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.

1892: From the Modern French or the New Latin, 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.  Like a syndrome, something need not be wide-spread to be a type of synesthesia, it needs just to be specific: someone with the grapheme-color variant might see "Lindsay Lohan" as Lindsay Lohan.  Simultanéisme was a short-lived, early twentieth century movement in French poetry.  The writers aimed to achieve a kind of “simultaneousness of image and sound”, to represent or reproduce human sounds mingled with other sounds (ranging from birds & land mammals to those heard in cityscapes including the then novel automobile).  An attempt to form complex and dynamic onomatopoeiae, types of synaesthesia and kinaesthetic images, the finest surviving examples are in La Trilogie des forces (The Trilogy of Forces, 1908-1914) by the movement's founder Henri-Martin Barzun (1881–1973) and Naissance du poème (Birth of the poem, 1918) by Fernand Divoire (1883-1951).

For many reasons, as a literary device, synaesthesia in the twentieth century became much analysed and discussed with the critics even managing to build theories although it was not at all novel, innumerable writers of prose, poetry and non-fiction for millennia having synaesthetic references in their texts.  It’s a familiar feature of everyday speech, mentions such as “a heavy silence” or a “black look” being commonplace and there are no pedantic literalists who complain when a music critic writes of the “darkening voice” of the aging soprano.  So it’s a mixing of sensations, the concurrent appeal to more than one sense; the response through several senses to the stimulation of one and while as an intellectual exercise than can be made complex, in everyday life it’s just the way people think.

In the medical literature the French term synesthésie had appeared at least as early as 1864 but that was of bodily reflexes and co-sensations rather than the neurological condition and the first use in English in the modern sense is thought to appear in a translation of Jules Millet’s (1965-1982) doctoral thesis Audition colorée (Colored hearing) in which he differentiated synesthésie (for all kinds of combined senses) from those specifically associated with links between colors and sounds.  At the time, scientists and physicians in the English-speaking world were still using the borrowed French term pseudochromesthésie, a long word with a brief history.  In 1848, French physician Charles-Auguste-Édouard Cornaz (1825-1911) was the first to give a name to what would come to be known as synesthesia, calling it hyperchromatopsie (perception de trop de couleurs) (hyperchromatopsia (perception of too many colors)), the rationale for that being Dr Cornaz regarding the condition as the opposite of the well-documented chromatodysopsie (chromatodysopsia (color blindness); the term was the precursor to what would become hyperesthesia.  Dr Cordaz's coining fell into disuse after biographically otherwise obscure French physician Ernest Chabalier in 1864 published a paper using the term pseudochromesthésie (or pseudochromesthesia) (false colour-sensation) which enjoyed general adoption before being supplanted by synesthesia.

However, although the scientific study may have been embryonic, the idea was not and three lines from Charles Baudelaire’s (1821-1867) sonnet Correspondances (Fleurs du mal (Flowers of Evil, 1857)) are illustrative of what was a common technique from the factory floor to the academy:

Les parfums, les couleurs et les sons se répondent.

II est des parfums frais comme des chairs d'enfants,

Doux comme les hautbois, verts comme les prairies,

Those translating Baudelaire into English did take a few interpretative liberties with his work but the synaesthetic imagery (mostly) was preserved:

The scents and colours to each other respond.

And scents there are, like infant's flesh as chaste,

As sweet as oboes, and as meadows fair,

Cyril Scott (1879-1970), Baudelaire: The Flowers of Evil (1909)

Colour and sound and perfume speak to him.

Some perfumes are as fragrant as a child,

Sweet as the sound of hautboys, meadow-green;

F.P. Sturm (1879-1942), from Baudelaire: His Prose and Poetry, edited by Thomas Robert Smith (1880-1942) (1919)

sound calls to fragrance, colour calls to sound.

cool as an infant's brow some perfumes are,

softer than oboes, green as rainy leas;

Lewis Piaget Shanks (1879-1935), Flowers of Evil (1931)

Perfumes there are as sweet as the music of pipes and strings,

As pure as the naked flesh of children, as full of peace

As wide green prairies

George Dillon (1906-1968), Flowers of Evil (1936)

So are commingled perfumes, sounds, and hues.

There can be perfumes cool as children's flesh,

Like fiddIes, sweet, like meadows greenly fresh.

Roy Campbell (1901-1957), Poems of Baudelaire (1952)

Perfumes, sounds, and colors correspond.

There are perfumes as cool as the flesh of children,

Sweet as oboes, green as meadows

William Aggeler (1904-1974), The Flowers of Evil (1954)

Perfumes and sounds and colors correspond.

Some scents are cool as children's flesh is cool,

Sweet as are oboes, green as meadowlands,

Jacques LeClercq (1891-1971), Flowers of Evil (1958)

Perfumes, colors and sounds answer one another.

There are perfumes as cool as the flesh of children,

Sweet as oboes, green as prairies

Wallace Fowlie (1908-1998), Flowers of Evil (1964)

So perfumes, colors, tones answer each other.

There are perfumes fresh as children's flesh,

Soft as oboes, green as meadows,

Geoffrey Wagner (1927-2006), Selected Poems of Charles Baudelaire (1974)

So perfumes, colours, sounds may correspond.

Odours there are, fresh as a baby's skin,

Mellow as oboes, green as meadow grass,

James McGowan (1938-2014), Flowers of Evil (1993)

Perfumes, colours and sounds respond.

Odours fresh as the skin of an infant,

Sweet as oboes and green as a meadow,

Beverley Bie Brahic, Invitation to the Voyage (2021)

Wassily Kandinsky, color, shape and music

Winter Landscape (1909), oil on cardboard by Wassily Kandinsky.

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 Richard Wagner's (1813–1883) 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 astray a few troubled souls but he guided Kandinsky along a good path; the world can gain much from having more artists but probably has enough lawyers.

Composition VII (1913), oil on canvas by by Wassily Kandinsky.

Whether Kandinsky would have become an artist had he not been a synaesthete can't be known but music certainly drew him to become a certain sort of painter.  His path artistic path he explained by saying: "A painter, who finds no satisfaction in mere representation, however artistic, in his longing to express his inner life, cannot but envy the ease with which music, the most non-material of the arts today, achieves this end. He naturally seeks to apply the methods of music to his own art."  Music he called "the ultimate teacher" and it critical to the development of especially his abstract works; 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”.  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.

Improvisation 35 (1914), oil on canvas by Wassily Kandinsky.

As well as the works in which he explored the implications of his synesthesia, Kandinsky painted in other styles including Post-Impressionism, Expressionism, Abstraction, Landscape, Cityscape, Genre, Marina and Allegory.  Although he did paint people in recognizable form (including self-portraits), had Kandinsky painted Lindsay Lohan he’d likely not have been drawn to depicting her in a realistic likeness, attracted instead by the colors he’d have associated with the metaphorical “sound” of her once tempestuous lifestyle and the actual sounds of the music she created.  Quite what might have been colors and shapes of the involuntary visual experience he’d have enjoyed while hearing of her adventures or listening to her tunes is of course speculative but in his 1911 treatise he did map out a quite strict vocabulary linking specific colors to musical instruments and emotional states.  From that would emerge a constellation of colored planes and rhythmic lines, a Lohanic portrait best assessed as a musical composition, visual elements corresponding with timbre, pitch and rhythm.

Black Lines I (1913), oil on canvas by Wassily Kandinsky.

From his visual lexicon, it’s possible to imagine how a visual symphony of Lindsay Lohan might have appeared, her distinctive red hair drawn not as naturalistic strands but, because of the his association of vermilion with the sound of a trumpet, (someting cross-cultural, Dr Johnson (Samuel Johnson (1709-1784)) once describing the color scarlet to a blind man as “the clangour of a trumpet”) there’d likely have been intense, sharp, angular geometric structures or aggressive, flaming slashes of red slicing across the canvas.  Thematically, it would be a “loud” work, suggestive of something sudden and explosive but there would also be “quieter” elements, Kandinsky associating a light, powder blue with the sound of a flute and ultramarine or cobalt with that of a cello or the deeper tones of an organ.  There might have been interlocking concentric circles and smooth, floating curves of blue weaving through the sharp red angles, the “cool” blue tones not balancing but clashing with the “hot” reds, representing both the rhythmic layers of her music and the more melancholy undercurrent of a life lived under the microscope of the tabloid press.  Superficially incoherent because of fragmented geometric shapes and intersecting diagonals, the tension between colors would have created an emotional dissonance, visual “chords” at once seductive and unstable.

Violet (1923), colour lithograph by Wassily Kandinsky.

It’s likely Kandinsky would have been unable to resist so obvious an artistic possibility as Lindsay Lohan’s famous freckles, representing as they do in music a staccato percussion.  On canvas, this would have been translated into a scatter plot of sharp dots peppered not in a defined pattern but randomly, as naturally as they appear on skin.  Kandinsky thought dots (in the sense of “representations of points”) as the ultimate minimalist entity implying a sudden, sharp beat or a silent pause; either way, there would be a spray of rhythmic, percussive dots jumping across the canvas, one’s interpretation of that an element in deconstructing the whole.  While his techniques were multi-layered, he did claim in one aspect there was simplicity because: "Everything starts from a dot."  Shapes being signifiers of an inherent spiritual weight, there would have been triangles because he imagined them as possessing aggressive, forward-moving energy; they would appear with circles representing the soul and peace.  The darkness in her life would have been conveyed by chaotic, clashing black lines and there would also be yellow, a color the artist described as “frenzied” and capable of “violently bothering" the viewer.  All this would typically be “played out” by interactions on the “charged, expectant silence” of a solid, white background.  A viewer would perhaps not recognize even a hint of a human presence and the work would be understood only if the title made explicit Lindsay Lohan was the subject.  Even then, some notes from the artist would be helpful because, while a set of emotional and musical impulses orchestrated in color would be a familiar language to other color-music synaesthetes, the level of abstraction would for others make it mysterious and probably weird beyond immediate understanding.

Skirt

Skirt (pronounced skurt)

(1) The part of a gown, dress, slip, or coat that extends downward from the waist.

(2) A one-piece garment extending downward from the waist and not joined between the legs, worn especially by women and girls.

(3) Some part resembling or suggesting the skirt of a garment, as the flared lip of a bell or a protective and ornamental cloth strip covering the legs of furniture.

(4) In saddlery, in a small leather flap on each side of a saddle, covering the metal bar from which the stirrup hangs.

(5) In the building trades, a baseboard or apron.

(6) In furniture design, a flat horizontal brace set immediately beneath the seat of a chair, chest of drawers, or the like, to strengthen the legs; also called a bed or frieze (a flat brace or support immediately beneath a tabletop).

(7) The bordering, marginal, or outlying part of a place, group etc; the outskirts; to lie along the border of somewhere.

(8) In slang, an older (and usually disparaging or offensive) term used to refer to a woman or girl.

(9) In rocketry, an outer part of a rocket or missile that provides structural support or houses such systems as avionics or gyroscopes.

(10) To avoid, go around the edge of, or keep distant from (something that is controversial, risky etc).

(11) In the wool industry, to remove low-grade wool and foreign matter from the outer edge of fleece.

(12) In the design of internal combustion engines, the lower part of the block which extends to (or below) the centre of the crankshaft line.

(13) In the design of suction or elevating devices, a flexible edging providing a partial seal at the base where the air flow occurs.

(14) In butchery, a cut of beef from the flank.

1250–1300: From the Middle English skyrte & skirte (lower part of a woman’s dress) from the Old Norse skyrta (shirt; a kind of kirtle) from the Proto-Germanic skurtijǭ (skirt).  The sense development from "shirt" to "skirt" is thought most likely related to the long shirts of peasant garb (the Low German cognate Schört, in some dialects translates as "woman's gown").  The meaning "border, edge" (in outskirts, etc) was first recorded in the late fifteenth century and the metonymic use for "women collectively" emerged as early as the 1550s although there’s no evidence the slang sense of "young woman" existed prior to 1906 with “skirt-chaser” (a womaniser) first attested 1942.  The mini-skirt dates from 1965, reputedly the invention of French designer André Courrèges (1923-2016).

Annotated schematic of Ford Y-block V8 (left) and a 430 cubic inch (7.0 litre) MEL V8 during the restoration of a 1958 Lincoln Premiere Coupe in Autumn Rose & White (right).  The MEL V8 was also in the "Y-block" shape but is never referred to as such because the identifier MEL (Mercury-Edsel-Lincoln) is used.  Thus the 239-256-272-292 & 312 Ford V8 and 279-302-317-332-341 & 368 Lincoln V8 families are the Y-blocks while the MEL (383-410-430 & 462) MEL V8 is a Y-block type design.

The Ford & Lincoln “Y-block” V8 engines gained their nickname from the deep skirting of the block which extended below the crankshaft line, making for an unusually robust bottom end, something which would prove of some significance long after the unit had in the US been supplanted by more modern designs.  In many ways the Y-blocks were a curious cul-de-sac in the evolutionary path of the US V8 engine, having an unusual port design which rendered development by conventional means impossible (hence the brief resort to supercharging) and the dimensions limited the potential for increased displacement.  It was noted also for the unique arrangement of the solid valve lifters which had to be installed from below and a firing order which produced a distinctive and pleasing burble from the exhaust.  Compared with Ford’s earlier and later V8s, both the Y-Blocks were short-lived, the Lincoln (some of which were actually used in Ford trucks) used between 1952-1963 while the Ford lasted from 1954 until 1964, their replacements both adopting a more conventional design approach.  However, the Ford lived on in Romania until 1975 where it was produced under licence as a truck engine (the durability of the tough, deep-skirted block an asset in a market where conditions were tough and the quality of oil and fuel sometimes suspect) and in Argentina until 1988, the South Americans improving things greatly with their re-designed heads which used conventional porting.

The Pencil Skirt

Lindsay Lohan in racerback floral crop top and matching high-waisted pencil skirt with cobalt blue suede heels; Suno Spring Collection, 2013.

A pencil skirt is a slim-fitting garment with a severe, narrow cut.  The classic design was approximately knee-length but modern, more flexible fabrics have made possible calf-length styles.  It borrows its name from the writing instrument because, tailored for a close fit, it is pencil-like: long and slender.  Flexible in use, it’s the quintessential mix-and-match item, able to be worn either as a separate piece or as part of an ensemble.  A vent is usually placed in the back (or increasingly at the sides, especially in longer styles) because the slim shape would otherwise impede movement although a more modest kick pleat can instead be used.  Modern stretchy fabrics have made practical functional pencil skirts without either vents or pleats but they seem still popular for aesthetic reasons.  Historically, the industry paired pencil skirts with stilettos or court shoes but they’re now worn in just about any combination, boots proving increasingly popular.  French designer Christian Dior (1905–1957) included a classic pencil skirt in his 1954 Autumn-Winter collection although the style had long been worn.  Economical in the use of fabric compared with more voluminous cuts, its popularity had been boosted by war-time rationing and post-war austerity.

The pencil skirt’s precursor was the hobble skirt, an Edwardian-era fad inspired by the Ballets Russes, a Paris-based ballet company which, between 1908-1929, performed in the Americas and Europe (though paradoxically never in Russia because of the political convulsions).  Highly influential, Ballets Russes brought modernism to ballet with works commissioned from Stravinsky, Debussy, Prokofiev, Satie and Ravel, and their artistic collaborators included Kandinsky, Benois, Picasso and Matisse.  Coco Chanel (1883–1971) was one of their costume designers but it’s not known if she penned the hobble skirt.

Turquoise

Turquoise (pronounced tur-koiz or tur-kwoiz)

(1) A fine-grained secondary opaque mineral, a basic hydrous copper aluminum phosphate often containing a small amount of iron, sky-blue to greenish-blue in color (also as the rare form turquois).  It occurs, usually in reniform (kidney-shaped) masses with surfaces shaped like bunches of grapes, especially in aluminum-rich igneous rocks such as trachyte.  In its polished blue form (it occurs also in a yellowish-green hue) it is prized as a gem.  Formula: CuAl₆(PO₄)₄(OH)₈·4H₂O.

(2) A color in the blue spectrum, described usually as bluish green or greenish blue and known also (for commercial purposes) as turquoise blue.

(3) A gemstone (categorized as a semi-precious) made of the mineral, the hues tending to blue traditionally more valuable than the greens.

(4) One of the birthstones for the month of December and associated with the zodiac signs Sagittarius and Capricorn.

1300s or 1600s:  The origin is contested.  Some etymologists trace it from the seventeenth century when it was picked up from the Middle French turquoise, from the Old French (pierre) turquoise (Turkish (stone)), the construct being turc (Turk) +‎ -oise (the feminine of -ois and the suffix used to form adjectives related to a particular country, region or city, their associated inhabitant names, and the local language or dialect), simply because the mineral ( mined near Nishapur in the Khorasan region of Persia) first reached Europe in the hands of the Turkish traders (from the modern-day Republic of Türkiye) of the Ottoman Empire (thus essentially the same manner in which the bird known as the Turkey gained its name) .  Others claim it dated from the fourteenth century as an adaptation of the Middle English turkeis & turtogis (Turkish) which in the 1560s was replaced by the French turqueise.  Those supporting the later etymology claim the gemstone was first brought to Europe from Turkestan or another Turkic territory.  Pliny the Elder (24-79) called the mineral callais (from the Ancient Greek κάλαϊς) and to the Aztecs it was chalchihuitl.  It was cognate with the Spanish turquesa, the Medieval Latin (lapis) turchesius, the Middle Dutch turcoys, the German türkis and the Swedish turkos.  Adjectival use began in the 1570s and it came to be used a colour name in the 1850s.  The use of the spelling turkies is archaic and turquois is rare.  Turquoise is a noun & adjective ane turquoisish, turquoisey, turquoisy¸ turquoised & turquoiselike are adjectives; the noun plural is turquoises.

Turquoise and diamond cluster dangle earrings (circa 1890) in 14 karat gold with cabochon cut sky blue Persian turquoise surrounded by 24 cut diamonds (total 3 carats).

Turquoise is often used in jewelry although some pieces sold as “turquoise” can be artificial and actually only turquoise-colored (with the dual meaning of the word it’s essential to read the small print).  Turquoise used in jewelry is often cut in the form of a cabochon (an oval shape polished but not faceted) and these, in a variety of sizes, are popular for pendants, broaches and earrings.  Turquoise was mentioned in the writing of the Venetian merchant Marco Polo (circa 1254–1324) who saw examples while in China and in the US, turquoise jewelry is especially associated with Native American artisans, particularly from tribes of the south-west including the Navajo & Hopi.

Lindsay Lohan rendered with turquoise hair (left), in turquoise blue waters (centre) and wearing turquoise blue (right).

As a descriptor of color, turquoise is commonly used but it’s inexact, even by the standards of commercial color charts and what some call turquoise others might describe as teal or cyan and the mineral itself exists in quite a range.  The various shades of blue anyway exist in quite a spectrum including: Alice blue, aqua, aquamarine, azure, baby blue, beryl, bice, bice blue, blue green, blue violet, blueberry, cadet blue, Cambridge blue, cerulean, cobalt blue, Copenhagen blue, cornflower, cornflower blue, cyan, dark blue, Dodger blue, duck-egg blue, eggshell blue, electric-blue, gentian blue, ice blue, lapis lazuli, light blue, lovat, mazarine, midnight blue, navy, Nile blue, Oxford blue, peacock blue, petrol blue, powder blue, Prussian blue, robin's-egg blue, royal blue, sapphire, saxe blue, slate blue, sky blue, teal, turquoise, ultramarine, Wedgwood blue & zaffre.

Lindsay Lohan in turquoise wetsuit during filming for “jet ski scene” in Freakier Friday (2025), Malibu, California, August 2024.

The vivid color range of turquoise must have attracted the eyes of humans as soon as they discovered the stone; it is one of the gems with the longest history of decorative use and while it’s not certain how ancient is the tradition, the archaeological record has revealed the upper classes of ancient Egypt wore turquoise jewelry more than 4000 years ago and it’s clear Chinese artisans were carving objects from the stone by at least 1000 BC.  The national gem of Tibet, it has long been valued as a stone which will bring the wearer wealth, health and protection from evil.  It assumed also some military significance because certain tribes of the Apache in what is now the south-western United States believed turquoise attached to a bow or firearm increased a hunter’s (or warrior’s) accuracy of fire.  More pragmatically, the stone also was used as a medium of exchange for among many Native American tribes although being relatively plentiful, as a form of currency its utility was limited and it was valued more for its attractiveness.

Being relatively soft turquoise can be easy to carve but that very attribute can also induce fragility so the selection of a stone for this purpose is best allocated to an expert.  Like most materials, it's a patchwork of strengths and weaknesses: With a Mohs hardness typically between 5-6 it's softer than quartz (rated at 7) but harder than most organic materials like bone or ivory.  That means most standard lapidary tools can be used for carving but does render it susceptible to scratching.  Additionally, many turquoise deposits are porous and often contain inclusions or matrix (ie the host rock) which makes it prone to chipping, crumbling, or breaking along weak spots if too much pressure is applied.

1962 Ferrari 250 GT SWB (short wheelbase) California Spider.

In March 2023, at the annual auctions on Amelia Island, Florida (the old four-day Amelia Island Concours d’Elegance) a 1962 Ferrari 250 GT SWB California Spider sold for US$18,045,000, passing under Gooding & Co’s hammer.  The SWB Spiders have for years be prized but this one attracted a premium because of aspects which attested to its particular rarity, being one of only 37 (some say 47) of the 106 made with the (soon to be unlawful) Perspex-covered headlights and the only one the factory finished in azzurro metallizzato, an eye catching turquoise.  In the way the Italian language manages like no other, azzurro metallizzato sounds much better the the literal translation “metallic sky blue”.  The car was prepared especially for the 1962 New York International Auto Show and remarkably, after being damaged in an accident in 1971, was sold the following year for US$2400 (around US$18,000 adjusted for inflation), so in fifty-odd years it has appreciated around a thousand-fold.  There was of course a repair and restoration bill to be paid in 1972 and the many costs of ownership since but however it’s analyzed, the thing has proved a good investment (although there will be accountants anxious to prove the same US$2400 invested in the right stock index or whatever would have been more lucrative still).  While in the public imagination Ferraris are most associated with red (and the classic rosso corsa (racing red) is just one of many reds the factory has offered), shades of blue have always been popular and over the years there have been dozens.  

Ms Justine Haupt with custom rotary-dial cell phone in turquoise.

Ms Justine Haupt (b 1987), an astronomy instrumentation engineer at New York’s Brookhaven National Laboratory took a step backwards (or perhaps sideways, some might suggest) and built a rotary-dial cell phone from scratch because of her aversion to what she describes as “smartphone culture and texting”, something to which many will relate.  In what proved a three year project, Ms Haupt used a rotary-dial mechanism from a Trimline telephone (introduced in 1965 and produced by Western Electric, the manufacturing unit of the Bell System), mounted on a case 4 x 3 x 1 inches (100 x 75 x 25 mm) in size with a noticeably protuberant aerial; it used an AT&T prepaid sim card and had a battery-life of some 24-30 hours.  Conforming to the designer’s choices of functionality, it includes two speed-dial buttons, an e-paper display and permits neither texting nor internet access.  

Designer colors: Available in black, white, turquoise, beige and the wonderful Atomic Hotline Red.

“Atomic Hotline Red” is an allusion to the Moscow-Washington DC “hotline” installed in the aftermath of the Cuban Missile Crisis (October 1962). In truth, despite frequently appearing in popular culture, there never was a “red phone” and the US connection terminated not on the POTUS’s desk in the Oval Office but in the Pentagon (now HQ of the Department of War) in Arlington County, Virginia.  The first implementation in 1963 used a version of Telex while it was an analogue facsimile service (ie fax machines) between 1986-2008.  Since 2008 the data has travelled over a secure digital link, decrypted into text at each end.

Although she intended the device as a one-off for her own use, Ms Haupt was surprised at the interest generated and in 2022 began selling a kit (US$170) with which others could build their own, all parts included except the rotary-dial mechanism which would need to be sourced from junk shops and such.  Unfortunately, Ms Haupt encountered many difficulties (bringing to market a device which connects to public telephony networks involves processes of greater complexity than selling mittens and such) but the project remains afoot.

Cobalt

Cobalt (pronounced koh-bawlt)

(1) A brittle, hard, lustrous, silvery-white-gray element (a ferromagnetic metal) which is found principally in cobaltite and smaltite and is widely used in (1) the rendering of both heat-resistant and magnetic alloys, (2) in clinical oncology and (3) as a blue pigment used to color ceramics, glass and other materials.

(2) As cobalt blue, a deep blue pigment derived from cobalt; zaffre.

(3) As cobalt therapy (known colloquially as the “cobalt ray”), a gamma ray treatment first used in the early 1950s in clinical oncology executed with external beam radiotherapy (teletherapy) machines using the radioisotope cobalt-60 with a half-life of 5.3 years.

1675–1685: From the German Kobalt & Kobold (a variant of Koboldkobold), from the Middle High German kobolt (household goblin), the name derived from the belief held by silver miners in the Harz Mountains that malicious goblins placed it in the silver ore, based on the rocks laced with arsenic and sulfur which degraded the ore and caused illness.  The construct was the Middle High German kobe (hut, shed) + holt (goblin) from hold (gracious, friendly), a euphemistic word for a troublesome being, designed to avoid offending the creature and thus inviting retribution.  It thus became part of German folk culture as an earth-elemental or nature spirit.  Although much rarer, the metallic element closely resembles nickel and was documented by but much rarer) was extracted from this rock. It was mentioned in the alchemy notes of Paracelsus (the Swiss physician, alchemist, lay theologian, and philosopher of the German Renaissance Theophrastus von Hohenheim (circa 1493-1541)), but as an element its discovery is credited to the Swedish chemist and mineralogist Georg Brandt (1694–1768) who in 1733 gave it the name.  Although it has since the mid-sixteenth century been used as a coloring agent for glass and ceramics, “cobalt blue” didn’t come into formal use until 1835.  There is also cobalt green (A variety of green inorganic pigments obtained by doping a certain cobalt oxide into colorless host oxides.  Cobalt & cobaltite are nouns and cobaltic, colbaltous & colbaltesque are adjectives; the noun plural is cobalts.

Cobalt ore.

Chemical symbol: Co.
Atomic number: 27.
Atomic weight: 58.93320.
Valency: 2 or 3.
Relative density (specific gravity): 8.9.
Melting point: 1495°C (2723°F).
Boiling point: 2928°C (5302.4°F).

Currently, most of the world's cobalt is supplied by mines in the Democratic Republic of Congo (the DRC, the old Republic of Zaire (1971-1997)) which account for some 60% of annual production.  Because of (1) industry economics and (2) the natural geological occurrence of the minerals, cobalt typically is extracted as a by-product of copper or nickel mining operations.  Smaller-scale mining is also undertaken in Canada, Australia, Russia and the Philippines.

Bugatti Type 35 (1924-1930) in Bleu de France (Blue of France, at the time often called Bleu Racing Français (French Racing Blue)) (left) and Bugatti Veyron 16.4 Super Sport Vitesse (2012–2015) in bleu cobalt over Bleu de France (right).  The factory still offers a variety of blues including bleu cobalt.

In the early days of motorsport, cars were painted in accord with their country of origin (the corporate liveries reflecting the source of the sponsorship didn’t reach all categories until the late 1960s) and the French chose blue.  Originally it was the exact shade used on the tricolore (the national flag) but teams soon adopted various shades.  The British were allocated green which became famous as the dark shade used on the Bentleys which raced at Le Mans in the 1920s but it too was never exactly defined and over the decades lighter and darker hues were seen.  The Italians of course raced in the red best represented by Ferrari’s Rosso Corsa (Racing Red) although in the era red at least once appeared on the bodywork of the car of another nation.  The winner of the 1924 Targa Florio in Sicily was a bright red Mercedes Tipo Indy and, being German, should have been painted in their racing color of white but, noting the rocks and other items the Italian crowd was inclined to throw at any machine not finished in Rosso Corsa, the team decided subterfuge was justified and the use of white by German entrants anyway didn’t last even a decade after the victory.

In 1934, with the Mercedes-Benz and Auto Union factory teams supported by the Nazi state as a propaganda project, the Mercedes-Benz W25s appeared in silver, the bare aluminum polished rather than painted.  For decades, the story told was that after a practice session, upon being weighed, the cars were found to be a kilogram-odd over the 750 KG limit for the event and the team had to work overnight to scrape off all the carefully applied, thick white paint, the weigh-in on the morning of the race yielding a compliant 749.9.  It was a romantic tale but has since been debunked, the race in question not being run under the 750 KG rule and in the 1990s, a trove of photographs was uncovered in an archive showing the cars arriving at the track unpainted, already in bare silver.  The authorities did request the Mercedes-Benz and Auto Union teams revert to white but already motorsport’s prime directive of the 1930s was operative: "Give way to the Germans".  That race in 1934 was the debut of the “silver arrows” but it happened not quite as the legend suggested.  Even the factory now refers to the tale as "the legend".

The International Organization for Standardization (ISO) has issued standard (ISO 11664-3:2019) which defines the technical terms and the colorimetric equations necessary for colorimetry and in that cobalt blue has been defined as Hex triplet #0047AB; sRGBB (r:0; g:71; b:171) & HSV (h: 215°; s: 100%; v:67%).  However, among manufacturers it’s often just a vague descriptor on the color chart and like many colors is treated as a spectrum with hues varying in shade and tone.  In the fashion industry there’s no attempt whatever at standardization or even consistency and the same house has been known to describe the fabric used in one range “cobalt blue” while in another line it might be “ultramariine”, “Prussian blue” “royal blue” or anything else which seems to suit.

Lindsay Lohan in cobalt blue dress at Nylon Magazine's launch of the Young Hollywood Issue, Tenjune, New York, May 2007.

The cobalt bomb is a speculative nuclear weapon, first suggested in 1950 by one of the leading physicists associated with the Manhattan Project which during World War II (1939-1945) developed the world’s first atomic bombs.  It was the implications of the cobalt bomb which first gave rise to the doomsday notion that it might be possible to build weapons which could kill all people on earth.  The device would be constructed as a thermo-nuclear weapon consisting of a hydrogen (fusion) bomb encased in cobalt which upon detonation releases large quantities of radioactive cobalt-60 into the atmosphere and from the site of the explosion it would be dispersed worldwide by atmospheric processes.  Because of its half-life, were the volume of the release to be sufficient, the entire planet could be affected well before radioactive decay reached the point where human (and almost all animal) life could be sustained.  It’s believed no full-scale cobalt bomb was ever built but the British did test the concept on a tiny scale and few doubt the major nuclear weapons powers have all simulated cobalt bombs in their big computers and, awesome of awful depending on one’s world view, the thing has long been a staple in science fiction and the genre called “nuclear war porn”.

The descendent of the idea was the neutron bomb which, like the cobalt device, relied for its utility on fall-out rather than the initial destructive blast.  The Pentagon-funded work on the first neutron bomb was conducted under the project name “Dove” (which seems a nice touch) and the rationale was that for use in Europe, what was needed was a weapon with a relatively low blast but which produced a nasty but relatively short-lived fallout, the idea being that there would be a high death-rate among an invading army but little physical damage to valuable real estate and infrastructure.