Showing posts sorted by date for query Pardon. Sort by relevance Show all posts
Showing posts sorted by date for query Pardon. Sort by relevance Show all posts

Tuesday, July 2, 2024

Installation

Installation (pronounced in-stuh-ley-shuhn)

(1) Something installed (which can be physical, as in plant or equipment or weightless, as in software).

(2) The act of installing (to install) or the state of being installed.

(3) In military use, any permanent or semi-permanent post, camp, station, base etc, maintained to support operations.

(4) In art, an exhibit (widely defined) where the relation of the parts to the whole and the context of the space where exhibited are sometimes claimed to important to the interpretation of the piece.

(5) A formal ceremony in which an honor is conferred or an appointment made to an office (the state of being so honored or appointed being to be “installed”).

1600–1610: From the Middle French installation, from the Medieval Latin installātiō.  The construct was install + -ation.  The verb install (which was used also as instal and before that enstall) was an early fifteenth century form used to mean “place in ecclesiastical office by seating in an official stall”.  It was from the Middle English installen, from the fourteenth century Old French installer, from the Medieval Latin īnstallō (to install, put in place, establish), the construct being in- (in)- + stallum (stall), from the Frankish stall (stall, position, place), from the Proto-Germanic stallaz (place, position), from the primitive Indo-European stel-, stAlǝn- & stAlǝm- (stem, trunk).  It was cognate with the Old High German stal (location, stall), the Old English steall (position, stall), the Old English onstellan (to institute, create, originate, establish, give the example of), the Middle High German anstalt (institute), the German anstellen (to conduct, employ), the German einstellen (to set, adjust, position), Dutch aanstellen (to appoint, commission, institute) and the Dutch instellen (to set up, establish).  The suffix -ation was from the Middle English -acioun & -acion, from the Old French acion & -ation, from the Latin -ātiō, an alternative form of -tiō (thus the eventual English form -tion).  It was appended to words to indicate (1) an action or process, (2) the result of an action or process or (3) a state or quality.

The mid fifteenth century noun installation (action of installing) was a reference to the processes (both administrative & ceremonial) of appointment to church offices or other positions, and in that sense was from the Medieval Latin installationem (nominative installātiō), the noun of action from past participle stem of installare.  Of machinery (in the sense of plant & equipment), the first known use in print, describing the “act of setting up a machine; placing it in position for use” dates from 1882 but it may by then have for some time been in oral use.  Installation & installationer are nouns and installational & installationlike are adjectives; the noun plural is installations.  Installationism & installationist are non-standard forms used in art criticism.

In computing, an “installation” can be of hardware or software.  With hardware, the point of distinction is an installation is something which is permanent (or, even if temporary, installed in a manner of something permanent), as opposed to a mere connection (such as plugging to a USB cable).  In software, the idea to is transfer from an external source (the internet, a place on a network or transportable media (diskettes, optical discs etc)) onto a device's permanent storage, the installation process usually taken to include putting things into the state where functional use is possible.  Installations can be as simple as copying a single file to a drive to long, interactive processes involving multiple external media and on-line registration or validation procedures.  Some installations are effortless while some are worse than others, as those who have enjoyed the experience of installing the earlier versions of Nvidia’s video drivers for some flavors of Unix can attest.  Especially in software, the terms “pre-installation” and “re-reinstallation” are common although “un-install” is more common than “un-installation” (the terms “failed installation” and “corrupted installation” are also not unknown although in most use, IT nerds usually clip “installation” to “install”).

Installations and Performance Art

It’s now unfashionable, and probably thought reactionary, to attempt to impose definitions on the various expressions of Western art.  There was a time, in living memory, when such distinctions were taken seriously, one squabble about whether an entrant in an Australian portraiture competition could be considered “a portrait” (and by implication the work of “an artist”) or “a mere caricature” (and the thus the scribblings of “a cartoonist”) ending up in the Supreme Court of New South Wales (Attorney-General v Trustees of National Art Gallery of NSW & Another (1945) 62 WN (NSW) 212.).

Portrait or caricature?  Mr Joshua Smith (1943, left), oil on canvas by Sir William Dobell (1899–1970) and Joshua Smith (1905-1995, right).

Wisely, Mr Justice Roper (1901–1958) decided the bench was not a place for amateur art criticism and agreed the work was indeed “a portrait”, holding, inter alia, that “portrait” “…means a pictorial representation of a person, painted by an artist. This definition denotes some degree of likeness is essential and for the purpose of achieving it the inclusion of the face of the subject is desirable and perhaps also essential.”  Of the work in question, he observed it was “…characterised by some startling exaggeration and distortion which was clearly intended by the artist, his technique being too brilliant to admit of any other conclusion.  It bears, nevertheless, a strong degree of likeness to the subject and is think, undoubtedly, a pictorial representation of him.  I find as a fact that it is a portrait…  Given that, the judge found it unnecessary to consider whether the painting was a “caricature” or a “fantasy” which was a shame, even if it wouldn’t have been something on which the verdict hung.

Year later, in an essay he titled The White Bird (1987), the English painter & art critic John Berger (1926–2017) would discuss the relationship between artist, artwork & viewer and the tension between accurate depiction (“imitation” as he sometimes called it, a growing trend in modern portraiture) and creative expression: “The notion that art is the mirror of nature is one that only appeals in periods of scepticism.  Art does not imitate nature; it imitates a creation, sometimes to propose an alternative world, sometimes simply to amplify, to confirm, to make social the brief hope offered by nature.  Art is an organised response to what nature allows us to glimpse occasionally. Art sets out to transform the potential recognition into an unceasing one.  With that, one suspects Mr Justice Roper would have concurred.

Finding legal proceedings tiresome, the art industry solved the problem of what does and does not belong in galleries by embracing “installations” and “performance art”, two categories without definitional boundaries and thus able to accommodate anything which can’t be squeezed into one of the traditional slots.  In retrospect, it is course easy to identify stuff stretching back many centuries which could be classified as either but in the modern age, there’s certainly a perception curators are now artistically more promiscuous.  It thus both impossible and pointless to try to define “installation” and “performance art” but some characteristics certainly are identifiable.

Installation art tends to be three-dimensional, is often site-specific and designed to transform the perception of a space in which it exists and the range of materials used is unlimited, the genre notable especially for the use of everyday objects, video & audio content and often, interactive components.  Installation art has encompassed unmade beds so there’s some scope.  Just as there’s no one type of installation, nor are there defined parameters for the mode of display: installations have been hung from ceilings, wrapped around buildings and sat on the seabed.  In gallery spaces however, the most frequently seen installations are those on the floor with sufficient room surrounding them for the viewer to walk around, experiencing the work from multiple angles and perspectives.  Installations can be temporary or permanent or even in some way vanish, decay or be destroyed during the exhibition and in more than one case, the “installation” didn’t actually exist.

The context of location can also dictate the definition.  Wax figures of Lindsay Lohan & Paris Hilton might be all or part of an installation if exhibited in a gallery but when on display at Madame Tussauds in New York City (left), they are a tourist attraction.  More typically, installations combine artistic technique with social or political comment: Gabriel Dawe's (b 1973) Plexus series (centre) was made with a reputed 60 miles (97 km) of embroidery thread hooked from floor to ceiling in a repeating overlay while Judy Chicago’s (b 1939) The Dinner Party, 1974-79 (right) was a feminist piece but one which later attracted criticism because some degree of “ethnic exclusionism” was detected.

Performance art, as the term implies, is a form of “live art” where “something happens”, the actions of the artist or performers components of the work.  Perhaps best thought of as a form of encapsulated theatre, performance art would seem to depend on movement, sound, color and sometimes text although, being art, some performance art has been wholly static.  For that reason, Empire (1965), Andy Warhol’s (1928–1987) eight-hour, slow-motion film of an unchanging view of the Empire State Building must be considered performance art although, given the nature of the experience, it really must be the viewer who is thought the subject.  Performance art is of course intrinsically ephemeral and Empire played with that idea, each moment of the production seemingly the same yet in tiny ways different, rather like the exercise in textual definitional philosophy lecturers like to give students to ponder: “Is the river the ‘same’ river from one day to the next when almost all the molecules of water are different?

The muse as performing installation: US rapper, singer, songwriter, record producer, hip hop identity & fashion designer Ye (formerly the artist known as Kanye West (b 1977)) and Australian architect & model Bianca Censori (b 1995), annual Grammy Awards, Los Angeles, 2 February 2025.

The recent, much publicized appearances by Mr Ye and Ms Censori attracted all sorts of comments and the consensus was the project (one presumably restricted to the warmer months) was a promotional device for him and to some extent that seems to have worked, despite Mr Ye being mostly unnoticed while in the presence of his photogenic muse.  Although there are references to the pair being “married”, it’s not clear if that is their legal status and in artistic terms that may be significant.  What is of interest is whether in these appearances Ms Censori should be thought a “performance artist” or Mr Ye’s “installation”; both have been suggested and there’s no reason why the two states can’t be simultaneous.  Most intriguing has been the suggestion Ms Cansori is being paid by Mr Ye on a "per outfit" basis and is thus a kind of "walking installation".  That would make it a very "modern" marriage and one of which not all would approve but there have been relationships (artistic and otherwise) based on more dubious arrangements.   

Mr Ye & Ms Cansori at Paris Fashion Week, June 2024, the latter in character as an installation.

In the decadent West, when considering the sometimes dubious artistic merit of installations, professional and amateurs critics alike both usually focus on the work but ever since 1917 when a porcelain urinal appeared in an art gallery, the matter of location has had to be considered: "If something (including a porcelain urinal) is exhibited in an art gallery, is it thus a 'work of art'?"  The question was by most treated as an absurdity but it troubled some critics and went on to sustain the pop-art movement. remaining a staple for post-modernists (they still exist), "cultural commentators" and such.  For decades, the manifests of art galleries have included many items few prior to the modern era would have been prepared to call "art".  

Kim Jong-un (right) looking at Jang Song-thaek (left).

For some, professional careers have been built exploring the implication of the question while for most, it's all been variously annoying or amusing but there are places in which where an object sits can be critical and choosing a "shady" rather than "sunny" spot can be a capital offence.  In the DPRK (Democratic Republic of Korea (North Korea)), Jang Song-thaek (1946-2013) was married to Kim Kyong-hui (b 1946; believed still alive), only daughter Kim Il-sung (1912-1994; Great Leader of DPRK 1949-1994) and only sister of (1941-2011; Dear Leader of DPRK; 1994-2011). He was thus the uncle (by marriage) of Kim Jong-un (b circa 1983; Supreme Leader of DPRK since 2011).  Within the party, he had a mixed career but ups and downs within the structure were not unusual and later in the reign of the Dear Leader, he emerged as a important figure in both the political and military machines around which things in the DPRK revolve.  His position appeared to be strengthened when the Supreme Leader assumed power but in 2013 he was accused of being a counter-revolutionary, was expelled from the party, dismissed from his many posts and was un-personed by having his photograph and mention of his name digitally erased from all official records.  In December that year, the KCNA (Korean Central News Agency, the regime's energetic and highly productive state media organization) announced his execution.

Obviously guilty as sin: Jang Song-thaek (left) being brought before the court (right).

On the basis of the official statement issued by the KCNA, he must have been guilty, highlights of the press release including confirmation he was an anti-party, counter-revolutionary factional element and despicable political careerist and trickster…, a traitor to the nation for all ages who perpetrated anti-party, counter-revolutionary factional acts in a bid to overthrow the leadership of our party and state and the socialist system”.  It noted that despite receiving much trust and benevolence by the peerlessly great men … The Great Leader, The Dear Leader and The Supreme Leader, he behaved worse than a dog, perpetrated thrice-cursed acts of treachery in betrayal of such profound trust and warmest paternal love.  Of note was his subversion of interior decorating, preventing “the Taedonggang Tile Factory from erecting a mosaic… as a monument to the Great Leader, not in its deserved place in the sun but “…in a shaded corner.  Perhaps worse of all, he let the decadent capitalist lifestyle find its way to our society by distributing all sorts of pornographic pictures among his confidants since 2009. He led a dissolute, depraved life, squandering money wherever he went.  In summary, the release added Jang was a thrice-cursed traitor without an equal in the world and that history will eternally record and never forget the shuddering crimes committed by Jang Song Thaek, the enemy of the party, revolution and people and heinous traitor to the nation.

Details of such matters are hard to confirm so it’s not known if the rumors of him being executed by anti-aircraft gun fire or a flame-thrower are true.  Nor is it known if whatever remained of the corpse was thrown to a pack of wild dogs but the KCNA's press release did add: “…the revolutionary army will never pardon all those who disobey the order of the Supreme Commander and there will be no place for them to be buried even after their death so the dog-food theory was at least plausible.

KCNA’s official photograph, commemorating the Supreme Leader’s tour of “inspection and field guidance” of the Taedonggang Tile Factory, September 2012.  Included in the Supreme Leader’s entourage was Jang Song-thaek (in army uniform on top platform).

The Supreme Leader learned in detail about factory operations including the processes used in the microlite shop and artificial marble tile shop, the latter able to produce tiles in the same colors and patterns as those of natural marble.  Addressing the workers, the Supreme Leader underlined the need to continue directing big efforts to improving the quality of products, noting that the quality of tiles depends on plane and right angle tolerable numerical value, contraction rate, intensity and resistance to cold.  When seeing tiles of diverse colors and sizes, he expressed great satisfaction that, figuratively speaking, “all clothes and underwear are locally made”, a thoughtful observation which attracted much applause.  It was on this visit the Supreme Leader became aware of the subversive and treasonous order from Jang Song-thaek that the mosaic erected as a monument to the Great Leader must be installed not in its deserved place in the sun but in a shaded corner.

Wednesday, December 6, 2023

Ostrobogulous

Ostrobogulous (pronounced os-truh-bog-yuh-luhs or os-truh-bawg-yuh-luhs)

(1) Something (slightly or tending towards) the risqué or indecent.

(2) Something bizarre, interesting, or unusual.

Circa 1910s: The word was coined by the writer Victor Neuburg (1883–1940), a model of English eccentricity who was Jewish, bisexual and an occasionally intimate associate of the notorious occultist Aleister Crowley (1875–1947) with whom he shared several interests and proclivities.  Neuburg & Crowley travelled near and far to collaborate on many things but the best remembered (and still much celebrated in the cult which to this day surrounds the memory of Crowley) was the blending of occult rituals and certain sexual practices which was systematized as “Sex Magick”, a combination which has been a notable part of many sects and cults since.  Arthur Calder-Marshall (1908–1992) was an author (one with a remarkable eclectic oeuvre) acquainted with both and in one of his memoirs (Magic my Youth (1951) he recalled “Ostrobogulous was Vickybird’s (Victor Neuburg) favourite word. It stood for anything from the bawdy to the slightly off-colour. Any double entendre that might otherwise have escaped his audience was prefaced by, ‘if you will pardon the ostrobogulosity’”.  Ostrobogulous is an adjective, ostrobogulation & ostrobogulosity are nous and ostrobogulously is an adverb; the noun plural is ostrobogulations.

Neuburg claimed ostrobogulous was a most irregular formation, the construct being the Ancient Greek ostro (something rich) + the English bog (in the sense of “dirt” from the schoolboy slang sense of “the toilet”) + the Latin suffix ulus (full of), the literal translation thus “full of rich dirt”.  The Latin suffix -ulus was from the Proto-Italic -elos, from the primitive Indo-European -elós, thematized from -lós; it was cognate with the Proto-Germanic -ilaz & -ulaz and used to form (1) a diminutive of a noun, indicating small size or youth, (2) a diminutive of an adjective with diminished effect (denoting “somewhat” or “-ish”) and (3) an adjective from a verb.  The Oxford English Dictionary (OED) rejected that, claiming the first element was from the Greek adjective oestrous (oyster), from the Latin ostrea, from Ancient Greek ὄστρεον (óstreon) (all related to the Modern English oyster).  Neuburg however ignored the professional lexicographers and decided he was as qualified to determine Classical etymology as he was to coin novel Modern English forms and noted the Greek word ostreon which was a type of mollusc was harvested to obtain a rare and expensive purple dye, hence he decided that figuratively, it meant “something rich”.  In that he was on sound historic ground; what was known as Tyrian purple (also shellfish purple) was for long periods the most expensive substance in Antiquity, often (by weight) three times the value of gold, the exchange rate set by a Roman edict issued in 301 AD.

Upon release, I Know Who Killed Me (2007) received generally bad reviews (it was at one point a popular inclusion on “worst movie ever” lists) but there’s since been a reappraisal by some and the film now has a cult following and appears with some frequency in “midnight screenings”.  Those searching for an adjective to describe I Know Who Killed Me might find ostrobogulous suitable because it leave the viewer free to decide which of its two meanings they prefer.  

However tangled might be the etymology, there’s no doubt Newburg coined ostrobogulous to mean “something (slightly or tending towards) the risqué or indecent” yet by the 1960s it was recorded being used by respectable middle-class folk to mean “something weird, strange, bizarre unusual’ without any hint of indecency; the sense rather of the “harmlessly mischievous”.  Quite how that happened isn’t known but it is an example of the meaning shifts and re-purposing common in English.  Now, it’s only artificially common in that it’s one of those curiosities which are a fixture of lists of strange and obscure words, a lexicographical fetish which has flourished since the advent of the internet.

Wednesday, November 22, 2023

Unconscionable

Unconscionable (pronounced un-kno-shon-ible)

(1) Not guided by conscience; unscrupulous.

(2) Not in accordance with what is just or reasonable:

(3) Excessive; extortionate, imprudent or unreasonable

1560s: The construct was un- + conscionable.  The un- prefix was from the Middle English un-, from the Old English un-, from the Proto-West Germanic un-, from the Proto-Germanic un-, from the primitive Indo-European n̥-.  It was cognate with the Scots un- & on-, the North Frisian ün-, the Saterland Frisian uun-, the West Frisian ûn- &  on-, the Dutch on-, the Low German un- & on-, the German un-, the Danish u-, the Swedish o-, the Norwegian u- and the Icelandic ó-.  It was (distantly) related to the Latin in- and the Ancient Greek - (a-), source of the English a-, the Modern Greek α- (a-) and the Sanskrit - (a-).  Conscionable was from the Middle English conscions (the third-person singular simple present indicative form of conscion), an obsolete variant of conscience, + -able.  The suffix -able was from the Middle English -able, from the Old French -able, from the Latin -ābilis (capable or worthy of being acted upon), from the primitive Indo-European i-stem forms -dahli- or -dahlom (instrumental suffix); it was used to create adjectives.  Conscience was from the Middle English conscience, from the Old French conscience, from the Latin conscientia (knowledge within oneself), from consciens, present participle of conscire (to know, to be conscious (of wrong)), the construct being com- (together) + scire (to know).  The suffix -able was from the Middle English -able, from the Old French -able, from the Latin -ābilis (capable or worthy of being acted upon), from the primitive Indo-European i-stem forms -dahli- of -dahlom (instrumental suffix); it was used to create adjectives.  Unconscionable is an adjedtive, unconscionableness is a noun and unconscionably is an adverb; the noun plural is unconscionabilities.

Like disgruntled, unconscionable is one of those strange words in English where the derivation has flourished while the source word is effective extinct.  That said, English is defined and constructed by being used and the word conscionable (in accordance with conscience; defensible; proper) remains good English; it has merely faded from use and is described by some dictionaries as obsolete, archaic or at least, since the eighteenth century, a fossilized form of its surviving negative: unconscionable. Conscionable in the 1540s meant "having a conscience", the meaning expanding by the 1580s to refer to actions "consonant with right or duty" and by the 1640s to persons, "governed by conscience".  The Oxford English Dictionary (OED) notes both conscious & conscioned were probably popular formations from conscion, taken as a singular of conscien-ce by a misapprehension of the "s" sound as a plural inflection. The related form was (and is) conscionably.

Unconscionability in the law

Unconscionability is a legal doctrine (most often applied in contact law) which permits courts to strike-out or write-down clauses or agreements which are unduly harsh or so grossly unfair that that it would offend legal principles for them to be enforced.  When a court uses the word "unconscionable" to describe conduct, it means the conduct does not conform to the dictates of conscience as defined in law; it makes no judgment about whether they are at variance with other ethical constructs (although there will often be overlap).  In addition, when something is judged unconscionable, a court will refuse to allow the perpetrator of the conduct to benefit.  If need be, entire contracts can be set-aside or declared void, even if they are otherwise constructed wholly in conformity with the rules of contract.  A contract therefore can be found to be "legal" yet still be voided because it's held to be unconscionable in the same way a contract (for example an agreement between two parties in which one is paid to murder a third part can be held to be a "legal contract" yet be declared  "void for illegality".

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

Unconscionability is determined by examining the circumstances of the parties when the contract was made; these circumstances may include the bargaining power, age, and mental capacity of the parties and the doctrine is applied only where it would be an affront to the integrity of the judicial system to enforce a contracts.  At law, as in moral theology, the concept of unconscionability is probably absolute; something is either unconscionable or not.  However, cases are considered on their merits and the circumstances in which the unconscionable arose might color the detail of a judge’s verdict.

Portrait of King Charles II in his Garter robes (circa 1667), oil on canvas by Sir Peter Lely (1618-80).

The Most Noble Order of the Garter, an order of chivalry and the senior order of knighthood in the UK’s honors system, was founded by Edward III (1312–1377; King of England 1327-1377).  Appointments are exclusively in the gift of the sovereign and limited to two dozen living members (apart from royal appointees).  The Garter was of great significance to Charles II (1630–1685; King of Scotland 1649-1651, King of Scotland, England and Ireland 1660-1685) as it had been his father, Charles I (1600–1649; King of England, Scotland & Ireland 1625-1649) who awarded it as something symbolic of the binding tie with his favored aristocrats.  For Charles II, as the only dignity he was able to confer upon his adherents while in exile during the interregnum (1649-1660), it was a potent symbol, proof the King still retained the mystique and the power of monarchy.  Charles II suffered a sudden apoplectic fit on the morning of 2 February 1685 and his doctors expected him to have the decency to die within the hour.  Instead he lingered another four days before expiring and just before, he apologised to those around him, his last words being:You must pardon me, gentlemen, for being a most unconscionable time a-dying.”  In this, as in many other things, he was unlike his father Charles I, who died suddenly, executed by having his head cut off.

Tuesday, October 10, 2023

Macrocephalic

Macrocephalic (pronounced mak-roh-sef-a-lee)

The condition of having an abnormally large head or skull, the diagnostic criterion usually the circumference being beyond the normal range.

1851: From the Ancient Greek makrokephalos, the construct being māk ros (large, long), from the primitive Indo-European root māk- (long, thin) + the Ancient Greek κεφαλή (kephal) (head).  English borrowed cephaly from the French -céphalie or the German -zephalie, from the Latin -cephalia, from the Ancient Greek kephal.  The form macrocephalous (having a long head) dates from 1810.  The primitive Indo-European root māk (long, thin) forms part of emaciate, macro, macro-, macrobiotic, macron, meager & paramecium.  It’s thought to be the source of the Ancient Greek makros (long, large) & mēkos (length), the Latin macer (lean, thin), the Old Norse magr & the Old English mæger (lean, thin).  The less commonly used terms in pathology are megacephaly and megalocephaly and a related term is sub-macrocephaly.  Macrocephalic & macrocephalous are adjectives, macrocephalous and macrocephaly are nouns; the noun plural is macrocephalies

DPRK generals in their big hats, leaving the monthly hat ceremony, wearing the millinery badges they've been awarded.

There’s no evidence heads in the DPRK (Democratic People’s Republic of Korea (North Korea) differ, on a population basis, from the those of the rest of the human race.  Even though the DPRK has to a high degree been physically isolated from the outside population since the early 1950s, the gene pool in the population is sufficiently diverse that most in the field expect there’d be no change to aggregate outcomes in human physiology.  Indeed, those changes which have been noted (stunting etc), are thought the consequence of nutritional deficiencies rather than anything genetic.

Suleiman I (Süleyman the Magnificent, 1494-1566, Sultan of the Ottoman Empire 1520-1566) (far left), Pius XII (1876-1958; pope 1939-1958) in the papal triple tiara (triple crown) at his coronation, 1939 (centre left), depiction of Süleyman the Magnificent in his retaliatory four tier helmet (centre right) and Officer of the 4th (Royal Irish) Dragoon Guards (1826), watercolor by Richard Simkin (1850-1926) (far right).  The dragoons always had famously good hats.

Kim Jong-un, looking at DPRK generals in their big hats.

In military uniforms, ecclesiastical dress and fashion, big hats have been a thing for thousands of years, the earliest presumably a form of biomimicry, inspired by examples like the plumage of birds or the manes of lions.  In human society, the purpose would not have been dissimilar to that of the other animals: wishing to appear (1) larger and more threatening to deter attacks, (2) of a higher status than others or (3) more attractive to attract a mate and this procreate.  Some uses would of course have been for mere function, headwear serving as protection from the elements or impacts, modern examples including the wide-brimmed hats adopted to shade one from the sun, the Mexican sombrero emblematic of this.  In the modern era (and it's a trend noted since at least late antiquity), extravagant headwear exists for no purpose other than to attract whatever is the currency of the age, photographers at the fashion shows or clicks on the internet.  On the catwalks, some creations can hardly be described as functional or conventionally attractive so clickbait is the only explanation and whether some of that worn by figures such as Lady Gaga (b 1986) was inspired by the millinery of Süleyman the Magnificent isn't known but the thematic similarities can't be denied.  Of course, over thousands of years, there's going to be some stylistic overlap; there are only so many ways to adorn a head.

DPRKesque fashion: Adolf Hitler (1889-1945; Führer (leader) and German head of government 1933-1945 & head of state 1934-1945, left) and Victor Emmanuel III (1869–1947; King of Italy 1900-1946, right) observing the Italian Navy conduct maneuvers, Gulf of Naples, 1938 (left) and Lindsay Lohan in a promotional image from her campaign for US hair and skin beauty care corporation Nexxus, 2024.

Celebrities like big hats for a number of reasons.  Jacqueline Kennedy (1929-1994; US First Lady 1961-1963) told Lyndon Johnson (LBJ, 1908–1973; US president 1963-1969) she wore wide-brimmed hats to prevent him kissing her while the diminutive Victor Emmanuel III (1869–1947; King of Italy 1900-1946) had the royal milliners craft a number of unusually tall hats (including military caps) to add two inches (50 mm) odd to his  stature.  The elevation was especially obvious when he was standing with those wearing conventionally sized military headwear and it's doubtful anyone was fooled.  Technically, Victor Emmanuel didn’t fit the definition of dwarfism which sets a threshold of adult height at 4 feet 10 inches (1.47 m), the king about 2 inches (50 mm) taller (or less short) and it’s thought the inbreeding not uncommon among European royalty might have been a factor, both his parents and grandparents being first cousins.  However, although not technically a dwarf, that didn’t stop his detractors in Italy’s fascist government calling him (behind his back) il nano (the dwarf), a habit soon picked up the Nazis as der Zwerg (the dwarf) (although Hermann Göring (1893–1946; leading Nazi 1922-1945, Hitler's designated successor & Reichsmarschall 1940-1945) was said to have preferred der Pygmäe (the pygmy)).  In court circles he was knows also (apparently affectionately) as la piccola sciabola (the little sabre) a nickname actually literal in origin because the royal swordsmith had to forge a ceremonial sabre with an unusually short blade for the diminutive sovereign to wear with his many military uniforms.  His French-speaking wife (Princess Elena of Montenegro (1873–1952; Queen of Italy 1900-1946)) stood a statuesque six feet (1.8 m) tall and always called him mon petit roi (my little king).  It was a long and happy marriage and genetically helpful too, his son and successor (who enjoyed only a brief reign) very much taller although his was to be a tortured existence Still, in his unhappiness the scion stood tall and that would have been appreciated by the late Prince Philip, Duke of Edinburgh (1921–2021) who initially approved of the marriage of Lady Diana Spencer (1960-1997) to the Prince of Wales (b 1948) on the basis that she “would breed some height into the line”.

Kim Jong-un at a military briefing, conducted by DPRK generals in their big hats.

The papal triple tiara is a crown which has been worn by popes of the Roman Catholic Church since the eighth century.  Traditionally it was worn for their coronation but no pontiff has been so crowned since Saint Paul VI (1897-1978; pope 1963-1978) in 1963 and he abandoned its use after the Second Vatican Council (Vatican II, 1962-1965).  The name tiara refers to the entire headgear and it has used a three-tiered form since a third crown was added during the Avignon Papacy (1309–1378).  It's also referred to as the triregnum, triregno or Triple Crown.  In a piece of one- (or perhaps four-) upmanship, Süleyman the Magnificent commissioned from Venice a four tier helmet to show, in addition to the authority claimed by popes, he could add the symbol of his imperial power, his secular sovereignty.  Often put on display as the centrepiece of Ottoman regalia to impress visitors, there's no documentary evidence the sultan ever wore the four layer tiara, crowns not part of the tradition and, fashioned from gold and gemstones, it would anyway have been extraordinarily heavy and it may be it was worn only for brief, static, set piece ceremonies because an incautious movement could have risked neck injury.

A younger, more svelte Kim Jong-un at a military field conference, noting one general not issued with big hat.

A representation of the triregnum combined with two crossed keys of Saint Peter continues to be used as a symbol of the papacy and appears on papal documents, buildings and insignia.  Remarkably, there’s no certainty about what the three crowns symbolize.  Some modern historians link it to the threefold authority of the pope, (1) universal pastor, (2) universal ecclesiastical jurisdiction and (3) temporal power.  Others, including many biblical scholars, interpret the three tiers as meaning (1) father of princes and kings, (2) ruler of the world and (3) vicar of Christ on Earth, a theory lent credence by the words once used when popes were crowned:  Accipe tiaram tribus coronis ornatam, et scias te esse patrem principum et regum, rectorem orbis in terra vicarium Salvatoris nostri Jesu Christi, cui est honor et gloria in saecula saeculorum (Receive the tiara adorned with three crowns and know that thou art father of princes and kings, ruler of the world, vicar on earth of our Savior Jesus Christ, to whom is honor and glory for ever and ever).

Kim Jong-un on an afternoon stroll with DPRK generals, discussing the politics of big hair and big hats.

The preference in the DPRK armed forces for big hats is appears to be a matter of military fashion rather than physiological need and big hats are part of a military tradition which, although now restricted mostly to ceremonial use, were once functional in that they provided warmth, an impression of greater height and some degree of protection from attack.  Being made from animal fur, the hats are now controversial but, as a natural material, they have proved more durable and resistant to the weather than synthetic alternatives, factors which military authorities long cited as the reason for their retention.

Bearskin cap of the UK Foot Guards, made traditionally with the fur of Canadian bears (left) and model Lucy Clarkson (b 1982, right), fetchingly body-painted in the uniform of the Queen's Guards, in a demonstration organized by People for the Ethical Treatment of Animals (PETA) to draw attention to the slaughter of the bears due to the use of real bearskins in the Guard's ceremonial headdress, Westminster Bridge, London 2010.  Whether the Ministry of Defence was persuaded by PETA's arguments, Ms Clarkson's charms or some analysis which revealed the exorbitant cost of purchasing and maintaining the bearskin hats isn't clear but recently it was announced the traditional ones will be "phased out" in favor of units made from “faux” bearskin.

Kim Jong-un discussing millinery ethics with DPRK generals wearing big hats.

The tall bearskin cap, usually associated with parade ground manoeuvres around Buckingham palace, was historically the headgear of the Grenadier Guards and, remarkably, it was sometime part of battlefield dress even in the twentieth century.  It remains part of the ceremonial uniforms in many armed forces and not just those once part of the British Empire.  That up to a hundred Canadian bears are each season slaughtered "just so men could wear big hats while marching around in circles" is claimed by the activists to be of "no obvious military value but merely a tourist attraction".  While there's merit in the argument there is a legitimate military purpose in the maintenance of traditions, extending that to fur hats does seem quite abstract.  

Kim Jong-un (right) looking at Jang Song-thaek's big hat (left).

In the DPRK, Jang Song-thaek (1946-2013) was married to Kim Kyong-hui (b 1946; believed still alive), only daughter Kim Il-sung (1912-1994; Great Leader of DPRK 1949-1994) and only sister of (1941-2011; Dear Leader of DPRK; 1994-2011). He was thus the uncle (by marriage) of Kim Jong-un (b circa 1983; Supreme Leader of DPRK since 2011).  Within the party, he had a mixed career but ups and downs within the structure were not unusual and later in the reign of the Dear Leader, he emerged as a important figure in both the political and military machines around which things in the DPRK revolve.  His position appeared to be strengthened when the Supreme Leader assumed power but in 2013 he was accused of being a counter-revolutionary, was expelled from the party, dismissed from his many posts and was un-personed by having his photograph and mention of his name digitally erased from all official records.  In December that year, the KCNA (Korean Central News Agency, the regime's energetic and highly productive state media organization) announced his execution.

Obviously guilty as sin: Jang Song-thaek (left) being brought before the court (right).

On the basis of the official statement issued by the KCNA, he must have been guilty, highlights of the press release including confirmation he was an anti-party, counter-revolutionary factional element and despicable political careerist and trickster…, a traitor to the nation for all ages who perpetrated anti-party, counter-revolutionary factional acts in a bid to overthrow the leadership of our party and state and the socialist system”.  It noted that despite receiving much trust and benevolence by the peerlessly great men … The Great Leader, The Dear Leader and The Supreme Leader, he behaved worse than a dog, perpetrated thrice-cursed acts of treachery in betrayal of such profound trust and warmest paternal love.  Of note was his subversion of interior decorating, preventing “the Taedonggang Tile Factory from erecting a mosaic… as a monument to the Great Leader, not in its deserved place in the sun but “…in a shaded corner.  Perhaps worse of all, he let the decadent capitalist lifestyle find its way to our society by distributing all sorts of pornographic pictures among his confidants since 2009. He led a dissolute, depraved life, squandering money wherever he went.  In summary, the release added Jang was a thrice-cursed traitor without an equal in the world and that history will eternally record and never forget the shuddering crimes committed by Jang Song Thaek, the enemy of the party, revolution and people and heinous traitor to the nation.

Details of such matters are hard to confirm so it’s not known if the rumors of him being executed by anti-aircraft gun fire or a flame-thrower are true.  Nor is it known if whatever remained of the corpse was thrown to a pack of wild dogs but the KCNA's press release did add: “…the revolutionary army will never pardon all those who disobey the order of the Supreme Commander and there will be no place for them to be buried even after their death so the dog-food theory was at least plausible.

KCNA’s official photograph, commemorating the Supreme Leader’s tour of “inspection and field guidance” of the Taedonggang Tile Factory, September 2012.  Included in the Supreme Leader’s entourage was Jang Song-thaek (in army uniform on top platform).

The Supreme Leader learned in detail about factory operations including the processes used in the microlite shop and artificial marble tile shop, the latter able to produce tiles in the same colors and patterns as those of natural marble.  Addressing the workers, the Supreme Leader underlined the need to continue directing big efforts to improving the quality of products, noting that the quality of tiles depends on plane and right angle tolerable numerical value, contraction rate, intensity and resistance to cold.  When seeing tiles of diverse colors and sizes, he expressed great satisfaction that, figuratively speaking, “all clothes and underwear are locally made”, a thoughtful observation which attracted much applause.  It was on this visit the Supreme Leader became aware of the subversive and treasonous order from Jang Song-thaek that the mosaic erected as a monument to the Great Leader must be installed not in its deserved place in the sun but in a shaded corner.

Kim Jong-un, looking through binoculars across the Demilitarized Zone (DMZ) at the small hats worn by RoK (Republic of Korea (South Korea)) generals.

Saturday, September 10, 2022

Salad

Salad (pronounced sal-uhd)

(1) A usually cold (a few are “warm”) dish consisting of vegetables, as lettuce, tomatoes, and cucumbers, covered with a dressing and sometimes containing fruit, seafood, meat eggs or other additions; any of various dishes consisting of foods, as meat, seafood, eggs, pasta, or fruit, prepared singly or combined, usually cut up, mixed with a dressing, and served cold (often with a modifier: Caesar salad, Niçoise salad, pasta salad, Greek salad, Thai salad, tossed salad, chicken salad, potato salad, fruit salad etc).

(2) Any herb or green vegetable, as lettuce, used for salads or eaten raw.

(3) Figuratively, a mixture or assortment of people or things, similar or disparate.

1350–1400: From the Middle English salade & salad (raw herbs cut up and variously dressed), from the Old & Middle French salade, from the Old Provençal salada, from salar (to season with salt), from the Northern Italian salada & salata, from the Vulgar Latin salāta (literally "salted" and short for herba salata), from salāre, the feminine past participle of salāre (to salt (in Antiquity, the Romans seasoned vegetables with brine or salty oil-and-vinegar dressings)), the construct being sal- (genitive salis; stem of sāl (salt)) + -āta- (added to nouns to form adjectives and akin to –ate).  The suffix -ate was a word-forming element used in forming nouns from Latin words ending in -ātus, -āta, & -ātum (such as estate, primate & senate).  Those that came to English via French often began with -at, but an -e was added in the fifteenth century or later to indicate the long vowel.  It can also mark adjectives formed from Latin perfect passive participle suffixes of first conjugation verbs -ātus, -āta, & -ātum (such as desolate, moderate & separate).  Again, often they were adopted in Middle English with an –at suffix, the -e appended after circa 1400; a doublet of –ee.  Salad’s alternative spelling between the sixteenth & nineteenth centuries was sallet.  Salad is a noun: the noun plural is salads.

In Europe, the Dutch salade, the German Salat, the Swedish salat and the Russian salat are from Romanic languages.  The early use was exclusively of herbs and vegetables but came later to be extended to dishes including meat chopped and mixed with uncooked herbs and variously seasoned, the point being that the meat was an addition to a concoction predominately of vegetables.  As a reference to the raw herbs and vegetables themselves, in the US by the early nineteenth century most had limited the application of “salad” to lettuce while all else were “greens” although, except in the South, “salad” has in recent years crept back.  Salad oil "olive oil used for dressing salads" was known by the 1550s and the salad fork was listed for sale as early as 1808.  The salad bar was an invention of US English, attested by 1940.

The idiomatic salad days is a rarely used phrase that survives because William Shakespeare (1654-1616) used it once in all that he wrote and it’s used exclusively in the plural; nobody has ever had a “salad day”.  It’s presumed usually to convey a sense of youthful innocence enthusiasm and idealism associated with inexperience and is sometimes confused with “halcyon days” which actually summons the idea of a time of calm, a nostalgic idealizing of a past.  Not all however thought something worth repeating just because it came from the bard's quill.  The unforgiving Henry Fowler (1858-1933) thought salad days just a cliché and even doubted the accepted meaning.  In Modern English Usage (1926) he though youth, like salad might variously be thought (1) green & raw, (2) prone to a preference for highly flavored tastes or (3) innocent as a herb unlike corrupted meat.  Even for the old curmudgeon that seems a stretch but his point was that few who used the phase properly understood its meaning and it was thus “fitter for parrots than for human speech”.

Salad days was spoken by Cleopatra in Act 1, Scene 5 of Shakespeare's Antony and Cleopatra (circa 1607).

CHARMIAN The valiant Caesar!

CLEOPATRA By Isis, I will give thee bloody teeth

If thou with Caesar paragon again

My man of men.

CHARMIAN By your most gracious pardon,

I sing but after you.

CLEOPATRA My salad days,

When I was green in judgment, cold in blood,

To say as I said then. But come, away,

Get me ink and paper.

He shall have every day a several greeting,

Or I’ll unpeople Egypt.

Having spoken longingly of Antony. Cleopatra doesn’t like it mentioned that once she spoke of her lover Caesar with the same ecstasy and when reminded they were her own words, Cleopatra concedes the point but puts it down to the rash impetuosity of youth, salad days when she was “green in judgment, cold in blood”.  The convention explanation of salad days as Shakespeare’s device is that the Cleopatra used the image of the salad (green and cold) as something served before the richer, more substantial, hot main course, making the point it was youthful inexperience which made her idealize her affair with Caesar.  It was the passionate Antony who made her blood boil.  Shakespeare never returned to the phrase but had earlier used “green” in the same sense.  In Hamlet (circa 1601), when Ophelia is speaking to her father Polonius, about her troubled relationship with Hamlet, he says “You speak like a green girl; Unsifted in such perilous circumstances.”

Others liked it though.  Although Bonjour Tristesse (Hello Sadness (1954)) tended to overshadow the later work of French novelist Francoise Sagan (1935-2004), her Salad Days (1980) is especially admired in English translation and one of the century’s better evocations of the well-worn tale of star-cross’d lovers.  Quite how many cook books, entertaining guides and such have been titled “Salad Days” (there have also been not a few “Salad Daze”) is not known but it’s many.  When Elizabeth II (1926-2022; Queen of England and other places variously 1952-2022) delivered a Silver Jubilee Royal Address (1977), she reiterated the vow to God and her people she gave in her twenty-first birthday broadcast (1947), adding: “Although that vow was made in my salad days, when I was green in judgment”, it still held.  Her conclusion was different from Shakespeare’s Cleopatra whose feelings had changed since those salad days.  Elizabeth II never wavered.

In the aftermath of her death, the words she spoke in those salad days were widely and admiringly quoted: 

"I declare before you all that my whole life whether it be long or short shall be devoted to your service and the service of our great imperial family to which we all belong."

There were however historians who, in their capacity as public psychologists, noted that few thought to trouble the people of 2022 with her concluding remarks:

"But I shall not have strength to carry out this resolution alone unless you join in it with me, as I now invite you to do: I know that your support will be unfailingly given. God help me to make good my vow, and God bless all of you who are willing to share in it."

Egg & Potato Salad

Ingredients

6 large Dutch cream(or Desiree) potatoes, cut into 50 mm (2 inch) cubes

6 eggs, at room temperature

250 grams crème fraîche

200 grams mayonnaise

1 teaspoon Dijon mustard

1 tablespoon white wine vinegar

70 grams salted baby capers, rinsed and drained

100 grams cornichons, thinly sliced

2 golden shallots, thinly sliced

To garnish: some flat-leaf parsley, torn

Instructions

(1) Cook potatoes in boiling salted water until tender (10-15 minutes), then drain and set aside to steam dry.

(2) While the potatoes are cooking, place eggs in a saucepan of salted boiling water and cook for 8 minutes (for medium-cooked yolks), then drain and transfer to iced water to stop cooking. Peel, quarter and set aside.

(3) Combine remaining ingredients in a bowl and season to taste. Add potato and gently mix to coat well, then transfer to a platter, top with eggs, scatter with parsley, season with black pepper and serve.