the early 1980s when the adoption by business of the original IBM PC (1981) as a kind of corporate standard that funding was found, building on a file addressing system based on “tumblers” which were an implementation of transfinite numbers.  Transfinite numbers exist in the branch of set theory, a fundamental area of mathematical logic that studies collections of objects; set theory is the formal framework onto which infinity can be mapped.  For Xanadu to be scalable to an infinite number of documents, the numbers in use needed to be infinite but because one layer of the process was indexing, those numbers needed to be distinct in size and order, thus the utility of the transfinite.  Except in some vague conceptual sense, it’s really only (some) mathematicians who understand all this.

Xanadu’s original 17 rules

(1) Every Xanadu server is uniquely and securely identified.

(2) Every Xanadu server can be operated independently or in a network.

(3) Every user is uniquely and securely identified.

(4) Every user can search, retrieve, create and store documents.

(5) Every document can consist of any number of parts each of which may be of any data type.

(6) Every document can contain links of any type including virtual copies (“transclusions”) to any other document in the system accessible to its owner.

(7) Links are visible and can be followed from all endpoints.

(8) Permission to link to a document is explicitly granted by the act of publication.

(9) Every document can contain a royalty mechanism at any desired degree of granularity to ensure payment on any portion accessed, including virtual copies (“transclusions”) of all or part of the document.

(10) Every document is uniquely and securely identified.

(11) Every document can have secure access controls.

(12) Every document can be rapidly searched, stored and retrieved without user knowledge of where it is physically stored.

(13) Every document is automatically moved to physical storage appropriate to its frequency of access from any given location.

(14) Every document is automatically stored redundantly to maintain availability even in case of a disaster.

(15) Every Xanadu service provider can charge their users at any rate they choose for the storage, retrieval and publishing of documents.

(16) Every transaction is secure and auditable only by the parties to that transaction.

(17) The Xanadu client-server communication protocol is an openly published standard. Third-party software development and integration is encouraged.

By the early 1990s it was clear Xanadu “worked”, at least at the scale existing hardware made possible but the emergence of the www (World Wide Web) diverted the industry’s attention and by 1995 when it was clear the Web had gained critical mass, the view seemed to be Xanadu might be a slightly better or slightly worse mousetrap and soon comparisons were being with the “OS (operating system) war” between Microsoft’s Windows NT and IBM’s OS/2.  Dr Nelson however was not deterred and successive releases of implementations of parts of the Project Xanadu model were in the twenty-first century released until OpenXanadu was in 2014 made available on the Web.  Explaining how it differed from hypertext as it was done on the Web, Dr Nelson claimed HTTP (Hypertext Transfer Protocol) was inherently flawed because, the metaphor being one of bound pages, it was so prone to broken links as one page was torn off, that meaning collectively an array of dozens (or millions, trillions etc) of dead links to other dead pages.  What tumblers did was provide an address able to maintain linkages to not merely a single object (which HTTP envisages as a “piece of paper”) but an infinite set of links, achieved because transfinite numbers can handle what can be visualized as a cascade of information, the linkages between which are unlimited; this was the inheritance of the “docuverse”.  Those impressed by both the potential and drawbacks of the Blockchain will be struck by the overlaps.

Knowledge Nation, which at the time seemed a good idea but wasn’t suited to the banality of modern politics.

For the 2001 federal election in Australia, a part of the opposition Australian Labor Party’s (ALP) platform was “Knowledge Nation”, a summary of its education policy, developed by polymath and former minister for science Barry Jones (b 1932).  During the campaign, what was substantive in Knowledge Nation was little discussed because the government immediately attacked the illustrative chart which was a representation of the many components connected within the education system.  Derided as “Noodle Nation”, it was an example of why it’s no longer wise for politicians to offer anything much beyond a TWS (three word slogan).  The reaction today to a political party circulating something like The Federalist (a collection of 85 articles and essays (1787-1788) advocating the ratification of the Constitution of the United States) would be something like the “noodle nation moment”.  These days, intertwingling is best neither seen nor heard.

Xanadau

Xanadu (pronounced zan-a-du)

Also known as Shangdu, Xanadu was the capital of Kublai Khan's (1215-1294) Yuan dynasty (1271-1368) in China, before he decided to move his throne to the Jin dynasty (1115-1234) capital of Zhōngdū (middle capital), which he renamed Khanbaliq, later known in the West as Peking and of late, Beijing.  Xanadu then became his summer capital.  Xanadu was visited by the Venetian merchant Marco Polo (circa 1254–1324) in about 1275, and was destroyed in 1369 by the Ming army under Zhu Yuanzhang (1328-1398).

Relic site of Xanadu.  Xanadu was located in what is now called Inner Mongolia, 220 miles (350 km) north of what is no the city of Beijing (Peking).  Today, only ruins remain, surrounded by a grassy mound that was once the city walls. Since 2002, restoration work has been undertaken and in June 2012, Shangdu was made a World Heritage Site.

Kubla Khan (1797) by Samuel Taylor Coleridge (1772-1834)

In Xanadu did Kubla Khan
A stately pleasure-dome decree:
Where Alph, the sacred river, ran
Through caverns measureless to man
Down to a sunless sea.
So twice five miles of fertile ground
With walls and towers were girdled round:
And here were gardens bright with sinuous rills
Where blossomed many an incense-bearing tree;
And here were forests ancient as the hills,
Enfolding sunny spots of greenery.
But oh! that deep romantic chasm which slanted
Down the green hill athwart a cedarn cover!
A savage place! as holy and enchanted
As e'er beneath a waning moon was haunted
By woman wailing for her demon-lover!
And from this chasm, with ceaseless turmoil seething,
As if this earth in fast thick pants were breathing,
A mighty fountain momently was forced;
Amid whose swift half-intermitted burst
Huge fragments vaulted like rebounding hail,
Or chaffy grain beneath the thresher's flail:
And 'mid these dancing rocks at once and ever
It flung up momently the sacred river.
Five miles meandering with a mazy motion
Through wood and dale the sacred river ran,
Then reached the caverns measureless to man,
And sank in tumult to a lifeless ocean:
And 'mid this tumult Kubla heard from far
Ancestral voices prophesying war!
The shadow of the dome of pleasure
Floated midway on the waves:
Where was heard the mingled measure
From the fountain and the caves.
It was a miracle of rare device,
A sunny pleasure-dome with caves of ice!
A damsel with a dulcimer
In a vision once I saw:
It was an Abyssinian maid,
And on her dulcimer she played,
Singing of Mount Abora.
Could I revive within me
Her symphony and song,
To such a deep delight 't would win me
That with music loud and long,
I would build that dome in air,
That sunny dome! those caves of ice!
And all who heard should see them there,
And all should cry, Beware! Beware!
His flashing eyes, his floating hair!
Weave a circle round him thrice,
And close your eyes with holy dread,
For he on honey-dew hath fed,
And drunk the milk of Paradise.

By his own account, Samuel Taylor Coleridge was reading about Shangdu while taking laudanum, an opium based medicine.  It led to an opium-induced dream, during which he composed some three-hundred lines of verse.  As soon as he awoke, he wrote down the first fifty but unfortunately, was then interrupted by “a man on business from [the local Somerset village of] Porlock.”   Once the business was concluded, Coleridge found the distraction had driven from his mind the rest of the poem.  All find Coleridge’s story charming but scholars doubt it’s true, the poet having used a similar excuse years before.  Most think it a case of writer’s block.

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

Athwart

Athwart (pronounced uh-thwawrt)

(1) From side to side; crosswise, transversely.

(2) In admiralty use, at right angles to the fore-and-aft line; across.

(3) Perversely; awry; wrongly.

1425-1475: From the Late Middle English athwert & athirt and a proclitic form of preposition; the construct was a- (in the sense of "in the direction of, toward")  + thwart.  The a prefix was from the Old English an (on) which in Middle English meant “up, out, away”, both derived from the Proto-Germanic uz (out), from the primitive Indo-European uds (up, out); cognate with the Old Saxon ā which endures in Modern German as the prefix er.  Thwart was from the Middle English adverb & adjective thwert, (crosswise; (cooking) across the grain, transverse; counter, opposing; contrary, obstinate, stubborn), a borrowing from Old Norse þvert (across, transverse), originally the neuter form of þverr (transverse, across), from the Proto-Germanic þwerhaz, altered or influenced by þweraną (to turn) and þerh, from the primitive Indo-European twork & twerk (to twist).  Cognates include the Old English þweorh (transverse, perverse, angry, cross), the Danish tvær, the Gothic þwaírs (angry), the West Frisian dwers (beyond, across, to the other side of), the Dutch dwars (cross-grained, contrary), the Low German dwars (cross-grained, contrary) and the German quer (crosswise; cross).  The modern English queer is related.  Although still used by poets good and bad, the word is probably otherwise obsolete for all purposes except historic admiralty documents.  Athwart is a noun & adverb, athwartship is an adjective & adverb and athwartships & athwartwise are adverb; the noun plural is athwarts.  Forms like athwartly are definitely non standard.

In nautical design, the term “athwart” is used to describe a direction or orientation that is perpendicular to the centreline of a ship or boat (ie that which runs across the vessel from side to side (port-to-starboard) at right angles to the fore-and-aft line.  In shipbuilding this can apply to various components and actions on a ship, such as beams, futtocks, bulkheads, or even the positioning of objects; as a general principle something can be said to be “athwart” if it sits perpendicular to the centreline but the term is most often applied to objects which span or crosses the vessel’s entire width.  In naval architecture specifically, athwart was used as a noun to refer to the cross-members which sat beneath the deck-mounted gun-turrets on warships.  Although they had long been a part of the supporting structures, the term “athwart” seems first to have been used on the blueprints of HMS Dreadnought, launched in 1906 and a design thought so revolutionary it lent its name to the class of the biggest battleships, previous such vessels immediately re-classified as “pre-dreadnoughts” and, when even bigger ships were launched, they were dubbed “super-dreadnoughts”.

Lindsay Lohan with former special friend Samantha Roinson, athwart, TV Guide's sixth annual Emmy after party, The Kress, September 2008, Hollywood, California.

Samuel Taylor Coleridge (1772-1834), Kubla Khan (1798)

In Xanadu did Kubla Khan
A stately pleasure-dome decree:
Where Alph, the sacred river, ran
Through caverns measureless to man
Down to a sunless sea.
So twice five miles of fertile ground
With walls and towers were girdled round:
And here were gardens bright with sinuous rills
Where blossomed many an incense-bearing tree;
And here were forests ancient as the hills,
Enfolding sunny spots of greenery.
But oh! that deep romantic chasm which slanted
Down the green hill athwart a cedarn cover!
A savage place! as holy and enchanted
As e'er beneath a waning moon was haunted
By woman wailing for her demon-lover!
And from this chasm, with ceaseless turmoil seething,
As if this earth in fast thick pants were breathing,
A mighty fountain momently was forced;
Amid whose swift half-intermitted burst
Huge fragments vaulted like rebounding hail,
Or chaffy grain beneath the thresher's flail:
And 'mid these dancing rocks at once and ever
It flung up momently the sacred river.
Five miles meandering with a mazy motion
Through wood and dale the sacred river ran,
Then reached the caverns measureless to man,
And sank in tumult to a lifeless ocean:
And 'mid this tumult Kubla heard from far
Ancestral voices prophesying war!
The shadow of the dome of pleasure
Floated midway on the waves:
Where was heard the mingled measure
From the fountain and the caves.
It was a miracle of rare device,
A sunny pleasure-dome with caves of ice!
A damsel with a dulcimer
In a vision once I saw:
It was an Abyssinian maid,
And on her dulcimer she played,
Singing of Mount Abora.
Could I revive within me
Her symphony and song,
To such a deep delight't would win me
That with music loud and long,
I would build that dome in air,
That sunny dome! those caves of ice!
And all who heard should see them there,
And all should cry, Beware! Beware!
His flashing eyes, his floating hair!
Weave a circle round him thrice,
And close your eyes with holy dread,
For he on honey-dew hath fed,
And drunk the milk of Paradise.

Dome

Dome (pronounced dohm)

(1) In architecture, a vault, having a circular plan and usually in the form of a portion of a sphere, so constructed as to exert an equal thrust in all directions.

(2) A domical roof or ceiling; a polygonal vault, ceiling, or roof.

(3) Any covering thought to resemble the hemispherical vault of a building or room; anything shaped like a hemisphere or inverted bowl.

(4) In water management, (usually in dam design), a semidome having its convex surface toward the impounded water.

(5) In crystallography, a form having planes that intersect the vertical axis and are parallel to one of the lateral axes.

(6) In geology, an upwarp (a broad anticline (a fold with strata sloping downwards on each side) caused by local uplift).

(7) In geology, a mountain peak having a rounded summit (a structure in which rock layers slope away in all directions from a central point).

(8) As vistadome, in passenger vehicles (usually railroad cars), a raised, glass-enclosed section of the roof of, placed over an elevated section of seats to afford passengers a full view of scenery (not usually truly in the hemispherical shape of a dome).

(9) In horology, the inner cover for the works of a watch which snaps into the rim of the case.

(10) A building; a house; an edifice (obsolete except as a literary device).

(11) As heat dome, a meteorological phenomenon in which the interplay of high & low pressure atmospheric systems interact to produce static, warm air over a large area.

(12) To cover with or as if with a dome; to shape like a dome.

(13) To rise or swell as a dome.

(14) In slang, a person's head (the form chrome dome used of the bald).

(15) In slang (both military and in some criminal classes), to shoot in the head (often in the form “got domed”).

(16) In African-American slang, to perform fellatio upon.

1505–1515: From the Middle French domme & dome (a town-house; a dome, a cupola) (which persists in modern French as dôme), from the Provençal doma, from the Italian duomo (cathedral), from the Medieval Latin domus (ecclesiae; literally “house (of the church)”), a calque of the Ancient Greek οἶκος τῆς ἐκκλησίας (oîkos tês ekklēsías).  Dome is a noun & verb, domed & doming are verbs and domelike, domical, domish & domesque are adjectives; the noun plural is domes.

By the 1650s, the formalized use in architecture ensured the meaning was (more or less) standardized as “a round, vaulted roof, a hemispherical covering of a building” and thus the ultimate specialized evolution from the Greek dōma (a house, housetop (used especially of those with a roof “in the eastern style”), from domos (house), from the primitive Indo-European root dem- (house, household).  The medieval use of the German dom and Italian duomo as verbal shorthand for “cathedral” (essentially a clipping from “house of God”) was picked up in the imperfect way so many words entered English to describe architectural features in the style of hemispherical cupolas, the domes at the intersection of the nave and the transept, or over the sanctuary, characteristic architectural feature of Italian cathedrals.  The sense in English of “a building, a house” had been borrowed in English as early as the 1510s and was used mostly of stately homes and it endures but only as a literary device and it’s rarely seen outside of poetry.

The shape occurs to one degree or another in nature and is common in man-made objects and the built environment so dome is an often seen modifier (cake dome, pleasure dome, lava dome; onion dome et al) and appears in the opening lines of one of the most cherished fragments of English verse: Kubla Khan (1797) by Samuel Taylor Coleridge (1772-1834).

In Xanadu did Kubla Khan
A stately pleasure-dome decree:
Where Alph, the sacred river, ran
Through caverns measureless to man
Down to a sunless sea.

Some of the use has also been opportunistic and not especially domical.  Vistadomes were raised, glass-enclosed sections built into the roofs of railway carriages, placed over an elevated section of seats to afford passengers a better view of the scenery.  The idea was picked up by General Motors, the Oldsmobile Vista Cruiser station wagon (1964-1977), the Buick Roadmaster Estate (1991-1996) and the Scenicruiser busses (1954-1956 and made famous in the Greyhound livery some wore until the 1970s) all used raised, partially-windowed sections although none were officially described as “domes”.

The Hagia Sophia, now the main mosque in Istanbul; the minarets were added after the fall of Constantinople to the Ottoman Turks in 1453 and there are many architectural critics who maintain visually they improve the balance of the structure.  The illustration on the right shows how the Byzantine engineers used pendentives to make the construction of domes possible.     

Domes however are most associated with grand-scale, representational architecture (although quite a few builders of McMansions found them hard to resist).  One intriguing aspect of structural engineering upon which the integrity of a dome depends on what are called pendentives (the triangular segments of the lower part of a hemispherical dome left by the penetration of the dome by two semicircular vaults intersection at right angles).  Dating from 1727, pendentive was from the mid-sixteenth century French pendentif, from the Latin pendentem (nominative pendens) (hanging and the source of the English “pendulous”), the present participle of pendere (to hang) from the primitive Indo-European roots pen & spen- (to draw, stretch, spin).  What pendentives permit is the use of a circular dome over a square void square room or an elliptical one over something rectangular room.  Pendentives, (geometrically the triangular segments of a sphere), taper to points at the bottom and spread at the top to establish the continuous circular or elliptical base as required.  As structural supports, pendentives distribute the bulk of a dome’s weight to the four corners (the strongest points) and ultimately to the piers and the foundations below.  The classic example is the Hagia Sophia, the sixth century Byzantine cathedral at Constantinople (modern day Istanbul).  It was converted into a mosque when Constantinople fell to the Ottoman Turks in 1453 and, after a century-odd as a museum, is again a mosque.

Scale model of Germania.  Hitler would spend hours pondering the details but in 1945, he spent even longer looking at the model of what was planned for the Austrian city of Linz where he'd decided to have his tomb installed.

Domes have long been a favorite of emperors, dictators and those other megalomaniacs: architects.  A truly monumental one would have been the Volkshalle (People's Hall and known also as the Große Halle (Great Hall) & Ruhmeshalle (Hall of Glory), the centerpiece of Adolf Hitler’s (1889-1945; Führer (leader) and German head of government 1933-1945 & head of state 1934-1945) never realized plan to re-built Berlin as Germania, a worthy Welthauptstadt (world capital) of his “thousand year Reich”.  Although Albert Speer (1905–1981; Nazi court architect 1934-1942; Nazi minister of armaments and war production 1942-1945) was Germania’s chief architect, in some aspects he was really a glorified draftsman, correcting the technical errors in the drawings passed to him by the Führer who had be sketching parts of the design since the early 1920s.

Even by the standards of the super-dimensionality which was characteristic of the Third Reich, the domed hall would have been extraordinary.  The oculus would have been 46 m (151 feet) in diameter which would have accommodated the entire rotunda of Hadrian's Pantheon and the dome of St Peter's Basilica.  The  250 m (820 feet) diameter of the dome was (and this was a signature of Speer’s approach), bigger even than Hitler had requested and he was much displeased to learn of a rival architect’s plans for a dome 15 m (49 feet) greater in diameter to sit atop the city’s new railway station.  As things turned out, none of the grandiose structures were ever built and although a tinge of regret can be found in Speer’s post-war thoughts, even he admitted the designs were a failure because of “their lack of human scale”.

Berlin's rebuilt Reichstag with steel & glass dome.

Berlin did however eventually get a new dome, albeit it one rendered not in granite but the glass and steel the Führer thought was fine for factories and warehouses but which would have appalled him as a method of construction for public, representational architecture.  Plonked atop the rebuilt Reichstag, it was said to symbolize the reunification of Germany although quite how it managed that has never really been explained although the distinctive structure has become a city landmark and people seem to like it.  A clever design, it sits directly above the chamber of the Bundestag (the lower house of the bicameral federal parliament) and permits public observation, the clever design also reducing energy use by optimizing the input of natural light while moving shrouds minimize glare and heat-soak.

Cinerama Dome, Los Angeles in 1965, the year of its greatest commercial success.

The Cinerama Dome movie theatre sits on Hollywood’s Sunset Boulevard.  Opened in 1963, the Cinerama Dome introduced a new concept for film projection, a curved screen which sat inside a geodesic dome based on the design developed by US systems theorist & architect Richard Buckminster Fuller (1895–1983), one attraction of which was such things could be built at lower coast and in much less time than a conventional theatre building.  Intended to be the first of perhaps thousands around the planet, it was built in a still remarkable four months but it remains the only concrete geodesic on the planet and while it has operated intermittently since being closed during the COVID-19 pandemic, its future is uncertain and although it will probably be preserved as a historic building, it’s likely to be re-purposed as retail or restaurant space.

Lindsay Lohan at the Scary Movie V premiere, Cinerama Dome, April 2013.

The end of the line for Cinerama is another marker in the evolution of the technology which underpinned the evolution of the US economy from one based on agriculture, to one increasingly industrial to one geared around the military & entertainment.  In the 1950s, cinema’s greatest challenge came from television and the film studios fought back by creating differentiation in their products.  The venture into 3D proved a cul-de-sac for a number of reasons but one thing cinemas could do was make their big screens huge and during the 1950s the wide-screen Cinemascope enjoyed a boom.  However, there was a limit to how much screens could grow, hence the interest in Cinerama which projected onto a curved screen designed to take advantage of the way the human eye sees and processes images, the system at its best when provided by three synchronized projectors.  The idea lives on in the curved screens which have become popular among gaming freaks who enjoy the sense of “envelopment”.  It was also the era during which populations moved further from city centres into suburbs and thus, cinemas also needed to move, more of which (but often smaller) would be required.  Thus the attraction of the geodesic dome came which, largely pre-fabricated, was cheap to produce and quick to assemble.  However, Cinerama was expensive to film, to print, to produce and the sheer size and weight of the prints meant it was costly even to ship the material to venues and the conversion process to something which could be used with conventional projection.

Heat Domes

July 2023 Global heat map from the Climate Change Institute, University of Maine, USA.  For those unconvinced, Fox News continues to provide alternative facts.

The “heat dome” is a weather phenomenon, the physics of which has for decades been understood but of late the term has entered general use as much of the northern hemisphere has suffered from prolonged, unusually high temperatures, July 2023 measured as the hottest month ever recorded.  A heat dome occurs when a large, high-pressure system traps and concentrates hot air in a specific region, leading to prolonged and extremely high temperatures. Under a heat dome, the atmospheric pressure aloft prevents the hot air from rising and dissipating, effectively acting as a lid or cap over the area, thus the image of a dome sitting over the land.

The UK's Royal Meteorological Service's simple illustration of the physics of a heat dome.  Heat domes are also their own feedback loop.  A static areas of high pressure which already contains warm or hot air trapped under the high will become hotter and hotter, creating a heat dome.  Hot air will rise into the atmosphere, but high pressure acts as a lid and causes the air to subside or sink; as the air sinks, it warms by compression, and the heat builds. The ground also warms, losing moisture and making it easier to heat even more.