Pro-ana

Pro-ana (pronounced pro-anna)

(1) Of or relating to the position anorexia is a legitimate lifestyle choice.

(2) The on-line community advocating this view.  The most uncompromisingly pure among the community actively deny anorexia nervosa is a clinical condition.

(3) A movement for the promotion of behaviors related to anorexia nervosa. 

(4) A member of this movement or one of the related communities.

Circa 1998-2001:  The construct is pro + ana.  Pro was from the Classical Latin prō (in favor of, on behalf of), from the Proto-Italic por-, from the primitive Indo-European pr- & pro.  Ana is a clipping of of anorexia (an(orexi)a), a phonetic diminutive of the 1957 scientific term anorexia nervosa, the construct being the Ancient Greek ἀν (an) (without) + ὄρεξις (órexis) (appetite, desire) + the Latin nervōsa (nervous).  The clipping of "anorexia" was created both as verbal shorthand and coded language (so the matters of diet and related matters could be discussed without the risk of "outsiders" understanding.  "Ana" was thus a form of personification and a "cover", the outsiders hopefully assuming a young lady named Anna was being spoken of.  Pro-ana is a noun; the noun plural is pro-anas.

Only a matter of time: Lonaniana.

Ana in this context is thus obviously unrelated to the suffix -ana (familiar in forms such as “Victoriana” (of the era of the rein of Victoria (1819–1901; Queen of the UK 1837-1901)), “Americana” (of matters specific to US culture, politics etc), Holmesiana (memorabilia or writings related to the fictional detective Sherlock Holmes created by Sir Arthur ConanDoyle (1859–1930)) etc) that became popular after being adopted in continental literature.  It was from the Latin -āna (neuter plural of –ānus (feminine -āna, neuter -ānum) and was applied to create formations meaning “of or pertaining to”.  In English the specific sense originally was “a collection of things that relate to a specific place, person etc”; the suffices -ic & -ica now fulfil a similar function.  All formations created by appending –ana are pluralia tantum (from the Latin plūrāle tantum (plural as such; plural only); the term describes a noun (either in certain or all its senses) that does not generally have a singular form.  In his A Dictionary of the English Language (1755), Samuel Johnson (1709-1784) defined the suffix thus: “Books so-called from the last syllables of their titles; as Scaligerara, Thuaniana; they are loose thoughts, or casual hints, dropped by eminent men, and collected by their friends.”  An early exemplar was Thraliana, something of a gallimaufry of diary entries, jokes, poems and anecdotes, complied between 1776-1809 by Dr Johnson's dear friend by Mrs Hester Thrale (1741-1821) although those wanting something meatier will more enjoy the two volume Addisoniana (1803), a two-volume biographical and anecdotal anthology of the writings and conversations of the English essayist politician Joseph Addison (1672-1719), compiled and edited by Sir Richard Phillips (1767–1840); it’s a fine relic of a troubled time.

Palindromic elements: A collection of material relating to pro-ana would properly be titled “Pro-anaiana”.

Dr Johnson’s notion of “loose thoughts, or casual hints, dropped by eminent men, and collected by their friends” is familiar also as “table talk”.  Table talk literally is conversation (especially if informal or gossipy) among a group seated together for a meal or other social activity.  The point about table talk is it’s held to represent an individual’s “true” thoughts in unvarnished form (ie not “sanitized” for public consumption and for that reason the table talk of the illustrious or infamous often attracts interest when assembled and published.  However, such collections rarely are true transcripts and even if not deliberately misleading in that what can appear can be a verbatim account of what was spoken and an accurate summary of views and opinion, much can be lost in the transcription.  Classic examples of the difficulties historians encounter in the absence of audio recordings are the several editions of Tischgespräche im Führerhauptquartier (Table Talks at the Führer's Headquarters), published between the 1950s and 1980s, containing what were alleged to be transcriptions of (mostly) monologues delivered by Adolf Hitler (1889-1945; Führer (leader) and German head of government 1933-1945 & head of state 1934-1945) to guests at his lunches or dinners between 1941-1944.  As well as being edited at the time they were written, Albert Speer (1905–1981; Nazi court architect 1934-1942; Nazi minister of armaments and war production 1942-1945) pointed out the printed copy omits so much of the repetition, pauses and linguistic stumbles that could make meals with Hitler “stiflingly boring” for “the regulars who’d heard it all, many times before”.

Etymologists are inclined insist the correct form can be only "pro-ana" and there are traditions in English which supports this but the community itself uses ana, pro ana and proana interchangeably, the most common form the short-form ana, following the practice with anorexia nervosa which is truncated to anorexia in all but formal academic or clinical work.  Over two-odd decades, pro-ana has also spawned words such as thinspiration (often clipped to thinspo) and thinology, used to describe specialized editorial content of the calling; the much less-used term pro-mia referring to bulimia nervosa.  Pro-anas are purists who maintain high-standards; those who aspire to the anahood but in some way fail are dismissed as wannarexics.

Lindsay Lohan wearing (non-ana) red wrist-string.

The ana's standard means of social identification is a simple, beaded red bracelet, the beading of some significance because variations of red bracelets, some as simple as a wrist-string, have long been used by many cultures, usually with some sort of link to the idea of a good-luck charm.  Famously, a חוט השני (the khutt hasheni, a thin scarlet or crimson string) is sometimes worn as Jewish folk custom as a way to seek protection from those misfortunes which may be aimed at one by the עין הרע (evil eye).  It's most associated with the Kabbalah sect and Kabbalic scholars say there's nothing in ancient Jewish texts about wrist-strings of any color and the "tradition" is a recent folk practice which seems to have begun in the north-eastern United States early in the twentieth century.  Anas thus need always to check for beading before reaching out.

Notes

Although at the time it never reached the critical-mass needed to coalesce into a movement, the pro-ana concept actually pre-dates the web.  Among the bulletin boards the nerdiest connected to with 1200 or 2400 baud modems in the 1980s and early 1990s were both anorexia support boards and those which celebrated the condition but, once the indexed www (world-wide-web) was "bolted-on" to the internet the spread was rapid and, by the mid-late 1990s, pro-ana was global.

Pro-ana content tends to be (1) victim stories, (2) images & clips where ribcages & shoulder blades are often seen and clavicles much admired and (3), lists of helpful tricks and techniques.  Politically, the accepted pro-ana world view is they are not suffering from an illness; ana is a human right, an essential part of their identity and just another lifestyle choice.  As pieces of design, the sites tend to use pre-defined templates and in that are unremarkable although the preponderance of monochromic (in gray-scale) imagery is noted.  The pro-ana sites began to attract wider attention early in the twenty-first century, the irony being that much of the criticism came from the very publications many suggest contribute to eating disorders.  Off and on since then, pressure from the public and anti-ana organizations has compelled many hosts to shut down pro-ana sites although these efforts are Sisyphean, the relocations usually quick.

Sixteen Pro Ana Tips & Tricks for Beginners

What's in this list should be adhered to in the pursuit of weight-loss.  If followed, it should mean there's no need to resort to using the new generation of GLP (Glucagon-Like Peptide) receptor agonists which, while effective, are (1) expensive, (2) mean introducing often novel chemicals to the body and (3) don't in all cases mean weight loss will be sustained once the course of treatment stops.  The GLPs should be regarded (like the various surgical options available) as "last resorts" because D&E (diet & exercise) is the better path to follow and the pro-ana path is straight, narrow and well-lit.   

(1) Keep track of your calories.  Set an absolute number and NEVER exceed it while trying always, gradually, to lower the number.  Within the calorie limit, aim for a diet which is 75% leafy-green vegetables & legumes, 20% tart fruit and 5% nuts. Added sugar should be zero because enough is in the fruit but, if absolutely necessary, one daily barley-sugar boiled sweet (taken early) is OK (brush teeth immediately after, as well as good oral practice this will diminish the possibility of the appetite being stimulated).  This diet mix can at the margins be varied but must stay vegan.

(2) Drink lots of water; try to aim for seven litres a day but anything over five is OK.  Being hydrated is anyway healthy and drinking water before taking food helps fill your stomach faster so you’ll eat less.  Remember to not drink a lot of water at once; instead keep hydrated by drinking little amount after every few minutes.  Always drink it as cold as possible, it forces the burning of more calories to restore body temperature.  Unless operating in extreme conditions with high fluid loss, do not go over eight litres a day; water can be toxic in extreme cases and death has been reported among those who have ingested around 20 litres. 

(3) Place a full-length mirror in your bedroom and evaluate yourself on daily basis. This is one of the best ways to stay motivated and remember, you’re there to be critical as well as admire.  If you can arrange multiple mirrors to provide for a 360^o view that's even better because it makes it easier to focus on problem areas (these can persist even as overall weight is falling).

(4) Have small meals.  It’s easier for the body to burn three 100 calorie meals than one of 300 and gives your body the illusion that you’re eating enough to keep the stomach full, whereas you’re eating less.  Always eat slowly and chew thoroughly, it will hasten the digestive process.  After every meal, brush teeth.; again, this is good dental hygiene but with freshly brushed teeth, you'll be less inclined to eat. 

(5) Find an ana-buddy.  The anorexic diet can be a harsh mistress so an ana-buddy with whom you can talk about your problems and diet related stuff can be helpful but only if they're a kindred spirit.  This works not only by keeping each other motivated but you'll find also you'll teach each other new tricks or exercise routines.  You both must be 100% committed to the diet and such noble souls are rare so, if need be, replace them with someone wholly committed.  You're in a war with weight so be harsh and accept only allies who will help in the fight.

(6) With the aggressive pro-ana diet, it’s very important to take vitamin pills.  Research suggests that for most people on what is the orthodox "balanced diet", vitamin supplements are probably unnecessary (some researchers they can even be counter-productive) but because pro-ana doesn't include certain food groups, a daily multi-vitamin is recommended and usually adequate so resist the temptation to take two and do so only if you become light-headed or faint with any frequency; you may need specific additional supplements.  The most publicized deficiency associated with pro-ana is iron and it may thus be necessary greatly to increase the intake of leafy greens like spinach or peas, broccoli & string beans; seeds high in iron include pumpkin, sesame, hemp and flaxseeds.  One's family physician can obtain the tests to determine specific deficiencies and these should be dealt with by adjustment to the diet.  Remember though that doctors are apt to be dictatorial and the recommended technique to deal with their negativity is just to agree with whatever they say.  Try to appear sincere and be deferential; they like that.   

(7) Avoid butter and oils.  Treat them like sugar.

(8) Resist the temptation to smoke or vape.  While it's true some short-term weight loss often is achieved by smoking cigarettes, (1) in the medium-long term weigh-gain is the typical consequence, (2) the nicotine in cigarettes is addictive making it difficult to use tobacco as a short-term or occasional "quick-fix" and (3) it's a carcinogenic product which, on average, appears to reduce life-expectancy by around a decade.  Not enough is yet known about vapes but there are many reports of adverse outcomes, presumed to be a consequence of inhaling that many chemicals.       

(9) Sleep at least eight hours a day, preferably more.  Less sleep means tiredness and hunger and you can’t eat while asleep.

(10) Keep setting a target weight.  Because of fluid retention and other cyclical variations, it’s probably counter-production to set daily targets and a weekly goal is better although true obsessives will monitor at least once and maybe several times a day; this is not discouraged.  To stay motivated, hang on the wall thinspiration photographs of slender models to observe while weighing-in.  Many non-ana diet sites suggest avoiding weighing-in daily and clinically they may be right it achieves little but they just don't understand the nature of obsessions.  Record the weigh-ins so you can chart progress over weeks and months; this requires nothing more demanding than the most basic open-source spreadsheet but math nerds who enjoy such things can do it with pen & paper.  Although for most purposes pencils are better than pens, ink is permanent so it's harder the cheat.  You will be tempted to cheat but you must not; pro-ana does often demand you lie to others but you must never lie to yourself.

Example of a thinspiration photo: Model Lululeika Ravn Liep (b 1998), Cover magazine, February 2015.  Although the use of this image was condemned by the thought police, a true pro-anaite should think: “She could lose a few pounds.”

(11)  Do NOT drink any alcoholic beverages; for variety only soda-water or carbonated mineral water are acceptable.  Coffee and tea are good appetite suppressants.  Drink only black coffee or tea and NO milk or sugar.  Avoid caffeine drinks; either they’ll contain sugar or chemicals about which there exists no reliable research on how they affect the appetite.  Avoid the inherently sweet herbal teas; they do tend to stimulate the appetite in a way black tea and coffee don't.  Black tea and coffee are an important component in training the palette away from sweetness and towards the tart.  After a while, this will start to influence your choice of fruits and vegetables; as a general principle the darker and more bitter in taste, the better.  Care must of course be taken.  In its pure form, caffeine can be fatal in tiny quantities although in the form usually enjoyed (coffee), one would need to drink dozens of cups in a day to approach toxicity.  The French philosopher Voltaire (François-Marie Arouet; 1694–1778) (1694–1778), often at the Café de Procope in Paris, drank a reputed forty-odd cups a day, enjoying it so much he ignored the advice of his doctors to stop.  He lived to 84 but there’s no evidence the often attributed quotation: “It may be poison, but I have been drinking it for sixty-five years, and I am not dead yet” was his.  The more likely source is French author Bernard Le Bovier de Fontenelle (1657–1757) whose actual words were: “I think it must be [a slow poison], for I’ve been drinking it for eighty-five years and am not dead yet.”   Fontenelle died a month short of his hundredth birthday.  The sensible approach is to restrict yourself to one strong (ie short black and such) coffee at the start of the day and otherwise just have cups of weak (even decaffeinated) instant coffee; think of it not as a stimulant but a companion.

(12) Wearing short clothes can be very motivating. When you wear short and revealing clothes and look at yourself in the mirror you will realize the parts where you need to lose weight and how important it is to you.  Wear in private clothes you'd never dare to wear in public and make it a goal to be able to wear them out without looking fat.    

(13) Drink the juice of a squeezed lemon in hot water first thing each morning and last thing each evening; it has the general effect of adding to the stomach acids which break up food.  Because of this acid, always brush teeth afterwards.

(14) If you have to eat in company (it can be unavoidable), wear baggy clothes with big pockets able to be lined with plastic bags.  Then, when no one is looking, you can dispose of food and people will think you eat normally.  It sounds a difficult thing surreptitiously to manage and to start with it will be but you’ll learn to adopt techniques like always sitting in a corner or at the end of the table and soon become an expert.  It's easier than it sounds.

(15) Exercise every day.  Gyms are optional because you can do even better with ana-specific routines such as running up stairs or hills, both of which have an extraordinary multiplier-effect on whatever distance is undertaken.  Unlike gyms, it's also free; remember the goal is weight-loss, not abstractions such as muscle tone or fitness.  If possible, exercise in darkness to avoid sun exposure; if this is not possible (and there may be good reasons to restrict this to daylight hours) cover as much skin as possible with protective clothing and use the highest available SPF (sun protection factor) sun-block lotion, wear a wide brim hat and never forget the sunglasses.  Never use elevators and escalators; always take the stairs.  Wherever possible, replace travel by cars, trains and busses with walking or biking.  This is also good for the planet which is the only one we have.

(16) Eat ice; ice can be an alternative to a meal, it really works.  Shaved ice is best because it avoids dental damage; there are many things to consider when eating ice and curiously, sometimes it's advantageous to take more, sometimes less.  For a discussion on the mechanics of ice-eating: The eating of ice

Anorexia nervosa was included in the (1952) first edition of the American Psychiatric Association's (APA) Diagnostic and Statistical Manual of Mental Disorders (DSM) as a psycho-physiological reaction. The DSM-II (1968) moved it to Special Symptoms–Feeding Disturbances and in 1980, a new eating disorders section was created for the DSM-III.  The most significant structural change probably came in 1994 when in DSM-IV the condition was afforded its own section.  The DSM-5 (2013) relaxed some of the diagnostic criteria including, for the first time, rendering it all entirely gender-neutral, a gesture to conform with practices elsewhere rather than anything suggestion clinical experience was noting a greater gender-spread in the patient count.  Announcing DSM-5, the board noted it wished to reduce the number of patients in the former EDNOS (Eating Disorder Not Otherwise Specified) category, now reclassified as the OSFED (Other Specified Feeding or Eating Disorder) group.  Thus the psychiatrists staked their claim in this low-cal demarcation dispute by capturing the wannarexics.

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.

Poison & Venom

Poison (pronounced poi-zuhn)

(1) A substance with an inherent property that can impair function, cause structural damage, or otherwise injure or destroy life or impair health.

(2) Something harmful or pernicious, as to happiness or well-being.

(3) A slang term for alcoholic liquor.

(4) To administer poison to (a something living).

(5) To ruin, vitiate, or corrupt.

(6) In chemistry, a substance that retards a chemical reaction or destroys or inhibits the activity of a catalyst or enzyme).

(7) In nuclear physics, a substance that absorbs neutrons in a nuclear reactor and thus slows down the reaction.  It may be added deliberately or formed during fission.

(8) Variously in computing (often as "poison message"), a routine or instructing which can stop processes; the "poison queue" is a place to which these are diverted to prevent the running (a similar concept to a "quarantine zone").

1200-1250: From the Middle English poisoun, poyson, poysone, puyson & puisun (a deadly potion or substance (and figuratively, "spiritually corrupting ideas; evil intentions,"), from the twelfth century Old French poison & puison (drink, especially a "medical drink" (later "a (magic) potion; a poisonous drink"), from the Latin potionem (nominative potio) (a drinking, a drink) (and also "a poisonous drink"), from potare (to drink), from the primitive Indo-European root poi- & po- (to drink).  The earliest Lastin forms were pōtiōn (drink, a draught, a poisonous draught, a potion), from pōtō (I drink) & pōtāre (to drink).   The Middle English forms displaced the native Old English ator.  The Latin pōtiōn is the stem of pōtiō, the derive forms being pōtio & pōtiōnis.  The adjective poisonsome is obsolete and poisonous is used for all purposes.  Poison is a noun & verb, poisonousness & poisoner are nouns, empoison is a verb, poisoning is a noun & verb, poisoned is a verb & adjective, poisonous, poisonlike & poisonless are adjectives and poisonously is an adverb; the noun plural is poisons. 

Dry Cooder, Ronald Reagan, Can of Poisoned Meat.

The evolution from Latin to French followed the pattern of other words (eg raison from rationem), the Latin word also the source of Old Spanish pozon, the Italian pozione and the Spanish pocion.  The modern and more typical Indo-European word for this is represented in English by virus and the slang sense of "alcoholic drink" is an Americanism dating from 1805.  Figurative use was first noted in the late fifteenth century although it appears not to have been applied to persons until 1910.  It was used as an adjective from the 1520s; with plant names from the eighteenth century.  Poison ivy first recorded 1784; poison oak in 1743, poison in 1915.  Poison-pen, the trolling of the time, was popularized 1913 by a notorious criminal case in Pennsylvania although the phrase dates from 1898.  The sense evolution was from "drink" to "deadly drink".  In some Germanic languages "poison" is aligned with the English gift (eg the Old High German gift, the German Gift, the Danish & Swedish gift and the Dutch gift & vergift).  This shift may have been partly euphemistic and partly the influence of the Greek dosis (a portion prescribed (literally "a giving")), used by Greek physicians to mean "a quantum of medicine".  Of persons detested or regarded as exerting baleful influence, poison and poisonous were in use by 1910 while the slang meaning "alcoholic drink" recorded as an an early nineteenth century invention of American English (as in "what's your poison?"); potus as a past-participle adjective in Latin meant "drunken".  The verb in the sense of "to poison, to give poison to" dates from the circa 1300 poisonen, from the Old French poisonner (to give to drink) and directly from the noun poison.  The figurative use in the sense of "to corrupt" emerged in the late fourteenth century.

Three portraits of Lindsay Lohan as Poison Ivy by Alex Ross.  Poison Ivy is a comic book character in works published by US company DC Comics.  Poison Ivy is one of Batman's many enemies.

In idiomatic use, the phrase “poisoned chalice” (a large drinking cup) refers to something which at first glance seems desirable but later is revealed to be disadvantageous or harmful.  It’s now used often in politics to describe the situation in which the leadership of a party is offered to someone even though it seems clear the prospects of success are slight.  This is a modern variant on the original sense in which things initially seemed benign, only later to cause harm or even death.  The earliest known use was by William Shakespeare (1564–1616) in The Tragedy of Macbeth (Macbeth, circa 1606) in the speech in which Macbeth flinches from the prospective murder of King Duncan.  “Poisoned compliment” is synonym of “asterism” or “left-handed compliment”; an insult disguised as a compliment or a compliment which can be interpreted as an insult.  “Damning with faint praise” can be used in the same way.  A “poisonmonger” was “one who peddles poison” and while that could be literal (ie a merchant who trades in poisons), it’s more often used figuratively of those who speak with a “poison tongue” or who wield a “poison pen”.  A “taste of one's own poison” was synonymous with “taste of one's own medicine” and referred to harsh treatment inflicted on one who previously made other suffer the treatment.  To “pick (or “choose”) one’s poison” was to be compelled to choose between two unappealing options.  The variant “a man must be permitted to choose his own poison” was a summation of “liberal” periods of rule within the Ottoman Empire (1299-1922) when the consumption of alcohol was tolerated (at least for infidels who were anyway destined for Hell).  To say “one man’s meat is another’s poison” is to admit people have differing tastes; what pleases one person may displease another. 

“Well poisoning” still is practiced and means literally “to make the water supply undrinkable by means of adulteration” (not necessarily with “poison” in the narrow technical sense).  A wartime technique known since at least antiquity, it was used both as an offensive weapon (a terror tactic to disrupt and depopulate a target area) and defensively (as a scorched earth tactic to deny an invading army sources of clean water). Historically, rotting corpses (animal and human) were thrown down wells, making it an early example of biological warfare and that was an especially potent technique because corpses known to have died from transmissible diseases (common during the "age of epidemics" that was the Medieval period) such as bubonic plague or tuberculosis often were available to be "weaponized".  Figuratively, “to poison the well” was pre-emptively to raise ad hominem arguments in order to discredit someone, the concept thus a type of informal fallacy where adverse information about a target is presented to an audience with the intention of devaluing what they’re about to say.  That makes it a certain type of argumentum ad hominem and the phrase was first in this sense used by convert Roman Catholic theologian Cardinal John Henry Newman (1801-1890) in Apologia Pro Vita Sua (A defence of one's own life, 1864).  The proverb “The damage that a substance causes is determined more by its quantity than by its essence” is from toxicology and references the phenomenon that while some substances may for life be beneficial or even essential, in certain quantities they can be damaging or even fatal; for humans, ingesting even pure water can prove lethal if enough is consumed in a certain period, toxicity for healthy adults reached with as little as 20 litres (4.4 imperial gallons, 5.3 US gallons) taken over a few hours.

Venom (pronounced ven-uhm)

(1) The poisonous fluid that some animals, as certain snakes and spiders, secrete and introduce into the bodies of their victims by biting, stinging etc.

(2) Something resembling or suggesting poison in its effect; spite; malice.

(3) Poison in general (inaccurate, now archaic).

(4) To make venomous; envenom (archaic).

(5) Malice, spite.

1175–1225: A variant of the Middle English venim & venym (poison secreted by some animals and transferred by biting) from the Anglo-Norman & Old French venim, venin (poison; malice), from the Vulgar Latin venīmen (source also of the Italian veleno and the Spanish veneno), from the Latin venēnum (magical herb or potion, poison (and in pre-Classical times "drug, medical potion" also "charm, seduction" probably originally "love potion")).  Root was the Proto-Italic weneznom (lust, desire), from the primitive Indo-European wenh (to strive, wish, love) from wen (to desire; to strive for).  Related forms included the Sanskrit वनति (vanati) (gain, wish, erotic lust) and the Latin Venus.   The various deformations in post-Latin languages happened apparently by process of dissimilation with the modern spelling in English more or less standardized by the late fourteenth century.  In figurative use, to have "venom in one's voice" was to express thoughts or feelings marked by spite or malice (vitriolic talk); that of course has been common in human discourse since even before structured language developed but the use of "venom" or "venomous" as a descriptor has been in use since at least the late twelfth century.  The adjective venomosalivary (relating to venom and saliva) is now rare and appears only in historic references while the adjective venonsome is obsolete and venomous is used for all purposes.  Venom is a noun, verb & adjective, venomousness, venomization & venomosity are nouns, venomless, venomlike, venomosalivary, venomsome, venomous & venomic are adjectives, venomize, venoming & envenomate are verbs, venomed is a verb & adjective and venomously is an adverb; the noun plural is venoms.

Sometimes similar consequences but linguistically not interchangeable

A venomous white-lipped pit viper (Trimeresurus insularis), ready to strike; the lovely blue ones are rare; most are green.  That may be an example of survival of the fittest given the environments in which they dwell tend more to be green than blue.  As a footnote, the phrase “survival of the fittest” often is attributed to Charles Darwin (1809-1882) but nowhere does in appear in his epoch-making On the Origin of Species (1859); it was coined by English polymath Herbert Spencer (1820–1903), first used in his Principles of Biology (1864).  Sometimes misunderstood, “fittest” means “best fitted to the environment”, not “strongest, fastest, or most physically fit”.  In other words, organisms most likely to survive as a species are those best adapted to their niche or able to adapt to environmental change.

Poison and venom often are used interchangeably because once in the body, the chemicals can do similar damage, attacking the heart, brain or other vital organs but the meanings are different.  That said, there are many venoms which can be ingested without ill-effect because they are dangerous only if entering the bloodstream although that can happen through a minor cut in the mouth so the practice is not without risk.  Typically, venomous creatures bite, sting or stab their victims whereas for poisonous organisms to affect the living, they have to be bitten, inhaled or touched.  The venomous thus need a way in, like fangs or teeth.  The useful rule is: If one bites something and one dies, what one bit contained poison; if something bites one and one dies, one was bitten by something venomous.  Of course one is just as dead whether the cause was ingesting poison, the bite of a venomous snake or being murdered by the Freemasons but the difference is important for those signing death certificates.

Lindsay Lohan in pink orchid veavage swimsuit next to potted pink orchid, Phuket, Thailand, December, 2017.  It was during this holiday the wire services reported “Lindsay Lohan bitten by snake on holiday in Thailand” and almost instantly the grammar Nazis tweeted on X (then known as Twitter) demanding proof the snake really was taking a vacation; standards have fallen since sub-editors went extinct but errors like this may vanish as AI (artificial intelligence) bots replace flesh & blood journalists.  Ms Lohan made a full-recovery; there was no word on the fate of the (presumably non-venomous) serpent.