Shuttle

Shuttle (pronounced shuht-l)

(1) In weaving, a device in a loom for passing or shooting the weft thread through the shed from one side of the web to the other, usually consisting of a boat-shaped piece of wood containing a bobbin on which the weft thread is wound (ie the tool which carries the woof back and forth (shuttling) between the warp threads on a loom).

(2) In a sewing machine, the sliding container (thread-holder) that carries the lower thread through a loop of the upper thread to make a lock-stitch.

(3) In transport, a public conveyance (bus, train, ferry, car, limousine, aircraft etc) that travels back and forth at regular intervals over a particular route, especially a short route or one connecting two transportation systems; the service provided by such vehicles.

(4) In badminton, as shuttlecock, the lightweight object, built with a weighted (usually rubber-covered) semi-spherical nose attached to a conical construction (historically of feathers but now usually synthetic) and used as a ball is used in other racquet games. Shuttlecock was also once widely used as the name of the game but this is now rare.

(5) As space shuttle, vehicle designed to transport people & cargo between Earth and outer-space, designed explicitly re-use with a short turn-around between missions (with initial capital letters of the US craft).  The term shuttlecraft is the generic alternative.  “Space shuttle” most associated with the US vehicle (1981-2011).

(6) To cause (someone or something) to move back and forth by or as if by a shuttle, often in the form “shuttling”.

(7) Any device that repeatedly moves back and forth between two positions, either transporting something or transferring energy between those points.

(8) In electrical engineering, as "shuttle armature", the H-shaped armature in the that is an elongated shuttle with wires running longitudinally in grooves, used in small electrical generators or motors, having a single coil wound upon a the bobbin, the latter usually formed in soft iron.

(9) In diplomacy, as shuttle diplomacy, the practice of a diplomat from a third country shuttling between two others countries to conduct negotiations, the two protagonists declining directly to meet.

Pre 900: Shuttle was a merge from two sources. From (1) the Middle English shutel, shotel, schetel, schettell, schyttyl & scutel (bar; bolt), from the Old English sċyttel & sċutel (bar; bolt), the notion being shut +‎ -le.  Shut was from the Middle English shutten & shetten, from the Old English scyttan (to cause rapid movement, shoot a bolt, shut, bolt), from the Proto-Germanic skutjaną & skuttijaną (to bar, to bolt), from the Proto-Germanic skuttą & skuttjō (bar, bolt, shed), from the primitive Indo-European skewd & kewd- (to drive, fall upon, rush). The -le suffix was from the Middle English -elen, -len & -lien, from the Old English -lian (the frequentative verbal suffix), from the Proto-Germanic -lōną (the frequentative verbal suffix) and was cognate with the West Frisian -elje, the Dutch -elen, the German -eln, the Danish -le, the Swedish -la and the Icelandic -la.  It was used as a frequentative suffix of verbs, indicating repetition or continuousness.  From (2) the Middle English shitel (missile; a weaver's instrument), shutel, schetil, shotil, shetel, schootyll, shutyll, schytle & scytyl (missile; projectile; spear), from the Old English sċytel, sċutel (dart, arrow) (related to the Middle High German schüzzel and the Swedish skyttel), from the Proto-Germanic skutilaz, (related to the Middle High German schüzzel and the Swedish skyttel) and cognate with the Old Norse skutill (harpoon), the idea akin to both shut & shoot.  Shuttle is a noun, verb & adjective, shuttling is a noun & verb and shuttled and shuttles are verbs; the noun plural is shuttles.  The adjectival form shuttle-like is more common than the rare shuttlesque (which is listed as non-standard by the few sources to acknowledge its dubious existence).

A Lindsay Lohan advertising mural on the back of one of the airport shuttle buses run by Milan Malpensa International Airport in northern Italy.

The original sense in English is long obsolete, supplanted by the senses gained from the weaving instrument, so called since 1338 on the notion of it being “shot backwards and forwards” across the threads.  The transitive sense (move something rapidly to and fro) was documented from the 1540s, the same idea attached to the shuttle services in transport, first used in 1895 (although the intransitive sense of “go or move backward and forward like a shuttle” had been in use by at least 1843) in early versions of what would come to be known as the intra-urban RTS (rapid transit systems), the one train running back and forth on a single line between fixed destinations (often with intermediate stops).  This was picked up by ferry services in 1930, air routes in 1942, space travel in 1960 (in SF (science fiction)) and (real) spacecraft in 1969.  Shuttle in the sense it evolved in English is used in many languages but a separate development was the naming of the weaving instrument based on its resemblance to a boat (the Latin navicula, the French navette and the German Weberschiff).  The noun shuttlecock dates from the 1570s, the “shuttle” element from it being propelled backwards and forwards over a net and the “cock” an allusion to the attached anti-aerodynamic construction (originally of feathers) which resembled a male bird's plume of tail feathers.  The term shuttle diplomacy came into use in the 1970s thanks to tireless self-promotion by Dr Henry Kissinger (1923-2023; US national security advisor 1969-1975 & secretary of state 1937-1977) although the practice (of “good offices”) dates back centuries.

The Abbotsleigh class of 2020 pondering time flying faster than a weaver’s shuttle.  This was the first of the "Covid generation" so the lack of social distancing can be explained only by them all having "tested negative".

The motto of the Sydney girl’s school Abbotsleigh is tempus celerius radio fugit (Time flies faster than a weaver's shuttle), the idea behind that said to be: “As the shuttle flies a pattern is woven, with the threads being the people, buildings and events. The pattern is Abbotsleigh as it continues to grow in complexity and richness each year”.  Quite whether a weaver’s shuttle (said by some detractors to have been chosen as symbolic of the "proper" place of women being in a state of domestic servitude for the convenience of men) is appropriate for a girls’ school in the twenty-first century has been debated.  The motto came from the family crest of Marian Clarke (1853-1933), Abbotsleigh’s first headmistress (principle) and was maintained using the family’s grammatically dubious form tempus fugit radio celerity until 1924 when the correct syntax was substituted.  It’s an urban myth the mistake was permitted to stand until 1924 as a mark of respect while Ms Clarke was alive; she lived a decade odd after the change although the family’s heraldry was apparently never corrected.

The US (left) and USSR (centre) space shuttles compared with a badminton shuttlecock (right).  The shuttlecock is rendered in a larger scale than the shuttles and although the shapes are similar, travelling in "opposite directions" the purposes differ, the lines of the shuttles optimized for efficiency while the shuttlecock is an unusual example in aerodynamics of "planned inefficiency".

Counterintuitively, badminton is (in a narrow technical sense) the world’s “fastest racquet sport”.  In controlled conditions, the maximum speed achieved by a shuttlecock in flight is listed at 565 km/h (351 mph) and during sanctioned competitive tournament play, 417 km/h (259 mph) has been recorded.  A shuttlecock attains such speeds only briefly, directly after coming off the racquet and before the skirt shape creates its massive aerodynamic drag; by the time a shuttlecock arrives to be returned by the opposing player, the velocity considerably has been reduced.  Professional players however don’t seek with every serve or return-shot to generate maximum power because, as in tennis and cricket where the unexpected “slower ball” can be effective, in badminton, a well-disguised slower shuttlecock can deceive.

Three of the great landmarks of the analogue era: Space Shuttle Enterprise (OV-101, the first orbiter, used for atmospheric test flights that never flew in space) atop NASA 905 SCA (Shuttle Carrier Aircraft, one of two modified Boeing 747s used to ferry shuttles from landing sites back to the Kennedy Space Center in Florida and a BA (British Airways) Concorde taking off, Paris Air Show, 1983.

The US Space Shuttle was operated by NASA (National Aeronautics and Space Administration) between 1981-2011 as the low Earth orbital vehicle and served as the platform for its STS (Space Transportation System).  The plans, based on ideas a decade earlier explored in SF for a (mostly) reusable spacecraft were first laid down in 1969 and, despite intermittent funding and the odd threat by Congress to "defund", test flights were able to be undertaken in 1981.  Five Space Shuttles eventually were built to completion and between 1981-2011, there were over a hundred missions but the stresses imposed on the craft were considerable, meaning more maintenance was required than originally envisaged so mission turn-arounds were never as rapid as had been hoped and the extent to which components could be reused had to be revised (downwards, many reclassified as "single-use").  There was controversy too about the failures in NASA’s procedures that resulted in the two accidents in which all seven crew aboard each shuttle were killed.  The programme was retired in 2011.

Lindsay Lohan getting off the NAPA Shuttle, The Parent Trap (1998).  "NAPA" here is not an acronym, the reference is to California's Napa Valley, noted for wine tours.

Common in the early days of civil aviation, the term "to disembark" (get off) was borrowed from nautical use and was the companion to "embark" (get on).  Of late "to deplane" has entered English which seems unnecessary but the companion "to disemplane" was more absurd still; real people continue to "get on" and "get off" aircraft.  It seemed to be a trend because on railway platforms it has become not uncommon to hear "detrain" (passengers leaving the carriage), a use distinct from "derail" (railway locomotives or un-powered rolling-stock "coming off the rails").  

The Soviet Union’s space shuttle, construction of which began in 1980, unsurprisingly, was visually very similar to the US vehicle, there being only so many ways optimally to do these things.  The USSR’s effort was the Буран (Buran) (Snowstorm or Blizzard), the craft sharing the designation with the Soviet spaceplane project and its spaceships, known as "Buran-class orbiters".  Although more than a dozen frames were laid down, few were ever completed to be flight-ready and the Buran’s only flight was an un-crewed orbital mission in 1988 that although successful, proved a one-off.  The deteriorating economic and political situation in the Soviet Union (1922-1991) saw the programme stall and in 1993 it was abandoned by the new Russian government, now faced with more problems more urgently demanding the allocation of scarce resources.  The striking similarity between the profile of the US & Soviet space shuttles and a badminton shuttlecock is coincidental but not unrelated.  The space craft are designed as aerodynamic platforms because, although not of relevance in the vacuum of space, they did have to operate as aircraft while operating in Earth’s atmosphere whereas the shuttlecock is designed deliberately as an anti-aerodynamic shape.  The shuttle’s shape was dictated by the need to maximize performance whereas a shuttlecock is intentionally inefficient, the shape maximizing air-resistance (drag) so it slows in flight.

El rapto de Europa (The Rape of Europa (1628-1629)), oil on canvas by Peter Paul Rubens (1577-1640), Prado Museum, Madrid.  It follows a 1562 work in the same vein by Tiziano Vecelli (circa 1489-1576 and known in English as Titian).

The shuttle can be weaponized.  In Greek mythology, Αράχνη (Arachne) was a Lydian girl (Lydia an ancient iron-age kingdom in western Asia Minor (the modern-day Republic of Türkiye (Turkey)) who produced weaving and embroidery so exquisite nymphs from all around would gather to watch her fingers work the threads.  Such was the virtuosity, word spread she must have been the pupil of Athena (goddess, inter alia, of spinners & embroiderers) but although that was quite an endorsement, Arachne had an artisan’s pride in her craft and refused to attribute to skill to another, even a goddess.  Angered by the story being widely believed, Arachne challenged Athena who responded by first appearing to her in the guise of an old woman, entreating the proud embroider to behave with greater modesty.  Unimpressed, Arachne spat out insults, at which point, the goddess threw off her disguise and demanded a contest.  Dramatically, Athena created a stunning tapestry showing in all their majesty the twelve Olympian gods with, in each corner, a depiction of the defeat of mortals who had dared defy the gods; an unsubtle but unambiguous threat.  Arachne took as her theme the least creditable of the love affairs of the gods: Zeus and the rape of Europa, a kind of proto #metoo moment in Antiquity.  The work was of course executed to perfection but the subject so enraged Athena she tore it to shreds and struck her rival with her own shuttle.  At this, Arachne lost heart, ran off and hanged herself.  Hell however hath no fury like a goddess angered and Athena refused to let her die, transforming her into a spider, doomed forever to spin and weave its web.

Dr Henry Kissinger, shuttling between dinner companions (left to right), Dolly Parton (b 1946), Diane von Furstenberg (b 1946), Diana, Princess of Wales (1961-1997) and Carla Bruni (b 1967).  It was Dr Kissinger who coined the phrase: "Power is the ultimate aphrodisiac", a conclusion he reached on an empirical basis. 

The term "shuttle diplomacy" describes the process in which a mediator travels repeatedly between two or more parties involved in a conflict or negotiation, in circumstances where the protagonists are unable or unwilling to meet.  Ostensibly, the purpose of shuttle diplomacy is to facilitate communication between the parties and reach a resolution of the dispute(s) but, being inherently political, it can be used for other, less laudable goals.  The practice, if not the term, has a long history, instances noted from Antiquity and the Holy Roman Empire was renowned for the (nominally) neutral diplomats who would travel back and forth between kings, princes, dukes and cardinals.  During both the Conference of Vienna (1814-1815) and the Paris Peace Conference (1919-1920) the negotiations were marked by sometimes intransigent politicians sitting in rooms while a professionally disinterested notable would shuttle between them, oiling the machinery by giving and taking until either a common acquiescence was extracted or the matter was "referred to a committee".  A celebrated example of the process played out between 1939-1940 when Swedish businessman Birger Dahlerus (1891-1957) played a quixotic role as amateur diplomat, shuttling between London and Berlin in what proved a doomed attempt to avoid war.  It long seen as something noble (if misguided) and it was only years later (when the UK Foreign Office’s papers on the matter were declassified) the extent of the Swede’s conflicts of interest were revealed.

Richard Nixon (1913-1994; VPOTUS 1953-1961 and POTUS 1969-1974, left) meets Dr Henry Kissinger (1923-2023; US national security advisor 1969-1975 and secretary of state 1937-1977, right).  Although there were in the past those who would now be thought "celebrity diplomats", Dr Kissinger was the first to be so-labeled.  He'd not have disagreed.

The term entered the language in 1973 when Dr Henry Kissinger used it to refer to his efforts to negotiate an end to the Yom Kippur War between Israel and its Arab neighbors.  Kissinger shuttled between Tel Aviv, Cairo and other Middle Eastern capitals in an attempt to broker a ceasefire and improve diplomatic relations, enjoying some success, and contributing to the achievement of a bilateral peace between Egypt and Israel as well as a number of disengagement agreements (admittedly, all of them would likely anyway have happened by virtue of "military necessity").  Moreover, some historians and foreign policy scholars, while acknowledging what was achieved, have suggested it was the Kissinger’s approach to the region in the years leading up to the war that played some part in the outbreak of hostilities.

Kissinger has also been criticized on the basis that shuttle diplomacy was to him never much more than playing a game of realpolitik on a multi-dimensional chessboard rather than an attempt to imagine a regional architecture able to secure a comprehensive peace plan in the Middle East, his emphasis on obtaining something in the interest of the US (a treaty between Egypt and Israel), meaning the vital issue of Palestine and its potential to assist in a long-term settlement not just neglected but ignored.  In fairness, it must be said that lip-service apart, the Arab states took the plight of the Palestinians about as seriously, the only consensus among the being: "We don't want the Palestinians coming here".  Cynics, noting his university background (he'd been also a minor "celebrity academic" before being co-opted by various politicians) and research interests, compared the "shuttling" with the travels of emissaries in the Holy Roman Empire who would travel between the Holy See, palaces and chancelleries variously to reassure the troubled, sooth hurt feelings, cajole the diffident and, where possibe, issue threats.  This was the idea of Henry the self-promoting celebrity who could bring peace to Vietnam and Nixon to China, the political wizard who solved problems as they arose.  Certainly, the circumstances in which Kissinger was able to use shuttle diplomacy as a political narrative were both unique and something of his own creation.  He’d first undermined and then replaced William Rogers (1913–2001; US secretary of state 1969-1973) as secretary of state and even before becoming the last major figure still standing from Richard Nixon’s first term as the Watergate affair took its toll, essentially took personal control of the direction of US foreign policy.  As he put it “…one of the more cruel torments of Nixon’s Watergate purgatory was my emergence as the preeminent figure in foreign policy”.

Prize by proxy: Dr Kissinger (left) receiving the 1973 Nobel Peace Prize from Dr Thomas Byrne (1923-2014; US Ambassador to Norway 1973-1976, right), Claridge's Hotel, London, 12 December, 1973.

Some of that shuttling was in 1973 recognized when Kissinger and Lê Đức Thọ Lê Đức Thọ (1911–1990; North Vietnamese communist functionary and negotiator) jointly were offered the Nobel Peace Prize for their efforts in what was, somewhat prematurely, called the “Paris Peace Accords”.  On the basis a state of armed conflict still existed in his country, Lê Đức Thọ declined to accept the prize while Kissinger crafted a compromise which earlier shuttler Prince Klemens von Metternich (1773-1859; Foreign Minister of the Austrian Empire 1809-1848 & Chancellor 1821-1848) would have admired: He took the medal, donated the prize money to be used eleemosynarily and was a no-show at the prize ceremony (he cited "prior international commitments", a variant of "diplomatic toothache").  After the fall of Saigon (now Ho Chi Minh City (HCMC) although the old name persists in popular use) in 1975, Kissinger offered to return his medal but the committee declined, by then presumably not wishing further to draw attention to them ever having made the award.

Elizabeth Holmes in black gown with (a perhaps optimistic) cleavage slit.  Until he met Elizabeth Holmes (b 1984; CEO of US biotech company Theranos 2003-2018), nothing fooled Henry.

So, opportunistic his initiatives may have been but there were after all real problems to be solved and it seems unfair to criticize Kissinger for doing what he did rather than constructing some counter-factual grand design that might have crafted a permanent, settled peace in the Middle East.  Among realists (and Kissinger was dean of the school), even then there were few who believed such a thing was anyway still possible possible (certainly since the conclusion of the Six-Day War (1967)) and Kissinger certainly achieved something and to do that it’s necessary to understand there are some problems that can never be solved and only endlessly managed.  Genuinely, some problems are insoluble, something lost on many US presidents infected more than most by the diminishing but still lingering feelings of optimism and exceptionalism that have for centuries characterized the American national character.  

Siren

Siren (pronounced sahy-ruhn)

(1) In classical mythology, one of several sea nymphs, sometimes depicted as part-woman, part-bird (and sometimes as sisters) who, with their seductive singing (their “siren song” or “siren call”), lured mariners to destruction on the rocky shore.

(2) A woman who sings sweetly and charms.

(3) In slang, a seductively beautiful or charming woman, especially one who beguiles men; a seductress, temptress or vamp; a dangerous woman who preys on the weaknesses and susceptibilities (there are a few of both).

(4) An acoustical instrument for producing musical tones, consisting essentially of a disk pierced with holes arranged equidistantly in a circle, rotated over a jet or stream of compressed air, steam or the like, so that the stream is alternately interrupted and allowed to pass.

(5) An variation of this implement, making a piercingly loud sound and used as a whistle, fog signal, or warning device; the sound made by such a device.

(6) In zoology, (1) any of several aquatic, eel-like salamanders of the family Sirenidae, having permanent external gills, small forelimbs and no posterior limbs, (2) a member of Sirenia, an order of mammals or (3) any of various nymphalid butterflies of the genus Hestina.

(7) Anything seductive or tempting (especially if potentially dangerous or harmful (something said to exert “a siren call” on one’s desire).

(8) In music, a musical instrument (one of the few aerophones in the percussion section of the symphony orchestra).

(9) An instrument for demonstrating the laws of beats and combination tones.

(10) In astronomy & astrophysics, an astrophysical event able to be used for calculating cosmic distances.

(11) As “siren suit”, an overall-like one-piece garment introduced in the UK during the “Blitz” as something to be worn by those in air-raid shelters.  

1300-1350: From the Middle English siren & serein, from the Old French sereine, (the Modern French sereine dating from the twelfth century), from the Late Latin sīrēna and the Classical Latin Sīrēn & Sīrēna, from the Ancient Greek Σειρήν (Seirḗn).  The Seirēnes were the alluring sea nymphs of classical mythology and the figurative sense of “one who sings sweetly and charms” was first noted in the 1580s although the classical descriptions of them were mangled in medieval translations, resulting in some odd and fantastical notions of their appearance and it wasn’t unusual for them to be conflated with mermaids.  The Vulgate (the Biblia Vulgata, the fourth century translation of the Bible which, through the choices of words and senses made by the translator(s) had a profound effect on Christianity and Christendom) also gifted to Middle English the use of the word to describe an imaginary species of flying serpents, based on glossary explanations of the Latin sirenes in Isaiah 13:22 (“And the wild beasts of the islands shall cry in their desolate houses, and dragons in their pleasant palaces: and her time is near to come, and her days shall not be prolonged.”  (King James Version of the Bible (KJV, 1611)).  In the Greek, the word was used also to mean "a deceitful woman" although etymologists note that may have been to suggest she was “a binder, an entangler”, the sense from seira (cord, rope).  In zoology, the mammalian sense appeared first in French in Les entretiens d'Ariste et d'Eugène (Conversations between Ariste & Eugène) by the French Jesuit priest Dominique Bouhours (1628–1702) while the use to describe the aquatic salamander was introduced in 1766 by Swedish zoologist & physician Carl Linnaeus (1707–1778 and styled as Carl von Linné after 1761) for a genus of reptiles.  In organic chemistry, scientists noted the attraction exerted by the sirens of mythology and coined “sirenin” to describe a sexual attraction pheromone in some fungi of the genus Allomyces.  Less charmingly, in early twentieth century Australian urban slang, a “stem siren” was a prostitute; in the Australian way, often it was clipped to “stem”.

The use to describe the mechanical device “making a warning sound” was first recorded in 1879 when they were installed on steamboats and this may have been imitative of the similar French word.  In the course of the twentieth century, the things were adapted as audible warning devices for many purposes including air raids, emergency service vehicles and fire alarms (now mandatory in residential accommodation in many jurisdictions).  In schools, workplaces and other geographically large sites, they were used to mark the start and finish of shifts, lessons, meal breaks etc.  The Elizabethan era (1558-1603) adjectives sirenean, sirenian, sirenic, sirenical & sireny) went extinct but as late as the 1940s, the spelling variation sireen still occasionally appeared and not always as a deliberate archaism.  The writer & critic John Ruskin (1819–1900 and known for his fondness for young. beautiful creatures), used the rare sirenic so with that imprimatur, some modern aesthete might be tempted to revive the form.  Siren is a noun & verb, sirenize is a verb, sirenlike, sirenless, sirenical & sirenic are adjectives; the noun plural is sirens or (the rare) sirenes.

Odysseus and the Sirens

In Greek mythology, the Sirens were sea demons, half-woman and half bird (although there were variants in the tales).  They were said to be the daughters of Achelous and either Melpomene, Sterope or Terpsichore, Phorcys often named as their father, while it was also related they were born of the blood of Achelous when he was wounded by Heracles. There were two Sirens in the Odyssey (Homer’s eighth century BC epic poem following the ten year trek of King Odysseus (Ulysses) returning to his home island Ithaca after the decade-long Trojan War) but in the works of later authors there could be four (more often three).  Historians attribute variations in the myths to (1) authorial innovation or (2) in an age of limited literacy, poetry spread in oral performance, meaning details could become blurred.  What was consistent was the musical virtuosity of the Sirens, a popular depiction of them as a three-piece ensemble, one playing the flute and one the lyre while another sang her songs.

Sirens and the Night (1865), oil on canvas by William Edward Frost (1810-1877).

The Sirens used their lyrical and earthly charms to lure sailors to their death; attracted by the enchanting music and voices, the seduced seafarers would sail their ships too close to the rocky coast of the nymphs' island and there be shipwrecked.  Not untypically for the myths of Antiquity, the Sirens are said to have had many homes.  The Romans said they lived on some small islands called Sirenum scopuli while later authors place them variously on the islands of Anthemoessa, on Cape Pelorum, on the islands of the Sirenuse, near Paestum, or in Capreae.  All were places with rocky coasts and tall cliffs and thus for ships potentially lethal places although the fate of sailors was more gruesome, the Sirens devouring them.  The Argonauts sailed close to the Sirens, but, using the same principle as “radio jamming” in the twentieth century, Orpheus sang as long as the crew was within earshot of them (“drowning out their signal”), so none were lured (except the unfortunate Butes, carried away by Aphrodite after he fell victim).

Temptress in Siren mode: Lindsay Lohan, First Point (2011).

It was Odysseus who most famously escaped the sirens.  Longing to hear their songs but, forewarned by Circe and having no wish to be shipwrecked and devoured, he had his sailors fill their ears with beeswax, rendering them deaf.  Then, he ordered he be tied to the mast, telling his crew that whatever he said, they were not to release him but instead tighten the knots, not cutting the bonds until the ship had sailed far from the coast.  Of course, approaching the rocks, he heard the lovely voices and implored the crew to release him but they followed their skipper’s orders, not setting him free until the danger had passed.  Some writers claimed the Sirens were doomed to die if a man heard their singing and escaped and, as Odysseus sailed off, they flung themselves into the waters and drowned but, among the myths, that was not always their fate.  The idea of the Sirens persists in idiomatic use: the term “siren sound” refers to words or something exerting a particularly compelling attraction but “siren song” or “siren call” can be used of something not directly audible, such as the thoughts evoked by a painting or even a concept; populism, fascism & communism have all been described thus.  That idiomatic use describes an enticing but dangerous appeal, especially a misleading one.

The Roman Poet Ovid (Publius Ovidius Naso; 43 BC–17 AD) wrote that the Sirens were once ordinary girls, companions of Persephone; in his telling they were something “nice girls from good families who got led astray by mixing with the wrong crowd”.  When Persephone was abducted by Pluto, they asked the gods for wings so they could soar in the skies to help them search for their lost companion; that’s the most romantic explanation for the “half-woman and half bird” motif.  More unforgiving writers attributed the transformation to (1) the anger felt by Demeter when the Sirens failed to prevent the abduction of her daughter or (2) the wrath of Aphrodite who sought to deprived them of their feminine beauty because they scorned the pleasures of love.  A twist on that was that after their transformation, they made the mistake of trying to rival the muses who avenged the slight by plucking the Sirens’ feathers.  In a literary sense, the nymphs certainly exerted on authors a siren call.  The tomb of the Siren Parthenope was said to be in Naples, where her body had been cast upon the shore and that geographical connection is in the narrative strand in which Parthenope was a hauntingly beautiful Phrygian girl who fell in love with Metiochus but could not bring herself to break her vow of chastity.  She cut off her hair and ran off into exile in Campania (close to Naples) where she dedicated herself to Dionysus, something possibly the origin of Aphrodite’s disapprobation; it was Aphrodite who turned Parthenope into a Siren as punishment for abandoning her love.  The Sirens were also said to sing for the blessed in the Islands of the Blessed; because they could play the celestial harmonies, they were often depicted on sarcophagi.

First Point (2011) by Richard Phillips (b 1962), hosted by Vimeo by courtesy of Richard Phillips and Gagosian Gallery.  Lindsay Lohan as a siren; it would seem almost a calling.  Screened in conjunction with the 54^th international exhibition of the Venice Biennale (June 2011), First Point was a short film said by the diredctor to represent a “new kind of portraiture.”  Filmed in Malibu, California, the piece was included in the Commercial Break series, presented by Moscow's Garage Center for Contemporary Culture (now Garage Museum of Contemporary Art); although the promotional notes indicated it would include footage of the ankle monitor she helped make famous, the device doesn't appear in the final cut.

Directed by: Richard Phillips & Taylor Steele

Director of Photography: Todd Heater

Costume Designer: Ellen Mirojnick

Creative Director: Dominic Sidhu

Art Director: Kyra Griffin

Editor: Haines Hall

Color mastering: Pascal Dangin for Boxmotion

Music: Tamaryn & Rex John Shelverton

The Chrysler Air Raid Siren and the Firepower V8  

According to Guinness World Records, the loudest sirens ever were the 350-odd built in the early 1950s by Chrysler for the US government and installed around the country to warn of an impending nuclear attack by the Soviet Union.  The maximum volume the devices generated was recorded (at a distance of 100 feet (30.5 m)) as 138 dB (decibels), a level at which a human would suffer at least temporary deafness if within around 200 feet (60 m) during operation.  Guinness noted the compressor discharge throughput at peak volume was 74 m³ (2,610 cubic feet at 7 lb per square inch) of air per second and the physics of fluid dynamics (air a fluid in this context) was such this would have caused a sheet of paper in the path spontaneously to ignite.  By comparison the now retired SST (supersonic transport) airline Concorde at take-off produced noise levels between 112-114 dB at a distance of 100 feet and even afterburner equipped military jets (F-16, F-35 etc) haven’t been recorded as generating levels as high as 138 dB.

Although there were ebbs in the tensions, the “High Cold War” is defined usually as the time between the early 1950s and late 1960s, the public's fear of thermo-nuclear war at sometimes acute. In popular culture, the subject was a popular with authors and film-makers, the best known including the book On the Beach (1957) by Neville Shute (1899-1960) and the memorable film Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb (1964), based on the novel Red Alert (1958) by Peter George (1924–1966).  The US government made many preparations for such an event, notably building vast underground facilities where essential personnel (members of the administration, the Congress, their families and servants) could live until it was safe for them to emerge into the post-apocalypse world and stake claim to whatever habitable real-estate remained.  The taxpayers who paid for these facilities were of course rather less protected but the government in 1952 did install warning sirens in cities; people might still be vaporized by comrade Stalin's (1878-1953; Soviet leader 1924-1953) H-Bombs but they would know what was coming so there was that.

US war-room film set for Stanley Kubrick's (1928-1999) film version of Dr Strangelove.  Upon becoming president in 1981, Ronald Reagan (1911-2004, POTUS 1981-1989) was reported as being disappointed nothing quite so dramatic actually existed, the White House's “Situation Room” something like what would be used by an insurance company to conduct sales training seminars.  The story is thought likely apocryphal but there is documentary evidence Mr Reagan did sometimes confuse historic fact with what he's seen in movies.

The early version of the warning siren was co-developed by Chrysler and Bell Labs and named CBVS (Chrysler Bell Victory Siren) which, given the consequences of nuclear war, seems at least optimistic.  Technically, although the acoustic properties met the specification, the drawback was the devices manually were activated and controlled, requiring someone physically to be on-location to start the thing and, being directional, rotate it so the sound would be broadcast 360^o.  The obvious flaw in that was, were  there to be a nuclear attack in the area, the job-description, at least potentially, was self-sacrificial, something comrade Stalin doubtless would have thought just the part of the cost of war with the unfortunate patriotic soul posthumously to be awarded the coveted Герой Советского Союза (Hero of the Soviet Union) decoration.  However, neither the White House or the Pentagon liked the optics and revised specifications for the sirens were issued.

Photograph by Rob Storms of Chrysler Air Raid Siren atop Rochester Fire Department Maintenance Building, Rochester, Monroe County, New York.

Chrysler's engineers responded with a more elaborate device, automated and remotely administrated; because it was developed wholly in-house, the corporate-themed acronym CARS (Chrysler Air Raid Siren) was coined.  Introduced in 1952, the new design was powered by Chrysler’s new, 331 cubic inch (5.4 litre) Hemi-head V8, rated at what was then a stellar 180 HP (134 kW), a three-stage compressor added to increase output.  Instead of demanding a doomed operator, there was a control panel connected (with nothing more than the two-pair copper cables that became familiar as Cat3 “phone-wire”) to dedicated phone lines so it could be activated either by local civil defense authorities or the military.  The big V8 provided sufficient power to both increase the dB and the geographical coverage, the siren able to be heard over an area of some 15.8 square miles (41 km²), an impressive number given the electric sirens used today for tornado and tsunami warnings have an effective footprint of only some 3.9 square miles (10 km²).

Chrysler Air Raid Siren being delivered on the back of a Dodge flatbed truck, 1953.

In 1952, there was no engine better suited to the task than Chrysler’s new “FirePower” Hemi V8.  Applying their wartime experience building a number of high-output, multi-cylinder engines (the most remarkable a V16 aero-engine rendered obsolete by jet technology before it could be used), the FirePower featured hemispherical combustion chambers and was the corporation’s first use of OHV (overhead valves) in passenger vehicle engines.  Both OHV and hemispherical combustion chambers had been around for decades but, before long, Chrysler would make a (trade-marked) fetish of “Hemi”, continuing cheerfully to use the name for a range of V8s introduced in 2003 even though they no longer used a true hemi-head, the design unable to be adapted to meet modern exhaust emission laws.  The so-called “third generation” Hemi remains available still although how long it will last will be a matter of the interplay of politics and demand.  Doubtless, it’s on Greta Thunberg’s (b 2003) long (and expanding) hit-list and that she and the engine arrived on planet Earth in the same year won't much impress her.

Chrysler FirePower 392 cubic inch (6.4 litre) V8 in 1957 Chrysler 300C Convertible.  In the jargon, the pair of four barrel carburetors were dubbed  “dual quads”.

First sold in 1950, the FirePower appeared first as a 331, growing over the decade to 354 (5.8) and then 392 (6.4) before being retired in 1959, the wedge-headed alternative with increased displacement a cheaper path to power (the hemi heads needing special machining and the valve-train was heavy and labor-intensive to assemble).  Chrysler and Imperial shared the engines but remarkably, in an approach that would today shock accountants and efficiency experts, the companion divisions (De Soto & Dodge) produced nine different hemi-head V8s with capacities between 241 (4.0) and 345 (5.6) with relatively little commonality of components between them all.  The last of the FirePowers were noted also for being one of the first engines offered with electronic fuel injection (built with analogue components) but while that offered real advantages over the mechanical systems then available in a handful of models in Europe and the US, the technology was then too fragile to be reliable and most of the 16 sold (reputedly all but one) were recalled and retro-fitted with a pair of faithful four barrel carburetors.  In 1964, the hemi-head was revived for a racing engine and, to satisfy the regulatory body that had been unimpressed with the use of such a thing in a series for “stock” cars, it was made available to the public between 1966-1971, this time called “Street Hemi”.  In 426 cubic inch (7.0 litre) form, it gained a reputation Chrysler would exploit for decades after production ended.

Some 350 CARS were built, all by the Chrysler's M&I (Marine & Industrial Engine Division, based in Trenton, Michigan) with some maintained in service as late as the 1970s.  During the era of détente, the last were retired, some sold to museums or collectors while other were just abandoned because, mounted atop tall buildings to maximize their acoustic coverage, the cost of removal far exceeded their value as units to be re-purposed or scraped.  At least three fully functional CARS still exist, one in a remote part of Texas where it’s safe to stage the occasional demonstration of the sound.  During these displays, the clear zone (minimum safe distance) extends outwards 320 feet (97.5 metres) but even at this range, anyone standing directly in front of the projection horns would find the experience uncomfortable, prolonged exposure risking some damage to the eardrums.  Although directional, there’s much “sound soak” in the device's proximity so just operating the siren from the side control panel requires hearing protection (acoustic earmuffs rated at a minimum 30 dB).

CARS at the Don Garlits Museum of Drag Racing, re-awakened after decades, 1997.

One collector attracted to them was Don Garlits (b 1932) who, in the post-war years, was among the most innovative and successful drivers and builders in the then wildly popular sport of drag-racing and it was with highly-modified Chrysler Hemis (the HP (horsepower) of which would come to be generated in thousands) he built his reputation.  In 1997, a documentary crew from the UK visited Garlits and saw one of the old CARS sitting neglected in the storeroom where it’d sat for decades after having spent some 20 years in salt-laden air atop a Florida high-rise.  Remarkably, after doing little more than connecting a battery and checking the oil and coolant, once a carburetor had been bolted on with a can of gas (petrol) rigged up, it started almost immediately, a reasonable achievement given it had never before run on gasoline because the CARS always used propane.  As Garlits over the decades had discovered a ¼ mile (402 metres) at a time, the FirePower Hemi was a tough old thing.

The Siren Suit

Weldon pattern for siren suit, 1940.  Home-made clothes used to be common and wartime conditions made the practice spike.  The production and distribution of patterns was a significant industry, enduring, at a smaller scale, to this day.

Unrelated to the seductive Sirens of mythology, the “siren suit” was a World War II (1939-1945) era coining describing a garment “ideal to wear when there was a risk of an air-raid siren sounding”.  The design wasn’t new; they would have been familiar to previous generations as the “overalls” mechanics and such wore to protect their clothing from oil and dirt, the novelty being the application.  Because “the Blitz” (the bombing campaign against London and other English cities waged by the Luftwaffe (the German Air Force) in 1940-1941) was conducted at night, that meant air-raid sirens were most likely to sound when people were in bed and the attraction of the “overall-like” siren suit was it could be worn over nightwear (pyjamas, nighties and such), meaning that upon being wakened by the siren, time would not be wasted getting dressed before rushing off to seek shelter; all one need to put on was one’s shoes.  With wool, silk & cotton supplies being diverted to military production, recycled blends using the more available rayon came increasingly to be used and the versatility of the synthetic made it popular; available in a variety of weights, unlike fabrics made from natural fibres, it was not subject to creasing or shrinkage.  In 1940, the most commonly requested feature was a “hood” and these came to be included on many, often with a lining for additional warmth.  Stylistically and conceptually, the siren suit can thus be imagined as a “proto-onesie”, one of the twenty-first century’s more controversial garments, not so much for what is it (warm, comfortable, convenient) but for where some choose to frequent while wearing one (Walmart, fast food outlets and such).

Wartime individualism, circa 1941: Despite wartime privations, fashion sense didn’t die and ways were found to individualize even the most starkly functional items.

As this publicity shot indicates, gas-masks were in the UK of 1940 a piece of compulsory kit for civilians, the use of poison gas expected by many in politics and the military.  Ironically, of all the leaders in the era, it was only Winston Churchill (1875-1965; UK prime-minister 1940-1945 & 1951-1955) who was enthusiastic about the use of gas as a weapon, thinking it ideal to deploy on beaches in the event of an amphibious assault by the Wehrmacht (the German military (1935-1945)).  Even Adolf Hitler (1889-1945; Führer (leader) and German head of government 1933-1945 & head of state 1934-1945) explicitly ruled out the use of poison gas, despite the Germans also holding large stocks.  Although in 1918 Hitler had learned of Germany’s capitulation when in hospital recovering from the temporary blindness suffered after being gassed, his unwillingness to use gas was not a humanitarian gesture but because the unpredictability of the wind (in Europe the “westerly” (ie from west to east) the prevailing type) made use too risky.

As a unisexual style, by 1940, the siren suit wouldn’t have been too shocking a challenge to the fashion police.  Although the tradition is longer still, in the West, women routinely (if not universally) had been wearing “trousers” since the mid-nineteenth century (for sport, work & leisure, the light and convenient “pyjama-suit” welcomed by many) and, during World War I (1914-1918), as in increasing numbers they entered the industrial workforce to replace men conscripted for military service, the sheer functionality of trousers was compelling (and often, for safety reasons, compulsory); women in overalls became commonplace.  Given the purpose, the early siren suits (the less pleasing “blitz suit” never catching on) were designed with little in mind except comfort, warmth and speed in donning so most were fastened with a zip though the photographic record confirms buttons or snap-fittings were also used, mass-production made immediately possible because they could be sewed on the same lines used to make overalls.  Winston Churchill often was photographed in his siren suit and while that promoted use, it also confirmed the style was not “slimming”.  Even more than overalls, siren suits seem to have featured generously-sized pockets, a thoughtful addition permitting those disturbed from their slumber quickly to stash valuables and the essentials needed for a few hours in an air-raid shelter while retaining the recommended “hands-free” status.  Coincidentally, the siren suit fitted in with the wartime “fashion zeitgeist” the rationing of fabrics and other materials imposing on clothing simplicity and a reduction in bulk.  Even after that economic imperative had faded, that simplicity would remain influential in the post-war years, most obviously in the minimalist movement, effects achieved with severe cuts rather than fussy embellishments.

Winston Churchill (left) in siren suit with comrade Stalin (right), the Kremlin, Moscow, August 1942.

The prime minister had earlier worn the same Siren suit on a visit to the White House to meet Franklin Delano Roosevelt (FDR, 1882–1945, POTUS 1933-1945) and it was much admired, the FLOTUS (Eleanor Roosevelt (1884–1962; FLOTUS 1933-1945) even saying she’d like to have one made for her husband, if “…the wool shortage” would allow it.  Decades later, during his visit to Washington DC, Volodymyr Zelenskyy (b 1978, President of Ukraine since 2019) found his similar sartorial choice not as well-received.  According to Churchill, even before the war he’d been inspired by the “coveralls” worn by coal miners to commission the London tailors Turnbull & Asser to create a bespoke one for him, finding it just the thing to wear when enjoying his hobby of painting.  Upon the country being threatened by bombing, he ordered several, his specifications recorded in the company’s archives: “Generously cut, with two breast pockets, a zip fastening, roomy side pockets, a belt and pleats to the front of the trousers.”  To suit their client’s whims, Turnbull & Asser made them in various fabrics including the same pinstripe as some of his suits, a durable serge twill and one in a velvet of striking emerald green, still on display in their London store.  There’s nothing to suggest he ever worn one made from utilitarian rayon.

Now

Now (pronounced nou)

(1) At the present time or moment (literally a point in time).

(2) Without further delay; immediately; at once; at this time or juncture in some period under consideration or in some course of proceedings described.

(3) As “just now”, a time or moment in the immediate past (historically it existed as the now obsolete “but now” (very recently; not long ago; up to the present).

(4) Under the present or existing circumstances; as matters stand.

(5) Up-to-the-minute; fashionable, encompassing the latest ideas, fads or fashions (the “now look”, the “now generation” etc).

(6) In law, as “now wife”, the wife at the time a will is written (used to prevent any inheritance from being transferred to a person of a future marriage) (archaic).

(7) In phenomenology, a particular instant in time, as perceived at that instant.

Pre 900: From the Middle English now, nou & nu from the Old English nū (at the present time, at this moment, immediately), from the Proto-West Germanic nū, from the Proto-Germanic nu, from the primitive Indo-European nū (now) and cognate with the Old Norse nu, the Dutch nu, the German nun, the Old Frisian nu and the Gothic nū.  It was the source also of the Sanskrit and Avestan nu, the Old Persian nuram, the Hittite nuwa, the Greek nu & nun, the Latin nunc, the Old Church Slavonic nyne, the Lithuanian nū and the Old Irish nu-.  The original senses may have been akin to “newly, recently” and it was related to the root of new.  Since Old English it has been often merely emphatic, without any temporal sense (as in the emphatic use of “now then”, though that phrase originally meant “at the present time”, and also (by the early thirteenth century) “at once” (in the early Middle English it often was written as one word).  The familiar use as a noun (the present time) emerged in the late fourteenth century while the adjective meaning “up to date” is listed by etymologists as a “mid 1960s revival” on the basis the word was used as an adjective with the sense of “current” between the late fourteenth and early nineteenth centuries.  The phrase “now and then” (occasionally; at one time and another) was in use by the mid 1400s, “now or never” having been in use since the early thirteenth century.  “Now” is widely used in idiomatic forms and as a conjunction & interjection.  Acronym Finder lists 26 NOW acronyms including National Organization for Women, Night of Worship, No Other Way, Nightmares on Wax, Never Open Wide, National Orchestra of Wales, Negotiable Order of Withdrawal, New Opportunities for Women, No Opportunity Wasted, Non-hazardous Oilfield Waste, Northamptonshire Orchestral Winds, and Network-grade Optical Wireless.  Now is a noun, adjective & adverb, nowism, nowness & nowist are nouns; the noun plural is nows.

Right here, right now: Acid House remix of Greta Thunberg’s (b 2003) How dare you? speech by Theo Rio.

“Now” is one of the more widely used words in English and is understood to mean “at the present time or moment (literally a point in time)”.  However, it’s often used in a way which means something else: Were one to say “I’ll do it now”, in the narrow technical sense that really means “I’ll do it in the near future”.  Even common occurrences treated as happening “now” (such as seeing or hearing something) are really experiences of past events.  Because light travels at a finite speed, it takes time for it to bounce from something to one’s eye so visual perception is an exercise in looking back to the past; even when reading something on a screen or page one’s brain is processing something from a nanosecond (about one billionth of a second) earlier.  For most purposes an essential convenience, “now” is but a convincing illusion and even though, in a special sense, everything in the universe is happening at the same time (now), while that can be imagined, it's not something easily experienced because of the implications of relativity.  None of this causes many problems in life but among certain physicists and philosophers, there is a dispute about “now” and there are essentially three factions: (1) that “now” happened only once in the history of the known universe and cannot again exist until the universe ends, (2) that only “now” can exist and (3) that “now” cannot ever exist.  These positions do appear irreconcilable.

Does now exist? (2013), oil & acrylic on canvas by Fiona Rae (b 1963) on MutualArt.

The notion that “now” can have happened only once in the history of our universe is nuanced because even the concept of "universe" is contested.   According to some cosmological theorists, variously there may be many universes, some which used to exist, some exact duplicates of our own (for students of the implications of "infinity", at least one of then even containing an identical Lindsay Lohan), some extant and some yet to be created (or "emerge"; the speculations differ).  An alternative view is "our universe" may now be in one of its many phases, each which will start and end with a unique “now” and that's tied up with the nature of time, the mechanism upon which “now” depends not merely for definition but also for existence.  That faction deals with what is essentially an intellectual exercise whereas the others operate where physics and linguistics intersect.  Within the community holding "now can never exist" there's a sub-faction arguing that to say “now” cannot exist is a bit of a fudge in that it’s not that “now” never happens but only that it can only every be described as a particular form of “imaginary time”; an address in space-time in the past or future.  The purists however are absolutists and their proposition is part of the nature of infinity, something which renders it impossible ever exactly to define “now” because endlessly the decimal point can shift so “now” can only ever be tended towards and never attained.  If pushed, all they will concede is that “now” can be approximated for purposes of description but that’s not good enough: there is no now because there can't be.

nower than now!: Lindsay Lohan on the cover of i-D magazine No.269, September, 2006.  If initial capitals are eschewed, it's a hint the publication is positioned as "edgy".

The “only now can exist” faction find tiresome the proposition that “the moment we identify something as happening now, already it has passed”, making the point that “now” is the constant state of existence and that a mechanism like time exists only a thing of administrative convenience.  The “only now can exist” faction are most associated with the schools of presentism or phenomenology and argue only the present moment (now) is “real” and that any other fragment of time can only be described, the past existing only in memory and the future only as anticipation or imagination; “now” is the sole verifiable reality.  They are interested especially in what they call “change & becoming”, making the point the very notion of change demands a “now”: events happen and things become in the present; without a “now”, change and causality are unintelligible.  The debate between the factions hinges often on differing interpretations of time: whether fundamentally it is subjective or objective, continuous or discrete, dynamic or static.  Linguistically and practically, “now” remains central to the human experience but whether it corresponds to an independent metaphysical reality remains a dispute that, pleasingly for those involved, can go on endlessly because there's unlikely ever to be a "right" answer.  Pleasingly, most people "now" alive (and most now dead) have dealt with the concept "now" and its companions (past & future) without being much troubled by the squabbles among philosophers or cosmologists.  

Cosmologists, if so minded, can dwell less on the nature of “now” because they have the “Andromeda paradox”, one of the consequences of Albert Einstein’s (1879-1955) theory of special relativity.  What the paradox does is illustrate the way “now” is relative and differs for observers moving at different speeds, the effect increasing as distances increase, such as when the point of reference is the Andromeda galaxy, some 2½ million light years distant from Earth.  Under special relativity, what one observer sees and perceives as “now” on Andromeda will, by another, moving at a different relative speed, be perceived as occurring in the past or future.   This can happen at any distance but, outside of computer simulations or laboratories, the effects of relative simultaneity are noticeable (even at relatively low speeds) only at distance.  The way to conceptualize special relatively is to imagine everything in the universe happening "at the same time" and "work backwards" as distances between objects increase.

Two views of both "now" and "then": Declaration of Independence (1819), oil on canvas by John Trumbull (1756–1843) (left) and US astrophysicist Fred Espenak's (1952–2025) image of the Spica binary system (right).  Forty-odd years on, Trumbull took a little artistic licence in his depiction of that night in Philadelphia on 4 July, 1776.  The painting on the left was of what was once "now" but is now "then" while on the right, the photograph simultaneously captured "now" (here) and "then" (there).  Technically, every photograph of an object has that characteristic but the greater the distance (time), the more obvious the difference.  

One way to illustrate the curious nature of “now” is to conduct a thought experiment.  Imagine, on 4 July, 2026, being in a remote part of Wyoming on a clear night and looking up to a sky full of stars, one of which would be Spica (Alpha Virginis), the brightest star in the Virgo constellation and the 16^th brightest visible on Earth.  Because Spica lies 250 light-years distant, the light seen in Wyoming would have been travelling through space since 4 July 1776 when the delegates to the Second Continental Congress, meeting at the Pennsylvania State House (later renamed Independence Hall) in Philadelphia, adopted unanimously the text of the US Declaration of Independence.  In other words, those on Earth viewing Spica on 4 July, 2026 would see the interacting binary system as it was on 4 July, 1776.  So that’s “now” watching something that is both 250 years old and yet still “now”.  Of course Spica is approximately 250 light years away so the "two fourths of July" might not exactly align but for though experiment purposes they do and that's fine.  Spica (two massive, hot blue stars orbiting each other every four days) presumably still (in its local sense) looks much the same but if anything has changed, not for a quarter-millennium will we notice.    

Seated vis-a-vis (literally "face to face"), Lindsay Lohan (b 1986, right) and her sister Aliana (b 1993, left), enjoying a tête-à-tête (literally, "head to head"), La Conversation bakery & café, West Hollywood, California, April 2012.  Sadly, La Conversation is now closed.  

Among the implications of the Andromeda paradox is that although the sisters would experience their discussion as something in the "here and now", to a cosmologist they are looking at each other as they used to be and hearing what each said some time in the past, every slight movement affecting the extent of this.  Because, in a sense, everything in the universe is happening "at the same time", the pair could have been sitting light years apart and spoke what they spoke "at the same time" but because of the speed at which light and sound travel, it's only at a certain distance a "practical" shared "now" becomes possible (even quantum entanglement not able to overcome such an instance of a "distance" problem).  One wholly speculative notion is to connect "now" with at least one of the mysterious pair "dark energy" & "dark matter", two possibly misleading terms used to describe the "missing stuff" the cosmologists' models indicate must (in great quantity) exist in the universe but haven't been yet been identified or even described.  That idea is that "dark energy" may be time itself, the implication being not only can time be used as a measure in the currently accelerating expansion of space but may be the very force responsible for the phenomenon.  Professional cosmologists are unlikely much to be drawn to that speculation, not least because it's not obvious how an experimental test could be be designed but, as the Austrian–British philosopher Sir Karl Popper (1902–1994) explained, the essence of the scientific method is "disproof" and "time may be dark energy" has yet to be disproved.

The notion of time as a form of energy is intoxicating and linked to the idea time either (1) may have been "started" by the unleashing of energy at the moment of the universe's creation or (2) time was that energy and the ongoing (and accelerating) expansion of the universe is just "time being time" (or "time marching on" as it were).  Certainly, time is a useful because without it everything literally "would happen at the same time" and that, in some theories, was what was happening (or "not happening" for those tied to linguistic conventions) prior to what's now usually (if misleadingly) called the "Big Bang".  So, the absence of time may have happened before and may happen again; in that state, the nature of "now" would for many reasons be uncontested.  The idea of time being the "dark energy" is in a sense implied in some of the theories speculating about the "end of the universe" in that some models are based on the universe "going dark" when its last source of energy is exhausted and it may be "running out of energy" and "running out of time" are two ways of expressing the same consequence, the difference being in the mechanics of "cause and effect".