Lava

Lava (pronounced lah-vuh or lav-uh)

(1) The molten, fluid rock that issues from a volcano or volcanic vent (sometimes accumulating, occasionally permanently) in a volcano’s “lava lake”.

(2) The rock formed when this solidifies, occurring in many varieties differing greatly in structure and constitution.

(3) In fashion, as “lava dress” (sometimes volcano dress), a long, flowing gown, classically in orange and black fabric, styled to recall a vertiginous lava flow.

(4) A shade of red which tends to orange, recalling the color of red-hot, molten lava.

(5) As Lava Lamp, the trademarked name of a electric decorative lamp made of a transparent, (usually tapered) cylinder containing a liquid in which a colored wax (or wax-like substance) is stimulated by the heat of the light bulb to change into randomly separating, seemingly luminous shapes which constantly rise and descend.

1740–1750: From the Italian lava (molten rock issuing from a volcano), from the Neapolitan or Calabrian dialectal lava (avalanche, torrent or stream; downpour overflowing the streets).  The original use in Italian was to describe flash flood rivulets after downpours and only later to the streams of molten rock from Mount Vesuvius.  The once commonly supposed link with the Latin lavāre (to wash) (from the primitive Indo-European root leue- (to wash) was based on the idea of “a liquid flowing” but is now thought one of those creations of the medieval imagination and it’s just as unlikely there’s was any relationship with the Arabic لابة‎ (lāba) (black volcanic rock).  Lava is also wholly unrelated to larva (an early stage of growth for some insects and amphibians) which was from the Latin larva (ghost-like, masked) which may have been from the Etruscan Lār (Etruscan praenomen; titulary god) which appeared usually as Lares (guardian deities).  The alternative etymology is from the Latin labes (sliding down, falling), which influenced lābī (to slide, fall or slip) (a labina an “avalanche or landslide”).  The only adjective in modern use is lavalike (or lava-like).  The old adjectives lavatic (1805), lavic (1822) & laval (1883) all fell into disuse by the twentieth century (although their occasional revival in the technical literature would not be unsurprising) and lavaesque seems never to have been coined.  The palindromic Laval did endure in France as both a locality name and surname and is remembered because of Pierre Laval (1883–1945), prime minister of France 1931-1932, 1935-1936 & de facto prime minister in the Vichy Government 1942-1944, executed by a French firing squad in 1945.  Lava is a noun and the obsolete lavatic, lavic & lavalike were adjectives; the noun plural is lavas.

Lindsay Lohan in Pucci triangle lava-print bikini, The Bahamas, May 2007.  Pucci are noted for the shapes and colors printed on their fabric but their minimalist website is worth visiting as a reminder of how good Italian design can be.

What Pucci did for their "Lava" range was take the shapes and curves assumed by a lava flow and render it with colors sometimes never seen in volcanology.  The terms lava and magma (from the Ancient Greek μάγμα (mágma) (paste)) are sometimes used interchangeably but to geologists and volcanologists the distinction is that Magma is molten rock which exists beneath a planet’s surface and become lava only when it flows from a volcano or volcanic vent.  Magma thus does not always become lava, sometimes cooling and solidifying as rock beneath the surface and sometimes collecting in a magma chamber.  A magma chamber differs from a lava lake in that the pleasingly alliterative latter describes the (usually large) large pool of molten lava that forms in a volcanic crater (although volcanologists do use the term also of lava which “sticks” to a volcano’s surface and doesn’t flow further.  They also in some cases call the extrusive igneous rock formed when it hardens and cools “lava” although this is not in general use, laypeople associating both “magma” and “lava” with the material in its molten state.

1976 Lincoln Continental Mark IV, Pucci Edition (left) and the opera windows of the designer series Mark IVs (right), into which was etched the house's name.  The other designers were Bill Blass, Cartier & Givenchy and presumably something of an owner's character could be determined by their choice.  The ownership of the Mark IVs was overwhelmingly male and if a young lady heard one suggest she "come and see my etching", on the basis of what she saw on the opera window, she could elect to proceed or decline, fashion choices as good a criterion as any in such decisions. 

Although there was little else in the cars which suggested much influence from Italy, Pucci was one of four fashion houses chosen by the Ford Motor Company (FoMoCo) to provide “touches” for “designer” editions of the 1976 Lincoln Continental Mark IV and the Pucci package (in “vintage burgendy with a loose pillow velvety burgendy velour interior”) added US$2000 to the MRP (manufacturer’s recommended price) of US$11,060.  The creation of the designer editions was an attempt to stimulate demand because the sales numbers in 1974-1975 had proved disappointing, something attributed both the downturn in the economy and the Mark IV having been on the market since late 1971, the only changes since the addition of (1) emission controls which reduced power & impaired drivability and (2) huge, heavy, impact resistant bumpers, neither of which much engaged potential buyers.  The economy improved somewhat in 1976 but the “touches” of the fashion houses must have helped because after sinking to 47,145 in 1975, sales the next year for the Mark IV’s final season rebounded to 56,110.  The designer editions accounted for almost a third of that volume, FoMoCo so pleased the contracts were renewed and those who want a classic Pucci Lincoln can choose a Mark IV (1976), Mark V (1977-1979) or Mark VI (1980-1983), the detailing changing with each version although the Pucci name was always etched into the opera windows on the C-pillar.  Now part of the LVMH (Moët Hennessy Louis Vuitton) multinational conglomerate, in their corporate history there seems to be no mention of Pucci’s involvement with Lincoln’s “land yachts” but it must at the time have seemed a good idea.

Lava flowing over snow and ice, demonstrating the “Leidenfrost effect”.  The Leidenfrost effect (known also as “film boiling”) describes the phenomenon in which a liquid, close to a solid surface of another body that is significantly hotter than the liquid's boiling point, produces an insulating vapor layer that prevents liquid rapidly from boiling.  This happens because of “repulsive force”; droplets hovering over the surface, rather than making physical contact.  In a charming linguistic coincidence, the “frost” element in the word is not a reference to frozen water but from the name of German physician Johann Gottlob Leidenfrost (1715—1794), who first documented the phenomenon in De aquae communes nonnullis qualitatibus tractatus (Tract about some qualities of common water, 1756).  The son of a preacher, Dr Leidenfrost began his academic career studying theology before switching to medicine.  Until modernity overtook the twentieth century, the church was a source of many scientists, not all of whom abandoned their faith.  The German Leiden can be both a noun and verb; as a verb (leiden) it means “to endure” or “to suffer” but in idiomatic use it’s used in that sense also to mean “to tolerate” although most often in the negative (such as “Ich kann ihn nicht leiden” (I can't stand him.))  As a noun (das Leiden), it means “pain”, “suffering” or “affliction”.  The German Frost means “frost or freezing temperatures”.  Thus the surface analysis of the surname “Leidenfrost” is “enduring frost” or “suffering from frost” and onomasticians (or onomatologists, those who study surnames, a sub-branch of anthroponymy (the study of proper names) suspect the origin was something to do with those who live in cold or icy places although it may also be toponymic, referring to individuals from specific locations in Germany Leidenfrost in Thuringia or Leidenfrosten in Saxony-Anhalt.

Lava lake, Mount Erebus, Antarctica.  Some 60 m (200 feet) in diameter, it sits within a small pit crater within the post-caldera summit and is phonolite in composition.  It may or may not remain a permanent feature.

The rock formations created by cooled magma at Mount Erebus proved especially interesting to those researching the history of the Earth’s magnetic field.  Geophysicist Dr Catherine Constable (b 1958) was studying the data used to refine a model explaining the mechanism of the earth’s occasional magnetic field reverses (from the familiar north & south polarity to the reverse where they swap) and found lava to be a substance keeping a perfect recorder of the field.  All magmas contain enough iron-rich minerals to detect the field and these align themselves toward the field as the lava freezes. As a result, the magnetic field at that moment is recorded: set in time and set in stone.  Over geological time, quite what the frequency (or the rapidity) of the shift isn’t clear and while studies suggest historically there’s be a swap every few hundred thousand years, it’s been almost a million years since the last so while one “might” be (over)due, Dr Constable says there’s no available evidence one is in progress or even imminent.

Catriona Gray (b 1994; Miss Universe 2018) in lava dress by Filipino designer Mak Tumang (b 1986) which used a image of lava flowing down Mayon Volcano, rendered in Swarovski crystals, Bangkok’s Impact Arena, Thailand, December 2018 (left) and lava flow on Tungurahua volcano, Huambalo, Ecuador (right).

Catriona Gray on the catwalk, lava flowing.

Lava cup-cakes

Lava cakes can pay tributes to volcanologists in different ways.  They can feature a magna chamber which, upon slicing can feed a lava flow or they can formed with an exposed crater in which sits a lava lake.  Professional chefs can produce the effects with room-temperature “lava” but usually these are for display and the cakes work best with hot, melted chocolate and obsessives use a variety of ingredients (peanut butter, raspberries, orange colored icing etc) to attempt to emulate the variegated colors of the real stuff.  They work best with dark chocolate but sweeter types can be used (or a blend).  Lava cakes can be made at larger scales but the laws of physics (both thermal and structural) mean full-sized constructions can be challenging (and messy) so most produce lava cup-cakes.  Because, in a sense, lava cakes are a kind of civil engineering, some very complex recipes have been created but the following will make 6-8 cup-cakes (depending on the size of the muffin tins) and it has the virtue of simplicity:

Ingredients

4 tablespoons of unsalted butter at room temperature (plus some with which to grease the muffin tray).

A third of a cup of granulated sugar (plus some to sprinkle in the muffin tray).

3 large eggs.

A third of a cup of all-purpose flour.

A quarter teaspoon of salt.

8 ounces of dark chocolate, melted (for best results, delay the melt process until ready to blend (step (8) below).

6-8 squares (from the standard blocks) of dark chocolate.

Icing (confectioners') sugar, for dusting.

Whipped cream or ice cream, for serving (optional).

Fruit for serving (optional and most choose a red or orange variety).

Instructions

(1) Preheat oven to 400°F (205°C).

(2) Grease the cups of muffin tray with butter, ensuring the coasting is light and consistent.

(3) Sprinkle some granulated sugar over the muffin tray and ensure each has buttered cup has a consistent coating.  Shake off any excess grains.

(4) Spoon some granulated sugar into each cup, swirling to make sure the cup is completely lined.

(5) Blend the butter and granulated sugar until the mix is creamy.

(6) To this mix, as the eggs, one at a time, blending them in after each addition.

(7) To this mix, beat in flour and salt (on a low speed) until combined.

(8) To this mix, add the molten chocolate, and beat until combined.  Don’t be off-put if the mix seems either more or less viscous that you might expect.

(9) Pour mix into the greased cups. Fill only to half-way.

(10) In the centre of each cup, place one of the chocolate squares.

(11) Add the remaining mix to each cup but, because the mix will expand, don’t fill higher than three-quarters.

(12) Put tray into the heated oven, baking until the middle of the cakes no longer jiggle (should be no more than 8-12 minutes and if left too long, they’ll cease to be lava cup-cakes and become chocolate cup-cakes).  Because there’s some risk of spillage, place baking paper underneath the tray.

(13) Remove tray from oven and allow it to sit for 7-8 minutes.

(14) Up turn tray on a plate or other suitable flat surface and remove cup-cakes so the conical aspect resembles volcano.

(15) Dust with the icing (confectioner's) sugar and serve with vanilla ice cream or whipped cream, adding some sort of fruit if desired.  Upon being sliced, the magma should ooze out, lava-like.

The Lava Lamp

The decorative lava lamp was invented in 1963 by Edward Craven Walker (1918-2000), a Word War II (1939-1945) RAF (Royal Air Force) pilot who was inspired by a rigged-up egg-timer he saw in a pub, the device made with oil and water in a bottle.  Oil and water being two immiscible (unable to mix) fluids, the timer worked by shaking the bottle, the egg deemed to be ready when the resulting blobs of oil had re-coagulated.  Knowing the world was well-supplied with cheap, reliable egg-timers, Craven saw little point in “making a better mousetrap” but he found the behavior of the blobs a pleasing piece of art and in his garage experimented with different fluids until he found a pleasing combination which produced just the effect he’d envisaged.  The characteristic shape of the lamp came about because the one seen in the pub used a standard cocktail shaker and the container in which Craven undertook his early research was an orange-squash bottle which was made in a similar shape; it proved ideal.  They work by the heat-soak from the incandescent light-bulb raising the temperature of the blobs, lowering both their density and the liquid's surface tension.  As the warmed blobs rise, they cool, lose buoyancy thus descend to the base where a wire with an active current breaks their surface tension, inducing re-coagulation.

Although associated with psychedelia, as well as lurid colors (the range expanded since the introduction of LEDs), lava lamps with plain black blobs in clear fluid are available.

The first lava lamp patent (Lava Lamp is a registered trademark in some jurisdictions) was applied for in 1963 and they were first displayed in 1965.  Very popular in the early-mid 1970s, by the 1980s the fad had passed, not because of the popular association of them with stoners imagined sitting staring at one for hours while the Grateful Dead played on the turntable (endlessly on repeat) but because they’d come to be thought of as plastic kitsch.  However, they never quite went away and while there are spikes in demand (associated usually with some appearance in some prominent piece of popular culture), there is clearly a constant demand for those who just like the look while others furnish according to retro schemes or like the odd ironic piece among their conspicuous good taste.

Lava Lamps and Random Number Generation

US-based Cloudflare is a “nuts & bolts” internet company which provides various services including content delivery, DNS (Domain Name Service), domain registration and cybersecurity.  In some aspects of the internet, Cloudflare’s services underpin as many as one in five websites.  For many reasons, the generation of truly random numbers is essential for encryption and other purposes but to create them continuously and at scale is a challenge.  It’s a challenge even for home decorators who want a random pattern for their tiles, their difficulty being that however a large number of tiles in two or more colors are arranged, more often than not, at least one pattern will be perceived.  That doesn’t mean the tiles are not in a random arrangement, just that people’s expectation of “randomness” is a shape with no discernible pattern whereas in something like a floor laid with tiles, in a random distribution of colors, it would be normal to see patterns; they too are a product of randomness in the same way there’s no reason why if tossing a coin ten times, it cannot all ten times fall as a head.  What interior decorators want is not necessarily randomness but a depiction of randomness as it exists in the popular imagination.

Wall of Entropy, Cloudflare, San Francisco.  Had this been in an installation in a New York gallery in 1985, it would have been called art.  

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

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

Wall of Entropy, Cloudflare, San Francisco.  Note the arrangement of colors which avoids any two being together, in the horizontal or vertical, something which probably was a deliberate choice rather than randomness although, there's no reason why, had the selection truly been random, this wouldn't have been the result.  Were there an infinite number of Walls of Entropy, every combination would exist including ones which avoid color paring and ones in which the colors are clustered.  What Cloudflare have done in San Francisco is make the lamps conform to the popular perception of randomness and that's fine because the colors have no effect on the function.

Punt

Punt (pronounced puhnt or poont)

(1) In various football codes, a kick in which the ball is dropped and then kicked before it touches the ground (as opposed to the drop kick or place kick); in some codes used casually of any long, high kick.

(2) In nautical use, a small, shallow boat having a flat bottom and square ends, usually used for short outings on rivers or lakes and propelled by the use of a pole pivoted against the waterway’s bottom.

(3) The monetary unit (100 pence; the Irish pound) of the Republic of Ireland until the adoption of the Euro in 2002.

(4) An ancient Egyptian name of an area in north-east Africa, believed to be in the region of modern-day Somaliland.

(5) In ichthyology, the action of certain fish which “walk” along the seafloor, using their fins as limbs; a fish so “walking” is said to be “a punter, punting”. .

(6) In glassblowing (as both punt & punty), a thin glass or iron rod which temporarily is attached to a larger piece in order better to manipulate the larger piece.

(7) An indentation in the base of a wine bottle.

(8) In the game of faro, a point; to play basset, baccara, faro etc.

(9) To propel a small boat by thrusting against the bottom of a lake, stream, canal or other suitable waterway, especially with a pole.

(10) To convey in or as if in a punt.

(11) To punt a football by means of the kick.

(12) To travel in a punt.

(13) In informal use, to equivocate, or delay (based on the idea of kicking a ball away).

(14) In gambling slang, to gamble place a bet, historically most used in horse racing but use has spread with the proliferation of betting on other sporting events; in certain card games, to lay a stake against the bank; in financial trading (a form of gambling), to make a highly speculative investment, if based on intuition (guesswork) rather than insider trading.

(15) In colloquial use (1) to retreat from one's objective; to abandon an effort one still notionally supports, (2) to make the best choice from a set of non-ideal alternatives or (3) a (usually speculative) guess.

Pre 1000: From the late Old English punt (flat or shallow-bottomed, square-ended, mastless river boat), from the Latin pontō (Gaulish flat-bottomed boat, pontoon (in the sense of “floating bridge”)) an the so-called “British Latin” ponto was re-adopted from the Middle Low German punte (ferry boat) or the Middle Dutch ponte (ferry boat) of the same origin and not attested in Middle English.  The use in Latin to describe the "floating bridges" built ad-hoc by the military for river crossings was from the Latin pontem (nominative pons) (bridge), from the primitive Indo-European root pent- (to tread, to go) but it may also have been influenced by the Old French cognate pont (large, flat boat).  The verb forms describing movement was base on the idea of "to propel as a punt is moved by pushing with a pole against the bed of the body of water” dates from 1816.  The use of the noun punter in US football dates from 1888 (based on the nautical use) and was by the early twentieth century in the UK, Australia & New Zealand applied to gamblers.  This connection in the 1960s was extended to the term “the average punter”, a synonym for “the average person” and was a classist notion based on the idea the typical working class individual gambled (as well as smoked and drank) and in that vein, it became popular police slang to describe s prostitute's clients.  Punter also picked up specialized meanings including (1) in rock-climbing a beginner or unskilled climber. In Scotland one who trades with a gang but is not a gang member and (3) in internet slang, a program used forcibly to disconnect another user from a chat room or other multi-user environment.  Punt is a noun & verb, punter is a noun and punting & punted are verbs; the noun plural is punts.

Ready for a punt: Lindsay & Ali Lohan, Melbourne Cup, Flemington Racecourse, November 2019.

In various football codes, a punt kick is a kick in which the ball is dropped and then kicked before it touches the ground (as opposed to the drop kick or place kick although in some codes it’s used casually of any long, high kick (often as “punted it down the field).  The use dates from 1845 in rugby (now called rugby union) and is though derived from either (1) from the notion of “propelling a boat by shoving” or (2) a variant of the Midlands dialect bunt (to push; butt with the head) which is of unknown origin but may be echoic (compare bunt).  The slang use in US universities and colleges meaning “give up, withdraw from a course or subject to avoid receiving a failing grade) was based on the use of the punt-kick in American football when used as a tactic when the ball can’t be advanced.  The term appears in the rugby codes, American football, Australian Rules football (AFL), Gaelic football and describes kicking a ball dropped from the hands before it hits the ground.  In the rugby codes, the mode of kick is a matter of importance because the alternative “drop kick” involves a player dropping the ball in front of them, allowing its slightly to bounce before taking the kick.  Under the rules of these codes, dropping the ball in front is a “knock on” and subject to a penalty unless done as a prelude to a dropkick.  A player, having inadvertently dropped the ball will sometimes attempt a kick to disguise the error and thus avoid the penalty so in such cases it’s a matter of judgment for the referee whether it was a drop kick or a knock on.  The special form “torpedo punt” was from AFL and referred to a flat, long kick.  A “punt protector” was a team member whose role was to negate the opposition’s use of the punt kick, the “punt returner” a similar (sometimes identical) role.  The “checkside punt” (the banana punt in Australia) describes a kick which makes the ball spin and bend away from the player's body (they can be intentional or an error).  The use in sport also influenced the figurative use in the sense of “to equivocate, or delay” and was based on the kicking a ball away and is related to the idea of “kicking the can down the road”.  It’s sometimes appears in the phrase “punted it into the long grass) (ie “make it disappear or go away”).

In glassblowing, a punt or a punty was a “thin glass (or in certain cases an iron substitute) rod used in manipulating hot glass”, temporarily attached to a larger piece in order better to handle the larger piece.  Dating from the 1660s, it was from the French pontil, a diminutive form from the Latin punctum (a point), from a nasalized form of the primitive Indo-European root peuk- (to prick).  The use to describe various forms of betting dates seems first to have been used in the early eighteenth century and was from the French ponter (to punt), from ponte (bet laid against the banker; point in faro), from the Spanish punto (point), from the Latin punctum.

Depiction of a mounted punt gun.

The punt gun was a large scale shotgun used in the nineteenth and early twentieth centuries in the large-scale, commercial harvesting of water birds.  Too large to (safely or accurately) be fired if held by an individual, the weapons were solidly mounted on the punts (although other vessels were also used) hunters used to achieve close proximity to their targets.  The earliest versions were literally up-scaled shotguns including the obviously superfluous shoulder-stock and were supplied without any mounting hardware, owners fabricating their own or adapting other devices but specialized designs quickly emerged.  These were sold with the mounting hardware fixed to the gun and were supplied with a kit which included a platform for the boat, most offering some adjustments to suit different dimensions.

Illustrative photograph of punt gun.  Some 12 feet (3.7 m) in length, they weren't actually used like this.

Punt guns were usually custom-designed and varied widely, but could have bore diameters exceeding 2 inches (51 mm) and the load could be as much as 1 lb (.45 kg), a single discharge able to kill some four dozen birds on the water’s surface.  Because of the power of the weapon, they were solidly mounted so the aiming was achieved by aligning the bow of the punt with the intended line of fire and such was the force exerted that in still water a punt would move backwards by several inches with every discharge.  Punts equipped with a punt gun can thus be thought of as small-scale monitors, the class of warship which carried a single, large bore canon although on monitors, the gun was in a turret and could thus be aimed independently of the direction the of the hull.  To maximize the slaughter, hunters would sometimes assemble punts in a flotilla of up to a dozen punts, their formation arranged to provide a wild field of fire and one optimized to limit the wastage (ie there being no need to kill a bird more than once).  One barrage could thus kill hundreds.

Take aim and fire.

Punt guns were usually muzzle-loaded and double and even triple barrelled versions were built and they allowed a method of hunting which was so shockingly efficient that in the US, by the mid nineteenth century, waterfowl stocks had been depleted to such an extent that almost all state governments their use.  Punts guns are prized by collectors and at exhibitions a firing is a popular part of the show and in the UK, they are occasionally still used by the military for ceremonial purposes although the loads are now optimized for volume rather than lethality.

Enshrine

Enshrine (pronounced en-shrahyn)

(1) To enclose (a sacred relic etc) in a shrine or chest.

(2) To cherish as sacred or venerated, someone, an idea or an institution.

(3) In statute or constitutional law, to protect (a concept, ideal, or philosophy) within a law or treaty.

(4) Figuratively, to make permanent.

1575–1585: The construct was en- + shrine.  The en- prefix was from the Middle English en- (en-, in-), from the Old French en- (also an-), from the Latin in- (in, into).  It was also an alteration of in-, from the Middle English in-, from the Old English in- (in, into), from the Proto-Germanic in (in).  Both the Latin & Germanic forms were from the primitive Indo-European en (in, into).  The intensive use of the Old French en- & an- was due to confluence with Frankish intensive prefix an- which was related to the Old English intensive prefix -on.  It formed a transitive verb whose meaning is to make the attached adjective (1) in, into, (2) on, onto or (3) covered.  It was used also to denote “caused” or as an intensifier.  The prefix em- was (and still is) used before certain consonants, notably the labials b and p.  Shrine ((1) a holy or sacred place dedicated to a specific deity, ancestor, hero, martyr, saint, or similar figure of awe and respect, at which said figure is venerated or worshipped, (2) a case, box, or receptacle, especially one in which are deposited sacred relics, as the bones of a saint & (3) figuratively a place or object hallowed from its history or associations) was from the Middle English shryne, from the Old English scrīn (reliquary, ark of the covenant), from the Medieval Latin scrīnium (reliquary (“case or chest for books or papers” in Classical Latin)) and ultimately from the primitive Indo-European sker & ker- (to turn, bend).  It was linked with the Old Norse skrín and the Old High German skrīni (which survives in Modern German as Schrein).  In the sixteenth century enshrine & inshrine were used in parallel, both in the sense of “enclose in or as in a shrine; deposit for safe-keeping”.  The (rare) alternative form inshrine is listed (like the verb enshrineth as obsolete for all but the odd ceremonial use in religious rituals.  Enshrine & enshrined are verbs, enshriner, enshrinee & enshrinement are nouns, enshrined is verb & adjective and enshrining is a verb.

Implausibly, the White House tries to suggest Joe Biden is "cool".

October 3 has become enshrined as Mean Girls Day which is good but the White House for the last two years (2023 (left) & 2022 (right)) has tweeted memes on the theme, apparently in an attempt to make Joe Biden (b 1942; US president since 2021) seem somehow relevant (al last to the early twentieth century).  On both occasions, the reaction has been such that one might hope it stops but the next Mean Girls Day falls a few weeks before the 2024 presidential election and if Mr Biden doesn’t die (God forbid) and really does again run, the temptation may be too great.

The Aboriginal and Torres Strait Islander Voice (TheVoice)

In October 2014, the Australian government submitted to the voters by means of referendum (the only way to modify the nation’s constitution):

A Proposed Law: To alter the Constitution to recognise the First Peoples of Australia by establishing an Aboriginal and Torres Strait Islander Voice. Do you approve this proposed alteration?

The insertion of the following chapter:

Chapter IX Recognition of Aboriginal and Torres Strait Islander Peoples.

Aboriginal and Torres Strait Islander Voice.

In recognition of Aboriginal and Torres Strait Islander peoples as the First Peoples of Australia:

There shall be a body, to be called the Aboriginal and Torres Strait Islander Voice;

The Aboriginal and Torres Strait Islander Voice may make representations to the Parliament and the Executive Government of the Commonwealth on matters relating to Aboriginal and Torres Strait Islander peoples;

The Parliament shall, subject to this Constitution, have power to make laws with respect to matters relating to the Aboriginal and Torres Strait Islander Voice, including its composition, functions, powers and procedures.

The “No” case assembled a number of arguments in opposition but one, although it seemed of fundamental importance, seemed to attract little comment and the “Yes” proponents made little attempt to refute its implications.  What the “No” case alleged, inter alia, was:

Putting a Voice in the Constitution means it’s permanent.  Enshrining in our Constitution a body for only one group of Australians means… once it is in the Constitution it won’t be undone.

In a literal sense that was of course almost certainly true but given the vagueness of the wording and the latitude afforded to the parliament in framing the parameters of “The Voice”, there seems no reason why things shouldn’t have gone the way of the Interstate Commission, a creature of Section 101 of the Constitution of Australia (1901):

There shall be an Inter-State Commission, with such powers of adjudication and administration as the Parliament deems necessary for the execution and maintenance, within the Commonwealth, of the provisions of this Constitution relating to trade and commerce, and of all laws made thereunder.

In terms of both legal theory and the usual constitutional practice the words “There shall be an Inter-State Commission” seem unambiguous but the Inter-State Commission wasn’t established until 1912 and became dormant after 1920 because the High Court of Australia (HCA) in 1915 has found the judicial powers granted to the commission by the parliament were invalid.  The bench held a “separation of powers” was implicit in the constitution which demanded judicial power be vested only in the judiciary and that on technical grounds the commission was not a judicial body.  Rendered therefore merely investigative and deliberative, the government allowed the commission to become defunct and it wasn’t revived until the 1980s and even then, after a brief existence as a stand-alone body, it was absorbed by what eventually became the Productivity Commission.

So, even had the words “There shall be a body, to be called the Aboriginal and Torres Strait Islander Voice” had been enshrined in the Constitution, that alone would not seem to prevent a parliament at some point passing a law defining “The Voice” as one (suitably accommodative) indigenous person attached to the Department of Prime-Minister & Cabinet (PM&C) or just about any other model.  Because of the wording, it might be the High Court would have been generous in their view of who would have standing to challenge a model but the clause “The Parliament shall, subject to this Constitution, have power to make laws with respect to matters relating to the Aboriginal and Torres Strait Islander Voice, including its composition, functions, powers and procedures” would seem to offer little scope.  Lord Denning (1899-1999; English judge 1944-1982) himself would have struggled to find an “indigenous peoples’ equity” in all that.  Mere enshrinement of “The Voice” in the Constitution would not in itself have guaranteed any sort of legal or political dynamic because, as the tale of the Inter-State Commission demonstrated, words can be dead letters.

Bubble

Bubble (pronounced buhb-uhl)

(1) A spherical globule of gas (or vacuum) contained in a liquid or solid.

(2) Anything that lacks firmness, substance, or permanence; an illusion or delusion.

(3) An inflated speculation, especially if fraudulent.

(4) The act or sound of bubbling.

(5) A spherical or nearly spherical canopy or shelter; dome.

(6) To form, produce, or release bubbles; effervesce.

(7) To flow or spout with a gurgling noise; gurgle.

(8) To speak, move, issue forth, or exist in a lively, sparkling manner; exude cheer.

(9) To seethe or stir, as with excitement; to boil.

(10) To cheat; deceive; swindle (archaic).

(11) To cry (archaic Scots).

(12) A type of skirt.

(13) In infection control management, a system of physical isolation in which un-infected sub-sets population are protected by restricting their exposure to others.

1350-1400: From the Middle English noun bobel which may have been from the Middle Dutch bubbel & bobbel and/or the Low German bubbel (bubble) and Middle Low German verb bubbele, all thought to be of echoic origin.  The related forms include the Swedish bubbla (bubble), the Danish boble (bubble) and the Dutch bobble.  The use to describe markets, inflated in value by speculation widely beyond any relationship to their intrinsic value, dates from the South Sea Bubble which began circa 1711 and collapsed in 1720.  In response to the collapse, parliament passed The Bubble Act (1720), which required anyone seeking to float a joint-stock company to first secure a royal charter.  Interestingly, the act was supported by the South Sea Company before its failure.  Ever since cryptocurrencies emerged, many have been describing them as a bubble which will burst and while that has happened with particular coins (the exchange collapses are something different), the industry thus far has continued with only the occasional period of deflation.  Bubble & bubbling are nouns & verbs, bubbler is a noun, bubbled is a verb, bubbly is a noun & adjective, bubbleless & bubblelike are adjectives and bubblingly is an adverb; the noun plural is bubbles.

An artificial tulip in elisa mauve.

However although the South Sea affair was the first use of “bubble” to describe such a market condition, it wasn’t the first instance of a bubble which is usually regarded as the Dutch tulpenmanie (tulip mania) which bounced during the 1630s, contract prices for some bulbs of the recently introduced and wildly fashionable tulip reaching extraordinarily high levels, the values accelerating from 1634 until a sudden collapse in 1637.  Apparently just a thing explained by a classic supply and demand curve, the tulip bubble burst with the first big harvest which demonstrated the bulbs and flowers were really quite common.  In history, there would have been many pervious bubbles but it wasn’t until the economies and financial systems of early-modern Europe were operating that the technical conditions existed for them to manifest in the form and to the extent we now understand.  Interestingly, for something often regarded as the proto-speculative asset bubble and a landmark in economic history, twentieth-century revisionist historians have suggested it was more a behavioral phenomenon than anything with any great influence on the operation of financial markets or the real economy, the “economic golden age” of the Dutch Republic apparently continuing unaffected for almost a century after the bottom fell out of the tulip market.  The figurative uses have been created or emerged as required, the first reference to anything wanting firmness, substance, or permanence is from 1590s.  The soap-bubble dates from 1800, bubble-shell is from 1847, bubble-gum was introduced in 1935 and bubble-bath appears first to have be sold in 1937.  The slang noun variation “bubbly” was first noted in 1920, an invention of US English.  

The word "bubble" spiked shortly after the start of the Covid-19 pandemic.  Over time, use has expanded to encompass large-scale operations like touring sporting teams and even the geographical spaces used for the 2022 Beijing Winter Olympics but the original meaning was more modest: small groups based on close friends, an extended family or co-workers.  These small bubbles weren't supposed to be too elastic and operated in conjunction with other limits imposed in various jurisdictions; a bubble might consist of a dozen people but a local authority might limit gatherings to ten in the one physical space so two could miss out, depending on the details in the local rules.  Bubble thus began as an an unofficial term used to describe the cluster of people outside the household with whom one felt comfortable in an age of pandemic.

Tulips

Bubbles were however a means of risk-reduction, not a form of quarantine.  The risks in a bubble still exist, most obviously because some may belong to more than one bubble, contact thus having a multiplier effect, the greater the number of interactions, the greater the odds of infection.  Staying home and limiting physical contact with others remained preferable, the next best thing to an actual quarantine.  The more rigorously administered bubbles used for events like the Olympics are essentially exercises in perimeter control, a defined "clean" area, entry into which is restricted to those tested and found uninfected.  At the scale of something like an Olympic games, it's a massive undertaking to secure the edges but, given sufficient resource allocation can be done although it's probably misleading to speak of such an operation as as a "bubble".  Done with the static-spaces of Olympic venues, they're really quarantine-zones.  Bubble more correctly describes touring sporting teams which move as isolated bubbles often through unregulated space.

The Bubble Skirt

A type of short skirt with a balloon style silhouette, the bubble dress (more accurately described as a bubble skirt because that’s the bit to which the description applies) is characterized by a voluminous skirt with the hem folded back on itself to create a “bubble” effect at the hemline.  Within the industry, it was initially called a tulip skirt, apparently because of a vague resemblance to the flower but the public preferred bubble.  It shouldn’t be confused with the modern tulip skirt and the tulip-bubble thing is just a linguistic coincidence, there’s no link with the Dutch tulipmania of the 1630s.  Stylistically, the bubble design is a borrowing from the nineteenth century bouffant gown which featured a silhouette made of a wide, full skirt resembling a hoop skirt, sometimes with a hoop or petticoat support underneath the skirt.   While bouffant gowns could be tea (mid-calf) or floor length, bubble skirts truncate the look hemlines tend to be well above the knee.  Perhaps with a little more geometric accurately, the design is known also as the “puffball” and, in an allusion to oriental imagery, the “harem” skirt.  Fashion designer Christian Lacroix (b 1951) became fond of the look and a variation included in his debut collection was dubbed le pouf but, in English, the idea of the “poof skirt” never caught on.

Lindsay Lohan in Catherine Malandrino silk pintuck dress with bubble skirt, LG Scarlet HDTV Launch Party, Pacific Design Center, Los Angeles, April 2008.

It must have been a memorable silhouette in the still austere post-war world, a sheath dress made voluminous with layers of organza or tulle, the result a cocoon-like dress with which Pierre Cardin (1922-2022) and Hubert de Givenchy (1927-2018) experimented in 1954 and 1958, respectively. A year later, Yves Saint Laurent (1936-2008) for Dior added the combination of a dropped waist dress and bubble skirt; post-modernism had arrived.  For dressmakers, bubble fashion presented a structural challenge and mass-production became economically feasible only because of advances in material engineering, newly available plastics able to be molded in a way that made possible the unique inner construction and iconic drape of the fabric.  For that effect to work, bubble skirts must be made with a soft, pliable fabric and the catwalk originals were constructed from silk, as are many of the high end articles available today but mass-market copies are usually rendered from cotton, polyester knits, satin or taffeta.

The bubble in the 1950s by Pierre Cardin (left), Givenchy (centre) & Dior (right).

The bubble skirt was never a staple of the industry in the sense that it would be missing from annual or seasonal ranges, sometimes for a decade or more and sales were never high, hardly surprising given it was not often a flattering look for women above a certain age, probably about seven or eight.  Deconstructing the style hints at why: a hemline which loops around and comes back up, created sometimes by including a tighter bottom half with the bulk of additional material above, it formed a shape not dissimilar to a pillow midway through losing its stuffing.  For that reason, models caution the look is best when combined with a sleek, fitted top to emphasize the slimness of the waistline, cinched if necessary with a belt some sort of delineating tie.  The bubble needs to be the feature piece too, avoiding details or accessories which might otherwise distract; if one is wearing a partially un-stuffed pillow, the point needs to be made it’s being done on purpose.

The bubble is adaptable although just because something can be done doesn’t mean it should be done.  The bubble skirt has however received the Paris Hilton (b 1981) imprimatur so there’s that.

TikTok and Instagram influencer Ella Cervetto (b 2000) in Oh Polly Jessamy (an off-shoulder layered bubble hem corset mini dress) in True Red (available also in Ivory), Sydney, Australia, November 2024.

On the catwalks however, again seemingly every decade or so, the bubble returns, the industry relying on the short attention span of consumers of pop culture inducing a collective amnesia which allows many resuscitations in tailoring to seem vaguely original.  Still, if ever a good case could be made for a take on a whimsical 1950s creation to re-appear, it was the staging of the first shows of the 2020-2021 post-pandemic world and the houses responded, Louis Vuitton, Erdem, Simone Rocha and JW Anderson all with billowy offerings, even seen was an improbably exuberant flourish of volume from Burberry.  What appeared on the post-Covid catwalk seemed less disciplined than the post-war originals, the precise constraints of intricately stitched tulle forsaken to permit a little more swish and flow, a romantic rather than decadent look.  The reception was generally polite but for those who hoped for a different interpretation, history suggests the bubble will be back in a dozen-odd years.