React

React (pronounced ree-akt)

(1) To act in response to an agent or influence.

(2) To act reciprocally upon each other, as two things.

(3) To act in opposition, as against some force.

(4) To respond to a stimulus in a particular manner.

(5) In physics, to exert an equal force in the opposite direction to an acting force; to act in a reverse direction or manner, especially so as to return to a prior condition.

(6) In chemistry, to act upon each other; to exercise a reciprocal or a reverse effect, as two or more chemical agents; to act in opposition.

(7) In chemistry, to cause or undergo a chemical reaction.

(8) In the hyphenated form re-act, to act or again perform.

(9) To return an impulse or impression; in Internet use, to post a reaction (now often in the form of an emoji), indicating how one feels about a posted message.

1635–1645: From the early Modern English react (to exert, as a thing acted upon, an opposite action upon the agent).  The construct was re- + act, thought to have been modeled on the Medieval Latin reagere, the construct being re- + agere (to drive, to do).  Act was from the Middle English acte, from the Old French acte, from the Latin ācta (register of events), the plural of āctum (decree, law), from agere (to do, to act), ultimately from the primitive Indo-European héǵeti and related to the German Akte (file); it partially displaced deed, from the Old English dǣd (act, deed) which endured and (especially in law), flourished in parallel.  The re- prefix was from the Middle English re-, from the circa 1200 Old French re-, from the Latin re- & red- (back; anew; again; against), from the primitive Indo-European wre & wret- (again), a metathetic alteration of wert- (to turn).  It displaced the native English ed- & eft-.  A hyphen is not normally included in words formed using this prefix, except when the absence of a hyphen would (1) make the meaning unclear, (2) when the word with which the prefix is combined begins with a capital letter, (3) when the word with which the is combined with begins with another “re”, (4) when the word with which the prefix is combined with begins with “e”, (5) when the word formed is identical in form to another word in which re- does not have any of the senses listed above.  As late as the early twentieth century, the dieresis was sometimes used instead of a hyphen (eg reemerge) but this is now rare except when demanded for historic authenticity or if there’s an attempt deliberately to affect the archaic.  Re- may (and has) been applied to almost any verb and previously irregular constructions appear regularly in informal use; the exception is all forms of “be” and the modal verbs (can, should etc).  Although it seems certain the origin of the Latin re- is the primitive Indo-European wre & wret- (which has a parallel in Umbrian re-), beyond that it’s uncertain and while it seems always to have conveyed the general sense of "back" or "backwards", there were instances where the precise was unclear and the prolific productivity in Classical Latin tended make things obscure.  The Latin prefix rĕ- was from the Proto-Italic wre (again) and had a parallel in the Umbrian re- but the etymology was always murky.   In use, there was usually at least the hint of the sense "back" or "backwards" but so widely was in used in Classical Latin and beyond that the exact meaning is sometimes not clear.  Etymologists suggest the origin lies either in (1) a metathesis (the transposition of sounds or letters in a word) of the primitive Indo-European wert- (to turn) or (2) the primitive Indo-European ure- (back), which was related to the Proto-Slavic rakъ (in the sense of “looking backwards”).

The hyphenated form re-act (to act or again perform) began to develop during the 1650s (although the hyphen wasn’t de rigueur for decades) and there’s evidence to suggest there was often either an exaggerated pronunciation of the “re-“ or a slight pause between syllables to distinguish it from react.  Forms like overreact & overreaction (1928), interreact, interreaction (1820s), reactivate (1902 & reactivation et al were coined as required.  React is a noun & verb, reactive is an adjective, reactor, reaction & reactant are nouns, reactionary is a noun & adjective, reactivate, reacted & reacting are verbs,; the noun plural is reacts.

Lindsay Lohan reacting, demonstrating her emotional range (left to right:  happy, surprised, terrified and despairing).

The noun reactant (a reacting thing) came from chemistry and dates from 1901; as an adjective it was noted in the literature by 1911 although it may have been in oral use for some time and the noun reactance had been in the vocabulary of science since at least 1893.  The noun reactor (one that reacts) was a standard entry in the books of Latin instruction by 1825 but came into common use in the electrical industry after 1915 to describe “coil or other piece of equipment which provides reactance in a circuit”.  The word is now most commonly associated with nuclear energy, the reactor technically the component in a power-plant, submarine etc, where the nuclear reactions are contained but in the popular imagination often used of the power-generating installations to describe the entire facility.  The adjective reactive dates from 1712 in the sense of “a repercussive, echoing” although that use is long obsolete.  It was re-purposed in the early nineteenth century to mean “caused by a reaction” and by 1888 as “susceptible to (chemical) reaction” and in chemistry the related forms were reactively, reactiveness & reactivity, the words required as new chemicals and elements were subjected to experiments determining the behavior when exposed to others.

The noun reaction (action in resistance or response to another action or power), although later much used in chemistry, dates from the language of physics & dynamics in the 1640s and came frequently to be seen in discussions of politics and international relations.  It was modeled on the French réaction, from the older Italian reattione, from the Medieval Latin reactionem (nominative reactio), a noun of action formed in Late Latin from the past-participle stem of Latin reagere.  In chemistry it was of course invaluable when describing “a mutual or reciprocal action of chemical agents upon each other” and it was the standard noun thus used by 1836.  The more general sense of "action or feeling in response" (to something said, an event etc) was from the early twentieth century.  The phrase reaction time (time elapsing between the action of an external stimulus and the giving of a signal in reply) was a creation of experimental science and first documented in 1874; it was later widely used (both as a precise measure and something indicative) in fields as varied as zoology, sport and electoral behavior.  Sometimes, the experiments to measure reaction times were conducted in a reaction chamber.

Porträt des Klemens Wenzel Nepomuk Lothar, Prince of Metternich-Winneburg zu Beilstein in Ritterorden des Godenen vlies (cerimonial robes of the Order of the Golden Fleece) (1836), oil on canvas by Johann Nepomuk Ender (1793-1854).

The adjective reactionary (of or pertaining to political reaction, tending to revert from a more to a less advanced policy) dates from 1831 and was on the model of the French réactionnaire.  It was part of Karl Marx's (1818-1883) standard set of descriptive terms by 1858, used to convey the idea of “tending toward reversing existing tendencies” and was the opposite of the ”revolutionary”.  The classic reactionary era is now that created by the Congress of Vienna (1514-1815) when the old monarchies contrived to ensure they wouldn’t again be threatened by something like the French Revolution (1789).  So dominant did the use in politics become that the use in science (of or pertaining to a chemical or other reaction) became rare.  In political science, the term reactionary is applied with rather more precision than in general use where, like fascist, it’s tended to become a general term of disapprobation for those who espouse an opposing view.  When applied with some academic rigor, it refers properly to the view that a previous political state of society is desirable and that action should be taken to return to those arrangements.  A reactionary is thus different from a conservative who wishes to keep things as they are but perhaps (at least sometimes) synonymous with ultra-conservative or arch-conservative, the classic example in politics being Prince Klemens von Metternich (1773–1859; foreign minister or chancellor of the Austrian Empire 1809-1848) who constructed an intricate model of Europe which was design to avoid another unpleasantness (for the ruling class) like the French revolution (1789) and its aftermath.  It’s usually thought of as somewhere on the spectrum of conservatism although there are logical (as well as linguistic) problems with that and either in theory or historic practice, reactionary ideologies, although radical, haven’t always been the most extreme of the breed.  Even that sort of terminology wasn’t reliably indicative of anything except what the author intended, Sir Garfield Barwick (1903–1997; Chief Justice of Australia 1964-1981) giving his autobiography the title A Radical Tory (1995), a few reviewers enjoying the opportunity to point out he was neither.

Thou shalt not: Pope Pius IX and friends.

In the UK there were of course already the Tories but it was the French Revolution from which English gained the descriptors "conservative", "right-wing" and "reactionary".  Conservative was from the French conservateur and was applied to those deputies of the French assembly which supported the monarchy (ie they wish to conserve that which was).  The term right-wing came to be used because when the Estates General was summoned in 1789, liberal deputies (the Third Estate) sat usually to left of the presiding officer's chair while the (variously usually either conservative or reactionary) members of the aristocracy (the Second Estate) sat to the right (the clerics were the First Estate and it’s from here is derived the later idea of the press as the Fourth Estate).  Reactionary was from the late eighteenth century French réactionnaire (from réaction (reaction)) and was used to denote "a ideology directed to return the structure of the state and the operation of society to a previous condition of affairs".  The Oxford English Dictionary (OED) dates the first use of the word in English to 1799 and political scientists have managed to coin variations like reactionist and even the (thankfully rare) reactionaryism.  In theology, the classic reactionary was Pope Pius IX (Giovanni Maria Mastai Ferretti, 1792–1878; pope 1846-1878) who in 1864 published Syllabus Errorum (Syllabus of Errors), a still controversial document which listed all the ideas of modernity which His Holiness thought most appalling and which should be abandoned because the old ways are the best.  Had he lived, his Holiness would have noted with approval the entry in that manual curmudgeons, Henry Fowler's (1858–1933) A Dictionary of Modern English Usage (1926): "The word derives its pejorative sense from the conviction, once firmly held but now badly shaken, that all progress is necessarily good."

Metal

Metal (pronounced met-l)

(1) Any of a class of elementary substances, as gold, silver, or copper, all of which are crystalline when solid and many of which are characterized by opacity, ductility, conductivity, and a unique luster when freshly fractured.

(2) Such as substance in its pure state, as distinguished from alloys.

(3) An element yielding positively charged ions in aqueous solutions of its salts.

(4) An alloy or mixture composed wholly or partly of such substances such as steel or brass.

(5) An object made of metal.

(6) Formative material; stuff.

(7) In printing, as type metal, the stencils used to apply ink; the state of being set in type.

(8) The substance of glass in a molten state or as the finished product; molten glass in the pot or melting tank (mostly in technical use).

(9) As road metal, the crushed rock used in road construction; small stones or gravel, mixed with tar to form tarmac for the surfacing of roads.

(10) To furnish or cover with metal.

(11) In popular music, verbal shorthand for the genre heavy metal (but apparently usually not other variations (thrash; power; gothic; doom; twisted; black; molten; death)).

(12) In admiralty jargon, the total weight of projectiles that can be shot by a ship's guns at any one time; the total weight or number of a ship's guns.

(13) In heavy element astronomy, any atom except hydrogen and helium.

(14) In heraldry, a light tincture used in a coat of arms, specifically argent (white or silver) and or (gold).

(15) In rail construction, the rails of a railway (almost always plural).

(16) In mining, the ore from which a metal is derived (the use to describe the mine from which the ore is extracted is obsolete).

(17) Figuratively, the substance that constitutes something or someone; matter; hence, character or temper (now archaic and replaced by mettle).

(18) In the jargon of civil aviation, the actual airline operating a flight, rather than any of the code-share operators.

(19) In the jargon of drag-racing, a descriptor applied to the largest capacity (usually big-block) engines.

1250–1300: From the Middle English, from the Old French metal (metal; material, substance, stuff), from the Classical Latin metallum (quarry, mine, product of a mine, metal), from the Ancient Greek μέταλλον (métallon) (mine, quarry, ore).  The Greek work picked up the sense of “metal” only in post-classical texts, via the notion of "what is got by mining”; the original meaning was "mine, quarry-pit," probably a back-formation from metalleuein "to mine, to quarry," a word of unknown origin which may be related to metallan "to seek after" but there’s no evidence in support and it’s thought derived from a pre-Greek source because of the presence of -αλλο- (-allo-).  Metal is a noun, verb & adjective and metallic is a noun & adjective; the noun plural is metals.

In the West, what defined a metal was based on the metals known from antiquity: gold, silver, copper, iron, lead, and tin.  The adjectival form (or or covered with metal) emerged in the late fourteenth century reflecting the advances in metallurgy.  The term metalwork is attested from 1724 and has been used to describe both functional and decorative endeavours and is a common title in technical education (al la woodwork).

Iron Butterfly, In-A-Gadda-Da-Vida (1968).  An early heavy metal recording, their previous album was Heavy (1968).

The use to describe a variety of loud forms of popular music (heavy; thrash; power; gothic; doom; twisted; black; molten & death-metal (there may be others, it’s hard to tell)) began with heavy metal, the term coming into general use circa 1970 to describe a genre which had evolved since what came retrospectively to be called the proto-metal pieces of the 1950s such as Link Wray's Rumble.  As a shortened form, “metal” appears to be used properly to reference only heavy metal, presumably because it came first, the other forms almost always identified with the modifier.  The use in popular music seems to have been picked up from counterculture literature, William S Burroughs (1914-1997) using the phrase "heavy metal kid" in the 1962 novel The Soft Machine.  That was not a musical reference but in the subsequent Nova Express (1964), extended the use to a metaphor for drug use and from there, adoption in somewhere in popular culture was probably inevitable; it was the 1960s.

The lightness and heaviness of naturally occurring metals has been noted since pre-historic times, probably because of the interest in the malleability of materials which might be used to craft metal ornaments, tools and weapons and until the early nineteenth century, all known metals had relatively high densities, indeed that very quality of heaviness was thought a distinguishing characteristic which defined metals.  However, beginning in 1809, lighter metals such as sodium and potassium were isolated, their low densities demanding a definitional re-think and it was proposed they be categorised as “metalloids” but instead, that was reserved to later refer to a variety of non-metallic elements.

The term "heavy metal" seems first to have been used by German chemist Professor Leopold Gmelin (1788-1853) in an 1817 paper in which he divided the elements into non-metals, light metals, and heavy metals, based on relative density.  Later, “heavy metal” would be associated with elements with a high atomic weight or high atomic number and it is sometimes used interchangeably with the term “heavy element” although, two centuries on, there is criticism of the very usefulness of the now classical categories, the suggestion being they’ve become so diverse as to be meaningless.  Despite that, “heavy metal” in particular remains frequently used in both scientific and popular literature, the latter most often without any definitional rigor.  By comparison, presumably because their less associated with environmental pollution, “light metal” appears most often in association with metal trading, referring usually to aluminium, magnesium, beryllium, titanium and lithium.

The cosmological periodic table.  Chemists do at least agree on what metals are, heavy or otherwise.  Astronomers consider any element heavier than helium to be a metal, the distinction based on whether an element was created directly after the Big Bang (hydrogen and helium) or instead formed through subsequent nuclear reactions.  In the world of cosmology this is well understood but it can cause confusion among a general audience because it means elements such as carbon and oxygen are treated as metals, a most unfamiliar concept.

To astronomers, the production of metals is a consequence of stellar evolution.  Although metals lighter than iron are produced in the interiors of stars through nuclear fusion reactions, only a very small fraction escape (through stellar winds or thermal pulsations) to be incorporated into new stars.  For this reason, the majority of the metals found in the Universe are produced and expelled in the supernova explosions that mark the end for many stars.  This gradual processing of hydrogen and helium into heavier elements through successive generations of stars means that the metallicity of stars (the fraction of the mass of the star in the form of metals) varies.  Very old stars which formed from the almost pristine material of the Big Bang contain almost no metals, while later generations of stars can have up to 5% of their mass in the form of metals.  The percentage of metals in our star (the Sun) is around 2%, indicating it’s a later generation star.

When it comes to money, and not just with precious metals like gold, the choice of metal matters much; aluminum can become quite precious.

1950 Jaguar XK120 (chassis: 670165 (aluminum body))

Jaguar went to the 1948 London Motor Show thinking their big announcement would be the new XK engine, the twin-cam straight-six which faithfully would serve the line for the next forty-four years.  What instead stole the show was the test-bed, the roadster in which it was installed.  It was a sensation, the reaction convincing Jaguar's management to put it into production as the XK120.  However, tooling-up a production-line, even for a relatively low-volume sports car, takes time so the first 242 XK120s were hand-built with aluminum bodies affixed to an ash frame atop a steel chassis substantially shared with an existing model.  By 1950, the factory was ready for mass production and all subsequent XK120s were made with pressed-steel bodies although the doors, bonnet, and boot lid continued to use aluminum; the later cars weigh an additional 112 lb (51 kg).  All the aluminum-bodied cars were open two seaters (OTS (roadster)) and most were destined for the North American market, only fifty-eight being built with right-hand drive.  The most desirable of the XK120s, the record price for a road car at auction is US$396,000, realised in 2016.  Cars with a competition history have attracted more, a 1951 Roadster campaigned by the Scottish race team Ecurie Ecosse, sold for £707,100 in 2015 while the 1954 (steel) Competition Roadster that won its class at the Alpine Rally brought £365,500 in the same year.

1955 Mercedes-Benz 300SL (chassis: 550028 (aluminum body))

Intended for those planning to use the things in competition, the aluminum body for the 300SL gullwing was a regular production option, albeit a not inexpensive one although, given the processes required, it may have been a bargain.  Reducing weight by 215 lb (80 kg), the aluminum bodies were hand-crafted in the motorsports department in Untertürkheim and then mounted on the spaceframes sent from the Sindelfingen factory.  Of the 1400 gullwings, only 29 were built in aluminum, 26 of 855 in 1955 and 3 of 308 in 1956 so the option was taken-up only by two percent of customers.

Lindsay Lohan with metallic bags, London, 2014.

Adding to the desirability of the lightweights are the other modifications the factory made to improve competitiveness against the mostly British and Italian opposition.  Plexiglass windows, vented brake drums and stiffer springs were in the package, along with the Sonderteile (special parts (NSL)) engine with tweaked fuel-injection and a more aggressive camshaft, gaining fifteen horsepower.  Curiously, one option intended for use in motorsport actually added a little weight: the Rudge wheels, the seconds the knock-off hubs saved in the pits said to be worth the slight increase.  Available for any gullwing, the Rudge wheels are one of the desirable features, like the fitted luggage, tool kit and factory documents, the presence and condition of which attract a premium at sale.  For some years, the record price at auction for one of these was the US$4.62 million for a 1955 model, paid in 2012 for a car which in 1980 been bought by a German collector for US$57,000.  A new mark was set in 2022 at RM Sotheby's January auction at Scottsdale's Arizona Biltmore Resort when one crossed the block for US$6,825,000.

Purpose

Purpose (pronounced pur-puhs)

(1) The reason for which something exists or is done, made, used, etc.

(2) An intended or desired result; end; aim; goal.

(3) Determination; resoluteness.

(4) The subject in hand; the point at issue.

(5) Practical result, effect, or advantage.

(6) To set as an aim, intention, or goal for oneself.

(7) To intend; design.

(8) To resolve to do something.

(9) To have a purpose.

1250-1300 (noun): The noun form with the meaning "intention, aim, goal" was from the Anglo-French & Middle English purpos from the twelfth century Old French porpos (aim, intention) from porposer (to put forth), the construct being por- (forth) (from the Latin pro- (forth) + the Old French poser (to put, place).  The phrase “on purpose” dates from the 1580s.  The verb followed soon, the first citations noted in the fourteenth century, from the Anglo-French purposer in the sense of "to design" and the Old French porposer (to intend, propose), a variant of proposer.  It’s from the same root Latin gained prō (forth) + pono (hence propono & proponere with conjugation altered based on poser).  Purpose is a noun & verb, purposer is a noun, purposeful & purposeless are adjectives, purposefully is an adverb, purposing is a verb and purposed is a verb & adjective; the noun plural is purposes.

The General Purpose Machine Gun (GPMG)

Although the manually-cranked Gatling gun (1861) was the first practical rapid-fire (200 rounds-per-minute (rpm)) battlefield weapon, the fully automatic, water-cooled, Maxim machine gun (1884), with a fire-rate of 600 rpm, revolutionized war.  By the end of the First World War, machine guns had been deployed by all sides, in some battles accounting for over ninety percent of the small-arms ammunition expended.  The concept became entrenched in all branches of the military and a number of forks developed from the original design, each with their own set of special features depending on their application.  Machine guns used by armies, navies and air-forces became increasingly specialized.

Mauser Maschinengewehr 42 (MG 42) (7.92×57mm rounds).

The General Purpose Machine Gun (GPMG) came later, originating in an innovative 1934 design by Germany’s Mauser which cleverly circumvented restrictions imposed by the 1919 Treaty of Versailles.  Highly adaptable to all military applications, it could be deployed in a traditional infantry role, used either on aircraft or as an air defense weapon, mounted on anything from light vehicles to tanks and just about any warship.  Development was accelerated by the demands of the Second World War, the GPMG an ideal product to which the techniques of mass-production and production-line standardization could helpfully be applied.  Attaining a fire-rate of up to 1500 rpm, the WWII GPMGs represent a technological plateau and there’s been little change since, all the design elements of the 1940s still present in today’s weapons, innovations restricted mostly to improved materials and add-ons such as laser-assisted sighting.  Like the shark and the pencil, the GPMG evolved to attain perfection and possible improvements to the design are not immediately obvious.

Lindsay Lohan with submachine gun.

A GPMG is not simply any machine gun used for “general purposes” (and a definition of that in this context would be impossible exactly to codify) and in the military the GPMG is a specific class of weapon.  A submachine gun (SMG) and a GPMG differ in design, purpose and application although there can be some overlap in the use of parts, tool kits and (less commonly), ammunition.  The classic SMG is (in relative terms) light, compact and those appropriately trained can fire some of them using only one hand although most are fitted with a (sometimes foldable or detachable) shoulder to enhance stability.  Many SMGs feature selective fire modes permitting a choice between a single shot, bursts (typically 3 shots) or fully automatic, continuous firing.  SMGs with an effective maximum range between 100-150 m (300-500 feet) are intended for close-quarters combat (they were designed during World War I (1914-1918) and intended to be decisive in trench warfare but the conflict ended before they could be deployed) in which, with a higher rate of fire than a rifle and a longer range than most side arms, they can be ideal.  Conveniently they often use the same ammunition as a sidearm although with a higher capacity.

The GPMG is larger, heavier and designed to sustain continuous fire for long periods.  They are now almost always belt fed and use rifle-style & size cartridges, requiring a team of two or three effectively to operate.  As “general purpose” suggests, GPMGs are highly mobile, versatile weapons which can be deployed in a range of combat situations including suppressing fire to sustain either attacks or withdrawals and can engage targets at medium range, something especially useful in theatres where the use of artillery would risk causalities from friendly fire.  GPMG offer a high rate of fire and some Western forces in the late twentieth century concentrated on those using the 5.56 x 45mm NATO load because of the expectation the days of the set-piece, medium-range battle was a thing of the past but experience in recent conflicts confirmed the army’s need for heavier loads and many units were re-equipped with GPMGs using the 7.62 x 51mm NATO round, the latter with an effective range of 800-1220 m (2600-4000 feet) and thus suitable for any form of infantry support.

Font

Font (pronounced font)

(1) In Christianity, a receptacle, usually of stone, as in a baptistery or church, containing the holy water used in baptism (now usually as "fount").

(2) A receptacle for holy water; a stoup (now usually as "fount") .

(3) A productive source (often in the form “a fount of wisdom”).

(4) The reservoir for the oil in a lamp, ink for a pen etc (now usually as "fount").

(5) Figuratively, a spring or fountain; a wellspring (archaic but still appears in poetic & literary use as both "font" & "fount").

(6) In the slang of television production, to overlay text onto the picture.

(7) In typography, a set of glyphs of unified design, belonging to one typeface, style & weight and usually representing the letters of an alphabet, supplementary characters, punctuation marks and the ten standard numerals.

(8) In phototypesetting, a set of patterns forming glyphs of any size, or the film they are stored on.

(9) In digital typesetting, a set of glyphs in a single style, representing one or more alphabets or writing systems, or the computer code representing it.

(10) In computing, a file containing the code used to draw and compose the glyphs of one or more typographic fonts on a display or printer.

Pre 1000: From the Middle English font, from the Old English font & fant, from the Latin font-, the stem of the Church Latin fons baptismalis (baptismal font, spring, fountain) from the Classical Latin fōns (genitive fontis) (fountain).  The use in printing to describe typefaces dates from the 1570s and was from the Old & Middle French fonte (a founding, casting), the feminine past participle of the verb fondre (to melt), from the unattested Vulgar Latin funditus (a pouring, molding, casting), a verbal noun from the Latin fundere (past participle fusus) (to pour a melted substance) from a nasalized form of the primitive Indo-European root gheu- (to pour).  The meaning was acquired because all the characters in a set were cast at the same time.  Most people use the words font and typeface as synonyms but industry professionals maintain a distinction: the typeface is the set of characters of the same design; the font is the physical means of producing them; that difference was maintained even as printing moved from physical wood & metal to electronics.  The modern practice is for the spelling “font” to apply to use in printing while “fount” is use for receptacles containing liquids.  That must seem strange to those learning the language but it’s how things evolved.  Font is a noun & verb, fonted is a verb & adjective, fonting is a verb and fontal is an adjective; the noun plural is fonts.

The politics of fonts

Great moments in fonts: Always select your font with care.

Dr Stephen Banham (b 1968) is a senior lecturer in typography at RMIT University in Melbourne, Australia who has published widely on the subject.  He recently discussed the politics of fonts and offered a number of examples of how fonts have played some significant role in recent history.  He noted the way in which some developments in typefaces have been technologically deterministic, something related not only to the changes in the mechanical devices used in printing (such as the shift from wooden to metal type) but also the speed at which people travelled while reading.  When the development of railways meant people began regularly to travel at speeds beyond that which teams of horses could attain, it meant there was signage which had to be legible to those passing on the train and this was not always simply a matter of scaling-up the existing styles; sometimes new designs were needed with different aspect ratios.

Fonts in transition: Nazi Party poster advertising a “Freedoms Rally” (the irony not apparent at the time), Schneidemuhl, Germany, (now Pila, Poland) in 1931 (left), Edict issued by Martin Bormann (1900–1945) banning the future use of Judenlettern (Jewish fonts) like Fraktur (the irony of the letterhead being in the now banned typeface presumably didn’t disturb the author) (centre) and (in modern Roman script), an announcement in occupied that 100 Polish hostages had been executed as a reprisal for death of two Germans in Warsaw, 1944 (right).

Sometimes too, the message was the typeface itself; it imparted values that were separate from the specific meaning in the text.  The Nazi regime (1933-1945) in Germany was always conscious of spectacle and although in matters of such as architecture customs there was a surprising tolerance of regional difference, in some things it demanded uniformity and one of those was the appearance of official documents.  Early in his rule their rule, Adolf Hitler (1889-1945; Führer (leader), German head of government 1933-1945 & head of state 1934-1945) decreed that “German Black Letter” should be used for all official purposes (and it was used in the cover art of most early editions of Mein Kampf); Hitler, who to the end thought himself an “artist”, liked the heavy, angular form for its encapsulation of the Germanic.  Fraktur is probably the best known of these although it’s but one of a number of variations of the typeface and such was the extend of the state support for the font that the party was critical of newspapers, publishers & magazines which used more modern (and easier to read) forms (and they were used by the German military and civil service when legibility was important), a frequent criticism being the “Roman characters” somehow represented a “Jewish influence”.  In one of the ironies of history however, when it became apparent that when used in letters and notices distributed to enforce rule in the occupied territories the use of the font was counter-productive because it was so hard to read, the Nazis suddenly declared that Fraktur had become contaminated wand was thus proscribed as Judenlettern (Jewish letters), official documents thereafter rendered in modern Roman type.  Martin Bormann's edict was issued thus:

I announce the following, by order of the Führer:

It is false to regard the so-called Gothic typeface as a German typeface. In reality, the so-called Gothic typeface consists of Schwabacher-Jewish letters. Just as they later came to own the newspapers, the Jews living in Germany also owned the printing presses… and thus came about the common use in Germany of Schwabacher-Jewish letters.

Today the Führer… decided that Antiqua type is to be regarded as the standard typeface. Over time, all printed matter should be converted to this standard typeface. This will occur as soon as possible in regard to school textbooks, only the standard script will be taught in village and primary schools. The use of Schwabacher-Jewish letters by authorities will in future cease. Certificates of appointment for officials, street signs and the like will in future only be produced in standard lettering…

In the post war years, fonts (the word had come by them to be used generically of typefaces except by printers) reflected the mood of the times and in the unexpectedly buoyant years of the 1950s there emerged in West Germany (the FRG) “Optima”, (1958) intended to convey the optimism engendered by the Wirtschaftswunder (the economic miracle) while in France, “Univers” (1957), the product of a Swiss designer, was in a similar vein and intended to be suitable for all purposes in all languages.  Doubtlessly though, no font compares with the Swiss "Helvetica" (1957) which, by virtue of its elegance, simplicity & adaptability, quickly enjoyed a popularity which endures to this day and it remains the only font which has been the subject of a full-length feature film.  It spawned a number of imitators, especially after it was included in Adobe’s PostScript set, the best known of which is probably the ubiquitous Arial (1982).  The optimism of the 1950s is long gone although Optima remains available and names still reflect something of the concerns of their era: “Exocet” (1981), “Stealth” (1983) and “Patriot” (1986) all part of the late Cold War Zeitgeist.  Fonts can also reflect environment concerns and there are now some which no longer use solid forms, instead being made of lines, thereby reducing the consumption of ink or toner by up to 12%.  The trick isn’t detectable by the naked eye and is actually not new, “outline” typefaces long available although in those the technique was designed to be apparent and there were limitations in their application; below a certain size they tended to fragment.

More great moments in fonts.

During the Covid-19 pandemic when we were all spend much time in a form of house arrest, the font download sites all noted a spike in demand for script-like fonts, especially those which most resembled handwriting (and it is possible to have one’s own handwriting rendered as a font), the demand presumed to be induced by a longing for a way to express feelings in a more “human” way than the default serif and san serif sets which ship with email and messenger services.  That over arching binary (serif & san serif) has also attracted criticism because humanity’s most obvious binary (male & female) in now under siege as a form of oppression so binaries in general seem no longer fashionable.  With fonts, the most obvious micro-aggression is the way fonts are often categorized as “masculine” (Arial; Verdana etc) and “feminine” (Brush Script; Comic Sans (maybe in fuchsia) etc) and though the relevant characteristics can’t exactly be defined (except for the fuchsia), the differences probably can be recognized although that of course is a product of the prejudices and suppositions of the observer.  Presumably, if offered a third category (gender-neutral), a sample group would put some fonts in there but even that would seem based on the prejudices and suppositions constructed by the original binary.  The mechanics (as opposed to the content) of typology is one of the less expected theatres of the culture wars.

Verzoening, Geffen, the Netherlands.

The simultaneously derided yet still popular font Comic Sans (1984) has been more controversial than most.  The design was intended to recall the sort of writing which appeared in the speech bubbles of cartoons and it first came to wide public attention in 1995 when it was used in Microsoft Bob, the software which was an attempt to use a cartoon-like interface to make navigating Windows 95 easier for neophytes.  Even less popular than Windows Me, Windows Vista or DOS 4.0, Bob was allowed quietly to die but Comic Sans survived and found a niche, much to the disgust of some in major corporations who banned its use, demanding the staff use only “dignified” or “serious” (presumably masculine) fonts rather than something from a comic book.  Unfortunately, this news appeared not to reach whoever it was in the Netherlands who in 2012 approved the use of Comic Sans on the World War II memorial Verzoening (Reconciliation) erected in the town of Geffen.  That attracted much criticism but not as much as the decision to have the names of Jewish, Allied and German military deaths all to be etched (in Comic Sans) on the same stone.  After it was pointed out that reconciliation with the SS was not a national sentiment, the offending names were removed although for the rest, Comic Sans remained, albeit modified by the stonemasons so the text was rendered thicker, the local authorities justifying the retention on the grounds the shape of the text was in accord with the stone (it’s difficult to see the connection) and easily legible at a distance (certainly true).  It may be the only monument in the world, dedicated to the dead, which uses Comic Sans.

Crooked Hillary Clinton updating her Burn Book which, during the primary campaign for the Democrat Party nomination for the 2016 presidential election, probably would have been referred to internally as her "Bern Book" because it would have been so filled with tactics designed to sabotage the campaign of Bernie Sanders (b 1941; senior US senator (Independent, Vermont) since 2007) (digitally altered image).  In Mean Girls (2004), the Burn Book's cover used the "ransom note" technique which involved physically cutting letters from newspapers & magazines and pasting them onto a page, a trick of the pre-DNA analysis age which left no identifiable handwriting.  There are a number of "ransom" fonts which emulate the appearance in software.

Politicians do maintain burn books although few are much discussed.  Richard Nixon's (1913-1994; US president 1969-1974) "enemies list" became famous in 1973 when it emerged during congressional hearings enquiring into the Watergate break-in and that such a list existed surprised few although some did expect it to contain more names than the twenty included; it was common knowledge Nixon had many more enemies than that.  That view was vindicated when later lists were revealed (some containing hundreds of names) though had the net been cast a little wider, it could well have run to thousands.  At least one Eurocrat has also admitted to keeping a burn book although Jean-Claude Juncker (b 1954; president of the European Commission 2014-2019) calls his "little black book" Le Petit Maurice (little Maurice), the name apparently a reference to a contemporary from his school days who grew taller than the youthful Jean-Claude and seldom neglected to mention it.  Although maintained for some thirty years (including the eighteen spent as prime-minister of Luxembourg) to record the identities of those who crossed him, Mr Junker noted with some satisfaction it wasn't all that full because people “rarely betray me”, adding “I am not vengeful, but I have a good memory.”   It seems his warning “Be careful.  Little Maurice is waiting for you” was sufficient to ward of the betrayal and low skulduggery for which the corridors of EU institutions are renowned.

Biomimic

Biomimic (pronounced bahy-oh-mim-ik)

(1) A synthetic substance, material or device which mimics the formation, function, or structure of biologically produced substances & materials, biological mechanisms or processes.

(2) The act or processes involved in the creation of such substances, materials or devices.

1969: The construct was bio(logy) + mimic.  The bio- prefix was from the Ancient Greek βίο- (bío-), a combining form and stem of βίος (bíos) (life) used widely to construct forms in some way (even if in emulation) related to organic life (ie biological organisms in general).  Mimic was from the Latin mīmicus, from the Ancient Greek μῑμικός (mīmikós) (belonging to mimes), from μῖμος (mîmos) (imitator, actor), the source also of the modern mime.  It was used variously to mean (1) to imitate (applied especially to acts intended to ridicule), (2) to take on the appearance of another, for protection or camouflage (originally from zoology and other biological sciences but later more widely applied) and (3) in IT systems for a range of purposes.  The alternative spelling was mimick which persisted into the nineteenth century.  Biometric is a noun & verb, biomimicry & biomimesis are nouns, biomimetic is an adjective and biomimetically is an adverb; the noun plural is biometrics.

1955 D-Type (XKD510) with tailfin used on the tracks with unusually long straights (left), image of a great white shark (centre) and 1948 Tatra T87 II with stabilizing fin (right).

Jaguar’s experience in 1954 running the D-Type on the long Mulsanne Straight at Le Mans had proved the effectiveness of the re-designed bodywork, the cars more than 10 mph (16 km/h) faster in a straight line than the winning Ferrari but all the drivers reported that at speeds above 160 mph (257 km/h), straight line stability had suffered and in the cars not fitted with a tailfin, the lateral movement could sometimes be measured in feet.  Aerodynamics at the time was still in its infancy and most attention had been devoted to reducing drag in the pursuit of speed and much of the available data was from aviation where lift was a virtue; it wouldn’t be until the next decade with the advent of more available wind tunnels that designers began to understand how a compromise between slipperiness and down-force could be attained and even then, the increases in speed for years outpaced the test facilities.  Jaguar’s solution was a tailfin, something which fulfilled essentially the same function as a shark’s dorsal fin; the fish’s tailfin was used for propulsion and directional change, in a car, those dynamics are handled by other means.  The purpose of a dorsal fin is to stabilize, to prevent the rolling action which would otherwise be induced by movement through the water and Jaguar’s device likewise provided stability.  The fin was enlarged in 1955 and better integrated with the bodywork.

The Czech Tatra 87 (1936-1950) is regarded as a mid-century modernist masterpiece (as least visually, its configuration proved a cul-de-sac) and one thing which always attracts attention is the tailfin, something Tatra first put on a car in 1934.  What the fin did was split and equalize the air pressure on both sides at the rear, something designed to ameliorate the behavior induced by physics, the T87 enjoying the unfortunate combination of swing-axles and a rear-mounted V8 engine.  That configuration delivered some specific advantages but also a tendency for the back end of the car to “wander a bit”.  At speed, the fin helped but didn’t eliminate the problem and if corners were approached with too much enthusiasm, the swing axles certainly swung and it wasn’t uncommon for them to slide off the road or even overturn.  The effects of the fin can be emulated by a car towing a trailer at speed.  If a heavy load is placed in the front of the trailer, stability is usually good but if moved to the rear, there’s the danger of fishtailing which, if left uncorrected, can result in both car and trailer overturning.

The legend exists that such was the Tatra accident rate after the country was occupied in 1938-1939 that Germans there as part of the imposed administration were forbidden from driving the things.  A car must be truly evil for use by the SS to be declared verboten but historians have never unearthed the smoking gun of a documented order and declare it probably apocryphal although words of caution doubtlessly were spread.  Some versions of the story claim the order came from the Führer himself and it seems certain, whatever his tendency to micromanage, that definitely is fanciful although he was well acquainted with Tatra’s designs and their influence on the Volkswagen, the so called “peoples’ car” intended to bring to Germany the mass-market automobile which the Ford Model T (1908-1927) had delivered to US society.

Biomimicry: Lindsay Lohan in leopard-print.

Humans have been practicing biomimicry long before the emergence of any form of culture recognizable as a civilization; the use of animal skins or fur for warmth was an early example of what would later evolve into a technology.  Presumably, at least some of those who fashioned some of the early canoes and boats might have been influenced by the appearance of fish when choosing the shape a hull was to assume.  In architecture too nature seems to have provided inspiration and evidence exists of prehistoric structures which seem to owe something to both beehives and termite mounds although there’s obviously no extant documentation to verify the speculation.  Later architects and engineers did leave notes and natural structures including eggshells & mushrooms served as models of how strength and the volume of internal space could be optimized.  However, probably the best known of the early studies of biomimicry was the observation of birds undertaken in the age-old quest for human flight, many of Leonardo da Vinci’s (1452–1519) sketches of the physiology of both men and birds part of the research for his designs of “flying machines”.  For centuries, others would look to birds for inspiration although it wasn’t until the 1950s that the word “biomimic” began to evolve and that happened not among engineers or architects but in the biology labs, and at the time, what was called “bionics” was conceived as a practical application, a synthetic emulation of natural systems, then usually referred to as “biophysics”.  In the following decade, “biomimetic” came to be preferred because it exactly represented the concept and thus the discipline of “biomimmetics” was formalized: the engineering of a device, substance or material which mimics those found in the natural environment.

Northrop Grumman B-2 Spirit (Stealth Bomber) and the Peregrine Falcon.

Popular culture played a part in the evolution too.  The word “bionic” fell from academic favor because in the 1970s it was used in science fiction (SF) of sometimes dubious quality and in television programmes which were distant from what was scientifically possible.  The term biomimicry however flourished as products (such as Velcro) which owed much to models observed in the natural environment appeared with increasing frequency and the techniques came to be described as “reverse engineering”, a term later co-opted in IT to refer to the process of deconstructing a piece of compiled software in order to be able to understand the source code which underlay to program.  Biomimicry was also of interest in the social sciences.  Although there had for more than a century been studies of the organization of animal societies including bees, ants and primates, the simultaneous rise of the economist and the power of computers to construct big-machine models meant that it came to be understood there might be a financial value in observations, beyond the academic interest of the behaviorists and psychologists.

Three models: Pop artists have often been attracted to similarities between various animals and the human form, either static or in motion but Japanese painter & sculptor Showichi Kaneda san (b 1970) was much taken with the structural alignment between the hammerhead shark and the modern open wheel racing car of which the Formula One machines are the highest evolution (even if in their present form about the most boring yet regulated).