Obliterate

Obliterate (pronounced uh-blit-uh-reyt (U) or oh-blit-uh-reyt (non-U))

(1) To remove or destroy all traces of something; do away with; destroy completely.

(2) In printing or graphic design, to blot out or render undecipherable (writing, marks, etc.); fully to efface.

(3) In medicine, to remove an organ or another body part completely, as by surgery, disease, or radiation.

1590–1600: From the Latin oblitterātus, perfect passive participle of oblitterō (blot out), from oblinō (smear over) and past participle of oblitterāre (to efface; cause to disappear, blot out (a writing) & (figuratively) cause to be forgotten, blot out a remembrance), the construct being ob- (a prefixation of the preposition ob (in the sense of “towards; against”)) + litter(a) (also litera) (letter; script) + -ātus (-ate).  The suffix -ate was a word-forming element used in forming nouns from Latin words ending in -ātus, -āta, & -ātum (such as estate, primate & senate).  Those that came to English via French often began with -at, but an -e was added in the fifteenth century or later to indicate the long vowel.  It can also mark adjectives formed from Latin perfect passive participle suffixes of first conjugation verbs -ātus, -āta, & -ātum (such as desolate, moderate & separate).  Again, often they were adopted in Middle English with an –at suffix, the -e appended after circa 1400; a doublet of –ee.  True synonyms include black out, eliminate, exterminate, annihilate, eradicate, delete, erase & expunge because to obliterate something is to remove all traces.  Other words often used as synonyms don’t of necessity exactly convey that sense; they include obscure, ravage, smash, wash out, wipe out, ax, cancel and cut.  Obliterate & obliterated are verds & adjetives, obliteration & obliterator are nouns, obliterature & obliterating are nouns, verb & adjective, obliterable & obliterative are adjectives and obliteratingly is an adverb; the noun plural is obliterations.

Social anxiety can be "obliterated".  Who knew?

The verb obliterate was abstracted from the phrase literas scribere (write across letters, strike out letters).  The noun obliteration (act of obliterating or effacing, a blotting out or wearing out, fact of being obliterated, extinction) dates from the 1650s, from the Late Latin obliterationem (nominative obliteratio), the noun of action from the past-participle stem of oblitterāre (to efface; cause to disappear, blot out (a writing) & (figuratively) cause to be forgotten, blot out a remembrance).  The related late fourteenth century noun oblivion (state or fact of forgetting, forgetfulness, loss of memory) was from the thirteenth century Old French oblivion and directly from the Latin oblivionem (nominative oblivio) (forgetfulness; a being forgotten) from oblivisci, the past participle of oblitus (forget) of uncertain origin.  Oblivion is if interest to etymologists because of speculation about a semantic shift from “to be smooth” to “to forget”, the theory based on the construct being ob- (using ob in the sense of “over”) + the root of lēvis (smooth).  For this there apparently exists no documentary evidence either to prove or disprove the notion.  The Latin lēvis (rubbed smooth, ground down) was from the primitive Indo-European lehiu-, from the root (s)lei- (slime, slimy, sticky).

Obliterature

The noun obliterature is a special derived form used in literary criticism, the construct being oblit(erate) + (lit)erature.  It describes works of literature in some way "obliterated or mad void", the most celebrated (or notorious according to many) being those which "interpreted" things in a manner not intended by the original author but the words is applied also to texts deliberately destroyed, erased or rendered unreadable, either as an artistic statement or as a result of censorship, neglect, or decay.  La biblioteca de Babel" (The Library of Babel (1941)) by Jorge Luis Borges (1899-1986) was a short story which imagined a universe consisting of an infinite library containing every possible book but all volumes are some way corrupted or comprise only random strings of characters; all works wholly unintelligible and thus useless.  The chaotic library was symbolic of the most extreme example of obliterature in that all works had been rendered unreadable and devoid of internal meaning.

Nazis burning books, Berlin, 1933.

Probably for a long as writing has existed, there has been censorship (and its companion: self-censorship).  Some censorship is official government policy while countless other instances exist at institutional level, sometimes as a political imperative, some time because of base commercial motives.  The most infamous examples are literary works banned or destroyed as political or religious repression including occasions when the process was one of public spectacle such as the burning of books in Nazi Germany, aimed at Jewish, communist and other “degenerate or undesirable” authors.   The critique: “They burn the books they cannot write” is often attributed German-Jewish poet, writer and literary critic Heinrich Heine (1797–1856) whose work was among the thousands of volumes placed on a bonfire in Berlin in 1933 but it’s a paraphrase of a passage from his play Almansor (1821-1822), spoken by a Muslim after Christian had burned piles of the holy Quran: “Das war ein Vorspiel nur, dort wo man Bücher verbrennt, verbrennt man auch am Ende Menschen.”  (That was but a prelude; where they burn books, they will ultimately burn people as well.")

The Address Book (1983) by French conceptual artist Sophie Calle (b 1953) was based on an address book the author found in the street which, (after photocopying the contents) she returned to the owner.  She then contacted those in the book and used the information they provided to create a narrative about the owner, a man she had never met.  This she had published in a newspaper and the man promptly threatened to sue on the grounds of a breach of his right to privacy, demanding all examples of the work in its published form be destroyed.  Duly, the obliterature was performed.  Thomas Phillips' (1937–2022) A Humument: A treated Victorian novel (in various editions 1970-2016) is regarded by most critics as an “altered” book, a class of literature in which novel media forms (often graphical artwork) are interpolated to change the appearance and sometimes elements of meaning.  Phillips use as his base a Victorian-era novel (William (WH) Mallock's (1849–1923) A Human Document (1892)) and painted over its pages, leaving only select words visible to create new narratives, many of which were surreal.  This was obliterature as artistic device and it’s of historic interest because it anticipated many of the techniques of post modernism, multi-media productions and even meme-making.

Erasure Poetry takes an existing text and either erases or blacks-out (the modern redaction technique) words or passages to create a new poem from the remaining words; in the most extreme examples almost all the original is obliterated, with only fragments left to form a new work.  Ronald Johnson (1935–1998) was a US poet who in 1977 published the book-length RADI OS (1977), based on John Milton's (1608–1674) Paradise Lost (1667-1674) and used the redactive mechanism as an artistic device, space once used by the obliterated left deliberately blank, surrounding the surviving words.

Some critics and literary theorists include unfinished and fragmentary work under the rubric of obliterature and while that may seem a bit of a definitional stretch, the point may be that such texts in many ways can resemble what post modern (and post-post modern) obliterature practitioners publish as completed work.  There are many unfinished works by the famous which have been “brought to conclusion” by contracted authors, the critical response tending to vary from the polite to the dismissive although, in fairness, it may be that some things were left unfinished for good reasons.  The Portuguese author Fernando Pessoa (1888-1935) was extraordinarily prolific and apparently never discarded a single page, leaving a vast archive of unfinished, fragmented, and often unreadable manuscripts, the volume so vast many have never been deciphered.  It’s interesting to speculate that had Pessoa had access to word processors and the cloud whether he would have saved as much; if he’d lived in the age of the floppy diskette, maybe he’d have culled a bit.

The obliteration of animal carcasses with explosives

Strictly speaking, “to obliterate something” means “to remove or destroy all traces” which usually isn’t the case when explosives are used, the result more a wide dispersal of whatever isn’t actually vaporized but there’s something about the word which attracts those who blow-up stuff and they seem often to prefer obliteration to terms which might be more accurate.  As long as the explosion is sufficiently destructive, one can see their point and obliteration does memorably convey the implications of blowing-up stuff.  The word clearly enchanted the US Forest Service which in 1995 issued their classic document Obliterating Animal Carcasses with Explosives, helpfully including a step-by-step guide to the process.  Given it’s probably not a matter about which many have given much thought, the service explained obliterating large animal carcasses was an important safety measure in wilderness recreation areas where the remains might attract bears, or near picnic areas where people obviously wouldn’t want rotting flesh nearby.  A practical aspect also is that in many cases there is no way conveniently to move or otherwise dispose of a large carcass (such as a horse or moose which can weigh in excess of 500 kg (1100 lb) which might be found below a steep cut slope or somewhere remote.  So, where physical transportation is not practical, the chemistry and physics of explosives are the obvious alternative, the guide recommending fireline devices (specially developed coils containing explosive powder), used also to clear combustible materials in the path of a wildfire. 

Interestingly, the guide notes there will be cases in which the goal might not be obliteration.  In some ecosystems, what is most desirable is to disperse the carcass locally into the small chunks suited to the eating habits of predators in the area and when properly dispersed, smaller scavenging animals will break down the left-overs, usually within a week.  To effect a satisfactory dispersal, the guide recommends placing 20 lb (9 kg) of explosives on the carcass in key locations, then using a detonator cord to tie the charges together, the idea being to locate them on the major bones, along the spine.  However, in areas where there’s much human traffic, obliteration is required and the guide recommends placing 20 lb (9 kg) pounds of explosives on top and a similar load underneath although it’s noted this may be impossible if the carcass is too heavy, frozen into the ground, floating in water or simply smells too ghastly for anyone to linger long enough to do the job.  In that case, 55 lb (25 kg) of fireline should be draped over the remains although the actual amount used will depend on the size of the carcass, the general principle being the more explosives used, the greater the chance obliteration will be achieved.  Dispersal and obliteration are obviously violent business but it’s really just an acceleration of nature’s decomposition process.  Whereas a big beast like a horse can sit for months without entirely degrading, if explosives are used, in most cases after little more than a week it’d not be obvious an animal was ever there.  With regard to horses however, the guide does include the warning that prior to detonation, “horseshoes should be removed to minimize dangerous flying debris.”  Who knew?

It’s important enough explosives are used to achieve the desired result but in carcass disposal it's important also not to use too much.  In November 1970, the Oregon Highway Division was tasked with blowing up a 45-foot (14 m) eight-ton (8100 kg) decaying whale which lay on the shores near the town of Florence and they calculated it would need a half-ton (510 kg) of dynamite, the presumption being any small pieces would be left for seagulls and other scavengers.  Unfortunately, things didn’t go according to plan.  The viewing crowds had been kept a quarter-mile (400 m) from the blast-site but they were forced to run for cover as large chunks of whale blubber started falling on them and the roof of a car parked even further away was crushed.  Fortunately there were no injuries although most in the area were splattered with small pieces of dead whale.  Fifty years on, Florence residents voted to name a new recreation ground Exploding Whale Memorial Park in honor of the event.

Parmesan

Parmesan (pronounced pahr-muh-zahn, pahr-muh-zan, pahr-muh-zuhn; pahr-muh-zahn, or pahr-muh-zan).

(1) Of or from Parma, in northern Italy.

(2) A hard, dry variety of Italian cheese made from skim milk, often grated and sprinkled over pasta dishes and soups.  It’s known also as Parmesan cheese and it appears with and without the initial capital.

(3) By extension, a similar cheese produced in places other than Parma.

(4) In slang, money in the sense of physical cash.

1510–1520: From the Middle French parmesan, from the Italian parmigiano (of Parma; pertaining to Parma), from an earlier Vulgar Latin parmēsānus, a restructuring of the Classical Latin parmēnsis (from Parma).  Parma is a province of Italy’s Emilia-Romagna region, the locality name thought to be of Etruscan origin.  In the Romance languages the related forms include the Italian parmigiano, the Catalan parmesà, the Portuguese parmesão, the Sicilian parmisanu and the Spanish parmesano.  Parmesan is a noun and parmesany & parmeasnlike (also as parmesan-like) is an adjective; the noun plural is parmesans.  An initial capital is always used with the proper noun (except sometimes in advertizing).

The real parmesan: Parmigiano Reggiano, cut from a wheel.

Within the European Union (EU), the cheese called Parmigiano Reggiano has been granted legal protection (a la hermitage, champagne, cognac etc) as a protected designation of origin (PDO) although around the world, “parmesan” is widely used as a generic term for similar cheeses.  The PDO cheese Parmigiano Reggiano, made only from cow’s milk and salt, is produced in “wheels” which take at least two years to mature, each wheel sealed with a unique identity tag recording the dairy farm and the month in which it was laid down to “cure”.  It may be apocryphal but industry folklore is that when food critics and chefs were asked in a survey which they would choose if ordered to live in a world with only one cheese, most answered: Parmigiano Reggiano.  Eating cheese can be part of a healthy diet, but it depends on the type and amount consumed.   Cheese is a good source of protein, is rich in calcium and contains vitamins such as B12 and A but it tends also to be high in saturated fat, is calorie-dense and usually has a high sodium (salt) content.  One noted advantage of parmesan is it’s naturally low in lactose, making it easier to digest for people with lactose intolerance.

Wheels

Italian artistic gymnast Signorina Giorgia Villa with wheels of cheese, Parmigiano Reggiano promotional photo-shoot, 2022.

Many consumers buy their parmesan in pre-grated packs or in a powered form so may not have been aware it is, in its original form, a wheel.  That was until the publication of a set of photographs of Signorina Giorgia Villa (b 2003), an Italian artistic gymnast and member of her country’s team at the 2024 Paris Olympics.  Signorina Villa is a brand ambassador for Parmigiano Reggiano and the images from her 2022 photo-shoot featured her posing with the now famous wheels, the promotion’s original caption being: “Always together with my best friend @parmigianoreggiano, ready to start again and face new challenges!”

Wheels of cheese in cheese storehouse.

Wheels of cheese can weigh more than 40 kg (90 lb) and during the maturation process they are stored in warehouses, usually on shelves.  In August 2023, Giacomo Chiapparini, (1949-2023) from Romano di Lombardia, was killed when a shelf broke in his cheese store, the falling wheels of cheese crushing him.  According to the police report, the event was triggered by a single point of failure in a high shelf and the weight of the dislodged wheels created a “domino effect”, bringing down thousands of wheels on the unfortunate victim.  A spokesman for the Lombardy Fire Department which attended the scene reported emergency staff “had to move the wheels of cheese and the shelves by hand”, adding it “took about twelve hours” to find the deceased.  The wheels were of grana padano, a hard cheese that resembles parmesan, some 25,000 of which were in storage and Signor Chiapparini had been checking on the ripening wheels, the highest of which sat on metal shelves 10 metres (33 feet) tall.

The flaccid cheese wheel in surrealist art: La persistència de la memòria (The Persistence of Memory) is Salvador Dalí’s (1904-1989) most reproduced and best-known painting.   Completed in 1931 and first exhibited in 1932, since 1934 it hangs in New York’s Museum of Modern Art (MoMA).  In popular culture, the work is often referred to as the more evocative “melting clocks”.

Surrealism’s intellectual undercoating was patchy, some of the latter output being openly imitative but with Dalí, critics seemed often ready to find something.  His "theory of softness and hardness" has been called "central to his artistic thinking" at the time The Persistence of Memory was painted and some suggested the flaccidity of the watches is an allusion to Einstein's theory of special relativity, a surreal pondering of the implications of relativity on our once-fixed notions of time and space.  Dalí was earthier, claiming the clocks were inspired not by Einstein but by imagining a wheel of camembert cheese melting in the Catalan sun.

Lindsay Lohan in Miami, Florida, clothes by Amiparism (AMI), Interview magazine photo-shoot, December 2022.  

The car is a Jaguar XJS convertible with the factory-fitted BBS basketweave (or lattice) wheels.  The BBS wheels appealed on the XJS (1975-1996 and originally XJ-S) when the last version was released in 1991, sometime after the company had been absorbed by the Ford Motor Company (FoMoCo).  There were a number of detail changes for the final run, the most notable being the enlargement in 1992 of the V12 engine from 5.3 litres (326 cubic inches) to 6.0 (366), coupled with the latest (four-speed) version of the General Motors (GM) Turbo-Hydramatic 400 which, (as a three-speed), dated from 1963.  No XJ-S with a manual transmission was built after 1976 and the 352 produced existed only because Jaguar had some 400 in their warehouse which had been intended for the Series 3 E-Types (XKE, 1971-1974).

Remarkably for a brand which has a reputation for quality and expertise in design as well as an enviable record in top-line competition, Germany’s BBS Autotechnik GmbH in July 2024 declared insolvency, the second time this has been done in the last year and the fifth time since 2007.  To borrow a phrase, one bankruptcy is unfortunate; five in the last 17 years suggests carelessness.  Analysts have suggested a number of factors have contributed to the troubled corporate history and some did note the recent practice of BBS being passed between private equity firms shouldn’t be ignored (apparently private equity firms have techniques which make bankruptcies profitable) but there were also questionable marketing practices.  What has long puzzled the supply chain is that despite BBS having one of the industry’s most desirable back-catalogs with many older designs enjoying a resurgence of popularity, that market is being supplied by other manufacturers blatantly copying the BBS originals which the company has made no attempt to re-introduce.  There was also the curious matter of “BBS Unlimited”, one of engineering’s weirdest niches: a design of a single wheel which can be fitted to a variety of cars, all wheels shipped with a 5×117.5 mm bolt pattern that nothing of the planet uses, necessitating the fitting of a special BBS adapter.  Rarely has a non-existent problem been so cleverly fixed.  The BBS name has such a cachet that analysts expect the German operation to survive in some form (BBS in the US & Japan are unaffected by what’s happening in Europe) and the suspicion is the current problems are likely linked to the rising interest rates which have seen a number of leveraged buy-outs by private equity firms flounder: in the same week BBS’s predicament was announced, the seat maker Recaro also entered bankruptcy.

Philip Ruddock Water Playground, Dundas Park, Dundas Valley, NSW, Australia.  Politicians are remembered for many things.

Ever since a former Australian minister for immigration (the Liberal Party’s Philip Ruddock (b 1943; Minister for Immigration and Multicultural and Indigenous Affairs 1996-2003) asserted that the country's indigenous peoples “didn’t invent the wheel”, it’s been repeated as a racist trope in far-right (a misleading term but the one in popular use) gatherings and their social medial channels, often with the claim indigenous Australians were the only culture on Earth not to invent (or discover) what is humanity’s simplest machine and the one which underpinned or made possible progress in a number of fields.  However, a number of cultures did not independently develop the wheel including several in Sub-Saharan Africa, a number of the Pacific Islands and those living in the pre-Columbian Americas (although in the latter wheels were used in toys, just not for transportation or tasks such as lifting).  Anthropologists suggest that cultures which didn’t develop the wheel usually had no need for such a device, lacked the large domesticated animals needed to pull wheeled vehicles or lived in an environment which made the use of wheeled carts or trolleys impractical (dense forests, mountainous terrain etc).

Appliqué

Appliqué (pronounced ap-li-key)

(1) Ornamentation, as a decorative cut-out design, sewn on, glued or otherwise applied to a piece of material.

(2) The practice of decorating in this way

(3) A work so formed or an object so decorated.

(4) A decorative feature, as a sconce, applied to a surface.

(5) To apply, as appliqué to.

(6) In medicine, of a red blood cell infected by the malarial parasite Plasmodium falciparum, assuming a form in which the early trophozoite of Plasmodium falciparum parasitises the marginal portion of the red blood cell, appearing as if the parasite has been “applied”.

1841: From the from French appliqué (work applied or laid on to another material), noun use of the past participle of appliquer (to apply), from the twelfth century Old French apliquier), from the Latin applicare (attach to, join, connect) and the source of “apply” in Modern English.  The alternative spelling is applique and in French, the feminine was appliquée, the masculine plural appliqués & the feminine plural appliquées.  As a verb, appliqué refers to a method of construction but as a noun, depending on the item, the synonyms can include finery, ornament, plaque, ribbon, trinket, wreath, brocade, decoration, lace, needlepoint, quilting, tapestry, mesh, arabesque, bauble, braid, curlicue, dingbat & embellishment.  Appliqué is a noun, verb & adjective appliquéd is a verb & adjective and appliquéing is a verb; the noun plural is appliqués.

The woodie wagon and the descent to DI-NOC appliqué

Horse drawn carriages of course began with timber construction, metal components added as techniques in metallurgy improved.  The methods of construction were carried over to the horseless carriages, most early automobiles made with a steel chassis and bodywork which could be of metal, wood or even leather, located by a wooden frame.  That endured for decades before being abandoned by almost all manufacturers by the 1970s, Morgan remaining one of the few traditionalists, their craftspeople (some of whom are now women) still fashioning some of the internal structure (attached to the aluminum chassis) from lovingly shaped and sanded English ash.

Early woodies:  1934 Ford V8 Model 40 woodie wagon (left), 1941 Packard One-Ten woodie wagon (centre) and 1949 Mercury 9CM woodie wagon (right).

During the inter-war years, the timberwork again became prominent in the early shooting brakes and station wagons.  Because such vehicles were limited production variations of the standard models, it wasn’t financially viable to build the tooling required to press the body panels so a partially complete cars were used (often by an external specialist), onto which was added the required coachwork, all fashioned in timber in the same manner used for centuries.  In the US, the cars were known as woodie wagons (often spelled woody in the UK where the same techniques were used) and the more expensive were truly fine examples of the cabinet-maker’s art, the timbers sometimes carefully chosen to match the interior appointments.  So much did the highly-polished creations resemble the fine oak, walnut and mahogany furniture with which the rich were accustomed to being around that they began to request sedans and convertibles built in the same way and the industry responded with top-of-the-range models with timber doors and panels replacing the pressed metal used on the cheaper versions.

1947 Nash Ambassador sedan (left), 1947 1948 Chrysler Town & Country convertible (centre) and 1947 Cadillac Series 75 Limousine 1947 (right).  Such was the appeal of the intricate woodwork that in the 1940s, manufacturers offered it on very expensive models although the timber offered no functional advantage over metal construction.

General Motors (GM) in 1935 actually introduced an all-steel model with station wagon coachwork but it was on a light-truck chassis (shades of the twenty-first century) and intended more for commercial operators; nobody then followed GM’s example.  The woodies were of course less practical and in some climates prone to deterioration, especially when the recommended care and maintenance schedules were ignored but demand continued and some returned to the catalogue in 1946 when production of civilian automobiles resumed from the war-time hiatus but these lines were almost all just the 1942 cars with minor updates.  By 1949, the manufacturers had introduced their genuinely new models, the construction of which was influenced by the lessons learned during the war years when factories had been adapted to make a wide range of military equipment.  Although woodies remained briefly available in some of the new bodies, one innovation which emerged from this time was the new “all steel” station wagon which was not only cheaper to produce than the labor-intensive woodie but something ideally suited to the emerging suburban populations and it would for decades be one of the industry’s best-sellers, decline not setting in until the mid-1970s.

US manufacturers applied the appliqué for decades and until 1953, Ford even used real timber for the DI-NOC's perimeter molding.  Some were worse than others.

However, although by the mid-1950s, the all-steel bodies had in the US replaced all but the handful of coach-built wagons made for those who valued exclusivity more than practicality, there was still a nostalgic longing for the look of timber.  It was too expensive to use the real stuff but what was adapted was DI-NOC, (Diurno Nocturna, from the Spanish, literally “daytime-nighttime” and translated for marketing purposes as “beautiful day & night”), an embossed vinyl or polyolefin material with a pressure-sensitive adhesive backing produced since the 1930s and perfected by Minnesota Mining & Manufacturing (3M).  Described as an “architectural finish”, it was used mostly for interior design purposes in hundreds of patterns and was able to be laid over a variety of substrates such as drywall, metal, and laminate.  Remarkably effective at emulating (at a distance) more expensive materials such as wood, leather, marble, metal or granite, what the manufacturers did was not re-create the appearance of the original woodies but instead unleash the designers on the large side-surfaces of the modern Amerian car, the results mostly variations of a theme and polarizing, the DI-NOC appliqués something one either loved or hated.

1963 Ford Consul Cortina 1500 (Mk1 “Woody” estate) (left) and 1963 Ford Falcon Squire (left).  Neither sold well or were offered for long, the Falcon’s DI-NOC particularly ill-suited to the Australian summer.

It was the Americans who fell in love with the look and in the 1960s and 1970s, a wide range of cars, large and small and all of them station wagons were available off the showroom floor, complete with a faux-woodgrain appliqué glued to the flanks and sometimes the tailgate.  3M claimed it looked exactly like the real thing and at night, that was actually true although close-up, daylight exposed reality like the ugly lights in a night-club, something especially noted of a DI-NOCed machine which has spent a couple of summers baking in the Arizona sun.  Still, nobody actually claimed it was real wood and unlike something subtle like a badge, several square feet of DI NOC plastered on the sides was a way of telling everyone you bought the most expensive model.  Detroit had established colonies in England, Australia and Germany and there they tried to export the DI-NOC idea.  The Prussians weren’t tempted but Ford did briefly offer an embellished Cortina in the UK and the Falcon Squire in Australia.

Real, sort of real and surreal.  1964 Morris Minor Traveller (left), 1961 advertisement for the Morris Mini Traveller (centre) and the custom (originally a 1960 3.4 FHC (fixed head coupé)) Jaguar XK150 shooting brake (Foxbat).

In the UK, one traditional woodie did enjoy a long life, the Morris Traveller, introduced in 1953 as an addition to the Minor range (1948-1972 (1975 in overseas markets)) remaining in production until 1971, the body aft of the doors formed with structural timber members which supported infill panels in painted aluminum.  It was the last true woodie in production and is now a thing in the lower reaches of the collector market, one donating its rear compartment to someone who wanted the Jaguar XK150 shooting brake the factory never made.  Dubbed the Foxbat, it has been restored as a charming monument to English eccentricity.  However, while the Minor Traveller was real, the subsequent Mini Traveller (1961–1969) was a curious hybrid: Structurally it was exactly the same car as the Mini station wagon, the external members real wood but wholly decorative affectations which were attached directly to the steel body, the "infill" panels an illusion.  The original Mini enjoyed a forty-year life between 1959-2000 but when in 2001 BMW introduced their retro-flavored take on the idea, although they resurrected a few motifs, they didn’t bring back a woodie, fake, faux or real.

Lindsay Lohan in lace appliqué trousers and black swimsuit, Mykonos, Greece, August 2016.

Binge

Binge (pronounced binj)

A period or bout, usually brief, of excessive indulgence in something, historically strong drink but later food and of late, popular culture in digital form.

1854: Etymologists regard binge an adaptation of the northern English dialectical binge, of unknown origin and noted originally as a Northampton dialect word with meanings in Lincolnshire and Northamptonshire including “drinking bout, drink heavily & soak up alcohol” although the original meaning was likely “soak” in the sense of "to soak in water a wooden vessel, that would otherwise leak" to make the wood swell (a meaning free of any association with alcohol), a use noted in Leicestershire Words, Phrases and Proverbs (1848) by English academic Arthur Benoni Evans (1781–1854) who recorded it was "extended locally to excessive drinking", usually in the form "soaking".

During World War I (1914-1918), it came to be applied to eating as well as drinking and binge-eating is now a recognized disorder although the phrase is casually used in a non clinical context.  In the twenty-first century, after the roll-out of fast broadband reached critical-mass, real-time streaming services became viable and binge watching came to be used to describe the practice among youth of streaming many hours of the one programme in one session, something which historically would have been done over weeks or even months.  "Binge watching" however pre-dates the mass-adoption of broadband, recorded first in 1996 when the technology (of necessity) tended to be tapes, or for the early adopters, the DVD (digital versatile disc), introduced that year.  The related forms are binged & bingeing.

Binche: Binging in Belgium

The modern construct which today is Belgium wasn’t created at the Congress of Vienna (1814-1815), emerging as an independent country only in 1830 after the Belgian Revolution when it it seceded from the Netherlands, itself a political creation of the congress.  Having borders with France and Germany always focused Belgium thoughts on defense and in Medieval times, walls were constructed around many cities.

Of these, the city of Binche retains the longest remains of walls, with some 1¼ miles (2.1 km) of fortifications, some dating from as early as 1230.  Binche is also known for its annual beer festival which takes place just before the start of Lent each year, the highlight the surreal sight of men in clown masks parading through the streets, drinking beer, beating drums and throwing oranges into the crowd.  Visiting foreigners, often unaware Belgium beers are brewed with alcohol content four or five times greater than that to which they’re accustomed, especially enjoy Binche.  Despite that, the alleged connection between Binche drinking and the English term binge drinking is apocryphal; just fake news.

Sleeping beauty re-imagined.

According to the US Center for Disease Control (CDC), binge drinking is associated with many health problems including (1) unintentional injuries such as motor vehicle crashes, falls, burns, and alcohol poisoning, (2) violence including homicide, suicide, intimate partner violence, and sexual assault, (3) sexually transmitted diseases, (4) unintended pregnancy and poor pregnancy outcomes, including miscarriage and stillbirth, (5) fetal alcohol spectrum disorders, (6) sudden infant death syndrome (SIDS), (7) chronic diseases such as high blood pressure, stroke, heart disease, and liver disease, (8) cancer of the breast (among females), liver, colon, rectum, mouth, pharynx, larynx, and esophagus (9) cognitive decline and (10) memory and learning problems.

Surreal

Surreal (pronounced suh-ree-uhl (U) or sur-reel (non-U))

(1) Of, relating to, or characteristic of surrealism, an artistic and literary style; surrealistic.

(2) Having the disorienting, hallucinatory quality of a dream; unreal; fantastic & and incongruous.

(3) As surrealism, an artistic movement and an aesthetic philosophy that, inter alia, explored the “liberation of the mind” by emphasizing the critical and imaginative powers of the subconscious.

(4) In mathematics as surreal numbers, a collection of numbers which includes both the real numbers and the infinite ordinal numbers, each real number surrounded by surreals, which are closer to it than any real number.

1936: A back formation from surrealism, the construct being ; sur- +‎ realism, from the French surréalisme, the construct being sur- (beyond) +‎ réalisme (realism).  Sur- ((over in the sense of “on top of” & over- in the sense of “excessive; excessively; too much”)) was from the Old French sur-, sour-, sor- & soure-, from a syncopation of the Latin super- (above, on top, over; upwards; moreover, in addition, besides) from the Proto-Italic super, from the primitive Indo-European upér (over, above (and cognate with the Ancient Greek ὑπέρ (hupér) (above) and the Proto-Germanic uber (which in English became “over”)).  The English sur- was from the Middle English sur-, from the Old French sur-, sour-, sor- & soure-, a syncopic form of the Latin super.  Sur is a doublet of super-, over- and hyper-.  Real was from the Middle English real, from the Old French reel, from the Late Latin reālis (actual), from the Latin rēs (matter, thing), from the primitive Indo-European rehís (wealth, goods).  Surreal is a noun & adjective, surreally is an adverb, surrealism & surreality are nouns and surrealistic is an adjective; the noun plural is surreals.

Lobster Telephone (1936) by Salvador Dali, one of a dozen-odd originals (in colors and shades of cream created by the artist).

In French, the noun surréalisme appeared first in the preface to Guillaume Apollinaire's (1880-1918) play Les Mamelles de Tirésias (1916-1917 and first performed in 1917).  The word was taken up in the 1920s by French intellectuals who created a number of (competing) Manifeste de Surréalisme (Surrealist manifesto) which were documents exploring the nature of human psychology and the way the radical imagination could produce transformative art.  Such was the nature of their texts, inspiration was offered to groups as diverse as landscape painters and anarchists and anyone else attracted to the idea (if not the business) of revolution.  The English form of the word appeared first in 1931, the French spelling having been in use since 1927.  Surrealist as an adjective and noun (from the 1917 French surréaliste) has been in use since 1925 while the adjective surrealistic dates from 1930.

La Trahison des Images (The Treachery of Images) (1929), oil on canvas, by Rene Magritte (1898-1967), Los Angeles County Museum of Art.

The French text Ceci n’est pas une pipe (This is not a pipe) is an act of deconstruction, a statement that a painting is a representation of something, not the object itself.  It’s a statement of the obvious but is both in the artistic tradition of opposition to oppressive rationalism and an influential strand in the history of Surrealism and Pop Art.

Mama, papa is wounded! (1927) by Yves Tanguy (1900-1955), oil on canvas, Museum of Modern Art, New York.

One of the motifs of surrealist painters was a deliberate disconnection between the title of a work and any immediately obvious meaning. Tanguy’s Mama, papa is wounded! was a painting in one of the recognized surrealist styles: a landscape of wide vista littered with abstract shapes, the title taken from a case-study in a psychiatry textbook.  Beyond mentioning he’d imagined the whole canvas before lifting a brush, Tangay gave no clue about the meaning, but coming so soon after Great War, many focused on a link with the many French causalities of the conflict, the depiction of their horrific injuries also part of an artistic movement in the post-war years.

Swans Reflecting Elephants (1937), oil on canvas by Salvador Dali (1904-1989)

Salvador Dali remains the best-known surrealist painter and Swans Reflecting Elephants is an example of his paranoiac-critical method, which attempted to use art to represent how subconscious thought might summon the irrational imagery when in a state of psychosis or paranoia.  The work is interesting too in that it’s the most perfect example of a double image, the trees and swans reflected in the mirror-like surface of the water as lake as elephants.  Dali himself would sometimes discuss the usefulness of the mirror as a device to explore the divergence between conscious reality and the world of the subconscious.

Jean-Martin Charcot, documentary photographs of hysteria patients at La Salpêtrière Asylum 1878, printed in Le Cinquantenaire de L’hystérie (La Révolution Surréaliste (1928)) by André Breton (1896–1966) & Louis Aragon (1897–1982).  Breton & Aragon lamented that hysteria (which they called "the greatest poetic discovery of the late nineteenth century") was being redefined by the new discipline of psychiatry as merely a symptom of mental illness which could be eliminated by suggestion alone.

The link between surrealist art and madness long intrigued the medical community and the interest later extended to the relationship with modernism in general.  Remarkably, it wasn’t until 1980 with the publication of the third edition (DSM-III) that the diagnosis “hysteria” was removed from the Diagnostic and Statistical Manual of Mental Disorders.  Hysteria had for centuries been a kind of omnibus diagnosis, applied to those (almost always women) displaying an extraordinary array of mental and physical symptoms, the gendered hysteria derived from the Ancient Greek word for uterus.  To many Surrealists, hysteria was the state in which a poetic expression of the mind’s wilder impulses could be unleashed, meaning that instead of being silenced, this fundamental condition of being female could usefully be objectified.  History and art met in the decade of the surrealists because the 1930s was a time to be hysterical, less about what was happening than the fear of what was to come but the reaction to the Exposition Internationale du Surréalisme, an exhibition by surrealist artists held in Paris in January-February 1938 was not despair or shock but indifference, the novelty of the form having passed, the claim the exhibition needed to be understood as a single installation convincing few.  In the history of the movement, the peak had actually passed and although surrealist works would continue to be produced (and actually mass-produced as wildly popular prints) in the post-war world, the output was repetitive.  The avant-garde having plundered from surrealism what could be carried off, explored other directions.

Woman’s Dinner Dress (February 1937) by Elsa Schiaparelli (1890-1973), printed silk organza and synthetic horsehair, Philadelphia Museum of Art.

The fragments however endure.  Elsa Schiaparelli was an Italian fashion designer who took the objects made famous by the Futurists, Dadaists, & Surrealists and integrated them into clothing, her most memorable piece a white evening gown adorned with a large Daliesque lobster.  A design which would now attract little attention, at the time it was a sensation, its audacity a contrast with the solid pastels and other subdued hues with which Coco Chanel (1883-1971) had defined Parisian sophistication.  The playful designs she adopted (a telephone-shaped handbag, buttons in the shape of lollipops, fingernail gloves and hats in shapes borrowed from industry and agriculture) were not always original but she lent them a respectability in the world of high-fashion. 

In the surreal style: Salvador Dali (2021) by Javier Peña and Lindsay Lohan by Mohamad Helmi on Displate.