Kitsch

Kitsch (pronounced kich)

(1) Something though tawdry in design or appearance; an object created to appeal to popular sentiment or undiscriminating tastes, especially if cheap (and thus thought a vulgarity).

(2) Art, decorative objects and other forms of representation of dubious artistic or aesthetic value (many consider this definition too wide).

1926: From the German kitsch (literally “gaudy, trash”), from the dialectal kitschen (to coat; to smear) which in the nineteenth century was used (as a German word) in English in art criticism describe a work as “something thrown together”.  Among “progressive” critics, there was a revival in the 1930s to contrast anything thought conservative or derivative with the avant garde.  The adjective kitchy was first noted in 1965 though it may earlier have been in oral use; the noun kitchiness soon followed. Camp is sometimes used as a synonym and the two can be interchangeable but the core point of camp is that it attributes seriousness to the trivial and trivializes the serious.  Technically, the comparative is kitscher and the superlative kitschest but the more general kitschy is much more common.  The alternative spelling kitch is simply a mistake and was originally 1920s slang for “kitchen” the colloquial shortening dating from 1919.  Kitsch & kitchiness are nouns, kitschify, kitschifying & kitschified are verbs and kitschy & kitchlike are adjectives; the noun plural is kitsch (especially collectively) or kitsches.  Kitschesque is non-standard.

Kitsch can become ironic: a lava lamp in "hot dog stand" red & mustard.  Lava lamps were in the 1970s briefly fashionable as symbols of the modern but were soon re-classified kitsch.  In the twenty-first century, such was the demand that re-creations of the originals became available, bought because they were so kitsch; iconic can thus be ironic.

For something that lacks an exact definition, the concept of kitsch seems well-understood  although not all would agree on what objects are kitsch and what are not.  Nor is there always a sense about it of a self-imposed exclusionary rule; there are many who cherish objects they happily acknowledge are kitsch.  As a general principle, kitsch is used to describe art, objects or designs thought to be in poor taste or overly sentimental.  Objects condemned as kitsch are often mass-produced, clichéd, gaudy (the term “bling” might have been invented for the kitsch) or cheap imitations of something.  It can take some skill to adopt the approach but other items which can be part of the motif include rotary dial phones ("retro" can be a thing which transcends kitsch) and three ceramic ducks "flying" up the wall (although when lava lamps were in vogue, lava lamp buyers probably already thought them kitsch).  An application of physics of thermodynamics and fluid mechanics, the lava lamps once so admired by stoned hippies work by exploiting differences in density, thermal expansion, and buoyancy within two immiscible fluids (ie they do not mix), the dynamics driven by a localized heat source and the construction is simple; in a variously shaped glass vessel, there is a wax-based compound (the “lava”, which typically is paraffin wax mixed with additives to adjust density and melting point), floating in a liquid (usually water or a water-based solution with salts or alcohols to achieve the desired density).  At the base of the vessel there is a source of light and heat which traditionally was an incandescent bulb, the heat a product of the inefficiency with which the energy was converted into light; when the bulb is switched on, the liquid becomes heated and as the wax absorbs some of this heat, it melts and thermally expands, density thereby decreasing to the point it’s slightly less dense than the surrounding liquid.  Buoyant force then causes the wax to rise through the liquid in blobs, randomness meaning tiny variations in surface tension and viscosity create infinitely different shapes of the rounded forms which cool as they move away from the heat source, meaning the wax contracts, increasing its density beyond that of the liquid, causing it to sink back toward the bottom.  Because it’s a closed system working on a continuous cycle, the heating & cooling repeats continuously and, component failure and material decay aside, in theory a lava lamp could run forever.

Lindsay Lohan: Prom Queen scene in Mean Girls (2004).  If rendered in precious metal and studded with diamonds a tiara is not kitsch but something which is the same design but made with anodized plastic and acrylic rhinestones certainly is.

Führerkitsch: A painting attributed to Adolf Hitler.

The Nazi regime devoted much attention to spectacle and representational architecture & art was a particular interest of Adolf Hitler (1889-1945; Führer (leader) and German head of government 1933-1945 & head of state 1934-1945).  Hitler in his early adulthood had been a working artist, earning a modest living from his brush while living in Vienna in the years before World War I (1914-1918) and his landscapes and buildings were, if lifeless and uninspired, executed competently enough to attract buyers.  He was rejected by the academy because he could never master a depiction of the human form, his faces especially lacking, something which has always intrigued psychoanalysts, professional and amateur.  Still, while his mind was completely closed to any art of which he didn’t approve, he was genuinely knowledgeable about many schools of art and better than many he knew what was kitsch.  However, the nature of the “Führer state” meant he had to see much of it because the personality cult built around him encouraged a deluge of Hitler themed pictures, statuettes, lampshades, bedspreads, cigarette lighters and dozens of other items.  A misocapnic non-smoker, he ordered a crackdown on things like ashtrays but generally the flow of kitsch continued unabated until the demands of the wartime economy prevailed.

To the Berghof, his alpine headquarters on the Bavarian Obersalzberg near Berchtesgaden, Barvaria, there were constant deliveries of things likes cushions embroidered with swastikas in which would now be called designer colors and more than one of his contemporaries in their memoirs recorded that the gifts sometimes would be accompanied by suggestive photographs and offers of marriage.  Truly that was “working towards the Führer”.  At the aesthetic level he of course didn't approve but appreciated the gesture although they seem never to have appeared in photographs of the house’s principle rooms, banished to places like the many surrounding buildings including the conservatory of Hans Wichenfeld (the chalet on which the Berghof was based).

Hitler's study in the Berghof with only matched cushions (left) and the conservatory (centre & right) with some pillowshams (embroidered with swastikas and the initials A.H.).

In the US, Life magazine in October 1939 (a few weeks after the Nazis had invaded Poland) published a lush color feature focused on Hitler’s paintings and the Berghof, the piece a curious mix of what even then were called “human-interest stories”, political commentary and artistic & architectural criticism.  One heading :“Paintings by Adolf Hitler: The Statesman Longs to Be an Artist and Helps Design His Mountain Home” illustrates the flavor but this was a time before the most awful aspects of Nazi rule were understood and Life’s editors were well-aware a significant proportion of its readership were well disposed towards Hitler’s regime.  Still, there was some wry humor in the text, assessing the Berghof as possessing the qualities of a “…combination of modern and Bavarian chalet” styles, something “awkward but interesting” while the interiors, “…designed and decorated with Hitler’s active collaboration, are the comfortable kind of rooms a man likes, furnished in simple, semi-modern, sometimes dramatic style. The furnishings are in very good taste, fashioned of rich materials and fine woods by the best craftsmen in the Reich.”  Life seemed to be most taken with the main stairway leading up from the ground floor which was judged “a striking bit of modern architecture.”  Whether or not the editors were aware Hitler thought “modern architecture” suitable only for factories, warehouses and such isn’t clear.  They also had fun with what hung on the walls, noting: “Like other Nazi leaders, Hitler likes pictures of nudes and ruins” but anyway concluded that “in a more settled Germany, Adolf Hitler might have done quite well as an interior decorator.”  There was no comment on the Führer’s pillows and cushions.

Lindsay Lohan themed pillowshams are available.

Whatever Life’s views on him as interior decorator, decades later, his architect was prepared to note the dictator’s “beginner’s mistakes” as designer.  In Erinnerungen (Memories or Reminiscences), published in English as Inside the Third Reich (1969)), Albert Speer (1905–1981; Nazi court architect 1934-1942; Nazi minister of armaments and war production 1942-1945) recalled:

“A huge picture window in the living room, famous for its size and the fact that it could be lowered, was Hitler s pride.  It offered a view of the Untersberg, Berchtesgaden, and Salzburg. However, Hitler had been inspired to situate his garage underneath this window; when the wind was unfavorable, a strong smell of gasoline penetrated into the living room.  All in all, this was a ground plan that would have been graded D by any professor at an institute of technology. On the other hand, these very clumsinesses gave the Berghof a strongly personal note. The place was still geared to the simple activities of a former weekend cottage, merely expanded to vast proportions.”

He commented also on the pillowshams: “The furniture was bogus old- German peasant style and gave the house a comfortable petit-bourgeois look.  A brass canary cage, a cactus, and a rubber plant intensified this impression.  There were swastikas on knickknacks and pillows embroidered by admiring women, combined with, say, a rising sun or a vow of "eternal loyalty."  Hitler commented to me with some embarrassment: "I know these are not beautiful things, but many of them are presents.  I shouldn't like to part with them."

The gush was also trans-Atlantic.  William George Fitz-Gerald (circa 1870-1942) was a prolific Irish journalist who wrote under the pseudonym Ignatius Phayre and the English periodical Country Life published his account of a visit to the Berchtesgaden retreat on the invitation of his “personal friend” Adolf Hitler.  The idea of Hitler having a "friend" (as the word conventionally is understood) is not plausible but that an invitation was extended might in the circumstances have been though is unexceptional.  Although when younger, Fitz-Gerald’s writings had shown some liberal instincts, by the “difficult decade” of the 1930s, experience seems to have persuaded him the world's problems were caused by democracy and the solution was an authoritarian system, headed by what he called “the long looked for leader.”  Clearly taken by his contributor’s stance, in introducing the story, Country Life’s editor called Hitler “one of the most extraordinary geniuses of the century” and noted “the Führer is fond of painting in water-colours and is a devotee of Mozart.”

Country Life, March 1936 (both Hermann Göring (1893–1946) and Werner von Blomberg (1878–1946) were then generals and not field marshals).  General Göring wearing the traditional southern German Lederhosen (leather breeches) must have been a sight worth seeing.

Substantially, the piece in Country Life also appeared in the journal Current History with the title: Holiday with Hitler: A Personal Friend Tells of a Personal Visit with Der Führer — with a Minimum of Personal Bias”.  In hindsight it may seem a challenge for a journalist, two years on from the regime’s well-publicized murders of probably hundreds of political opponents (and some unfortunate bystanders who would now be classed as “collateral damage”) in the pre-emptive strike against the so-called “Röhm putsch”, to keep bias about the Nazis to a minimum although many in his profession did exactly that, some notoriously.  It’s doubtful Fitz-Gerald visited the Obersalzberg when he claimed or that he ever met Hitler because his story is littered with minor technical errors and absurdities such as Der Führer personally welcoming him upon touching down at Berchtesgaden’s (non-existent) aerodrome or the loveliness of the cherry orchid (not a species to survive in alpine regions).  Historians have concluded the piece was assembled with a mix of plagiarism and imagination, a combination increasingly familiar since the internet encouraged its proliferation.  Still, with the author assuring his readers Hitler was really more like the English country gentlemen with which they were familiar than the frightening and ranting “messianic” figure he was so often portrayed, it’s doubtful the Germans ever considered complaining about the odd deviation from the facts and just welcomed the favourable publicity.

As a "cut & paste" working journalist used to editing details so he could sell essentially the same piece to several different publications, he inserted and deleted as required, Current History’s subscribers spared the lengthy descriptions of the Berghof’s carpets, curtains and furniture enjoyed by Country Life’s readers who were also able to learn of the food severed at der Tabellenführer, (the leader's table) the Truite saumonée à la Monseigneur Selle (salmon trout Monseigneur style) and caneton à la presse (pressed duck) both praised although in all the many accounts of life of the court circle’s life on the Obersalzberg, there no mention of the vegetarian Hitler ever having such things on the menu.

Djuna Barnes (1892–1982) in polka-dots.

Briefly, Putzi Hanfstaengl was engaged to the US author Djuna Barnes who, although she denied being predominantly lesbionic, was regarded by some contemporary critics as having written the most definitive expressions of lesbian culture since Sappho.  It was one of Hanfstaengl's wives who spoke the most succinct thumbnail sketch of Hitler's sexuality: “I am telling you Putzi, he is a neuter.”

Fitz-Gerald was though skilled at his craft and interpolated enough that was known to be true or at least plausible to paint a veneer of authenticity over the whole.  Of the guests he reported: (1) Hitler’s long-time German-American acquaintance & benefactor (when speaking of Hitler, both better words than "friend") Ernst "Putzi" Hanfstaengl (1887–1975 and a one-time friend of Franklin Delano Roosevelt (FDR, 1882–1945, US president 1933-1945) was a fine piano player (which nobody ever denied), (2) that Joachim von Ribbentrop (1893–1946; Nazi foreign minister 1938-1945) was a wine connoisseur (he entered the wine business after marrying into the Henkell family’s Wiesbaden business although his mother-in-law remained mystified, remarking of his career in government it was: “curious my most stupid son-in-law should have turned out to be the most successful” and (3) that Dr Joseph Goebbels (1897-1945; Nazi propaganda minister 1933-1945) was an engaging dinner companion and a “droll raconteur” (it is true Goebbels’ cynicism and cruel wit could be amusing even to those appalled by his views, something like the way one didn’t have to agree with the press baron Lord Beaverbrook (Maxwell Aitken, 1879-1964) to enjoy his tart cleverness).  Much of the credibility was however sustained by it being so difficult for most to “check the facts” and few would have been able to find out that in the spring of 1936 when Fitz-Gerald claimed to be enjoying the Führer’s hospitality, the quaint old Haus Wachenfeld was part of a vast building site, the place being transformed into the sprawling Berghof, the whole area unliveable and far from the idyllic scene portrayed.

Führerkitsch: A painting attributed to Adolf Hitler.

Dutifully, Hitler acknowledged the many paintings which which were little more than regime propaganda although the only works for which he showed any real enthusiasm were those which truly he found beautiful.  However, he knew there was a place for the kitsch… for others.  In July 1939, while being shown around an exhibition staged in Munich called the “Day of German Art”, he complained to the curator that some German artists were not on display and after being told they were “in the cellar”, demanded to know why.  The only one with sufficient strength of character to answer was Frau Gerhardine "Gerdy" Troost (1904–2003), the widow of the Nazi’s first court architect Paul Troost (1878–1934) and one of a handful of women with whom Hitler was prepared to discuss anything substantive.  “Because it’s kitsch” she answered.  Hitler sacked the curatorial committee and appointed his court photographer (Heinrich Hoffmann (1885–1957)) to supervise the exhibition and the depictions of happy, healthy peasants and heroic nude warriors returned.  Hitler must have been satisfied with Herr Hoffman's selections because in November that year he conferred on him the honorific "professor", a title he would award about as freely as he would later create field marshals.

Kitsch: One knows it when one sees it.

What is kitsch will be obvious to some while others will remain oblivious and the disagreements will happen not only at the margins.  Although there will be sensitive souls appalled at the notion, it really is something wholly subjective and the only useful guide is probably to borrow and adapt the threshold test for obscenity coined by Justice Potter Stewart (1915–1985; associate justice of the US Supreme Court 1958-1981) in Jacobellis v Ohio (1964):

I shall not today attempt further to define the kinds of material I understand to be embraced within that shorthand description and perhaps I could never succeed in intelligibly doing so. But I know it when I see it…

Matinée de septembre (September Morn (1911)), oil on canvas by Paul Émile Chabas (1869–1937), in the collection of the Metropolitan Museum of Art, New York City (not currently on display).

What makes something defined (or re-defined) as kitsch is thus a construct of factors including artistic merit (most obviously when lacking), the price tag and the social or political circumstances of the time.  When Paul Émile showed Matinée de Septembre at the Paris Salon of 1912, it did not attract much comment, female nudes having for decades been a common sight in the nation’s galleries (although there had been a legislative crackdown on low-cost commercial products, presumably on the basis that while the “educated classes” could appreciate nudes in art, working class men ogled naked women merely for titillation).  In other words, Parisian salon-goers had seen it all before and Matinée de Septembre, while judged competently executed, was in no way compelling or exceptional.  The work may thus have been relegated to an occasional footnote in the history of art were it not for the reaction in Chicago when a reproduction appeared in the street-front window of a photography store.  Reflecting the contrasting aspirations of those Europeans who first settled in the continent, in the US there has always been a tension between Puritanism and Libertarianism and one of the distinguishing characteristics of the USSC (US Supreme Court) is that it has, over centuries, sometimes imperfectly, managed usually to interpret the constitution in a way which straddles these competing imperatives with rulings cognizant of what prevailing public opinion will accept and while the judges weren’t required to rule on the matter of Matinée de Septembre’s appearance in a shop window, the brief furore was an example of one of the country’s many moral panics.

Although at first instance a jury found the work not obscene and thus fit for public view, local politicians quickly responded and found a way to ensure such things were restricted to art galleries and museums, places less frequented by those “not of the better classes”.  The notoriety gained from becoming a succès de scandale (from the French and literally “success from scandal”) made it one of the best-known paintings in the US and, not being copyrighted, widely it was reproduced in prints, on accessories and parodied in what would now be called memes.  The popularity however meant a re-assessment of the artistic merit and many critics dismissed it as “mere kitsch” although it was in 1957 donated to New York’s Metropolitan Museum of Art where it has on occasion been hung as well as being loaned to overseas institutions.  The Met placed it in storage in 2014 and while that’s not unusual, whether the decision was taken because of it’s the depiction of one so obviously youthful isn’t clear.  The artist claimed his model was at the time aged 16 (thus some two years older than the star-cross’d lover in William Shakespeare’s (1564–1616) Romeo and Juliet (1597) and half a decade older than the girl who appeared on the cover of Blind Faith’s one-off eponymous album (1969)) but there is now heightened sensitivity to such depictions.

Kitsch also has a history also of becoming something else.  As recently as the 1970s, tea-towels, placemats, oven mitts, tea-trays and plenty else in the West was available adorned with depictions of indigenous peoples, often as racist tropes or featuring the appropriation of culturally sensitive symbols.  These are now regarded as kitsch only historically and have been re-classified as examples variously (depending on the content) of cultural insensitivity or blatant racism.

Kitsch at work: Lava Lamps and Random Number Generation

Some may have dismissed the Lava Lamp as "kitsch" but the movement of the blobs possesses properties which have proved useful in a way their inventor could never have anticipated.  The US-based Cloudflare is a “nuts & bolts” internet company which provides various services including content delivery, DNS (Domain Name Service), domain registration and cybersecurity; in some aspects of the internet, Cloudflare’s services underpin as many as one in five websites so when Cloudflare has a problem, the world has a problem.  For many reasons, the generation of truly random numbers is essential for encryption and other purposes but to create them continuously and at scale is a challenge.  It’s a challenge even for home decorators who want a random pattern for their tiles, their difficulty being that however a large number of tiles in two or more colors are arranged, more often than not, at least one pattern will be perceived.  That doesn’t mean the tiles are not in a random arrangement, just that people’s expectation of “randomness” is a shape with no discernible pattern whereas in something like a floor laid with tiles, in a random distribution of colors, it would be normal to see patterns; they too are a product of randomness in the same way there’s no reason why if tossing a coin ten times, it cannot all ten times fall as a head.  What interior decorators want is not necessarily randomness but a depiction of randomness as it exists in the popular imagination.

Useful kitsch: Wall of Entropy, Cloudflare, San Francisco.  Had this been in an installation in a New York gallery circa 1972, it would have been called art.  

For most purposes, computers can be good enough at generating random numbers but in the field of cryptography, they’re used to create encryption keys and the concern is that what one computer can construct, another computer might be able to deconstruct because both digital devices are working in ways which are in some ways identical.  For this reason, using a machine alone has come to be regarded as a Pseudo-Random Number Generator (PRNG) simply because they are deterministic.  A True Random Number Generator (TRNG) uses something genuinely random and unpredictable and this can be as simple as the tiny movements of the mouse in a user’s hand or elaborate as a system of lasers interacting with particles.

One of Cloudflare’s devices encapsulating unpredictability (and thus randomness) is an installation of 100 lava lamps, prominently displayed on a wall in their San Francisco office.  Dubbed Cloudflare’s “Wall of Entropy”, it uses an idea proposed as long ago as 1996 which exploited the fluid movements in an array of lava lamps being truly random; as far as is known, it remains impossible to model (and thus predict) the flow.  What Cloudflare does is every few milliseconds take a photograph of the lamps, the shifts in movement converted into numeric values.  As well as the familiar electrical mechanism, the movement of the blobs is influenced by external random events such as temperature, vibration and light, the minute variations in each creating a multiplier effect which is translated into random numbers, 16,384 bits of entropy each time.

Wall of Entropy, Cloudflare, San Francisco.

The arrangement of colors which avoids any two being together, in the horizontal or vertical, was a deliberate choice rather than randomness although, there's no reason why, had the selection truly been random, this wouldn't have been the result.  Were there an infinite number of Walls of Entropy, every combination would exist including ones which avoid color paring and ones in which the colors are clustered to the extent of perfectly matching rows, colums or sides.  What Cloudflare have done in San Francisco is make the lamps conform to the popular perception of randomness and that's fine because the colors have no (thus far observed) effect on the function.  In art and for other purposes, what's truly random is sometimes modified so it conforms to the popular idea of randomness.

Vulpine

Vulpine (pronounced vuhl-pahyn or vuhl-pin)

(1) Of or resembling a fox.

(2) Possessing or being thought to posses the characteristics often attributed to foxes ( crafty, clever, sly, cunning etc).

1620-1630: From the Latin vulpīnus (foxy, fox-like, of or pertaining to a fox), the construct being vulp(ēs) (fox) + -īnus.  Vulpēs was from the earlier volpes (genitive vulpis, volpis) of unknown origin, though though probably from the  primitive Indo-European wl(o)p and cognate with the Welsh llywarn (fox), the Classical Greek ἀλώπηξ (alṓpēx) (fox), the Armenian աղուէս (ałuēs), the Albanian dhelpër, the Lithuanian vilpišỹs (wildcat) and the Sanskrit लोपाश (lopāśa) (jackal, fox).  The Latin suffix -inus was from the Proto-Italic -īnos, from the primitive Indo-European -iHnos and cognate with the Ancient Greek -ινος (-inos) and the Proto-Germanic -īnaz.  It was used to indicate "of or pertaining to, usually a relationship of position, possession, or origin.  Vulpine is a noun & adjective, vulpinism & vulpinist are nouns and vulpinary is an adjective; the noun plural is vulpines.

The Holy Fox, Lord Halifax: The Right Honourable Edward Frederick Lindley Wood, First Earl of Halifax, KG, OM, GCSI, GCMG, GCIE, TD, PC, was a leading Tory (Conservative & Unionist Party) politician of the inter-war and war-time years; among other appointments, he was Viceroy of India, foreign secretary and ambassador to the United States.  He was known as the Holy Fox because of his devotion to church, the hunt and Tory politics though was more holy than foxy and perhaps too punctilious ever to be truly vulpine.  He was also born too late; had he lived a century earlier, he’d likely be remembered as an eminent statesman of the Victorian era but even before 1945, he seemed a relic of the bygone age.

A fox and other beasts: Count Galeazzo Ciano (1903–1944; Italian foreign minister 1936-1943, left), Lord Halifax (1881–1959; UK foreign secretary 1938-1940 centre left), Neville Chamberlain (1869–1940; UK prime minister 1937-1940, centre right) and Benito Mussolini (1883–1945; Duce & Italian prime minister 1922-1943, right), Rome, January 1939.

Some three months after signing the infamous Munich Agreement that rubber-stamped Adolf Hitler's (1889-1945; Führer (leader) and German head of government 1933-1945 & head of state 1934-1945) takeover of Czechoslovakia, Chamberlain and Halifax visited Rome to confer with Mussolini.  Although it had long been obvious the Duce had been drawn into the German orbit, British foreign policy was still based on the hope war could be avoided and, having seen appeasement prevent immediate conflict over Berlin's demands about Czechoslovakia, the hope was to find a way to appease Rome, the goal at the time little more ambitious than the maintenance of the status quo in the Mediterranean.  Even in 1939, the UK's Foreign Office still believed Mussolini might be susceptible to "civilizing influences" in a way it had (belatedly) become obvious Hitler would not.  In retrospect pointless, the meeting, held between 11-14 January 1939, was the last attempt through official channels to tempt the Duce away from the entanglement with Hitler to which, in reality, he was already committed although he certainly didn't expect war to be declared as soon as things transpired.  The spirit of the meeting was well captured in Count Ciano's diary and while the count's entries are not wholly reliable, he was one of the century's notable diarists, an astute observer and, too clever to be much bothered by principles, painted vivid pictures of some of the great events of those troubled years.  Mussolini, flattered by Hitler and  already seeing himself as a Roman emperor, must have thought he was being visited by the ghosts of the past, Chamberlain looking like the provincial lord-mayor he'd once been and Halifax the archbishop he probably wished he'd become.

“In substance, the visit was kept on a minor tone, since both the Duce and myself are scarcely convinced of its utility. . . . How far apart we are from these people!" Ciano noted in his diary.  "It is another world."  After dinner with Mussolini he recorded the Duce's feelings: "These men are not made of the same stuff as the Francis Drakes and the other magnificent adventurers who created the British Empire.  These, after all, are the tired sons of a long line of rich men, and they will lose their Empire,... The British do not want to fight. They try to draw back as slowly as possible, but they do not want to fight."  Whatever other mistakes he may have made, on that night in Rome, Mussolini made no error in his summary of the state of thought in Downing Street and the Foreign Office.  "Our conversations with the British have ended" Ciano concluded and "Nothing was accomplished."  He closed the diary that evening with the note "I have telephoned Ribbentrop (Joachim von Ribbentrop (1893–1946; Nazi Foreign Minister 1938-1945) that the visit was a big lemonade [ie a farce].”

Foxy Eyes by Skinklink.

In zoology, the family Canidae is divided into (1) Vulpini (foxes) and (2) Canini (wolves, dogs, coyotes, and jackals).  From these beasts comes the metaphorical use of “canine” and “vulpine”, both tending to be used of character traits rather than appearance.  In the metaphorical sense, “canine” is associated with qualities such as friendship loyalty, trustworthiness, dependability, devotion and loyalty, thus the phrase: “Dog is man’s best friend”, pointed variants appearing in quips from politicians such as Frederick II’s (Frederick the Great, 1712–1786, Prussian king 1740-1786): “The more I learn of the nature of man, the more I value the company of dogs” and Harry Truman’s (1884–1972; US president 1945-1953): “Want a friend in Washington? Get a dog”.  Jeff Kennett (b 1948; premier of the Australian state of Victoria 1992-1999) would late adapt that Truman doctrine and coined one to use in an internecine squabble, disparaging Peter Costello (b 1957; Treasurer of Australia, 1996-2007) for possessing “all the attributes of a dog - except loyalty”.  If “canine” brings to mind honestly and guilelessness, “vulpine” does not.  Because foxes stereotypically are though sly, clever and cunning, they’re regarded not as loyal companions but solitary creatures whose every calculation in life is one of shrewd self-interest, their folkloric reputation for deceit well-deserved.

Amanda Knox in court during her appeal against her conviction for murder, Perugia, Italy, September, 2011.

The terms (of both endearment and disparagement) “foxy” and “vulpine” can be used interchangeably but context must be studied to determine which meaning is being deployed.  A US citizen studying in Italy, Amanda Knox (b 1987) was twice wrongfully convicted of murder by Italian courts and, as a young, photogenic American accused of killing the young lady who was at the time her flat-mate, the trials received extensive international coverage.  It wasn’t long before the media were referring to Ms Knox as “Foxy Knoxy” and while many assumed that was typical tabloid journalism and a use of “foxy” in the sense of “sexy young woman” (perhaps with an overtone of “manipulative”), it was revealed to be her nickname on MySpace (an early social media site on which Rupert Murdoch (b 1931) would book a big loss), the moniker gained from the pace and agility she displayed in her youth on the soccer (football) pitch.  Of Ms Knox, the use of “foxy” can be debated but it would never be appropriate to speak of her as “vulpine”.

The dapper Franz von Papen during the first Nuremberg Trial.  Although never part of the Nazi "establishment", he served the regime almost to the bitter end.

Both however could be applied to Franz von Papen (1879-1969; German chancellor 1932 & vice chancellor 1933-1934) who appears in the history books described variously as “vulpine”, “foxy”, “the sly old fox” and “the old silver fox”.  No author has ever used these terms to suggest Papen was “sexy” and the references are all to his cunning, slyness and extraordinary ability, over many decades, to extricate himself from situations where his prospects seemed dismal or doomed.  Few have ever quibbled over André François-Poncet (1887–1978; French ambassador to Germany 1931-1938) famous thumbnail sketch: “There is something about Papen that prevents either his friends or his enemies from taking him entirely seriously” and the Frenchman was acknowledged a fair judge of politicians, even Hitler more than once admitting: “Poncet is the most intelligent of the diplomats I've known”, to which he’d sometimes pause to add (especially if anyone from the foreign ministry was in earshot): “…including the German ones.”

Members of the Reich government assemble for the First of May celebrations, Berlin Lustgarten, 1 May 1933.  Disappointingly for English-speakers although Lustgarten translates as “Pleasure Garden”, that’s in the sense of “a pleasant place to take a stroll”.

Left to right: Otto Meissner (1880–1953; head of the Presidential Chancellery of Germany 1920-1945), Vice-Chancellor von Papen, Chancellor Hitler and Dr Joseph Goebbels (1897-1945; Nazi propaganda minister 1933-1945).  The military office behind Hitler is Minister of Defense, General (later Generalfeldmarschall) Werner von Blomberg (1878–1946; Reichsminister of War 1935-1938).  Blomberg would in 1938 be forced to resign as Minister of War and Commander-in-Chief of the Army after it was revealed his new wife (the much younger Erna Gruhn (1913–1978)) “had a past”.  Hitler, although untroubled about ordering the murder of millions, was in some matters a bourgeois moralist and there were verified reports of him at the time ranting: “If a German field Marshal can marry a whore, anything is possible.”

Most Germans were as sceptical as the French ambassador.  General Kurt von Schleicher (1882–1934; German chancellor 1932-1933) who was a confidant of Generalfeldmarschall Paul von Hindenburg (1847–1934; Reichspräsident (1925-1934) of Germany 1925-1934) schemed and plotted to have the dilettante Papen appointed chancellor (prime minister), believing his inexperience and known political ineptitude make him a malleable tool (like many others, he would later make the same mistake with Hitler).  When astonished associates protested: “Papen has no head for administration”, the General replied” “He doesn’t need a head, his job is to be a hat”.  Through means fair & foul, Papen managed to stay in office for six months and was planning to have Hindenburg grant him dictatorial powers before being out-maneuvered by Schleicher who secured the office for himself.  Between December 1932 and January 1933 that chancellorship lasted only eight weeks before Hitler was appointed but the general continued to plot ways back into office before in 1934 becoming one of hundreds murdered by the Nazis during the Nacht der langen Messer (Night of the Long Knives), a purge of the regime's opponents subsequently justified by Hitler as a pre-emptive strike against the imminent "Röhm putsch".

Papen, then serving as Hitler's vice chancellor, had been on several of the lists (there was a bit of mission creep from the original plan for a "surgical strike" against two-dozen-odd) to be killed, having upset the Nazis by having made a speech at Marburg University critical of the regime but escaped death because Hermann Göring (1893–1946; leading Nazi 1922-1945, Hitler's designated successor & Reichsmarschall 1940-1945) had him placed in protective custody; Göring knew Papen's execution would have troubled the president.  Although appalled at the blood-letting (including several of his close associates), Papen couldn't resist the lure of the political stage and continued to accept appointments from Hitler, his last job being as ambassador to Turkey (Türkiye since 2023) and he remained in the embassy in Ankara (which, along with Cario and Lisbon, was one of the war's hotbeds of espionage) until August 1944 when diplomatic relations with Berlin were severed.

Papen in Pickelhaube while serving as German Military Attaché to the US, Washington DC, 1915.

As a consequence of his inept and sometimes farcical attempts at espionage and sabotage, the US government in December 1915 declared Papen persona non grata (the diplomatic term meaning “you must immediately leave the country”) but despite the conspicuous failure of his mission, upon returning to Berlin, he was (presumably for “effort”) awarded the Iron Cross, First Class.  The Pickelhaube (pointed helmet, pronounced pick-el-how-buh) was first used by the Prussian Army in the 1840s and became such a potent symbol of German power it was adopted by some of the country’s many uniform-loving institutions including police forces, fire brigades and even the forestry service.  Rendered unsuitable for use in combat by advances in ballistics, except for ceremonial purposes, beginning in 1916, it was withdrawn from use and replaced by the Stahlhelm (steel helmet, pronounced shtal-helm).    

Back-seat driver.

Then serving as vice-chancellor, von Papen sits behind Hitler during a parade, Berlin, May 1933.  The car is a Mercedes-Benz 770K (W07, 1930-1938) Cabriolet D.  Despite the "K" ("Kompressor" in the context of the 770s), not all W07 770Ks were supercharged but all those suppled to the Chancery had the Roots type "blower".  Big, heavy and with less than slippery aerodynamic qualities, the cars needed the power of their 7.7 litre (468 cubic inch) straight-8s but, despite the mass, the updated 770K (W150, 1938-1943) could top 100 mph (160 km/h) on the long straights of the new Autobahns although such was the fuel consumption (which for the armored versions could be as high as 40 litres/100 km (5.88 mpg (US); 7.06 mpg Imperial)), even with a 195 litre (52 US gallon; 43 Imperial gallon) tank, when cruising at high speed, the time between "top-ups" could be brief.

In the aftermath of the war, the old fox proved himself again one of the century’s great survivors.  Indicted for (Count 1) conspiracy to commit crimes against peace and (Count 2) waging aggressive war, he was acquitted by the IMT (International Military Tribunal) in the first Nuremberg Trial (1945-1946), a verdict which disappointed some but didn’t surprise those lawyers who’d found the conspiracy charge dubious in many aspects and thought the defendant too remote from the business of planning or waging war.  The speech critical of the Nazis (drafted for him by an aide who was murdered during the purge) he delivered in 1934 seems to have persuaded the (non-Russian) judges that even if "corrupting", he was less reprehensible figure than some of his fellow defendants (that may be "damning with faint praise" but the "he spoke at Marburg" feeling seems to have been an effective piece of mitigation) contributed to him securing one of three acquittals among 19 convictions (twelve death sentences and seven imprisoned with terms between ten years and life).  In 1947 he was convicted by a German de-Nazification court and sentenced to eight years hard labor but, on appeal, was released in 1949 and his two years in captivity were not unpleasant, spent mostly in a hospital; upon release, promptly he re-discovered his robust good health although his attempts in the 1950s to re-enter politics proved abortive.  Many of his more obviously credentialed contemporaries were either murdered by their “friends” or sent to the gallows by their opponents but the old fox lived to his ninetieth year, dying peacefully in his bed.

Lindsay Lohan’s “Fursona”, one of the Canine Cartel’s NFTs (non-fungible token).  In zoology, the canine family (Canidae, from the Latin canis (dog)) includes domestic dogs, wolves, coyotes, raccoon dogs, foxes, jackals and several other species.

Launched in August 2021 on Ethereum, the Canine Cartel NFT was a generative NFT collection launched in late August 2021 on Ethereum.  The collection included a reputed 10,000 unique (ERC‑721) canine characters, each with what was claimed to be “randomly generated traits” (subsequent analysis would correct that) inspired by ten dog breeds, the fictional back-story being of dogs which formed a “cartel” that emerged victorious over feline rivals in a stylized Sinaloa-inspired turf war.  As all know, cats are evil so the happy ending was good triumphed over evil.  There was a charitable element to the project, the first 10 ETH raised (some 10 % of mint revenue) pledged to dog shelters.  At the time, there was quite a buzz around EFTs and (with a mint price of 0.05 ETH per NFT) the drop apparently sold out quickly but like many EFT “bubbles”, expectations of profits were not realized by most speculators and recent floor prices have hovered around 0.0045 ETH on very low volumes.  The Canine Cartel model was a classic example of the promotional technique used when speculative interest in NFTs was high and was one common to many ventures, some of which by centuries pre-date the internet.

Continuity

Continuity (pronounced kon-tn-oo-i-tee or kon-tn-yoo-i-tee)

(1) The state or quality of being continuous; logical sequence, cohesion or connection; lack of interruption.

(2) A continuous or connected whole.

(3) In political science, as “continuity theory”, an approach to twentieth century German historiography which focuses on structural and sociological continuities between eras (including pre-twentieth century influences and traditions).

(4) In narratology, a narrative device in episodic fiction where previous and/or future events in a series of stories are accounted for in present stories.

(5) As bicontinuity (the sate of being bicontinuous), (1) in topology: homeomorphic (a continuous bijection from one topological space to another, with continuous inverse) and (2) in physics, chemistry (of a liquid mixture), being a continuous phase composed of two immiscible liquids interacting through rapidly changing hydrogen bonds.

(6) In film production, as “continuity girl” (the now archaic title in film production (now called “continuity supervisor” or “script supervisor”)) for the person responsible for ensuring the details in each scene conform to the continuity of the narrative.

(7) In film production, the scenario (in the industry jargon a synonym of “continuity”) of script, scenes, camera angles, details of verisimilitude etc, in the sequence in which they should appear in the final cut.

(8) In fiction (especially in television series but also in film and literature), as “continuity nod”, a reference, to part of the plot of a previous series, volume, episode etc.

(9) In audio & visual production (radio, podcasts, television, internet etc), the spoken part of a script that which provides introductory, transitional or concluding material in non-dramatic (documentaries and such) programmes (some production houses include in their staff establishment the position “continuity announcer”).

(10) In film projection, the continuous projection of a film, using automatic rewind.

(11) In mathematics, a characteristic property of a continuous function.

(12) In mathematics, as semicontinuity (of a function), the state of being semicontinuous (that it is continuous almost everywhere, except at certain points at which it is either upper semi-continuous or lower semi-continuous).

(13) In mathematics, as equicontinuity, (of a family of functions), the state of being equicontinuous (such that all members are continuous, with equal variation in a given neighborhood).  The Lipschitz continuity was named after German mathematician Rudolf Lipschitz (1832–1903); the Scott continuity was named after US logician Dana Scott (b 1932).

(14) In mathematics, as hemicontinuity, the state of being hemicontinuous (having the property that if a sequence of points in the domain of a function converges to a point L, then either the sequence of sets that are the images of those points contains a sequence that converges to a point that is in the image of L, or, alternatively, for every element in the image of L, there will be a sub-sequence in the domain whose image contains a convergent sequence to that element.

(15) In marketing, in the plural, as “continuities”, sets of merchandise, given away for free or sold cheaply as promotional tool (the idea being the continuity of the customers returning).

1375–1425: From the late Middle English continuite (uninterrupted connection of parts in space or time), from the Old & Middle French continuité, from the Latin continuitatem (nominative continuitās) (a connected series (the construct being continu(us) (continuous) + -itās (equivalent to the English continu(e) +‎ -ity), from continuus (joining, connecting with something; following one after another) from the intransitive verb continere (to be uninterrupted (literally “to hang together”).  The –ity suffix was from the French -ité, from the Middle French -ité, from the Old French –ete & -eteit (-ity), from the Latin -itātem, from -itās, from the primitive Indo-European suffix –it.  It was cognate with the Gothic –iþa (-th), the Old High German -ida (-th) and the Old English -þo, -þu & -þ (-th).  It was used to form nouns from adjectives (especially abstract nouns), thus most often associated with nouns referring to the state, property, or quality of conforming to the adjective's description.  Continuity is a noun, continuance, & continuousness are nouns, continue is a verb, continuous & continual are adjectives and continually is an adverb; the noun plural is continuities.

The adjective continuous (characterized by continuity, not affected by disconnection or interruption) dates from the 1640s and was from either the French continueus or directly from the Latin continuus.  The verb continue (was in use by at least the mid-fourteenth century) in the form contynuen (maintain, sustain, preserve) which by the late 1300s has assumed the meaning “go forward or onward; persevere in”.  It was from the thirteenth century Old French continuer and directly from Latin continuare (join together in uninterrupted succession, make or be continuous, do successively one after another), from continuus.  The sense of “to carry on from the point of suspension” emerged early in the fifteenth century while the meaning “to remain in a state, place, or office” dates from the early 1400s, the transitive sense of “to extend from one point to another” was first documented in the 1660s.  The word entered the legal lexicon with the meaning “to postpone a hearing or trial” in the mid fifteenth century.

The noun continuation (act or fact of continuing or prolonging; extension in time or space) dates from the late 1300s, from the thirteenth century Old French continuation and directly from the Latin continuationem (nominative continuatio) (a following of one thing after another), a noun of action from past-participle stem of continuare.  The adjective continual was from the early fourteenth century continuell (proceeding without interruption or cessation; often repeated, very frequent), from the twelfth century Old French continuel and directly from the Latin continuus.  The noun continuance (perseverance, a keeping up, a going on) dates from the mid-fourteenth century, from the thirteenth century Old French continuance, from continuer.  Continuance seems to have been the first of the family to appear in the terminology of legal proceedings, used since the late fourteenth century in the sense of “a holding on or remaining in a particular state”, in courts this by the early fifteenth had extended to “the deferring of a trial or hearing to a future date” and in some jurisdictions lawyers to this day still file an “application for continuation”.  The now widely used discontinuation (of legal proceedings; of a product range etc) has existed since at least the 1610s in the sense of “interruption of continuity, separation of parts which form a connected series” and was from the fourteenth century French discontinuation, from the Medieval Latin discontinuationem (nominative discontinuatio), noun of action from past-participle stem of discontinuare.

Page 1 of IMDb's (Internet Movie Database) listing of discontinuities in Mean Girls (2004).

A discontinuity: In Mean Girls, a donut (doughnut) appeared with a large bite taken from it while a few seconds later it had endured just a nibble.

In film production, the job title “continuity girl” seems to have been retired in favor of “continuity supervisor” or “script supervisor”, one of the terms culled in the process of gender neutrality which also claimed most of the “best boys” (they’re now styled with titles such as “assistant chief lighting technician” or “second lighting technician”.  Whether myth or not, the industry legend is the “best boy” job title really did begin with the request “give me your best boy” although that wasn’t something as ominous as now it may sound.  The first known reference to a continuity girl in a film’s credits was in the US 1918 and the job involved ensuring the “continuity” (in the industry “scenario” is synonymous) of the final cut appeared as a seamless narrative.  The job was required because although a single scene in a film might appear to be a contiguous few minutes, the parts assembled in the editing process to produce it may be made up of takes shot days or even months weeks and possibly in different places.  Among a myriad of tasks, what a continuity girl had to do was maintain a database with the details of each piece of film (vital for the editing process) and ensure the details of each shot (clothes, haircuts, props (including their exact placement) and environment (climate, time of day etc) are in accordance with the previous footage.  The detail can be as simple as the time displayed on a wall clock and it matters because there’s a minor industry of film buffs who go through things frame-by-frame looking for discontinuities, all of which gleefully they’ll catalogue on various internet sites.

Three covers used for Leah McLaren’s The Continuity Girl (2007, left); not all Chick lit titles used vibrant or pastel shades in the cover art.  The Continuity Girl (2018, right) by Dr Patrick Kincaid (b 1966) is an unrelated title.

The Continuity Girl (2007) was the debut novel of Canadian journalist Leah McLaren (b 1975), the protagonist being a continuity girl named Meredith Moore.  A classic piece of Chick lit (the construct being chick (slang for “a young woman” + lit(erature)), a now unfashionable term describing novels focused on women and their feelings) the plotline involves Ms Moore’s biological clock tick-tocking to the psychological moment on her 35^th birthday: she wakes up feeling a sudden acute yearning for a baby.  In a Chick lit sort of way, her solution was to leave her predictably pleasant Canadian life and head for London where she plans to select a man on the basis of her assessment of his genetic suitability for breeding, seduce him and, in the way these things happen, fall pregnant.  Things of course don’t work out quite that effortlessly but, being Chick lit, there’s much self-realization, self-discovery and self-expression on the path to a happy ending.

In political science, “continuity theory” is an approach (in two aspects) to twentieth century German historiography which focuses on structural and sociological continuities between eras (including pre-twentieth century influences and traditions).  The first aspect was the notion there existed “continuity” in the persistent influence of long-term social, political, cultural, and institutional developments in German history, dating at least from the time of Martin Luther (1483–1546) contributed to the particular nature of Imperial Germany (1871-1918), the failure of the Weimar Republic (1918-1933) and the Führerprinzip (Leader Principle) which, structurally, was the distinguishing feature of the Third Reich (1933-1945).  This idea has underpinned a number of major historical studies but has always been contested because another faction (which has at times included a significant proportion of the German population) which argues that Nazism was uniquely radical and an aberration in the nation’s history.  Most controversially, some proponents of continuity theory extend the application to the post war years, examining how former Nazis, neo-Nazis and their ideologies persisted (and at times have flourished) both in the FRG (Federal Republic of Germany; the old West Germany (1949-1990)) and the unified state formed 1990 after the FRG absorbed the GDR (German Democratic Republic (the old East Germany)).

Adolf Hitler (left) looking at Ernst Röhm (right), Nürnberg, 3 September 1933.  Some nine months later, Hitler would order Röhm's discontinuation (murder).  Photograph from the Bundesarchiv (Federal Archives), Bild (picture) 146-1982-159-22A.

The theory’s other aspect was structural and was essentially an analysis of the extent to which the Nazi state operated under the constitutional and administrative arrangements inherited from the Weimar Republic, the state which Adolf Hitler (1889-1945; Führer (leader) and German head of government 1933-1945 & head of state 1934-1945) claimed “his” National Socialist revolution had overthrown.  The indisputable fact that the Nazi dictatorship was fundamentally different from Weimar at the time obscured the continuity but maintaining the Weimar constitution was hardly unique.  Hitler choose also to adapt the existing mixed economic model, something which upset some of the more idealistic souls in his movement who had taken seriously the “socialist” bit in “National Socialism” and led to the infamous Nacht der langen Messer (Night of the Long Knives), also called Unternehmen Kolbri (Operation Hummingbird) a purge executed between 30 June-2 July 1934, when the regime carried out a number of extrajudicial executions, ostensibly to crush what was referred to as “the Röhm Putsch” (Ernst Röhm (1887–1934; chief of the Sturmabteilung (the stormtroopers (the SA)), head of the four-million strong SA had certainly in the past hinted at one but there’s no doubt no such thing was imminent).

The USGS’s (US Geological Survey (1879)) depiction of the Mohorovičić discontinuity (the Moho).

The Mohorovičić discontinuity (which geologists tend to call “the Moho”) is the boundary between the Earth's crust and mantle, the extent defined by the distinct change in velocity of seismic waves as they pass through changing densities of rock.  The phenomenon is named after Croatian geophysicist Andrija Mohorovičić (1857–1936; one of the seminar figures in modern seismology), who first published his findings (based on seismographic observations of shallow-focus earthquakes) in 1909.