Psychopomp

Psychopomp (pronounced sahy-koh-pomp)

In mythology and religion, a spirit, deity, person etc., who guides the spirits or souls of the dead to the other world or after-life.

1835: From the Latin psȳchopompus, from Ancient Greek ψῡχοπομπός (psūkhopompós or psȳchopompós) (conductor (guide) of souls), the construct being ψῡχή (psūkhḗ) (the soul, mind, spirit) + πομπός (pompós) (guide, conductor, escort, messenger). Psyche was from the Latin psychē, from the Ancient Greek ψυχή (psukhḗ) (soul).  The modern word psychology was from the French psychologie, from the Latin psychologia, the construct being the Ancient Greek ψυχή (psukhḗ) (soul) +-λογία (-logía) (study of).  Pomp was from the Middle English, from the Old French pompe, from the Latin pompa (pomp), from the Ancient Greek πομπή (pompḗ) (a sending, a solemn procession, pomp”), from πέμπω (pémpō) (I send), from pempein (to send, dispatch, guide, accompany) of unknown origin.  Etymologists note the verb has no etymology drawn from Indo-European traditions and nor does it display the characteristics of loanwords or a pre-Greek vocabulary.  In Classical Latin the nominative was psȳchopompus, the genitive psȳchopompī, the dative psȳchopompō, the accusative psȳchopompum, the ablative psȳchopompō & the vocative psȳchopompe.  Psychopomp is a noun.  The noun plural is psychopomps.

Psychopomps were entities (variously spirits, angels, creatures, birds or even people) in a number of cultures and religions whose role was to guide the souls or spirits of the newly dead from Earth to the afterlife.  Wholly non-judgmental, they impartially took the soul in hand and lead them to the hereafter where, according to tradition, what awaited was perhaps a final judgment but sometimes not.  In both sacred and pagan art, psychopomps have been depicted in (often ethereal) human form, as winged angels, animals such as horses and, very often as winged creatures, most famously ravens or vultures, the birds often in large flocks, massed above and circling, awaiting the death of the dying.  To classicists, the word is most associated with Hermes or Charon but by far the psychopomp which resonates most in popular culture is the Grim Reaper.

Psychopomps of note

La barca de Caront (Charon's boat (circa 1932)) oil on canvas by José Benlliure y Gil (1855 - 1937), Museu de Belles Arts de València.

Although famous in Greek mythology as a pschopomp, Χάρων (Charon, written sometimes as Kharon) was more mercenary than most.  Known as the ferryman of Hades who carries the souls of just deceased who had received the rites of burial, across the river Acheron (pain) (in later accounts, the river Styx (hate)) that divided the world of the living from that of the dead.  Traditionally, Charon’s fee was a single coin (an obolus or danake) which the family left on the lips of the corpse and in some of the myths (there are many variations in Greek mythology), those whose families had not a coin to leave or who were denied funereal rites were condemned to wander the “shores of the river for a hundred winters”.  In the manner of modern container shipping, Charon also carried cargo on his return voyages, the catabasis mytheme recording that heroes (including Sisyphusm, Heracles, Dionysus, Hermes, Odysseus, Orpheus, Theseus & Psyche) were brought back across the river from the underworld in Charon’s boat (although what he charged is not recorded).

Beyond ecumenical, Azrael, the Angel of Death, appears in both Jewish and Christian mythology but in Islamic mythology he uniquely assumes the role of a psychopomp, said to take straight to Allah, every soul directly upon death.  Unlike some traditions in which a role in the timing of someone’s demise is delegated to the pyschopomp, in Islamic theology, only Allah is said to know and decide the precise moment when someone is supposed to die so Azrael has no power of life and death; he is but the cab or the rank, the taxi driver who can never refuse a fare.  In the world of the living, some have tried to help Azrael: there was once a Berber chieftain who instructed his mean to shave their heads, leaving a single tuft of hair so that when their time came, Azrael would have something to which to grab.

Two versions of Valkyrie (1864 (left) & 1869 (right)) by Peter Nicolai Arbo (1831–1892), oil on canvas, Nasjonalgalleriet, Oslo.

In Norse mythology there were other psychopomps (Frejya and Odin would sometimes act as psychopomps) but the most famous were the Valkyries, the beautiful maidens who circled high in sky above battlefields, choosing which soldiers would live and which would die.  Half the dead would be taken to Fólkvangr (Freyja's afterlife) and half the Valkyries would take to Valhalla, where they would become einherjar (single fighters) and await the onset of Ragnarök, the climactic “twilight of the gods”.  On the rare occasions when peace reigned and no battles were being fought on Midgard, (the Old Norse name for the soil on which humans dwell), the Valkyries attended the einherjar in the banquet hall of Valhalla, serving them mead (an alcoholic beverage, often described as “fermented honey water” and made by fermenting honey mixed with water, hops and various fruits & spices).  Seen often accompanied by ravens and sometimes connected with swans and especially horses, thanks to innumerable painters of the romantic era and Richard Wagner (1813-1883), (whose Ride of the Valkyries from Die Walküre (the second of the four musical dramas of his Der Ring des Nibelungen (The Ring of the Nibelung (1870)), is probably is best-known fragment), an aura surrounds the Valkyries but if one digs into the Norse myths, they emerge as not always wholly virtuous, sometimes behaving rather like the mean girls of the age.

Late Period Solid-cast copper alloy figure of Anubis, British Museum, London.

Anubis (νουβις in the Ancient Greek, also known as Inpu, Inpw, Jnpw, or Anpu in Ancient Egyptian and romanized as Anoup) was an Egyptian psychopomp but also assigned a variety of roles under different ruling dynasties including a protector of graves, the god of death & the afterlife, mummification and embalming.  Depicted usually as a man with a canine head (thought sometimes during the First Dynasty as the beast alone).  Anubis' female counterpart was Anput and his daughter was the serpent goddess Kebechet.  In his role as a psychopomp, the jackal-headed god was tasked with guiding souls to Duat, the Egyptian underworld, where they would be judged according to the goodliness done during their earthly existence.  The Egyptians (usually) believed the heart was the repository of the soul so Anubis weighted the organ against a single feather representing truth.  Were the heart lighter than the feather, their journey continued but if too heavily laden with sin, Anubis would cast it to Ammit, a demon known as the “Devourer of the Dead” who would consume it.

The versatile, multi-tasking Hermes was the Greek god of commerce, thieves (and there’s some overlap there) and athletes.  However, he was also the messenger of the gods and thus the fleet-footed Hermes was able to travel between worlds, explaining why he was also the god of border crossings.  Uniquely, Hermes was the only Olympian god able to visit Heaven, Earth, and Hades something he never tired of mentioning to the other, realm-bound gods, and another of his tasks was to lead the souls of the dead to the entrance of Hades, where they awaited the boat of Charon to pick them up. Among the best remembered of Hermes’ charges were the suitors of Odysseus’ wife Penelope, all of whom were killed when the hero finally returned from Troy.

Coming & going, dressed for the occasion.  Lindsay Lohan in Grim Reaper mode fulfilling a court-mandated community service order at LA County Morgue, October 2011.

In the modern age it’s the Grim-Reaper who is the archetypal psychopomp.  Depicted since the fifteenth century as a scythe-carrying skeleton (the enveloping black cloak soon became de rigueur), his (there have in the West been some depictions of the reaper as female (although well-known elsewhere) but a male identity is usually at least implied although, at the artistic level, most imagery is genderless which must be right because, having no soul, the reaper is unworldly) mode of operation varies depending on the source.  Some say he selects the souls to harvest by tapping his victim on the shoulder, a notice to quit the world, while others insist he merely gathers the souls of the departed.  In English, the Grim Reaper was first (at p 11) mentioned in The Circle of Human Life (1847, 113 pp) by Friedrich August Gottreu Tholuck (1799–1877), a slim volume published in Edinburgh (by Myles Macphail book-binding) which discussed the stages in the life of a good Christian.

 “There are many who suppose that a clear and certain foreknowledge of the day of their death would exert a very powerful influence upon their mind. In this opinion, however, there must be some deception.  All know full well that life cannot last above seventy, or at the most eighty years.  If we reach that term without meeting the grim reaper with his scythe, there or there about, meet him we surely shall.  Death being thus the most certain of all certain events, why not begin at once the work of preparation for it?”

Not all mythology was written with the intricate plots and tales of the Greek.  In Etruscan mythology, Charun was with good cause known as the “Demon of Death” and often appeared with Vanth, a goddess of the underworld.  His role in death and the harvesting of souls was a efficient but not subtle.  When someone was deemed ready to die, Charun would appear before them and smash their skull with his great hammer until they were dead.  He and Vanth would then take the soul to the underworld; those souls declared evil or unworthy, Charun would punish by taking up his hammer, repeatedly striking them for all eternity.

Trinitite

Trinitite (pronounced trin-a-tight)

(1) The glassy residue left on the desert floor after the Trinity nuclear bomb test of 16 July 1945 at Alamogordo, New Mexico, USA.

(2) By extension, any melt glasses left by nuclear bombs (known also as Alamogordo, atomsite glass or nuclear melt glass).

1945: Compound word trinit(y) +‎ -ite.  Trinity is from the Middle English trinitie & trinite from the Anglo-Norman trinitie or trinite (or ternite, trenite, trinetei, trinitiet & trinitet) from the Latin trīnitātem, accusative singular of trīnitās (the number three; a triad; the Trinity), from trīni (from trīnus (triple) from trēs, from the Proto-Italic trēs, from the primitive Indo-European tréyes (three)) + the suffix -itās from the Proto-Italic -itāts & -otāts from the primitive Indo-European –tehts, the suffix forming nouns indicating a state of being.  The suffix –ite is from the Ancient Greek -ίτης (-ítēs) and was adopted in Latin as part of Greek loanwords, both as –ītēs but also often as -īta.  It was used in Biblical tribal names (Thus either Levītēs or Levīta; plural in –ītae) and in the Medieval Latin of religious groups, such as Marcionītae, Ebiōnītae, Monophysītae.  It’s an adjective-forming suffix, especially of nominalised adjectives identifying groups of people as "those belonging to".  Trinitite is a noun; the noun plural is trinitites.  The verb trinitize is unrelated; it's from Christian theology and means "to divide into a trinity".

It was the physicist Robert Oppenheimer (1904–1967), head of the Manhattan Project which developed the first atomic weapons, who choose the name of the test site for the first atom bomb: Trinity.  He’s remembered for a snatch of verse he said the sight of the first atomic explosion made him recall, words from the Bhagavad Gita: Now I am become Death, the destroyer of worlds.  Oppenheimer also had a fondness for the metaphysical poetry of John Donne (1572–1631), the Church of England cleric, and said he remembered also:

As West and East
In all flat Maps—and I am one—are one
So death doth touch the Resurrection

While those lines do not a Trinity make, others do such as Batter my heart, three person’d God and the Holy Trinity permeates much of his Donne's work.

Variations since Trinity include kharitonchik (melt glasses from the Soviet nuclear bomb Semipalatinsk Test Site in Kazakhstan), impactite (metamorphic minerals caused by meteor heating of non-meteoritic materials), impact glass (melt glasses caused by meteor heating of non-meteoritic materials), fulgurite (melt glasses caused by lightning strikes) and fusion crust (metamorphic minerals on the surface of meteorites caused by atmospheric entry heating).  Trinitite has also been referred to as atomsite or Alamogordo glass (after the nearby city).

Physicist Norris Bradbury (1909–1997; director of the Los Alamos National Laboratory 1945-1970), group leader for bomb assembly, stands next to the partially assembled "Gadget" (code-name for the first plutonium A-bomb) atop the test tower, New Mexico, 16 July 1945).

The Trinity test of the plutonium A-bomb in New Mexico in July 1945 was a genuine test.  The uranium A-bomb which had also been built and which ultimately was dropped on Hiroshima in August was a device in which the scientists had such faith that it was deemed no test was necessary, something that sounds astonishing now but among all the physicists and engineers attached to the Manhattan Project (the A-bomb development team), there were no dissenting voices.  As a uranium bomb, the Hiroshima device was (at least for decades) a genuine one-off, all subsequent nuclear weapons being plutonium-based devices (and that may still be true; the details of the DPRK’s (North Korea) bombs remaining murky).  A uranium bomb turned out to be (relatively) easy to design and build and the trigger mechanism was simple but production of uranium to the specification required was a slow and exacting process given the machinery at the time available.  By contrast, a supply of weapons-grade plutonium was possible with the existing facilities but it was a formidable engineering challenge to create the trigger mechanism while ensuring the device remained within the size and weight parameters of a gravity bomb dropped from an aircraft which would have to fly thousands of miles to reach the target.  The Hiroshima bomb could be made to explode simply by firing a uranium bullet into the uranium core but if that approach was used with plutonium, all that would happen would be the melting of the core.  The solution was to surround the core with sufficient high-explosive to create the pressure required to trigger the chain reaction.  It was this process that the Trinity was staged to test.

Trinitite on the desert floor.

Although the test was over seventy-five years ago and completely fulfilled the purpose of testing the plutonium bomb, it was in another sense an extraordinary experiment in high-energy physics and even in the twenty-first century, analysis of the data and the physical aftermath at the site continues to reveal interesting discoveries.  Geological excavations in 2005 confirmed that the explosion, as predicted, initially pushed-down the ground but that it then rebounded, forcing the material upwards into the fireball in the sky where it was vaporized before cooling and crystallizing, eventually raining down in the form of the trinitite fragments.  Most of the trinitite was green because of the iron content in the sand while a smaller volume was black because their source was the iron from which Trinity’s tower structure was constructed and, being refined and processed, the iron content was much greater than that in the sand.  Finally, among all the trinitite, there was found a tiny number of red crystals which gained their color from all the copper cables which were also vaporized.  The propensity of copper to color its immediate environment was well-known, the mining conglomerate Rio Tinto formed in 1873 with a company name from the Rio Tinto (red river or Tinto River); the highly acidic river in the Sierra Morena mountains of southwestern Spain that runs red & orange because of the high copper content in the surrounding soil.

Red Trinitite.

Beginning in that fraction of a second when the nuclear age was born was the process which produced the red crystals, the extreme pressure and temperature (the Trinity site was briefly hotter than the surface of the Sun) forging a most unusual structure within one grain of the material just 10 micrometers across (barely longer than a red blood cell).  Made from silicon, copper, calcium and iron, the rare form of matter was called a quasicrystal.  Normally, crystals are made from atoms locked in a lattice that repeats in a regular pattern but quasicrystals, while having a structure that is orderly like a normal crystal, don’t have patterns which repeat and this grants quasicrystals properties forbidden to normal crystals.  First discovered in laboratory observations during the 1980s, quasicrystals also occur naturally in meteorites, matter transformed by stars, another place of extreme heat and pressure.

The Trinity test, the world's first nuclear explosion.

Until their observation in the 1980s, physicists regarded quasicrystals as “impossible” because they would have violated the rules scientists had over centuries constructed to define crystalline materials; the quasicrystal was thus a ‘black swan” moment in physics.  Traditionally, crystals were held to possess what were known as “rotational symmetries”, places where the structure could symmetrically be split in half, along one, two, three, four and six axes.  The black swan quasicrystal broke the rules or, more precisely, proved the rules were wrong, demonstrating instead an “icosahedral symmetry” a construct which includes six independent five-fold symmetry axes; as solids with these rotational symmetries, the quasicrystal is unique.  To the US military-industrial complex, it may also prove uniquely useful because, if a sample could be obtained of a quasicrystal created during nuclear tests conducted by other nations, it could be analyzed and might yield new understandings of their programs and weapons.  It’s always been possible to examine radioactive debris and gases to build models of how the devices were built and the materials used but those signatures decay.  Not only might a quasicrystal reveal new information but, and this is obviously most useful if the analytical process uses non-destructive tests, quasicrystals are a form of matter which goes as close (theoretically) to lasting forever as any yet known.

Lindsay Lohan (right) illustrating the typical hue of green trinitite (left).

What’s sometimes described as “trinitite green” and used for glass crockery or decorative items is misleading because such purity was never in New Mexico after the blast.  A glassy material, most trinitite exists in a range between a pale to olive green but smaller quantities in red and black have also been observed, the coloration dependent on the specific minerals and materials in the blast site.  The green is a product of iron while the red comes from the copper electrical wiring used in the Trinity test equipment being fused together with the quartz and feldspar sand grains from the desert floor.  A quirk is that red trinitite is brightly fluorescent under short wave ultra-violet light whereas the more abundant green variety of typically shows little to no fluorescence under UV, the difference again due to the mineral composition.  Black trinitite is rarest, formed by virtue of the presence of iron alone from the tower with no copper content.

Vamp

Vamp (pronounced vamp)

(1) The portion of a shoe or boot upper that covers the instep and toes.

(2) Something patched up or pieced together (rare).

(3) In music, an accompaniment, usually improvised, consisting of a succession of simple chords.

(4) A seductive (and not necessarily conventionally attractive) woman who uses her sensuality to exploit men.  In this context a clipping of vampire.

(5) To use feminine charms upon; to seduce.

(6) Slang for vampire (rare, presumably to avoid confusion with vampish women).

(7) Modern urban slang for the act of leaving an area or scene, due usually to wishing no longer to be there.

(8) Modern urban slang for late (or all) night sessions, an allusion to the nocturnal habits of vampires.

1175-1225: From Middle English vampe, borrowed from Anglo-French vaumpé and Old French avantpié (front part of a shoe (hence, something patched)), from avant (to the fore, front) + pié (foot) derived from the Latin pēs.  As applied to music, meaning dates from 1789 but from the early twentieth-century associated mostly with jazz.  Popular usage, as a descriptor of the seductive femme fatale, was first noted in 1911, derived from film and theatre performances inspired by the Kipling poem, The Vampire.  Vamper is verb and noun, vampish the adjective.  The term "re-vamp" (updating or refreshing something) is based upon the use by cobblers (to replace the vamp in a shoe).

The etiquette of toe cleavage

Analogous with other displays, toe cleavage is the partial exposure of toes in shoes cut low at the vamp and specialists in the field have offered opinions.  Noted shoe stylist Manolo Blahnik, although an early advocate, urged some restraint in suggesting one should show “…only the first two cracks" but, given anatomical variation and the production-line standardization of all but the rare bespoke creations, it’s a rule difficult to enforce.  Christian Louboutin, he of the red soles, is less prescriptive, liking toe cleavage and more rather than less.  His designs emphasize the curved form of the foot, the instep, and he tends to conceal “…the heel and reveal the arch, culminating in a low-cut vamp."  Vogue’s venerable editor Anna Wintour, doesn’t specify how much toe cleavage should be displayed but agrees it’s an essential part of a voguette’s dress code; her point being the look "must never be combined with stockings".

Vampish: Lindsay Lohan’s ample toe cleavage on show in Christian Louboutin stilettos.  Mercedes-Benz Fashion Week, Madrid, 2014.

Exsanguinate

Exsanguinate (pronounced eks-sang-gwuh-neyt)

(1) To kill by means of blood loss.

(2) To die by means of blood loss.

(3) To drain a body (living or dead) of blood.

1610–1620: From the Late Latin exsanguinātus (bloodless, deprived of blood), past participle of exsanguināre, the construct being ex- (out) + sanguinem, from sanguis (blood).  The construct in English was ex- + sanguine, + -ate.  The ex- prefix was from the Middle English, from words borrowed from the Middle French, from the Latin ex (out of, from), from the primitive Indo-European eǵ- & eǵs- (out).  It was cognate with the Ancient Greek ἐξ (ex) (out of, from), the Transalpine Gaulish ex- (out), the Old Irish ess- (out), the Old Church Slavonic изъ (izŭ) (out) & the Russian из (iz) (from, out of).  The “x” in “ex-“, sometimes is elided before certain constants, reduced to e- (eg ejaculate).  Sanguine was from the Middle English sanguine, from the Old French sanguin, from the Latin sanguineus (of blood), from sanguis.  The Latin sanquis, perhaps surprisingly, is of uncertain origin but may be from the primitive Indo-European hsh-én- from hésh₂r̥ (blood).  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.  Exsanguinate & exsanguinating are verbs, exsanguinated is a verb & adjective, exsanguination is a noun; the noun plural is exsanguinations.

As an adjective, exsanguine (bloodless) is attested from the mid-seventeenth century in both literal and figurative use and is now probably a technical word used only by embalmers, in clinical pathology, in the veterinary sciences or in slaughterhouses.  The word being a bit cumbersome, use never extended to kitchens, despite much exsanguination historically being part of the workings of production kitchens (before modern supply chains); where required, chefs prefer the punchier “drain”.  In use the verb is intransitive in the sense of “to die by means of blood loss” and transitive in the sense of “to kill by means of blood loss” or “to drain a body (living or dead) of blood”.

Gory: Lindsay Lohan was photographed in 2011 & 2013 by Tyler Shields (b 1982) in sessions which involved knives and the depiction of blood.  The shoot attracted some attention and while the technical achievement was noted, it being quite challenging to work with blood (fake or real) and realize something realistic but it was also criticized as adding little to the discussion about the pornography of violence against women.  There was a time when such photographs would has shocked but that moment has long passed and the most thoughtful comments on the photographs were that while it's a necessary discussion, it's one that should be conducted with words and such staged images do nothing but add to cultural desensitization.

Technical notes on the process of stunning & exsanguination in a slaughterhouse.  Department of Animal Biosciences, University of Guelph, Ontario, Canada.

(1) Stunning process

Criteria for a good slaughter method:

(1) Animals must not be treated cruelly or unnecessarily stressed.

(2) Exsanguination must be as rapid and as complete as possible.

(3) Damage to the carcass must be minimal, and the method of slaughter must be hygienic, economical and safe for abattoir workers.

To avoid the risk of cruelty, animals must be stunned or rendered unconscious before exsanguination.  When religious reasons do not allow stunning, extra care is needed to ensure exsanguination causes the minimum of distress to the animal.  In the Kosher method of killing, conscious cattle are suspended with the head stretched back, and then the throat and its major blood vessels are severed. Drugs cannot be used in the meat industry to induce unconsciousness in animals for slaughter because unacceptable residues would remain in the meat.

Animals can be effectively stunned by concussion which may be induced by a bullet or a bolt that penetrates the cranium or by the impact of a fast-moving knocker on the surface of the cranium.  In modern abattoirs, the primitive pole-axe has been replaced by devices which use expanding gas, either from an air-compressor or a blank ammunition cartridge. First, the animal is restrained in a narrow pen or knocking box in order to minimize its head movements, then the concussion instrument is then accurately located at a point on the midline of the skull, above the level of the brow ridges of the eye sockets.  Concussion stunning should not be applied on the neck or posterior part of the skull.

The knocker is a heavy instrument held with both hands.  There is a safety catch on the handle, but the actual trigger protrudes from the head of the knocker and is activated as the knocker is tapped against the animal's head.  The captive bolt pistol resembles a heavy hand gun but a blank cartridge rather than a bullet is used to propel a cylindrical bolt into the skull.  After penetration, the bolt is withdrawn into the barrel of the pistol and the pistol is reloaded.  Steers, heifers and cows are normally stunned with a knocker or a heavy captive bolt pistol, but bulls and boars which have massive skulls are sometimes shot with a rifle bullet. Pigs and lambs may be stunned with a light-weight captive bolt pistol.

Thirsty work.  A vampire exsanguinates.

(2) Exsanguination process

Cattle and pigs are usually exsanguinated by a puncture wound which opens the major blood vessels at the base of the neck, not far from the heart (the trade name for this process is sticking).  In sheep, lambs and small calves, the major blood vessels may be severed by a transverse cut across the throat, near to the head.  Poultry can be exsanguinated with a diagonal cut from the corner of the jaw towards the ear on the other side, or by a knife thrust through the roof of the mouth to severe the brain and its major blood vessels. For poultry, the cut may be made on the side of the head if the head is later to be removed automatically by machine.

If the sticking wound is inaccurately placed, exsanguination may be too slow, and it may be almost halted by the formation of large blood clots.  The formation of blood clots is accelerated when large areas of tissue are damaged by repeated inaccurate punctures.  If the trachea is severed by the sticking wound, blood may be drawn into the lungs as the animal breathes. Later in the slaughter procedure, this may necessitate the trimming of blood clots from the pleural membranes after they have been inspected.  If the oesophagus is severed, the vascular system may be contaminated by the entry of food particles into the venous system. If the connective tissues of the shoulder are opened, blood may seep into the shoulder region to form blood clots between the muscles.

Incomplete exsanguination increases the amount of residual blood in the carcass.  The lean meat may then appear unduly dark and the fat may become streaked with blood. On the surface of incompletely exsanguinated poultry, the skin may appear dark and bloody over the breast, neck, shoulders and wings. The microscopic tissue damage that may later be caused by the freezing and thawing of poultry enables residual blood to leak from skin capillaries.  Thus, the results of incomplete exsanguination are often more noticeable to the consumer than to the producer.

The exsanguination or sticking of meat animals in an abattoir is usually performed by severing the carotid arteries and the jugular vein at the base of the neck.  In poultry, these vessels may be cut only on one side of the neck. The sticking knife must be kept clean otherwise bacteria might be introduced into the venous system and spread through the otherwise relatively sterile muscles of the carcass.  Once exsanguination has started, the pulse and mean blood pressure decline rapidly because of the reduced stroke volume of the heart. Blood pressure changes are monitored physiologically by baroreceptors in the carotid sinuses. During exsanguination, respiratory movements of the thorax may be stimulated, and neurogenic and hormonal mechanisms attempt to restore the blood pressure by increasing the peripheral resistance by vasoconstriction.  The heart keeps beating for some time after the major blood vessels are emptied, but stops rapidly if exposed and cooled.  Electrical stunning of pigs may terminate cardiac activity so that, at the start of exsanguination, the blood escapes by gravity rather than being pumped out.  In pigs, cardiac arrest does not affect the rate and extent of exsanguination.  After exsanguination has started, the heart usually re-starts and attempts to pump, until it runs out of energy. Thus, in many cases, there is no reason why animals such as pigs and sheep cannot be killed by electrocution rather than being merely electrically stunned.  In cattle stunned by concussion, more or less complete exsanguination may be obtained without ventricular pumping. Similarly, normal exsanguination is obtained in poultry that have been killed by electrocution rather than by being electrically stunned. In meat animals, "head to back" stunning may be used to stop the heart.

Blood loss as a percentage of body weight differs between species: cows, 4.2 to 5.7%; calves, 4.4 to 6.7%; sheep, 4.4 to 7.6%; and pigs, 1.5 to 5.8%.  Blood content as a percentage of live weight may decrease in heavier animals since the growth of blood volume does not keep pace with growth of live weight. Approximately 60% of blood is lost at sticking, 20-25% remains in the viscera, while a maximum of 10% may remain in carcass muscles. Different stunning methods may modify the physiological conditions at the start of exsanguination and, also, the neural responses to exsanguination.  Electrically stunned sheep lose more blood than those stunned with a captive bolt, but they also have more blood splashes in their carcasses.

Reduction of blood flow to the kidneys causes the release of a proteolytic enzyme, renin, which acts on a plasma protein to produce a polypeptide, angiotensin I.  This polypeptide is converted enzymatically to angiotensin II which then causes widespread vasoconstriction. Vasoconstriction is important because it decreases the retention of blood in meat. Angiotensin II vasoconstriction is operative in both conscious and anaesthetized animals.  Catecholamines and antidiuretic hormone (ADH) may also enhance vasoconstriction during exsanguination.  Speed of exsanguination may modify the balance between neural and hormonal vasoconstrictive mechanisms, with hormonal vasoconstriction predominating in rapid exsanguination.  However, asphyxia prior to exsanguination may result in vasoconstriction due to the activity of the sympathetic nervous system.

Traditionally it has been maintained that poor bleeding leads to dark meat with poor keeping qualities due to microbial spoilage and rancidity but there is little scientific evidence in support of this view and it may be false, even in animals which retain massive amounts of blood in their carcasses.  Delayed exsanguination of cattle may lead to a slight reduction in the amount of blood removed so that the carcass and spleen are slightly heavier but the effects on meat quality are negligible. It is not suggested poor exsanguination is a good thing, but should it occur, it is not the disaster some meat inspectors suppose.

Drone

Drone (pronounced drohn)

(1) A male bee in a colony of social bees, stingless and making no honey whose sole function is to mate with the queen

(2) An unmanned aircraft or ship that can navigate autonomously, without manned control or beyond line of sight.

(3) In casual use, any unmanned aircraft or ship that is guided remotely.

(4) A person who lives on the labor of others; a parasitic loafer.

(5) A drudge.

(6) To make a dull, continued, low, monotonous sound; a hum or buzz.

(7) To speak in a monotonous tone.

(8) To proceed in a dull, monotonous manner.

(9) In music, originally, a continuous low tone produced by the bass pipes or bass strings of musical instruments (later extended to the notion of "drone music", a "clearing house" term for a range of sub-genres and elements).

(10) The pipes (especially of the bagpipe) or strings producing this tone or the bagpipe equipped with such pipes.

Pre 1000: From the Middle English drane & drone (male honeybee), from the Old English drān & drǣn (male bee, drone), from the Proto-Germanic drēniz, drēnuz & drenô (an insect, drone), from the primitive Indo-European dhrēn- (bee, drone, hornet); the Proto-Germanic was the source also of Middle Dutch drane, the Old High German treno (the German Drohne, is from Middle Low German drone), the origin of which may have been imitative (there was the Lithuanian tranni and the Greek thronax (a drone)).  It was cognate with the Dutch drone & Middle Dutch drōnen (male bee or wasp), the Low German drone & German drohne (drone), the dialectal German dräne, trehne & trene (drone), the Danish drone (drone) and the Swedish drönje & drönare (drone).  An earlier variation was the Old English drān, related to the Old High German treno (drone), the Gothic drunjus (noise) and the Greek tenthrēnē (asp) which was the source of the sense of a sound, the meaning emerging 1490–1500, related also to the Middle English droun (to roar), the Icelandic drynja (to bellow) and the Gothic drunjus (noise).

The meaning referring to pilotless airframes appears first to have been used by the military in 1945-1946, initially in the sense of towed target drones, the "pilotless aircraft directed by remote control".  Even in 1946, military theorists were speculating about the potential use of "drones" although much of what was then described was closer to the modern smart bombs or guided missiles.  The meaning "a deep, continuous humming sound" emerged circa 1500, apparently an independent imitative formation in the sense of the 1630s noun threnody (song of lament), from the Greek thrēnōdia (lamentation), the construct being thrēnos (dirge, lament) + ōidē (ode).  The Ancient Greek thrēnos was probably from the primitive Indo-European imitative root dher- (to drone, murmur, hum), source also of the Old English dran (drone), the Gothic drunjus (sound) and the Greek tenthrene (a species of wasp).  The specific technical use "bass pipe of a bagpipe" was first adopted in the  1590s.   The figurative sense of "an idler, a shiftless, lazy worker" (based on the idea of the male bees which make no honey), dates from the 1520s.  Drone quickly became a popular way to describe a mono-tonal, boring speech delivery.

Drones and UAVs

The modern military term for what most people casually call a drone is unmanned aerial vehicle (UAV) a more accurate descriptor given the original target drones were either objects towed by “target tugs” or radio controlled aircraft dumbly flying on pre-set paths.  Research on the concept of unmanned flying devices for reconnaissance target practice or even ordnance delivery had begun even before the military had adopted combat aircraft and by the mid-1930s, the Royal Air Force (RAF) in the UK had hundreds of radio controlled biplanes but the word drone appears to have been adopted only in 1945-1946 to describe the objects towed behind piloted aircraft.  Used to provide a moving target for either air-to-air or surface-to-air target practice, the target tugs towing the drone tended to be painted in lurid color schemes to differentiate tug from target although tugs still suffered hits from "friendly fire".  Over time, slang developing as it does, the terms “target drone” and “drone” came often to refer not just to the towed target-object but also the “target tug”, the aircraft towing the target, less a leakage from military use than just a misunderstanding that caught on.  Now, most UAVs sold to hobbyists or for commercial use are marketed as drones.

Paint scheme for target tug towing drone used for surface-to-air target practice on de Havilland Mosquito TT (target tug) Mark 35, No 3 CAACU (Civilian Anti-Aircraft Co-operation Unit), Exeter, UK, 1963.

The use as a target tug (TT) was the last operational role for the Mosquito, one of the more remarkable aircraft of World War Two.  Developed as a private venture by de Havilland, it was greeted by the by the Air Ministry with not their usual mere indifference but outright hostility to the very concept of a light, unarmed bomber made from plywood which relied for protection on speed rather than firepower.  The company however persisted and the Mosquito, which first flew in 1940, became one of the outstanding and most versatile combat aircraft of the war deployed as a fighter, fighter-bomber, night-fighter and bomber in roles as diverse as photo-reconnaissance, maritime strike, long-range surveillance, ground-attack and pathfinder missions guiding heavy bombers.  There was even a naval version for carrier operations, operated by the Fleet Air Arm.

The post-war career too was notable.  Equipped with the latest radar, the Mosquito was retained as a front-line, all-weather fighter until 1951-1952 when night-fighter versions of the Gloster Meteor and de Havilland Vampire entered service.  The last of the 7771 Mosquitos produced did not leave the production line until 1950, the long Indian summer necessitated by the UK’s technology deficit and although few probably thing of the Mosquito as a Cold War fighter but that was its unexpected penultimatum.  The less celebrated but valuable swansong came as a target tug, painted in vivid colors to decrease the danger from “friendly fire” and these platforms remained in operational service until finally retired in 1963, some of the decommissioned aircraft subsequently used by film studios for wartime features.  In addition to the RAF’s Mark 35s, a number of Mark 16 bombers were converted to TT Mark 39s, operated also by the Royal Navy and two ex-RAF Mark 6 (fighter-bombers) were in 1953-1954 converted to the TT Mark 6 standard for the Belgian Air Force which used them as target tugs at the Sylt firing ranges.  For an airframe which the authorities were at the time inclined to reject, the Mosquito enjoyed a remarkable operational life of over two decades; the Treasury got their money's worth.

Lindsay Lohan in Netflix's Irish Wish (2024) being filmed by drone (the car is a 1965 Triumph TR4A).  Camera-equipped drones have reduced the cost of filming such scenes.

It's no exaggeration to suggest drones (even the military now often use the term instead of UAV) have been a revolutionary weapon in armed conflict.  Able to function as long duration reconnaissance or weapons platforms, depending on the device, they can in real-time be controlled by soldiers in the field or from command centres thousands of miles away.  Cheap and mass-produced, they have emerged also as a "Kamikaze" weapon and, because off-the-shelf commercial drones can easily be adapted for offensive purposes, they present a challenge to established militaries when used by irregular combatant forces (including terrorist groups) which have not previously had access to weapons which can be deployed in mass at long range.    

The Germans, the Russians and Drone Music

Although musicologists categorize “drone music” as a sub-genre in the minimalist tradition, when produced thus it’s really an application of a element of sound which has been a component of many pieces nobody would describe as even vague drone-like.  Ethno-musicologists also object to the usually Eurocentric treatment of the topic, pointing out that musical traditions from Morocco to Mongolia contain much that can only be called a drone and along with a rhythmic beat, the two are probably the basis of most of the early music created by humans.  As a modern form however, to be thought of as “drone music”, compositions tend to be long and characterized by slight or sudden, jarring harmonic shifts.  The form obviously pre-dates means of electronics production but the availability in the twentieth century essentially allowed the genre to be created and it was figures such as Karlheinz Stockhausen (1928–2007) and Pierre Schaeffer (1910–1995) who created the works which first came to public attention.  The critical response varied, those attracted to the avant-garde anxious not to seem reactionary while others would probably have agreed with comrade Stalin (1878-1953; Soviet leader 1924-1953) who condemned as “formalists” those artists who pursued novelties and technical challenges just to impress their peers and a small elite cohort.  The public reaction to the form in its early years seems mostly to have varied between scepticism and the dismissal of the very idea such sounds could be called “music”.  Still, it endured and although never more than a niche as a stand-alone product, continues to underpin many popular forms, notably those listened to in clubs or at festivals by those under the influence of some substance and as the artists well know, there is a relationship between the drone and the chemicals.

By the time the German experimentalists Tangerine Dream released Zeit (Largo in four movements, 1972), it’s possible all that could be done in droning had been done and it can be argued everything since has been a variation but that hasn’t stopped the explorations, the Europeans especially entranced although it was the film-makers who found snatches of drone so useful in creating dramatic effects.  Curiously, there are those who have argued the credit (or the blame, depending on one’s view) for the emergence of drone music belongs to Richard Wagner (1813–1883), on the basis that by the end of his career, tonality had constantly shifting key centres, modulated so often there was little but ambiguity about what the final notes should be.

That’s fine but, so the argument goes, if there are more and more shifting key centres, there comes a point at which there’s no longer a centre of pitch, thus Arnold Schoenberg (1874–1951) twelve-tone system in which instead of a composition being based on major or minor scales and chords, a tone row was created, the twelve appearing in a specific order (thus the nickname “tone row”).  Musically (and politically, according to some), the idea of a tone row is methodically to avoid a preference for one note over another; all are equal.  Unlike tonal music in which pull active tones “pull” to resolve to resting tones, what came to be called “atonal music” came about because so far had Wagner pushed the boundaries that tonality could do nothing but disintegrate.  For the avant-garde, this created a gap in the market for “critic-ready compositions” because just as a visual form like cubism deconstructed the “bits” of the image and let them be seem in isolation as part of a whole, music could be rediced to a collection of drones and these could be performed singularly, in parallel or as a lineal set.  “By Schoenberg, out or Wagner” is an intriguing explanation for the origin of drone music and not all will agree.

Halloween

Halloween (pronounced hal-uh-ween or hal-oh-een)

The evening of 31 October, historically was celebrated mostly in the UK, Canada, the US and Ireland but it spread to Scandinavia and Australia and can now be found in many countries, some participants presumably unaware of its history.

Circa 1745: From the festivals All Hallows Even (also as Hallow-e'en & Hallow e'en), celebrated as a popular holiday on the last night of October (the eve of All Saints Day).  All Hallows’ Eve was the evening before All Saints’ Day, from the Old English ealra halgena mæssedæg (All Hallows' Mass-day) and the literal meaning is "hallowed evening" or "holy evening", derived from the Scottish term Allhallowe'en although throughout the British Isles it had long been noted in the calendar as "the evening before All-Hallows".  In Scots, the word eve is even, and this became contracted to e'en or een, eventually to become Hallowe'en.  Hallow was from the otherwise-obsolete Middle English noun halwe (holy person, saint), from the Old English halga, which is from the source of the verb hallow.

A traditional Jack O'Lantern, hung throughout Scotland and Ireland to ward off evil spirits.  Pumpkins came later which were bigger and easier to carve but aesthetically, a turnip makes sense because the shape tends to more closely resemble that of a human skull.

The idea of "All Hallows'" existed in Old English but "All Hallows' Eve" didn’t appear until 1556.  All-Hallows is from the Middle English al-halwe, from the late Old English ealra halgan (all saints, the saints in heaven collectively) and this was both the name of the feast day and of individual churches.  In the regions of the British Isles the fests were celebrated on various days (influenced as in pagan times by the rhythm of the seasons and the demands placed on the allocation and location of labor) but in the Church records the date 31 October was being described as alle halwe eue by the early twelfth century.  The term “Hallow-day” for "All-Saints Day" is from 1590s, replacing the late thirteenth century halwemesse day.  The consequential Hallowtide (the first week of November) emerged in the mid-fifteenth century.

In pagan times it was the last night of the year in the old Celtic calendar, where it was Old Year's Night (a night for witches) and Halloween is thus another of the pagan festivals essentially taken over and re-branded by Christianity.  Because of the association with witches the day was always associated with magic and sorcery and it was this tradition which inspired Robert Burns’ (1759-1796) poem Halloween, penned in 1785 and first published in 1786 in the Kilmarnock Volume (1786).  Of twenty-eight stanzas (epic length by Burns’ standards) and written in a mix of Scots and English, it shows the clear influence of the twelve stanza on Hallow-E'en (1780) by John Mayne (1759–1836) and the spirit of the evening is captured in Burns’ words which suggest Halloween is "thought to be a night when witches, devils, and other mischief-making beings are all abroad on their baneful midnight errands".

Off to the party.  Lindsay Lohan entering the Cuckoo Club Halloween Party, 31 October 2018.

Although most associated with children going door-to-door in costume demanding candy with the (usually implied) menace of some minor prank if denied (hence trick-or-treat), this aspect is of US origin and dates only from the 1930s.  In these modern, litigious times, children are encouraged to be pragmatic, cut their losses and seek more treats from the more generous rather than visit tricks upon the parsimonious.

Like a number of the festivals in the Christian calendar, it’s a borrowing from pagan rituals, this one the last night of the year in the old Celtic calendar, where it was Old Year's Night, treated as a night for witches, hence the tradition of the costumes in this theme with pumpkins carved in demonic form (although the original Jack O'Lanterns in Scotland were turnips rather than pumpkins).  The Christian feast of 31 October begins the three-day observance of Allhallowtide which, in the western liturgical calendar, is dedicated to the remembrance of the dead, including saints (hallows), martyrs, and all the departed faithful.  The view that Halloween is a lineal descendant of old pagan festivals, especially the Gaelic Samhain, is generally accepted as being one of many Christianized by the early Church which found it more profitable to accommodate rather than suppress popular, unthreatening traditions.  However, there’s always been a purist sect within the Church which has denied the pagan link and insists Halloween’s origins are wholly Christian.  Modern capitalism is neutral on this, the day just another secular event during which much stuff can be sold and one unusual in that in United States, it’s the only event on the calendar free from some sort of moral or spiritual baggage.  Many abstained from meat on All Hallows' Eve, a tradition which endures in the vegetarian dishes of this vigil day such as potato pancakes, toffee-apples and soul cakes.

Pumpkin carving can reflect many influences including pumpkin ∏ (pi) (left), Leggo (centre) and Kim Kardashian (right).

Upon that night, when fairies light
On Cassilis Downans dance,
Or owre the lays, in splendid blaze,
On sprightly coursers prance;
Or for Colean the route is ta'en,
Beneath the moon's pale beams;
There, up the cove, to stray and rove,

Among the rocks and streams
To sport that night.
Among the bonny winding banks,
Where Doon rins, wimplin' clear,
Where Bruce ance ruled the martial ranks,
And shook his Carrick spear,
Some merry, friendly, country-folks,
Together did convene,
To burn their nits, and pou their stocks,
And haud their Halloween
Fu' blithe that night.

Opening stanzas of Halloween by Robert Burns.

Samhainophobia trigger: posters for the 1978 movie Halloween.

One general principle (certainly in the West) which may be gleaned from the work of phenomenologists is that where a cultural practice exists, there may be an associated phobia.  The morbid fear of Halloween is known as samhainophobia, the construct being the Celtic samhuin (the construct being sam (summer) + fuin (end)) + phobia.  The suffix -phobia (fear of a specific thing; hate, dislike, or repression of a specific thing) was from the New Latin, from the Classical Latin, from the Ancient Greek -φοβία (-phobía) and was used to form nouns meaning fear of a specific thing (the idea of a hatred came later).  The name of the festival Samhuin was from the earlier Samfuin, from the Old Irish.  Samhainophobia can be triggered by many things including the general fear of ghosts, witches, skeletons, spiders, black cats, bats, vampires and any of the other spooky stuff associated with Halloween; the representations in popular culture (axe murderers and such) presumably reinforce these fears.  Although the research seems sparse, it seems likely the symptoms of the condition would be not dissimilar to those suffered by patients afflicted by victims of related phobias including phasmophobia (fear of ghosts), wiccaphobia (fear of witches and witchcraft), sanguivoriphobia (fear of vampires), chiroptophobia (fear of bats), nyctophobia (fear of darkness), arachnophobia (fear of spiders), skelephobia (fear of skeletons), placophobia (fear of tombstones), and michaelmyersphobia (fear of Michael Myers).

Interstice

Interstice (pronounced in-tur-stis)

(1) An intervening space.

(2) An interval of time.

(3) A small or narrow space or interval between things or parts, especially when one of a series of alternating uniform spaces and parts.

(4) In Roman Catholic canon law, the interval of time that must elapse before promotion to a higher degree of orders.

(5) In physics, the space between adjacent atoms in a crystal lattice.

(6) In medicine or pathology, a small area, space, or hole in the substance of an organ or tissue.

(7) In geology, an opening or space, especially a small or narrow one between mineral grains in a rock or within sediments or soil.

1595-1605:  From the Old French interstice (interval), from the Latin interstitium (interval (literally "space between")) from intersistere, the construct being inter (between) + sistere (to stand, place), the stem of stare (to stand) from the primitive Indo-European root sta- (to stand, make or be firm).  The adjective was interstitial (pertaining to or situated in an interstice), noted since the 1640s; the noun plural was interstices.

St Augustine, Benedict and canon law

Lindsay Lohan popping out for a cigarette during an interstice, Bar Pitti, 6th Ave, New York.

In Roman Catholic canon law, an interstice is a defined waiting period; the interval of time required between the attainment of different degrees of an order, the best-known and most widely applied being the three months between an appointment to a diaconate and ordination to the priesthood.  While ninety-odd days is the minimum, interstices tend to be longer though a bishop may shorten the length, should some extraordinary circumstance arise.  Codifications of these rules of progression of candidates for church office were published during the fourth & fifth centuries and reflected regional differences in the early church.  While there were those who never varied from the minimum stipulation, there were bishops who imposed a waiting period of four years as acolyte and five as a deacon.  Even during the Second Vatican Council (Vatican II, 1962-1965), there was no attempt to modify canon law organizationally by removing from it stuff which would better constitute a book of advisory guidelines.  Structurally interesting itself is canon law and its interpretation in an absolute theocracy.  The way it works is that canon law is not always interpreted by judges because, with the advice of the bishops, a pope is the Magisterium and his interpretations are binding.  This isn't an example of papal infallibility because that applies only in matters of doctrine and such and Pope Benedict XVI (b 1927; pope 2005-2013, pope emeritus since) discussed the matter in a 2012 address to the judges of the Roman Rota, the Holy See’s highest court of appeal.  He explained canonical law can be interpreted and understood “only” within the Church and "…the work of the interpreter must not be deprived of vital contact with ecclesial reality.”  Arguing for a more flexible position than had often been heard from Rome, Benedict said the need existed always to consider “…the proper meaning of the words considered in their text and context", commending the “inner process of St Augustine in biblical [teaching] the transcending of the letter has rendered the letter itself credible".

Happy birthday.

Benedict XVI (1927–2022; pope 2005-2013, pope emeritus 2013-2022) with Bavarian Prime Minister Horst Seehofer (b 1949) and Archbishop Georg Gänswein (b 1956; prefect of the papal household & personal secretary to Pope Emeritus Benedict), having a couple of beers during the retired pontiff’s ninetieth birthday celebration at the Vatican.  Following Bavarian tradition, there was no interstice between rounds.