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Saturday, June 6, 2026

Distract

Distract (pronounced dih-strakt)

(1) To draw away or divert, as the mind or attention.

(2) To disturb or trouble greatly in mind; beset.

(3) To provide a pleasant diversion for; to amuse or entertain.

(4) To separate or divide by dissension or strife; to confuse.

(5) To make “crazy or insane” (now rare except in the idiomatic “drive to distraction” and its variants when the concept of “mad” is used in its colloquial sense).

1350–1400: From the Middle English, from the Medieval Latin distracten (to turn or draw (a person, the mind) aside or away from any object; divert (the attention) from any point toward another point), from the Latin distrahō (to pull apart), the construct being dis- + trahō (to pull), from distractus (drawn apart), past participle of distrahere (to draw apart), the construct being dis- + trahere (to draw).  The dis prefix was from the Middle English dis-, from the Old French des from the Latin dis, from the proto-Italic dwis, from the primitive Indo-European dwís and cognate with the Ancient Greek δίς (dís) and the Sanskrit द्विस् (dvis).  It was applied variously as an intensifier of words with negative valence and to render the senses “incorrect”, “to fail (to)”, “not” & “against”.  In Modern English, the rules applying to the dis prefix vary and when attached to a verbal root, prefixes often change the first vowel (whether initial or preceded by a consonant/consonant cluster) of that verb. These phonological changes took place in Latin and usually do not apply to words created (as in Modern Latin) from Latin components since the language was classified as “dead”.  The combination of prefix and following vowel did not always yield the same change and these changes in vowels are not necessarily particular to being prefixed with dis (ie other prefixes sometimes cause the same vowel change (con; ex)).  Distract, distracting & distracted are verbs & adjectives, distractionism, distractibility, distraction, distractedness, distracter & distractee are nouns, distractable, distractible, distractionary, distractive & distractful are adjectives and distractedly & distractingly are adverbs; the common noun plural is distractions.

Diversions are where one finds them.

The sense of “to throw into a state of mind in which one knows not how to act; cause distraction in; confuse by diverse or opposing considerations” has been in use by at least the 1580s.  Obviously related (and emerging a decade-odd later) was the stronger sense of “disorder the reason of, render frantic or mad”, once in common use and preserved (in rather diluted form) in the idiomatic phrase “driven to distraction”.  The literal senses of “pull apart in different directions and separate; cut into parts or sections” were in use from the late sixteenth century but are now functionally extinct.  The adjective distracted dates from the 1570s in the sense of “perplexed, harassed, or bewildered by opposing considerations” and came directly from the verb distract; from the 1580s it gained the meaning “disordered in intellect, frantic, mad”.  The noun distraction came from the mid-fifteenth century distraccioun (the drawing away of the mind from one point or course to another or others), from the Latin distractionem (a pulling apart, separating), the noun of action from the past-participle stem of distrahere (draw in different directions).  The sense of a “drawing of the mind in different directions, mental confusion or bewilderment” dates from the 1590s, and the meaning “violent mental disturbance, excitement simulating madness (in driven to distraction etc) was known from the turn of the century.  The meaning “a thing or fact that causes mental diversion or bewilderment” was in use by at least 1615 but, like other related forms, it probably was long in oral use.  The special use of distraction in medicine was used to describe “traction so exerted as to separate surfaces normally opposed”; it is long archaic.  The old idea of “distraction” meaning “crazy or insane” survives in the idiomatic phrases “drive to distraction”, “driven to distraction” and “crazy or insane” are now used in the colloquial, non-clinical sense meaning “a bit stressed or discombobulated”.  Usually, the phrases are used by those being so annoyed by someone or something they cannot focus on the task at hand.

Of Dr Faustus

Title page of the 1620 edition of the ‘B’ text of Doctor Faustus (first published in 1616 as The Tragicall History of the Life and Death of Doctor Faustus).

English playwright, poet and translator Christopher Marlowe (1564–1593) was the enfant terrible of the Elizabethan age (1558–1603) and the circumstances surrounding his murder at a youthful 29 death has long attracted speculation.  Marlow’s most famous work was The Tragical History of the Life and Death of Doctor Faustus (clipped usually to “Doctor Faustus”), a tragedy (some critics class it as a morality play) first staged around 1594.  Kind of the ultimate cautionary tale, it was based on German stories about an eminent scholar who sells (for eternity) his soul to the devil in exchange for 24 years magical powers.  The plot is charmingly simple: it follows Dr Faustus down the magical path lad for him by the demon Mephistopheles to his ultimate downfall as he fails to repent before his damnation.  An entertaining work, Marlow’s play also has the virtue of brevity unlike Goethe’s (Johann Wolfgang von Goethe, 1749–1832) sprawling Faust in two parts; Goethe’s Faust may be the author’s magnum opus and the finest achievement in German literature but it is very long.

Faust and Mephistopheles (1869), oil on canvas by Alfred Louis Vigny Jacomin (1842-1913).

What enabled Mephistopheles to tempt Faustus was that the doctor, who regarded himself an expert of just about every aspect of science and philosophy, had become enchanted by the idea of necromancy, something not easily explored in the temporal world.  Dating from the late twelfth century, necromancy was from the Middle English nigromancye, from the Old French nigromancie, from the Medieval Latin nigromantia, from the Classical Latin necromantia, from the Ancient Greek νεκρομαντεία (nekromanteía), the construct being νεκρός (nekrós) (dead) + μαντεία (manteía) (divination).  The spelling in the Medieval Latin with the element niger (black) was influenced by the notion of this being a “black (in the sense of “dark”) art; the modern spelling had emerged by the mid sixteenth century.  Necromancy, as understood by Faustus, meant the sorcery associated with raising or reanimating the dead and the Devil uniquely was well placed to provide instruction but there would be a price to be paid.  One of the devices Marlow has Mephistopheles (and sometimes the Devil himself) use to divert Faustus’s thoughts from anything which might bring about his repentance and save his soul are “distractions”.  The distractions are presented as essentially theatrical spectacles in the form of sensual pleasures, promises of power and trivial entertainments, all designed to ensure spiritual distraction; it was something like Faustus’s Elizabethan TikTok feed.

Distractions played a part: Al Gore (b 1948; VPOTUS 1993-2001 & NPOTUS 2000, left) and crooked Hillary Clinton (b 1947; NPOTUS 2016, right).

The distractions take many forms but their principle purpose is to divert Faustus from thinking about or speaking of Christ and heaven, thus the famous rebuke: “Thou shouldst not think of God.  What Lucifer does is stage a pagent of the Seven Deadly Sins, a masque-like parade of Pride, Covetousness, Wrath, Envy, Gluttony, Sloth, and Lechery to amuse and seduce Faustus away from repentance.  As one might expect of weak, mortal man, Faustus delights in the spectacle: “O, this feeds my soul!”; well the Devil knew his customerAlso provided are texts teaching transformations, conjuring, and occult knowledge, intellectual distractions appealing to Faustus’s vanity and appetite for mastery of new and unexplored subjects.  This is however a play written for the stage and it has a beginning, middle and end with much of the middle devoted to diversions: invisible tricks played on the pope (said to be very popular with contemporary audiences), conjuring spirits for emperors and nobles, practical jokes, feasts, and displays of magical power.  What Marlowe does is show Faustus squandering his grand bargain on shallow amusements rather than profound knowledge; comparisons have been made between what was promised would be the role of the “Information Super Highway” (dating from the time when “Al Gore invented the Internet”) and TikTok feeds.

Helen of Troy (1898), oil on canvas by Evelyn De Morgan (1855–1919).  Helen has for millennia been depicted by painters and sculptors and historians of art have used the images to track changes in Western ideal of female beauty.  

Near the end, when an Old Man urges Faustus sincerely to repent, Mephistopheles counters with Helen of Troy as an erotic and aesthetic temptation, Faustus responding with the famous: “Was this the face that launch’d a thousand ships…?”  Helen represented the ultimate sensual distraction from salvation; as the Devil and advertising agencies understand: sex sells.  As a psychological study, Marlow’s work is a clever piece of the way manipulation can work, certainly with a victim as vain and self-absorbed as Faustus who Mephistopheles can convince repentance has become impossible, trapping him in a twilight zone between fear of the consequences of his actions and his irresistible urge to taste the distractions offered.  For those attracted by the comparisons with the internet, a major theme of the play is the notion of distraction, Faustus almost never allowed (or willing, depending on the reading), to sustain serious contemplation of repentance, Marlowe presenting damnation not as an open rebellion against God, but a gradual surrender of attention to spectacle, appetite, vanity and diversion. 

Of Marjorie Taylor Greene and flying saucers

Marjorie Taylor Greene with assault rifle, campaign material, 2020.

Marjorie Taylor Greene (MTG, b 1974; US Representative (congressperson) (Republican-Georgia 2021-2026)) parlayed a career as a conspiracy theorist (evils of Islam, anti-Semitism, white genocide / replacement, Pizzagate, QAnon, etc (although she later disavowed her acceptance of what QAnon promotes)) into a seat in the US House of Representatives.  Once very much a Donald Trump (b 1946; POTUS 2017-2021 and since 2025) fan-girl and a devotee of the his MAGA (Make America Great Again) cult, during the second Trump presidency she made a remarkable volte-face, accusing him of betraying the “America First” movement, criticizing his policies (both domestic and foreign) and reluctance to release files related to convicted paedophile sex trafficker Jeffrey Epstein (1953–2019).  With apologies to William Congreve (1670–1729) who included the original line in his tragedy The Mourning Bride (1697): “Heaven has no rage like love to hatred turned, Nor hell a fury like a MAGA woman scorned.” and Mr Trump responded to this treachery by attacking her in a post on his ever-entertaining Truth Social platform, vowing to have her “primaried” (denied a place on the Republican ticket for the mid-term congressional elections in November 2026).  As recent Republican primaries have demonstrated, Mr Trump continues to hold the party in his thrall and MTG might have expected to suffer the same fate.  Accordingly, she resigned her seat so Mr Trump can treat that as a victory although she became what Lyndon Johnson (LBJ, 1908–1973; VPOTUS 1961-1963 & POTUS 1963-1969) called “outside the tent” (his argument being often it was preferable to have malcontents “inside the tent pissing out rather than outside pissing in”).

Marjorie Taylor Greene in happier times.

Outside the tent, the scorned MTG renewed her attacks.  Most displeased at US military action against Iran, she called for the cabinet to invoke the Twenty-fifth Amendment to the constitution and remove the president from office (on the grounds of physical or mental incapacity) and, in a rhetorical flourish, suggested the Republican Party should be “burned to the ground.  That was good but she also provided a critique of the administration’s tactic of “rolling out distractions”, calling the Pentagon’s release of “UFO (Unidentified Flying Object) files” as “look at the shiny object”, propaganda, placed in the public domain to divert public attention from matters such a high gas (petrol) prices, inflation and foreign military operations.  She dismissed the “UFO files” (the Pentagon prefers the nerdier UAP (Unidentified Anomalous Phenomena)) as revealing “nothing” and said the release was a mere strategic diversion, the administration knowing news outlets would think it a “sexy” topic that would displace gas and egg prices from the headlines and hopefully encourage the usual suspects in the public arena to start arguing about flying saucers.  Her core point was instead of publishing “UFO files” containing nothing substantive, the administration should fully disclose the Epstein files with no redactions beyond what was necessary to “protect the victims”.

Marjorie Taylor Greene, post MAGA.

President Trump said he’d directed the Pentagon to make available on their website 161 (with more to come) files “related to alien and extraterrestrial life, unidentified aerial phenomena (UAP), and unidentified flying objects (UFOs)", because of “the tremendous interest shown”.  Of course, as MTG pointed out, there is also “tremendous interest” in what’s as yet unseen in the Epstein files.  What MTG claimed was the public’s “tremendous interest” is seeing “names named” in the Epstein files was in conflict with the equally “tremendous interest” Mr Trump told her his “friends” had in the information remaining suppressed.  According to her, Mr Trump asked her to remove her support from releasing the Epstein files because placing them in the public domain would “expose and hurt ‘good people’ he knew at Mar-a-Lago”.  That clash of interests hasn’t gone away so while it can’t be predicted whether it will involve the White House’s new ballroom or some other “shiny object”, more distractions may be expected.

Of political distraction

In political science, “distraction” is used in two ways.  The first sense describes forces or events which operate to divert a government’s attention from the matters on which they intended to focus.  Sometimes, this can happen because external events impose themselves or it can be a product of the attention of those in government being drawn to “other matters”.  The most amusing of these are personal vendettas which can assume a life of their own but they can involve just about anything.  The more interesting “political distractions” are those governments, parties or individual politicians “manufacture” to divert public attention away from damaging scandals, corruption, policy failures or unpopular legislation.  As one might imagine, given those imperatives, politicians often feel the need to distract the press and public for the public from thinking or talking about their many failings.  The orthodox approach among political scientists is to list diversions in six categories:

(1) Toss a dead cat on the table.  This describes the tactic of suddenly introducing an outrageous, shocking or highly controversial topic into the public arena, something designed to force the media and public to become interested in the new matter and forget or at least neglect whatever damaging discussion was dominating news cycle.  Aspects of the “culture wars” are dependable dead felines which is why matters such as trans-women’s participation in women’s sport do seem often to “crop up” when a politician’s poll-numbers are looking dire.

(2) Take out the trash.  The polite term for TotT is “Strategic Timing” which describes announcing policies likely to be unpopular policies or controversial executive orders on days when public attention is guaranteed to be fixed elsewhere, such as during big sporting events or during major holidays.  The trick to a successful execution of TotT is just to do it without leaving a “paper trail” (which can now be electronic).  That was a mistake made a certain bureaucrat in the UK government who, within minutes of the second jet hitting New York’s World Trade Center on 9/11 (11 September, 2001), sent a memorandum to her department head suggesting “It's now a very good day to get out anything we want to bury.  What was meant by that was that the coverage of the terrorist attacks would “swamp” just about everything else, meaning the government wouldn’t have to try to “defend the indefensible”.

(3) Tail Wagging the DogIn political science this tactic is glossed as “Diversionary Foreign Policy” and refers to governments initiating or escalating foreign conflicts, border tensions, or military action to create the “rally 'round the flag” effect and divert attention from domestic matters which are proving tiresome.  Cases studies of “wagging the dog” are numerous but in the case of nations inclined often to embark upon foreign military actions, it can be difficult to be sure a certain venture is an example or just “business as usual” foreign policy doctrine in action.  When, in August 1998, Bill Clinton (b 1946; POTUS 1993-2001) ordered a missile strike on the al-Shifa pharmaceutical factory in Sudan, that was claimed by the White House to be based on “solid intelligence” the facility was (1) connected with Osama bin Laden’s (1957-2011) al-Qaeda terrorist group (1957-2011) and was “manufacturing or storing the VX nerve agent”.  Although a successful military operation (ie the factory was destroyed with a low civilian casualty toll), the administration was forced subsequently to concede the intelligence was “not as solid as first portrayed”.  In Sudan, the locals had few doubts about the president’s motivation, the Monica Lewinsky (b 1973) scandal at the time dominating the US news cycle.

Distracting: English model Penny Lane (b 1991), Miami Swim Week, June 2026.  Her "catwalk strut" in a black, cut-out monokini with a matrix of thin, horizontal straps slashing across the midriff was the sensation of the show. 

(4) Scapegoating.  Although it’s the always reliable “blame the Jews” which is the standard template for scapegoating, the formula is adaptable to circumstances which can extend from religion & ethnicity (the way the Jews are exploited containing elements of both) to occupational categories, social class, political alignment and more.  Scapegoating can be a handy device of distraction when managing disquiet over issues such as unemployment, failing infrastructure, the spread of disease, crime, urban congestion, economic difficulties, rising prices or the weather (it really has been done).  Of late, the perfect scapegoats have been “illegal migrants” (often clipped to “illegals”), now in ample supply.

(5) Culture Wars.  Culture wars long pre-date Antiquity but in their modern sense were really a creation of the left, political parties (labour, socialist etc) which, even though for decades rarely being in power, were able in many places to become the central dynamic of the political process by “setting the agenda” some of their ideas becoming the dominant orthodoxy.  However, the right stumbled upon culture wars after the re-orientation of Western economies to the neo-Liberal model which tended to damage the interests of the working class.  What distractions like the culture wars (abortion, guns, right to drive huge pick-up trucks etc) offered to the right was the intoxicating prospect of persuading the working class to vote contrary to their own economic interest.  Threats to a way of life (trans people, climate change theories etc) have been added as culture war theatres as they proved to have traction.

(6) Flooding the Zone.  In the pre-digital age, this was called “drowning them in paperwork” which, although a mixed metaphor, conveyed well the notion of providing so much data it was impossible effectively to process.  In the age of social media, the technique has had to be adjusted because there are now some who will ignore the distraction and relentlessly focus of a single issue of interest but it does still work, advances in AI (artificial intelligence) meaning it’s now possible to release huge tranches of “redacted documents”.  At the micro level, the principle can be used by issuing literally dozens of executive orders (some of which the administration may have no intention of effecting and exist only as “sacrificial devices” in order to divert attention from a certain order.  Of course, just as AI can be a shield, it can also be a weapon, journalists and others now able to apply a Bot to a tranche, enabling in a short time the sort of analysis which would take a team of humans months or even years.

The ultimate usual suspect: Noam Chomsky's thoughts on distraction

In full flight: Noam Chomsky (left) discussing something with Jeffrey Epstein (right) while flying somewhere on a private jet.  Professor Chomsky is believed “deeply to regret” his association with Epstein, a man he once described as a “highly valued friend”.   The image was released by the US DoJ (Department of Justice).

Linguistics theorist & public intellectual Professor Noam Chomsky (b 1928) has for decades been something of an institution of the left, his critique of the policies of the US government in most aspects unchanging yet still attracting interest with each iteration, despite much of the mainstream media in the US maintaining what was, in effect, a ban on him appearing.  Unlike his work in structural linguistics, the complexities of which were understood by a relative few, Chomsky’s political writings were more accessible, something which some criticism from political scientists and those specializing in international relations who found his “elegant reductionism” just a form of simplification for mass-market appeal; political scientists much prefer the arcane.  Chomsky regards the tactics of distraction as tools in the strategy of manipulation and regards the art and science of distraction as the most significant of the ten vectors of manipulation practiced by the “political class” (political operatives and the news media).

(1) The strategy of distraction.  The primary element of social control is the tool of distraction, used to divert public attention issues and changes determined by political and economic elites; the most common tactic is the “flood”: “flooding” people with continuous distractions and insignificant information.  Distraction strategy is also essential to limit or even prevent public interest in the essential knowledge in the area of the science, economics, psychology, neurobiology and cybernetics: “Maintaining public attention diverted away from the real social problems, captivated by matters of no real importance.  Keep the public busy, busy, busy, no time to think.

(2) Create problems, then offer solutions.  This method is also called “problem–reaction-solution.”  It creates a problem, a “situation” that will induce some reaction in the audience and, in time, will see them demanding a “solution”.  Examples include allowing urban violence to spread or intensify (if necessary, agents of the state can even arrange the attacks), then responding to demands for “security” by passing laws allowing a harsh crackdown and restrictions on social rights.  Such a tactic can augment a manufactured “economic crisis”, one of the solutions being a reduction in spending on public services, even to the point of their widespread disestablishment.

(3) Gradualism.  The “gradual strategy” is a form of the “thin end of the wedge” and is a way of eventually achieving something which would have been unacceptable had there been an attempt to implement the change is “one hit”.  What’s done is that measures are applied gradually over years or even decades, the public acting like the tale of the frog in the pot of water being slowly brought to the boil.  That famous example turned out not to be how frogs react to gradually increasing water temperature but, in the West, it’s something like the way the radically new socio-economic conditions of neo-liberalism were imposed during the 1980s and 1990s.  Had the architects attempted to impose at once what proved to be the eventual outcome, the public would likely not have accepted the change.

(4) Deferment.  This is a “long game” tactic, the theory being a way to have the public accept an unpopular policy is to present it as “painful but necessary”, the psychology behind that being the notion it’s more palatable to accept a future sacrifice than an immediate slaughter.  Intriguingly, deferment is said to be effective because there is much to suggest there’s a general public belief “everything will be better tomorrow” and that the sacrifice suggested will finally be avoided.  That may sound surprising but the findings are said to be “solid” and mean people “get used to” the inevitability of the change and, “with a sense of resignation”, will accept things.

(5) Infantilism.  The theory (adopted also in many forms of advertising) is that if information is presented in a way one might to a child of twelve, (in other words as if addressing an adult with a mentally deficiency), the recipient will digest it with the lack of critical sense typical in a child of that age.  Not all political scientists are convinced this approach works in matters of public policy but its success in the marketing of at least certain products is acknowledged.

(6) Emotional appeals work better than anything analytic.  The idea is that stressing the emotional aspect of something can be effective because it tends to induce a “short-circuiting” of a recipient’s capacity for rational analysis, and finally to the critical sense of the individual.

(7) Keep the public in ignorance and mediocrity.  The object is to make the public incapable of understanding the technologies and methods used to control and enslavement.  Most obviously, this is achieved by keeping the quality of education provided to the lower social classes at a most mediocre level, ensuring a wide “ignorance gap” exists between them and the hegemonic class.  Instead of knowledge, the lower classes are given diversions such as reality TV and an endless diet of football matches.

(8) Self-identification of the lower classes with ignorance.  Apparently, this wasn’t something anticipated by the theorists but among sub-sets of the marginalized class, what evolved was a kind of “cult of ignorance” in which being uneducated and vulgar is fashionable and a form of class solidarity, toxic masculinity said by some sociologists to be a modern manifestation.

(9) Strengthen a sense of self-blame.  By definition, if individuals blame themselves for their misfortunes, they won’t blame the government and expect solutions to be provided although, impressionistically, it would seem demands often are made of governments regardless of a misfortune’s cause.  Still, if individual blames themselves, (failure of effort or ability), the hope is instead of rebelling against the economic system, the individual descends into an acquiescent insensibility and hopefully a state of depression which tends to inhibit getting out of bed, let getting ideas about staging a revolution.

(10) Knowledge is power.  Just because something is a cliché doesn’t mean it’s not true and in recent decades there does seem to have been a growing gap between knowledge in public hands and that owned and operated by the power elite.  The system of control has developed a sophisticated understanding of human beings, both physically and psychologically meaning mechanisms of control can now be more targeted.  There were optimistic types who believed placing AI (artificial intelligence) capabilities in the hands of the masses might redress this imbalance but there seem little to suggest the technology is doing anything other than strengthening the existing hegemony.

Saturday, March 28, 2026

Ultimatum

Ultimatum (pronounced uhl-tuh-mey-tuhm or uhl-tuh-mah-tuhm)

(1) A final, uncompromising demand or set of terms issued by a party to a dispute (used especially of governments and WAGs (wives & girlfriends)), the rejection of which may lead to a severance of relations, the imposition of sanctions, the use of force etc.

(2) A final proposal or statement of conditions; any final or peremptory demand, offer or proposal.

1731: From the New Latin, a specialized use of the Medieval Latin ultimatum (a final statement), noun use of neuter of Latin adjective ultimātus (last possible, final; ended, finished), past participle of ultimāre (to come to an end), from ultimus (extreme, last, furthest, farthest, final).  The Latin plural ultimata was used by the Romans as a noun in the sense of “what is farthest or most remote; the last, the end”.  In mid-1920s slang ultimatum described also “the buttocks” (a use which deserves to be revived).  In English, the plural form had an interesting trajectory.  Although the Anglo-Irish satirist & Anglican cleric Jonathan Swift (1667–1745) used “ultimatums”, that didn’t until the twentieth century convince the OED (Oxford English Dictionary) to displace ultimata as the recommended form.  In diplomacy (a world of “gray areas”), the comparative is “more ultimative”, the superlative “most ultimative”.  Ultimatum is a noun, ultimating & ultimated are verbs and ultimative is an adjective; the noun plural is ultimatums or ultimata. 

The first ultimatum would have been issued in prehistoric times and there have been many since.  History suggests a great many have been bluffs which can be a successful tactic if perceived as plausible but often the “bluff was called” and the ultimatum proved a hollow threat, thus the language of diplomacy including also the (sometimes darkly) satirical or humorous (1) penultimatum (plural penultimatums or penultimata) which describes a statement of terms or conditions made by one party to another, commonly expressed as an ultimatum in the hopes of compelling immediate compliance with demands, but that then is superseded by more negotiation instead of actual dire consequences and (2) antepenultimatum (plural antepenultimatums or antepenultimata) which describes a statement of terms or conditions made by one party to another, essentially a penultimatum, but even more tentative and more repeatedly abandoned in favour of subsequent ignominious compromises.  The trouble with unfulfilled ultimatums is that while rapidly they can lose their persuasive power (in a manner analogous with Aesop's Fable The boy who cried wolf), at some point a party issuing unenforced ultimatums may one day make good on their threats, the high stakes gambler Adolf Hitler (1889-1945; Führer (leader) and German head of government 1933-1945 & head of state 1934-1945) and the rather dim-witted Joachim von Ribbentrop (1893–1946; Nazi foreign minister 1938-1945) both in September 1939 genuinely surprised when the Anglo-French ultimatum guaranteeing the sovereignty of Poland was honoured, the previous back-downs no longer a guide.  Of course, six year later, Polish sovereignty was sacrificed to political necessity but a war which began with the RAF (Royal Air Force dropping leaflets politely asking the Germans to stop what they were doing and ended with the USAAF (US Army Air Force) dropping A-bombs of Japanese cities had many unintended consequences.

CD cover art for Lindsay Lohan's Spirit in the Dark (2008) album.

For centuries, the word “ultimatum” seems to have been avoided by poets, librettists and lyricists.  Ultimatum is a Latinate “formal” word so perhaps not well-suited to love songs but beyond the register and tone, those studying structural linguistics note the prosody: It’s a four-syllable word with a stress pattern (ul-TIM-a-tum) difficult to “fit into” common meters and melodic phrasing.  That said, while there’s a semantic narrowness, the idea of the ultimatum (a final demand backed by consequences) is hardly rare in opera and poetry but it tends to be described or implied rather than labelled with the specific word.  However, one niche was found in the definitely modern genre of rap, hip-hop and such and that’s attributed to the material putting a premium on conflict, violence and the technique of rhyming on the final syllable.  Undaunted however was Kara DioGuardi (b 1970) who included “ultimatum” in the opening verse of the Lindsay Lohan song Stay (2008).  Its inclusion is a genuine rarity.

Verse 1 of Stay (2008) Kara DioGuardi, sung by by Lindsay Lohan.

Baby, take your coat off and your shoes and just relax
Let your body sink into these arms, that's where it's at
I'll open up a bottle and slip into something else
I hope tonight's the night that all these walls are gonna melt
'Cause when we're out, you're sending me mixed signals all the time
You want me, but you don't just wanna lay it on the line
So baby, here's your ultimatum, are you in or out?
All you have to do is wanna turn this all around, and...

If it was for poets a challenge to splice “ultimatum” into the body of a work, without any discordance it could be used as a title and Philip Larkin (1922-1985) choose it for his first published poem which appeared in The Listener on 28 November, 1940:

Ultimatum (1940) by Philip Larkin.

But we must build our walls, for what we are
Necessitates it, and we must construct
The ship to navigate behind them, there.
Hopeless to ignore, helpless instruct
For any term of time beyond the years
That warn us of the need for emigration:
Exploded the ancient saying: Life is yours.
For on our island is no railway station,
There are no tickets for the Vale of Peace,
No docks where trading ships and seagulls pass.
Remember stories you read when a boy
- The shipwrecked sailor gaining safety by
His knife, treetrunk, and lianas - for now
You must escape, or perish saying no.

Unknown previously, “ultimatum” did occasionally appear in twentieth century poetry, a product probably of the big, multi-theatre wars and the use in modern and experimental poetry of language which borrowed from abstract or formal vocabularies.  While the terrible first half of the twentieth century gave poets plenty of scope to explore the concept (it was an age of ultimatums), in print, it was done almost without mention of the word.

The issuing of ultimatums has shaped a number of turning points in history; variously they have proved decisive, stabilizing or catastrophic.  Probably the most infamous was the “July Ultimatum”, served on Serbia by Austria-Hungary after a Serbian nationalist assassinated Archduke Franz Ferdinand (1863–1914; heir presumptive to the throne of the Austro-Hungarian Empire).  While such a procedure was orthodox politics, what was notable about what Vienna did in 1914 was to make demands it was certain Serbia would be unable to fulfil.  The Austrians hankered for war because they wanted permanently to put an end the “Serbian threat” and Berlin, anticipating a traditional, short, sharp, limited war of a few weeks, gave Vienna the infamous “German blank cheque” of support.  Belgrade accordingly turned to its traditional supporters in Moscow who agreed to offer military support; that came after the Kremlin had received confirmation from Paris that France would honor its treaty arrangement with Russia.  From all this came the outbreak of war in August 1914 by which time the British (for a variety of reasons) had become involved and by 1917 the US had become a belligerent; this was conflict which came to be called “The World War” before in the 1940s being renamed “World War I” (1914-1918).

Even in 1945, the phrase “unconditional surrender” (the origin an apparently chance remark (although subsequently he would cite a precedent from the US Civil War (1861-1865)) by Franklin Delano Roosevelt (FDR, 1882–1945, POTUS 1933-1945) at the Casablanca Conference (January 1943)) had been controversial because of the concern it had lengthened the war against Germany by dissuading (the probably chimerical) opposition forces within the country from staging a coup with a view to negotiating peace.  Despite that, at the Potsdam Conference (July-August 1945) the Allied powers (China, the UK & US, the Soviet Union not then at war with Japan) served Tokyo with the Potsdam Declaration demanding exactly that.  After the two A-bombs were dropped, the Japanese agreed to a surrender that fell a little short of being “unconditional” but the Americans decided to accept the offer, concluding having a “puppet emperor”.

Trump: The Art of the Deal (First Edition, 1987) by Donald J. Trump with Tony Schwartz.

One once improbable text in 2016 added to the reading lists of political analysts was Trump: The Art of the Deal (1987) by Donald J. Trump (b 1946; POTUS 2017-2021 and since 2025) with Tony Schwartz (b 1952).  It’s a useful book because in it Mr Trump (or Mr Schwartz depending on one’s spin of choice) provided examples of negotiating techniques.  That book was about commerce, notably property deals, but it gave an insight into why Mr Trump later succeeded so well in reality TV, his understanding of the potency of mixing fact, threats, spectacle and blatant untruths underlining that second career.  He may not, while the book was being drafted, have been contemplating politics as a third career but he did find many of its techniques could be adapted to international diplomacy.  In that he proved an innovator but there are limitations to how well things translate.  One weapon in the arsenal is the ultimatum which can be used in real-estate deals with few consequences beyond the relatively few individuals concerned but in international relations, such things can have cascading global effects.

If within the White House there were any doubts the issuing of ultimatums might have consequences other than what was desired, the path of the conflict in the Middle East should have given them some interesting case studies.  What’s also interesting is whether in the White House the possible reactions to ultimatums were discussed prior to them being presented.  Giving the Ayatollahs 48 hours to reopen the Strait of Hormuz or face withering new airstrikes on Iran’s power generation infrastructure sounded decisive on Truth Social (which definitely is part of the modern calculation in such matters) but Tehran responded by threatening to target the energy and water desalination facilities in the neighboring Gulf states.  As threats go, it was a stark warning because those nations can rely on desalinated water for as much as 90% of their needs and have no practical alternative so it would have been an escalation with potentially devastating regional consequences.

Not a model easily translatable to Iran.  Nicolás Maduro (b 1962; President of Venezuela 2013-2026, right) and his lawyer Barry Pollack (b 1964, left), US Federal Court, Manhattan, New York City, March 2026, illustration by Jane Rosenberg (b 1949).

Accordingly, prior to the deadline, Mr Trump announced he’d “temporarily” called of the strikes, claiming that was induced not by Tehran’s counter-threat but by “productive” talks with “the right people”.  He didn’t descent to specifics (something not unusual in back channel diplomacy) but did add the talks had revealed “major points of agreement” and “they want very much to make a deal, we'd like to make a deal, too.  Apparently unimpressed, Iranian state media, claimed the president had backed down in the face of their threats and denied talks of any significance were taking place.  Again, in diplomacy of this kind, denials are standard procedure.  A few hours later, Mr Trump assured an audience the US was conducting “very, very good discussions” with Iran.  So it’s competing narratives and analysts made no attempt to try to work out how much truthfulness was coming from either side but more than one observed that if the president had realized he’d painted himself into a corner by delivering the ultimatum, revealing previously unannounced back-channel discussions was a quick and face-saving way to buy some time to hope plan A (missiles and bombs) works.  There was though from some sources the notion the mention of “the right people” may put in the mind of the regime the audacious kidnapping of Nicolás Maduro (b 1962; President of Venezuela 2013-2026), an operation made possible by the cooperation of “the right people” in Caracas.  Some suspicion of one’s colleagues might be understandable given the extraordinary success achieved in assassinating leading figures in the Iranian political establishment and the IRGC (Islamic Revolutionary Guard Corps).

While it can be guaranteed US-Iran “talks” are taking place in some form, trying to predict the course of this conflict is difficult because there are relatively few models from the past which might provide something of indicative value.  Since the end of the Cold War, one endlessly repeated admonition issued by those in the Middle East to successive occupants of the White House has been not to do this or that because “you will open the gates of Hell”.  Many probably suspect that at some point in that last few years, those gates were at least pushed ajar but if things do escalate they could be torn from their hinges and the most worrying scenario is that US land forces will be deployed against Iran with the active cooperation of the Gulf States, something unthinkable as recently as a few weeks ago.  The theory supporting this is based on the notion that the attacks on Iran conducted over the past year have made irrevocable the Ayatollah’s determination to acquire an IND (independent nuclear deterrent), a quite rational response by any regime reviewing military matters since 1945.  Of course, ayatollahs with A-bombs would trigger a chain reaction because a number of states in the region would also demand their own IND with a genuinely autonomous launch capacity because, just as Charles de Gaulle (1890-1970; President of France 1959-1969) felt compelled to acquire the capacity because he doubted “a US president would risk New York to save Paris” the same concerns would extend to the fate of Dubai and Riyadh.

The power behind the curtain: Ayatollah Mojtaba Khamenei (b 1969; Supreme Leader, Islamic Republic of Iran since 2026, left) looking at his father Grand Ayatollah Ali Khamenei (1939-2026; Supreme Leader, Islamic Republic of Iran 1989-2026).  Mojtaba Khamenei’s nickname is reputed to be “The power behind the robes”, an allusion to the power he exercised while his father was supreme leader (something like the role fulfilled by Lieutenant General Oskar von Hindenburg (1883–1960) while serving as ADC (aide-de-camp) Field Marshal Paul von Hindenburg (1847–1934; President of Germany 1925-1934).

What Mr Trump has done is to abandon the “power realist” approach to dealing with the Islamic Republic.  As explained by its high priest (Dr Henry Kissinger (1923-2023; US national security advisor 1969-1975 & secretary of state 1973-1977)), the approach was an acknowledgment that “solving” some problems was either impossible or so dangerous to attempt that the preferred approach was endlessly to “manage” things, thereby either maintaining the problem at an acceptable level or allowing it, over time, to “solve itself”.  Mr Trump probably genuinely believes there is not a problem on the planet he can’t solve by “making a deal”, achieved by a combination of threats, inducements, spectacle and ultimatums.  In some fields, such optimism is a virtue but when dealing with Ayatollahs with a nuclear weapons programme and the dream of a global caliphate under their interpretation of Shi'i Islam, it’s at least potentially dangerous.  One can argue about whether the ayatollahs had, prior to the last two rounds of attack, already decided to develop a deliverable nuclear weapon but now there can be no doubt.  No US president before Mr Trump would have dared do what’s been done in the last twelve months but now he’s in the position of not daring to stop because nothing short of regime change can now make things better; all alternatives are worse.  On paper, given the regime’s internal contradictions and the widespread dissatisfaction among the population, there should be paths to regime change without a land invasion but the Ayatollahs and IRGC appear still to possess a formidable defensive apparatus.  As the missile exchanges continue, Mr Trump has announced a ten-day extension to the deadline to re-open the Strait of Hormuz.  Whether this will come to be regarded as ultimatum 1.1 or 2.0 will be one of the footnotes when the histories of this conflict are written.

Tuesday, December 30, 2025

TikToker

TikToker (pronounced tik-tok-ah)

(1) One who is a regular or frequent viewer of the content posted on the short-form video (which, with mission-creep, can in certain circumstances now be up to sixty (60) minutes in duration) sharing site TikTok.com.

(2) One who is a regular or frequent content provider on the TikTok platform.

(3) With a variety of spellings (ticktocker, tictoker, tiktoka etc), a slang term for a clock or watch, derived from the alternating ticking sound, as that made by a clock (archaic).

(4) In computing, with the spelling ticktocker (or ticktocker), slang for a software element which emulates the sound of a ticking clock, used usually in conjunction with digitals depictions of analogue clocks.

2018: The ancestor form (ticktock or tick-tock) seems not to have been used until the mid-nineteenth century and was purely imitative of the sound of mechanical clocks. Tick (in the sense of "a quiet but sharp sound") was from the Middle English tek (light touch, tap) and tock was also onomatopoeic; when used in conjunction with tick was a reference to the clicking sounds similar to those made by the movements of a mechanical clock.  The use of TikToker (in the sense of relating to users (consumers & content providers) of the short-form video (which, with mission-creep, can be up to ten (10) minutes in duration) sharing site TikTok.com probably began in 2018 (the first documented reference) although it may early have been in oral useThe –er suffix was from the Middle English –er & -ere, from the Old English -ere, from the Proto-Germanic -ārijaz, thought most likely to have been borrowed from the Latin –ārius where, as a suffix, it was used to form adjectives from nouns or numerals.  In English, the –er suffix, when added to a verb, created an agent noun: the person or thing that doing the action indicated by the root verb.   The use in English was reinforced by the synonymous but unrelated Old French –or & -eor (the Anglo-Norman variant -our), from the Latin -ātor & -tor, from the primitive Indo-European -tōr.  When appended to a noun, it created the noun denoting an occupation or describing the person whose occupation is the noun.  TikToker is a noun & adjective; the noun plural is TikTokers (the mixed upper & lower case is correct by commercial convention but not always followed).  The PRC- (People’s Republic of China) based holding company ByteDance is said to have chosen the name “TikTok” because it was something suggestive of the “short, snappy” nature of the platform’s content; they understood the target market and its alleged attention span (which, like the memory famously associated with goldfish might be misleading).

A blonde Billie Eilish, Vogue, June, 2021.

Those who use TikTok (whether as content providers or consumers) are called “tiktokers” and the longer the aggregate duration of one’s engagement with the platform, the more of a tiktoker one can be said to be.  The formation followed the earlier, self-explanatory “YouTuber” and the use for similar purposes (indicating association) for at least decades.  So, the noun tiktoker can be a neutral descriptor but it can be used also as a slur.   In February 2024, at the People’s Choice Awards ceremony held in Los Angeles, singer Billie Eilish (b 2001) was filmed leaning over to Kylie Minogue (b 1968), remarking sotto voce:“There’s some, like, TikTokers here…” with the sort of distaste Marie Antoinette (1755–1793; Queen Consort of France 1774-1792) might have displayed if indicating to her companion the unpleasing presence of peasants.  The clip went viral on X (formerly known as Twitter) before spreading to Tiktok.  Clearly there is a feeling of hierarchy in the industry and her comments triggered some discussion about the place of essentially amateur content creators at mainstream Hollywood (and such) events.  That may sound strange given a platform like TikTok would, prima facie, seem the very definition of the “people’s choice” but these events have their own history, associations and connotations and what social media sites have done to the distribution models has been quite a disturbance.  Many established players, even some who have to some extent benefited from the platforms, find disquieting the intrusion of the “plague of TikTokers”.

Pop Crave's clip of the moment, a brunette Billie Eilish & Kylie Minogue, People's Choice Awards ceremony, Los Angeles, February 2024.

There will be layers to Ms Eilish’s view.  One is explained in terms of mere proximity, the segregation of pop culture celebrities into “A List”, B List, C List” etc an important component in the creation and maintenance of one’s public image and an A-Lister like her would not appreciate being photographed at an event with those well up (ie down) the alphabet sitting at the next table; it cheapens her image.  Properly managed, these images can translate into millions (and these days even billions) of dollars so this is not a matter of mere vanity and something for awards ceremonies to consider; if the TikTokers come to be seen as devaluing their brand to the extent the A-Listers ignore their invitations, the events either have to move to a down-market niche or just be cancelled.  Marshall McLuhan’s (1911-1980) book Understanding Media: The Extensions of Man (1964) pre-dates social media by decades but its best-remembered phrase (The medium is the message”) could have been coined for the era, the idea being the medium on which content is distributed should be the first point of understanding its significance, rather than actual content, the theory being the initial assessment of the veracity or the value of something relies on its source.  In the case of pop music, this meant a song distributed by a major label possessed an inherent credibility and prestige in a way something sung by a busker in a train station did not.  What the existence of YouTube and TikTok meant was the buskers and the artists signed to labels began suddenly to appear on the same medium, thus at some level gaining a sort of equivalency.  Viewing TikTok on a phone, tablet or laptop, sharing the same screen-space, in a sense, all are rendered equal.

On trend: Lindsay Lohan announces she is now a Tiktoker.

Ms Eilish and her label have been adept at using the social media platforms as tools for this and that so presumably neither object to the existence or the technology of the sites (although her label (Universal Music) has only recently settled its dispute with TikTok over the revenue sharing) but there will be an understanding that while there’s now no alternative to, in a sense, sharing the digital space and letting the people choose, that doesn’t mean she’ll be happy about being in the same photo frame when the trophies are handed out.  Clearly, there are stars and there are TikTokers and while the latter can (and have) become the former, there are barriers not all can cross.

The Tic-Toc Tach

1967 Jaguar 340 (left), 1980 Mercedes-Benz 450 SLC 5.0 (centre) and 1970 Plymouth Superbird (right).  Only the Americans called the shared tachometer/clock a “Tic-Toc Tach”.

Since the inter-war years, Jaguar had included a small clock at the bottom of the tachometer but in 1966, phasing in the change as models were updated or replaced, began to move the device to the centre of the dashboard (in the case of the 420 & 420G putting it in a blister protruding from the padded molding that had replaced the timber top-rail).  By 1968 the horological shift was almost complete (only the last of the Mark IIs (now known as 240, 340) and & Daimler V8 250 models still with the shared dial) and it was then Chrysler adopted the idea.  An urban myth has long circulated that Chrysler, with a flair the British never showed, called the device the Tic-Toc Tachometer” (Tic-Toc Tach” the popular clipping).  However, the term was first used by GM (General Motors) and it never appeared in anything published by Chrysler which used only the equally informative but less catchy Electric Clock/Tach”.

Tic-Toc Tach in 1968 Chevrolet Camaro Z/28.

Among the originality police who verity the authenticity of vehicles in the US muscle car ecosystem (1964-1974), the tachometer can be an item of interest because in some cases units with different redlines were fitted, depending on the engine specified.  For example, in 1968 Chevrolet Corvettes (for restorers a quirky beast with many single-season parts), the redline for the small block V8s could be 5300 or 6000 rpm (depending on output) and for the big blocks 5600 or 6500 (the latter for the most potent).  So, a mismatch between redline and engine installed is a flag a car may not have left the factory in its current form.  That is of course one of many things checked by the originality police and while re-production tachometers are available, they know how to pick those and are not fooled.  The only work-around for someone “creating authenticity” is to use a part-number from before or about the vehicle’s certified date of manufacture, a principle which works for most items where there’s no record of a part’s specific serial-number being associated with a particular VIN (vehicle identification number).

1967 Porsche 911S Soft Window Targa (left) and 2025 Porsche 911 Carrera T Coupe (right).  The enlarged, central  tachometer is still part of the Porsche shtick but the clock has now been relegated to a scalloped pod atop the dashpad.

The innovation proved proved popular and was adopted by other US manufacturers during the era, the attraction being an economical use of dash space, the clock fitting in a space at the centre of the tachometer dial which would otherwise be unused.  Although in Europe and the UK the standard arrangement of a matching speedometer & tachometer directly in the driver's line-of-sight had become familiar (though Porsche and liked to make a point with a larger dial for the tachometer and giving it pride of place), in the US, until the mid-1960s tachometers tended to be obviously "add-ons" located in various places (centre consoles a favorite) and other than quirky Studebakers, and Ford's Continental Mark II (1956-1967), few got a matching pair, even the Chevrolet Corvette not joining the trans-Atlantic mainstream until the release of the C2 for 1963.  Mercedes-Benz picked up Jaguar's now abandoned concept in 1971 when the 350 SL (R107, 1971-1989) was introduced and it spread throughout the range, almost universal (in cars with tachometers) after 1981 when production of the 600 (W100) ended; Mercedes-Benz would for decades use the shared instrument.  A tachometer (often called a “rev counter”) is a device for measuring the revolutions per minute (RPMs) of a revolving shaft such as the crankshaft of an internal combustion engine (ICE) (thus determining the “engine speed”).  The construct was tacho- (an alternative form of tachy-, from the Ancient Greek ταχύς (takhús) (rapid) + meter (the suffix from the Ancient Greek μέτρον (métron) (measure) used to form the names of measuring devices).

1967 Oldsmobile 4-4-2.

Nobody however crammed more into a tic-toc-tach than Oldsmobile which during the first generation (1964-1967) of its 4-4-2 also included a temperature gauge, ammeter and oil pressure gauge, something necessitated because the instrument panel the stylists were compelled to use contained only two pods.  When the second generation (1968-1972) was released, the dash included a third pod so the ancillary gauges were given their own space and a true tic-toc-tach was used.  Thankfully, nobody seems ever to have attempted to coin a term for five-function device on the early 4-4-2s so those who worry about such things must content themselves with choices like “enhanced tic-toc-tach” or “augmented tic-toc-tach”.  Buyers got the instrument with its “perimeter auxiliary gauges” by choosing option code U21 (Rallye Pac with Tachometer and Clock) for US$84.26 which sounds modest but at the time the bikini-clad and neoprene-tailed “mermaids” who splashed around the coral reef in the middle of Submarine Lagoon at California’s Disneyland Resort were paid US$65 week although male full-time weekly earnings may be a better comparison and in the era (depending on the details of the calculation) they were between US$100-125.  Making a virtue of necessity, Oldsmobile described the cluttered device as a “compact instrument cluster [which] lets driver monitor engine performance at a glance”, not burdening brochure readers with the fact the Rallye Pac wasn’t planned as part of the range and with only two pods on the dash, there was no other way elegantly to cram it all in.

It looked bigger in the brochure.

However, while the five-purpose combo device might have impressed efficiency experts (a field in the 1960s becoming quite a science) and pleased the accountants by avoiding a costly re-design of the dash, the functionalists at Car and Driver magazine were severe in their criticism.  Testing a 4-4-2 for their December 1966 edition, the editors generally were untypically lavish in their praise of a US-built car, the adoption of front disc brakes and the corporate Turbo-Hydramatic 400 automatic transmission welcomed as replacements for the obsolescent units previously used and the experience obviously was enjoyed: “The 4-4-2 is the best-handling car of its type we've ever tested, lacking the typical horrendous understeer generally found on domestic cars.”.  However nothing good could be found to be said of the busy instrument in the right-hand pod, the conclusion being: “The 4-4-2's interior is pleasant but not outstanding - mainly because it's a compromise between standard F-85 pieces and someone's idea of what a GT car's dashboard should look like.  It contains all the right instruments (if you specify the Rally Pack option), but they are condensed into one illegible dial flanking the speedometer on the left.  In the center of this dial is the smallest tachometer we've seen on any car, with oil pressure, water temperature and ammeter gauges spread around at 120o intervals.  It looks more like a chrome-spangled battlefield than a serious attempt to convey information and is totally out of keeping with the quality of the engineering features on the rest of the car.  The inclusion of a clock wasn’t mentioned; maybe it was thought just to add insult to injury and, given the critique, rating instrument legibility as “Fair” on the “Check List” must have seemed generous.

1967 Oldsmobile 4-4-2 Holiday Coupe W-30.

The 4-4-2 was Oldsmobile’s response to the Pontiac GTO, introduced in 1964 by the companion GM (General Motors) division.  The GTO (Pontiac shamelessly “borrowing” the name from Ferrari’s 250 GTO (Gran Turismo Omologato (ie car homologated for competition in the GT (grand-touring) category) was the template for the “muscle car” genre of the 1960s in that it used a big V8 from the full-sized range in the smaller, lighter, intermediate platform.  It was actually an old idea, practiced since the 1920s on both sides of the Atlantic, but the GTO institutionalized the concept and made it a commercial proposition on a scale never before known because of the then unique conjunction in 1960s America of a large cohort of males aged 17-25 with enough disposable income (or credit-worthiness) to pay for such things.  The GTO existed because Pontiac threaded the configuration through a loophole in the GM corporate rules designed to prevent such things being produced for road use but it sold in such volume at a pleasing profit margin that management’s scruples rapidly were discarded and the crazy years of the muscle car era lucratively began.  The GTO of course encouraged imitators from Ford, Chrysler and (eventually) even AMC but it also compelled three of GM’s other divisions (Chevrolet, Buick & Oldsmobile) to do their own interpretations.  Only Cadillac stood aloof but in 1970 they did put a 500 cubic inch (8.2 litre) V8 rated at 400 (gross) HP in the FWD (front-wheel-drive) Eldorado which sounds a daft idea but the engineers disguised its inherent tendencies very well and the delivery of the 400 HP was a very different experience than something like that of the 375 Ford in the same year modestly claimed for the Boss 429 Mustang.

1970 Oldsmobile 442 Convertible, Official Pace Car (Indianapolis 500) Edition.

Though not original, GTO was of course a great name and the best Oldsmobile’s product-planners could come up with was 4-4-2, an allusion to the configuration (front to rear) of a four barrel carburetor, a four-speed manual gearbox and dual-exhausts.  Once explained it made sense but it remained a flaky name, something suffered by later imitators, Dodge’s “Super Bee” as good a car as Plymouth’s Road Runner but with nothing like the same brand-appeal.  Like Pontiac’s GTO, the 4-4-2 was originally an option package but such was the market response both became regular production models.  As it turned out, 4-4-2 did become “just a name” rather than a promise because in 1965 when, in order to be advertise the things at a lower base-price, a three-speed gearbox became standard with the four-speed moved to the option list but there was no 4-3-2: 4-4-2 they all remained which made sense because at various times one could be ordered with two, three or four-speed gearboxes, two, four or six-barrel induction and duel or single exhausts yet none were ever dubbed 2-3-1, 6-4-2 or any other permutation.  However, in an inconsistency at the time not untypical in the industry, although in 1968 the badge was changed from “4-4-2” to “442”, both descriptions continued for years to appear in documents and sales literature.

Horizontal integration: The Oldsmobile 442 was based on the underpinnings of the company's Pursuit Apprehender” package offered to police forces but with a more powerful standard engine, meaning it could be harder for the police to apprehend a speeding 442.

Those who wonder how AI (artificial intelligence) bots can sometimes get answers wrong despite correct facts existing in publically accessible places on line must remember not everything represent as “fact” isn’t necessarily true.  While misinformation, disinformation and such can be expected in matters such as politics, it afflicts also even the details of something as uncontroversial as the option codes used by car manufacturers during the 1960s.  Despite the original source documents having for years been available on-line, it’s still sometimes repeated the Oldsmobile 442 option was listed as the RPO (Regular Production Option) B09 “Pursuit Apprehender” package.  The “Police Apprehender” packages were B01 (City Apprehender) and B07 (Highway Apprehender).  B09 was the RPO code for the 1964 442 package and it came with the same suspension configuration (springs, shocks, and front and rear anti-sway bars) as the B07 cars.  The B09 package included a 310 HP version of the 330 cubic inch (5.4 litre) V8, distinguished from the “cooking” version mostly by a high-lift camshaft and less-restrictive air cleaner.  By default the B01 and B07 cars were fitted with a 290 HP version of the 330 although more powerful units could be specified and the B07 included a rear anti-sway bar.  So, all things considered, AI does remarkably well in distinguishing what’s right from what’s not.  The “gold standard” remains to “go back to source documents” and while that’s a simple (if time consuming) principle when dealing which physical copies, for AI bots handling digital data, it can be harder than it sounds.

2005 Maybach 62 rear compartment.

Those in the rear compartment of a Maybach got their own, roof-mounted analogue clock, flanked by a speedometer and thermometer, those built for the US market calibrated respectively in miles and Fahrenheit while kilometres and Celsius were used for those sold in other places.  The idea of rear passenger compartment instruments was not new and some remarkably comprehensive arrays appeared in some of the coach-built cars of the 1930s, at least one "twin cowl" phaeton having the entire dashboard replicated in the rear.

What is in English called “semantic shift” happened a bit in the industry, the 442 not the only example of the phenomenon.  The first of Chrysler’s 300 “letter-series” (1955-1965) gained its name to mark the then impressive power rating of 300 HP but that was retained even as power over the years rose.  The Buick Electra 225 (1959-1980) was so named because of its 225.4 (5,725 mm) length but the designation endured despite subsequent models variously shrinking or growing.  In structural linguistics, the nerds call this “lexical fossilization” the numeric or descriptive element remaining but becoming remote from the original, literal meaning. This covers also the survival of terms like “tape” or “dial”; “cable” is a bit of a gray area because even wireless transmissions ultimately are dependent on miles of cabling somewhere. “Heritage names” often are used for products far removed from their legacy.  Buick wasn't unique in using body length as a model description, the original Land Rover often designated by a reference to the wheelbase (eg a SWB (short wheelbase) “88” with a 88 inch (2,235 mm) wheelbase or a LWB (long wheelbase) “109” with a 109 inch (2,769 mm) wheelbase)  There was also the Maybach (2002-2013) an unfortunate venture by Mercedes-Benz after the Daimler board was convinced by the MBAs what was needed was a brand-name above Mercedes-Benz, a marque which had for some 75 years proved adequate for presidents, potentates, popes and such.  As a piece of engineering the Maybach was a reasonable achievement but its lacklustre sales illustrated the marketing principles (which successfully the MBAs can use for washing powder) aren’t universally applicable.  It was a coincidence but, on debut, at 5.728 mm (225.5 inches) the SWB Maybach was tenth of an inch longer than the 1959 Buick Electra 225 and was designated the “57”, the metric equivalent of “225”.  The LWB version, stretching to 6,165 mm (242.7 inches), was dubbed the “62”.  

1953 Kaiser Manhattan (left) and 1961 Chrysler 300G (left).

Although no other manufacturer put five separate functions in the one circular pod, others did do five-function clusters in a more elaborate housing but while Kaiser just appended a semi-circular surround for the ancillary gauges (fuel-level, coolant temperature, ammeter & oil pressure) Chrysler in 1960 introduced the “Astrodome”, the name one of many influenced by what was going on during the dawn of the space-age.  What the dramatic Astrodome did was offer the driver a “3D” effect by placing the four gauges in a staggered array on the steering column, using space usually taken by the transmission selector lever, that function moved to a push-button panel on the dashboard while the turn-signals were controled by a sliding lever; to complete the “space-race” look, buttons and knobs were prolific so although the ergonomics weren’t ideal, visually, the atmospherics were most fetching.

1961 Chrysler 300G.

The speedometer was calibrated to 150 mph (240 km/h) which was needed because, even in street trim, the most highly-tuned 300Gs easily could exceed 140 mph (225 km/h).  Despite the concerns sometimes expressed today, the tires of the era were safe to use at such speed (much had been learned from the tyres developed for use in aviation during World War II (1939-1945)) but the drum brakes of the era were inadequate.

Adding to the drama in 1960 was what Chrysler called “revolutionary Panelescent lighting” which was a fanciful term describing the use of electroluminescence (EL), an optical and electrical phenomenon, in which a material emits light in response to the passage of an electric current or to a strong electric field.  As implemented for the Panelescent system, as well as the soft blue backlighting, each gauge pointer was also an individual source of red light.  The Astrodome was used between 1960-1962 on a number of Chryslers including the “Letter-series” 300s and the New Yorker while EL remained in use until 1967; it was last seen on the first generation Dodge Charger (1966-1967).

Conventions in English and Ablaut Reduplication

In 2016, the BBC explained why we always say “tick-tock” rather than “tock-tick” although, based on the ticking of the clocks at the time the phrase originated, there would seem to be no objective reasons why one would prevail over the other but the “rule” can be constructed thus: “If there are three words then the order has to go I, A, O.  If there are two words then the first is I and the second is either A or O which is why we enjoy mish-mash, chit-chat, clip-clop, dilly-dally, shilly-shally, tip-top, hip-hop, flip-flop, tic tac, sing song, ding dong, King Kong & ping pong.  Obviously, the “rule” is unwritten so may be better thought a convention such as the one which dictates why the words in “Little Red Riding Hood” appear in the familiar order; there the convention specifies that in English, adjectives run in the textual string: opinion; size; age; shape; colour; origin; material; purpose noun.  Thus there are “little green men” but no “green little men” and if “big bad wolf” is cited as a violation of the required “opinion (bad); size (big); noun (wolf)” wolf, that’s because the I-A-O convention prevails, something the BBC explains with a number of examples, concluding “Maybe the I, A, O sequence just sounds more pleasing to the ear.”, a significant factor in the evolution of much that is modern English (although that hardly accounts for the enduring affection some have for proscribing the split infinitive, something which really has no rational basis in English, ancient or modern).  All this is drawn from what is in structural linguistics called “Ablaut Reduplication” (the first vowel is almost always a high vowel and the reduplicated vowel is a low vowel) but, being English, “there are exceptions” so the pragmatic “more pleasing to the ear” may be helpful in general conversation but, as a general principle, the linguistic convention operates to ensure we say “tick-tock” rather than “tock-tick”, driving the natural trochaic cadence.

“Tick-tock” is a trochee (in verse, a metrical foot containing a stressed (heavy) syllable followed by an unstressed (light) syllable) meaning in a natural form of speech more emphasis, volume, or pitch is placed on the first syllable and less on the second.  Poets call this the “DUM-da” (heavy-light) rhythm; it produces a “falling” rhythm and is thus the reverse of the iamb’s “rising” rhythm.  In the intricately detailed world of literary theory it’s noted that in Classical verse, trochaics were used from the time of the iambic poet Archilochus (circa 680–circa 645 BC) of the Archaic period (circa 800-480 BC) in Ancient Greece onwards, especially in drama and lyric poetry but despite the lineage (practiced also by the Romans), the technique appeared little in English verse prior to the sixteenth century when it began to be used as a stylistic device to provide variations in the iambic line, making it technically a class of “substitution”.  The rarity in English verse of works composed wholly in trochaics is accounted for by the monotony induced, heavy & light lending a contrast as useful to writers as dark and light does for painters.  In linguistics and psychology, “tick-tock” often is used to illustrate the Iambic-Trochaic Law.  Despite a mechanical clock (or a device in which the sounds are emulated) making two structurally identical clicking sounds, instinctively the human brain filters the sequence as a trochee by perceiving the first sound as louder or more prominent.

Rolls-Royce, the Ford LTD and NVH

Rolls-Royce Silver Cloud II, 1959.  Interestingly, the superseded Silver Cloud (1955-1958) might have been quieter still because the new, aluminium 6¼ litre (380 cubic inch) V8 didn’t match the smoothness & silence of the previous, cast iron, 4.9 litre (300 cubic inch) straight-six, despite the V8 being remarkably heavy for something made substantially from "light metal".

The “tick-tocking” sound of a clock was for some years a feature of the advertising campaigns of the Rolls-Royce Motor Company, the hook being that: “At 60 mph (100 km/h) the loudest noise in a Rolls-Royce comes from the electric clock”.  Motoring journalists did verify the claim (at least in ideal conditions) but given electric clocks can be engineered silently to function, the conclusion was the company deliberately fitted time-pieces which emitted an untypically loud “tick-tock”, just to ensure the claims were true.  The Silver Clouds were, by the standards of the time, very quiet vehicles but in the US, Ford decided they could mass-produce something quieter still and at the fraction of the cost.  Thus the 1965 Ford LTD, a blinged-up Ford (the add-on "gingerbread" in pre-bling days known as "gorp") advertised as: “Quieter than a Rolls-Royce”.

The test conditions were recorded as: “Dry, level, moderately smooth concrete divided highway; light quartering winds.  All cars operated at steady 20-, 40- and 60- mph with all vents closed”.  The two Rolls-Royces were both standard wheelbase Silver Cloud III saloons with the 6¼ litre (380 cubic inch) V8 and four-speed automatic transmissions while the three Fords (a Galaxie 500 LTD, a Galaxie 500/XL and a Galaxie 500 Four-Door Sedan) were all fitted with the 289 cubic inch (4.7 litre) V8 and three-speed Cruise-O-Matic automatic transmission.  The test results were certified by the USAC (United States Auto Club).

To ensure what must at the time have seemed an audacious claim couldn't be dismissed as mere puffery, J. Walter Thompson, then Ford’s advertising agency commissioned acoustical consultants Boldt, Beranek and Neuman to run tests, two brand new Rolls-Royce Silver Cloud III saloons purchased for the project.  What the engineer’s decibel (dB) meters revealed was that, under conditions that were controlled but representative of much of the driving experience in the US, the Galaxies were indeed quieter inside than a Rolls-Royce.  Because of the way the dB scale works, the differences (as great as 5.5 dB) were quite large and obvious to the human ear.  It was a reasonable achievement in engineering and Ford, anticipating the ensuing controversy, was uncharacteristically modest in claiming their 2.8 dB advantage at 60 mph was only “slight”, the numbers making the point with no need for exaggeration.  Ford didn’t mention the tick-tock of the clock.

Ford Galaxie 500/XL advertising, 1965.  In the West, advertising has long been an exception to the general prohibition of the use of "child labor" (Lindsay Lohan was signed to Ford Models at the age of three and soon got her first gig!).

Ford did though stack the deck”, a bit in configuring the Galaxies with their mildly tuned 289 V8 with a two-barrel carburettor; had the test included another variation on the full-size line which used the 427 (7.0) V8, the results would have been different, the raucous 427 side oiler offering many charms but they didn't extend to unobtrusiveness.  Still, the choice was reasonable because the tune of the 289 was more representative of what most people bought.  Amusingly, it wasn't the first time Rolls-Royce was surprised by the way things were done in Detroit.  Years earlier, the company had obtained a licence to manufacture Cadillac's four-speed Hydramatic automatic transmission, then the benchmark of its type.  Disassembling one, the Rolls-Royce engineers were surprised at the rough finish” on some of the internal components and resolved their version would be built to their standards of precision.  That done, a lovingly built Hydramatic was installed in a car and tested, the engineers surprised to find it didn't work very well and offered nothing like the smooth operation of the original.  They contacted Cadillac and were told the prototype Hydramatics produced with universally fine tolerances had also misbehaved and the roughness” of certain components deliberately was introduced to ensure the optimal frictional resistance was obtained.     

Ford Galaxie 500 LTD advertising, 1965.

Not much noticed at the time was another intrusion.  Although the trend had for years been creeping through the industry, what the 1965 LTD did was make blatant Ford's incursion into the market territory once reserved for the corporate stablemate, Mercury, the "middle class" brand between Ford & Lincoln.  This intra-corporate cannibalism (which had already seen Chrysler shutter its DeSoto division) would have consequences, one of which was Mercury's eventual demise, another being Ford's competitors, noting the LTD's success, bringing their own interpretations to the market, the most successful of which was the Chevrolet Caprice (which enjoyed the same relationship to the Impala as the LTD had to the Galaxie 500).  Notably, the Caprice contributed to the later extinction of the once highly popular Oldsmobile, squeezed from its niche by Chevrolet (from below) and Buick (from above).  What were once gaps in the market, catered to by specific brands, ceased to exist. 

1965 Ford LTD (technically a “Galaxie 500 LTD” because in the first season the LTD was a Galaxie option, not becoming a stand-alone model until the 1966 model year).

Even before the LTD was released the full-sized cars produced by the US industry featured the world's finest engine-transmission combinations and Ford justly deserves credit for what was achieved in 1965 because it wasn’t an exercise merely in adding sound insulation.  The previous models had a good reputation for handling and durability but couldn’t match the smoothness and ride of competitive Chevrolets so within Ford was created a department dedicated to what came to be called HVH (Noise, Vibration & Harshness) and this team cooperated in what would now be understood as a “multi-disciplinary” effort, working with body engineers and suspension designers to ensure all components worked in harmony to minimize NVH.  The idea was to craft a platform which, at least on the billiard table like surfaces of the nations freeways, would match the powertrains for smoothness and that was a task which would absorb much time and effort because the mildly-tuned V8 engines most customers bough were unobtrusive in their delivery and the automatic transmissions didn't so much change gears as slur effortlessly between ratios.

Ford Galaxie 500 LTD (with "Body/Chassis Puck") advertising with , 1965.

What emerged was a BoF (Body on Frame) platform (a surprise to some as the industry trend had been towards unitary construction) to ensure the stiffest possible structure but the combination of the frame’s rubber body-mounts (which Ford dubbed "pucks" because of their similarity in size and shape to the rubber disks used in ice hockey), robust torque boxes and a new, more compliant, coil-spring rear suspension delivered what even the competition's engineers (though probably not the sales staff) acknowledged was the industry’s quietest, smoothest ride.  To solve the problem of troublesome vibrations, the material had before come to the rescue, a rubber layer for the carburettor mountings proving the solution to the resonance which, at certain road speeds, affected the flow of the fuel-air mix in the MGA Twin-Cam, resulting in pistons melting.  Alas, the fix was discovered too late and the MGA was doomed.  Norton had better luck with their Isolastic, a rubber-based engine mounting which disguised the chronic vibration on the Commando's 750 cm3 parallel twin, allowing the company (as something of a last gasp) to extract a (sometimes profitable) decade from what was an antiquated design.

Ford LTD advertising, 1980.  The choice of that Rolls-Royce was interesting, powder blue Silver Shadows not often seen.

In geopolitics and economics, much changed between 1965 and 1980.  Whereas Ford had once been able prove their Galaxie range (US$2,800-4,800) was quieter than a US$17,000 Rolls-Royce, by 1980 a LTD (the Galaxie name, dating from 1959 was retired after the 1974 season) sold typically for between US$6,400-8,000, reflecting the inflation which became entrenched during the 1970s.  That was representative of the effect on domestically produced cars but an "entry-level" (the concept really was used even of cars from the more exulted) Rolls-Royce Silver Shadow cost a minimum US$65,000-odd and if that wasn't thought sufficiently conspicuous consumption, there was rather ungainly the two-door Camargue (1975-1986) which listed at US$148,000.  That made even the blingiest (the stuff then still called "gingerbread", bling a coining from the late 1990s) LTD at US$8000 look good value although the few customers who bought Camargues (globally, barely more than 500 sold in a decade of leisurely production) probably weren't cross-shopping.  Ford in the era made a bit of a thing of comparing their locally produced machines with high-priced stuff from across the Atlantic, one campaign showing how closely the US Granada (1975-1982) resembled various Mercedes-Benz and visually (if not dynamically) the company had a point... up to a point.  These days it's Chinese designers who are accused of plagiarism although they often are more blatant in their copying, indeed, so shameless did things become that even the CCP (Chinese Communist Party) controlled courts granted relief to the Europeans.  Reckoning however what worked in 1965 would still strike a (quiet) chord 15 years on, Ford re-ran their tests and, in a regulatory environment which was rather more exacting on advertising claims, asserted only that "The 1980 Ford LTD rides as quietly as a $65,000 Rolls-Royce".  The tick-tock of the clock still didn't rate a mention.

1969 Chevrolet Corvette centre console with electro-mechanical clock in lower-left pod.

Rolls-Royce may once have made an audible tick-tock a selling point but it’s also a part of the upper reaches of the collector market in which C2 (1963-1967) and C3 (1968-1982) Chevrolet Corvettes are traded.  In that niche, it’s something of a joke if an advertisement for one of these cars is placed including the line: “The clock does not work” because it’s rare to find one that does.  That’s because until the 1981 model year, every C2 & C3 Corvette came with a factory-fitted analogue, electro-mechanical clock manufactured by Borg Instruments, a spring-wound device with an electric winder.  The way these worked was typical of the type in that the spring mechanism was reset once a minute, the winder dependent on a set of 12-volt contact points closing every 60 seconds, 24 hours a day, seven days a week.  That's more than 525,000 open/close cycles annually and even if operating in an ideal test environment (a temperature, humidity & pressure controlled, dust-free vacuum with no movement or vibration), eventually, there would be component failure.

1981 Chevrolet Corvette centre console with oil temperature gauge in lower-left pod.

In the real world, these failures came sooner and with greater frequency.  Operating correctly, as the contact points closed, a coil would transmit a pulse to open them, giving the device another minute of run-time, this process repeating endlessly (or until the point of failure) although, as the coil became weaker, the points did not open as widely so the run-time shortened; it was thus typical for a Corvette’s clock to become inaccurate before it stopped and even without looking at the dial, the mechanism’s health could be assessed by timing the duration between clicks as the coil reset the winder.  Of course, this being a Corvette, unlike a Rolls-Royce, this could be heard only when the engine was not running.  The Borg analogue instrument can be serviced and unless any parts physically are broken, in most cases cleaning with isopropyl alcohol and then lubricating the movement should restore the functionality although these clocks are now many decades old and further failures are inevitable.  Similar devices were used for many cars in the era but it seems only the Corvette community in which such interest is taken.

Quartz clock for 1981-1982 Chevrolet Corvette.  Although quartz movements in clocks had existed in laboratories since the 1920s, not until 1959 did they enter commercial use and it was another decade before the (very expensive) Seiko Quartz Astron 35SQ wristwatch appeared.

Servicing or repairing a Borg is undertaken if the Corvette is especially valuable and in otherwise original configuration.  Otherwise, the usual (and often cheaper) course is to use a reproduction clock with a quartz movement.  Visually, the look from within the cockpit is identical and the only difference (other than improved accuracy and reliability) is the second hand “silently sweeps” rather than “audibly ticks”.  That, few would notice but the originality police judging cars at shows do have a “clock” section on their clipboards and for Corvettes which left the factory with a Borg, a “tick-tock” will attract another valuable tick.  Chevrolet in 1981 did replace the Borg with a quartz device so for Corvettes built subsequently, the clock section on the clipboard is shorter.  Cars with rare “radio delete option” or with either of the analogue radios (AM/FM mono or the optional AM/FM stereo) continued to have a clock in the lower pod opening in the central gauge cluster while those any of the four ETR radios (AM/FM Stereo 8-Track, AM/FM Stereo 8-Track with CB Radio, AM/FM Stereo Cassette, & AM/FM Stereo Cassette with CB Radio) had the time reported by a digital readout on the radio’s faceplate, an oil temperature gauge in the lower left pod.  In a final horological C3 footnote, for the model's swansong seasons (1981-1982), the clock in the console pod received on its face the notation “QUARTZ” in bold white letters.  In truth, time had some years earlier caught up with the C3 but the new clock was a reassuring touch of modernity.

1982 Chevrolet Corvette centre console with quartz clock in lower-left pod.

For 1977, the ammeter had been replaced with a voltmeter but more obvious was a restyling of the gauge housings, the pods no longer circular but now a “circle with a flattened base”.  Curiously, despite mathematicians over the centuries having given a name to just about every basic shape imaginable, there seems to be no standard geometric term for a “circle with a flattened base” although obviously, because a circle is defined as “a shape in which all points are equally distant from the centre”, once part of the circumference is replaced by a straight line, the figure is no longer a circle.  Technically (if clumsily), such a “truncated circle” would seem properly to be a “circular segment cut off by a chord” but that's words so engineers and architects resort usually to “chord-flat circle.  It seems a strange omission from the lexicon of geometry because, in the real world, the shape often is used for certain tubes, ducts, pipes and such.  When a flat side appears with a half-circle, in design, that’s a “D-shape”; strictly speaking that should be applied only if used with a “true” half-circle in which the straight line is the diameter although, in casual use, there’s likely a bit of leeway.

What's needed in one's quartz conversion kit.

Physics makes it not possible to make a Corvette’s electro-mechanical clock as reliable or accurate as a quartz unit but Zip-Corvette can supply all the parts to convert an original to a quartz movement and Corvette Magazine published the instructions.

Whether the appearance of four truncated circles and one circle within the one housing disturbed some seems never to been a topic of discussion in the on-line Corvette forums which is unusual given every other aspect of the now almost 75 year old line has been analysed, discussed and squabbled over.  It’s an urban myth those with OCD (Obsessive-Compulsive Disorder) all are bothered by things being asymmetrical or aesthetically inconsistent for while the most recent edition (DSM-5-TR (2022)) of the American Psychiatric Association's (APA) Diagnostic and Statistical Manual of Mental Disorders does not classify the condition as a spectrum condition, it does in a specific diagnostic chapter note a variety of manifestations.  That may include a heightened sensitivity to visual irregularities but that’s experienced also by those thought “perfectionists” and is thus not OCD-specific although the condition is associated with individuals highly attentive to patterns and consistency.  So, there would be those diagnosed with OCD not at all concerned by the asymmetry (because their condition manifests in other aspects) while it would annoy some without OCD just because they don’t like the look.  It’s likely there would have been owners who for some time didn’t notice the different shape of the clock’s pod because, “at first glance”, as a product of culturally-defined expectation, human vision would tend to see “round gauges” although, once recognized, the variation would be obvious.  That however is a documented perceptual phenomenon and unrelated to OCD.

1981 Chevrolet Corvette.  It's not a big cockpit so it'd be difficult for a trypophobic to avert their gaze; eyes should probably be kept shut for duration of trip and purists might anyway do this because while the Camel Leather trim (code 642) is original, the plastic timber appliqué was not a factory part-number.

Of course, those suffering trypophobia (a morbid aversion to closely packed holes) won't like the C3's gauge cluster regardless of the shape of the pods.  The construct of trypophobia was from the Ancient Greek τρπα (trûpa) (hole) or τρυπάω (trupáō) (bore), + -phobia φόβος (phóbos) (fear, phobia); first seen on the internet in 2005, not all in the field accept it as a “real” condition.  Doubtless it’s rare but to be a syndrome, something need not be widespread; just a single patient is enough for a condition to be defined.  For those wondering if they may be sufferers, Healthline lists possible symptoms as goose-bumps, chills, or the sensation of your skin crawling; gagging or nausea; sweating; rapid heartbeat; dizziness or light-headedness; visual discomfort, including eye strain, distortions, or illusions; a general sense of discomfort or distress; a strong desire to get away from the image or object; feelings of panic or a panic attack; shaking or trembling.  If, upon one’s first encounter with a C3 Corvette’s gauge cluster, at least some of these symptoms appear, one may be a trypophobe.