Monday, April 25, 2022

Trans

Trans (pronounced trans or tranz)

(1) A person who identifies as transgender (though now the polite use seems to be as a modifier (trans-man, trans-woman, trans-gender and not always hyphenated), the prefix denoting “on the other side of,” referring to the misalignment of one’s gender identity with one's sex assigned at birth.

(2) As an offensive slur, a historic term for a transsexual (itself a now less common term) and often used as “trannie” (which tended to be non-offensive if used within the transsexual community).  As a slur, both trans and trannie are sometimes used (often technically incorrectly) as expressions of general disapprobation of anybody perceived as maintaining an identity outside traditionally constructed gender norms.

(3) In chemistry, in (or constituting, forming, or describing) a double bond in which the greater radical on both ends is on the opposite side of the bond.

(4) In chemistry, in (or constituting, forming, or describing) a coordination compound in which the two instances of a particular ligand are on opposite sides of the central atom (eg the trans effect is the labilization of ligands which are trans to certain other ligands).

(5) In cytology, of the side of the Golgi apparatus farther from the endoplasmic reticulum.

(6) In the slang of mechanics and certain mechanical engineers, a shorting of “transmission” (an intermediate input/output device between a power unit and its eventual delivery), sometimes also truncated as “tranny” (both dating back at least decades).

Mid-late twentieth century: Transsexual appears in the literature in 1953 but then it had the meaning "intense desire to change one's sexual status, including the anatomical structure" but as early as 1941 “transsexuality” was being used to describe both "homosexuality & bisexuality".  In the current sense it has existed since 1955 but for decades the older uses overlapped.  The prefix trans- is from the Latin trāns (adverb and preposition) (across, beyond, through) from the Proto-Italic trānts, from the primitive Indo-European tr̥h-n̥ts, from terh- (through, throughout, over).  It was cognate with the English through, the Scots throch (through), the West Frisian troch (through), the Dutch door (through), the German durch (through), the Gothic þairh (through), the Albanian tërthor (through, around) and the Welsh tra (through).  Trans is a noun and adjective, the noun plural historically was transes but as trans has become a notable component of identity politics, trans is now often used, especially collectively.  The noun transness is a recent coining and although they’re still non-standard forms, (sometimes jocular) creations such as transbionic & transnessness) have and will continue to be created but it doesn’t seem that transitivity (either (1) the rule in formal grammar which defines the degree in which any one verb can take/govern objects or (2) in mathematics and formal logic, the property of being transitive) has yet in this context been re-purposed. 

The prefix trans- most occurs in loanwords from the Latin (transcend; transfix) and the model imparts meanings related to “across,” “beyond,” “through,” “changing thoroughly,” “transverse,” in combination with elements of any origin: transubstantiation; trans-Siberian; transempirical etc.  In chemistry, the prefix indicating that a chemical compound has a molecular structure in which two groups or atoms are on opposite sides of a double bond trans-butadiene and there does seem to be a widely followed convention in chemistry that trans is written in italics.  In astronomy the prefix denotes something farther from the sun (than a given planet), thus the terms trans-Martian; trans-Neptunian etc.  In genetics, it refers to having two genes, each carrying a mutation, located on opposite chromosomes of a homologous pair.  Transylvania (literally "beyond the forest) was from the Medieval Latin, the construct being trans- + sylva (the geographical area referenced); it was so-called in reference to the wooded mountains that surround it.  The pop-culture associations with vampires make the place famous.  The title of Giuseppe Verdi's (1813–1901) 1853 Opera La traviata (literally “the woman led astray”) but usually translated as “The Fallen Woman” is from traviata ("to lead beyond the way”) from tra- (across, beyond), from the Latin trāns.  English has many words either influenced by or which trans is a part including Trans-Atlantic, trans-oceanic, transnational, transsexual, translocation, transpontine, transliteration, transept, transect, transducer, transmit, transfer, transit, transmute, translucent, transform, transverse, transfuse, transitive, transcribe, transubstantiation, transplant, transcend, transfigure, transgress, transfix, transact, transmutation, transpire, transient, transfusion, transparent, transport, travesty, transpose, transgression, translate, transmigration, transaction & trajectory.

The state commonly called Jordan (الأردن in the the Arabic (Al-ʾUrdunn)) is officially the Hashemite Kingdom of Jordan.  In one of the classic colonial fixes at which the British (through long practice) used to be really good, the Emirate of Transjordan was created in 1921 as a British protectorate, independence granted in 1946 as the Hashemite Kingdom of Transjordan, renamed in 1949 to its present name to celebrate the capture of the West Bank during the 1948 Arab–Israeli War, held as annexed territory until lost in the six-day war in 1967, the claim not renounced until 1988 as part of a peace treaty with the state of Israel.  The name of Jordan is from the Jordan River which forms much of its northwestern border, the name though derived from the Hebrew ירד (Yarad) (one who descends), a reference to the waterway’s physical geography.  The name “Transjordan” wasn’t actually an invention of the British Colonial Office but an adoption of a geographical expression in use for centuries meaning “across the Jordan” and used, historically, to denote the lands east of the river.

The trans wars

The terms transgender and trans (in this context) are technically interchangeable but so fraught are the politics of identity that some may have objections to either and the general rule is to conform to whichever preference is expressed.  The developments have been so rapid in the early twenty-first century that trans has attracted the interest of the linguistics community and its been noted there are transgender people who prefer writing trans compounds as two words (ie trans man, trans woman, trans person), and when used as an open compound with a space, trans functions as an adjective modifying a noun.  Although to many it may seem a fine distinction, spelling these words as closed or hyphenated compounds (transmale, trans-woman etc) loses the distinction between trans as a descriptive adjective and man, woman, or person as a human being and on that basis cis male and cis female would be preferred although there’s no evidence of concern from the CIS community except those who assert the concept is unnecessary and add nothing to male & female.

The second "A" in LGBTQQIAAOP refers to "allies" (straight people who accept and support those anywhere in the LGBTQQIAAOP range(s)).  What allies do is actively support or advocate for the non-straight community; it does not apply to those who merely "don't oppose".  In supporting the queer participation in film, Ms Logan is an ally.

There is also trans+, dating from 2003, which doesn’t as such add a new category to gender fluidity but instead acts (mostly adjectively) as an expression of inclusiveness, an all-encompassing blanket term covering all specific gender identities which are not cisgender and (more controversially), is used by some even to include "allies" (in the sense of the second "A" in LGBTQQIAAOP) from the among the CIS.  The emergence of the concept of trans+ may have been political, a desire to avoid the internal divisions which have been documented between the LGBTQQIAAOP factions although the extent to which another constructed (and by some perhaps imposed) label can be effective in limiting the fissiparousness which may to some extent have been at least encouraged by the dictatorial implications of the label LGBTQQIAAOP is debatable.

What trans+ does is add to the (narrowly defined ) trans community (the range of gender identities including transgender, genderqueer, gender-fluid etc) the genderless, the agender, the subgender, the postgender, the bigender, the varigender and (presumably) whatever other flavors may emerge from the seemingly expanding spectrum(s) among the non-cisgender.  Another intriguing innovation, noted first in 2017 was the appending of the asterisk, presumably as a wildcard as used (since circa 1969) when handling the searching of computer file systems but linguistically, trans*, trans+* & trans*+ don’t appear in any way to change the meaning of trans+ and should probably be thought of as a strengthening of the denotation of inclusiveness.  That said, within any community (however defined), there will always be those who long for (an exclusionary) exclusivity for their faction so it’s not impossible that trans+ may yet fracture.  Transgender Day of Visibility is celebrated every 31 March, the day set aside to advocate for and celebrate the accomplishments of transgender persons, one right wing US politician who made no secret of their transphobia opining that if it has to exist, it should be moved to 29 February.

TERF but not teal: The photogenic Katherine Deves for whom green is green and  blue is blue and never the twain shall meet.

Unexpectedly, transphobia emerged as an issue in the 2022 Australian general election.  Ms Katherine Deves (b 1978; lawyer and candidate (Liberal) for the division of Warringah (NSW)), the personal selection (“captain’s pick” in the sporting parlance borrowed by politics) as candidate by Prime Minister Scott Morrison (b 1968; prime-minister since 2018) excited controversy firstly by expressing a view that trans-women should not be allowed to compete in sporting competition against cis-women because of the advantages in strength she said their origins as cis-men inherently conferred, regardless of any subsequent treatment.  That was enough to excite a reaction on twitter but things really erupted when historic social media posts were leaked, including “half of all males with trans identities are sex offenders”, referring to (gay) surrogacy as “prostitution”, suggesting a link between “transvestism and serial killers”, claiming trans teenagers were “surgically mutilated” and describing a gay magazine as “… just a mouthpiece for misogynists and the Rainbow Reich.”  Given comparing anything to the Nazis is best left to consenting historians behind closed doors, that might have been expected to trigger another twitterstorm but reaction was untypically subdued, the issue of transphobia seemingly drowning out everything else.  The US president had also caught her eye.  Disturbed by his pro-trans position, she posted that she didn't "...believe Biden is capable of thinking much at all, he’s clearly showing signs of dementia’’ although she refused to accept his views were sincere and he was forced by political necessity to pander to the very powerful and incredibly dangerous” transgender activists within the Democratic Party.

Demonstration in the Warringah electorate by the Community Action for Rainbow Rights to protest the Liberal Party’s endorsement of Ms Deves as their candidate.

Ms Deves, a self-described TERF (trans exclusionary radical feminist) issued a statement in which she acknowledged that “…trying to prosecute arguments about complex, nuanced and difficult subjects ... should not take place on a platform that propagates offence and division and hurt.” “Going forward…” she added, “I will be conducting myself in a dignified and respectful fashion”, noting that twitter “…was not the appropriate platform to do so.”  I have removed myself from that platform, and I will not be going back there again.”  With this issue, we have a collision of rights and thus far the voices of women and girls have not been heard. And when we have a collision of rights in liberal democracies, we debate them in a reasonable, measured fashion – that's what should have taken place here.”

It wasn’t a difficult statement to deconstruct, Ms Deves, who previously had also condemned surrogacy as a “human rights violation” not retreating from or recanting her expressed opinions, just saying they’d no longer appear on twitter.  Mr Morrison, not previously noted for any contribution to feminist thought, seemed grateful finally to have stumbled on such a champion of women’s rights and declared “She is a woman standing up for women and girls and their access to fair sport in this country”, adding “I am not going to allow her to be silenced.”

Nor it seems, shortly, will twitter.  Ms Deves may be joyful about libertarian Elon Musk's (b 1971) plans to overthrow the censorious ancien régime at twitter and may yet return to the platform but it may be a moot point whether her advocacy in the matter of women’s sport is anyway an example of transphobia.  That discussion is solely about participation in sporting competitions restricted to “women”, there being no debate about the right of trans-persons to enter events restricted to “men”.  The issue therefore is not one of a generalized transphobia but rather "transwomanphobia" although that does seem no less objectionable.  However, regardless of the syntax, it’s not something which is going to go away soon because the medical and legal devices adopted by sporting codes and the anti-doping agencies have not satisfied everybody and it may be no such solution exists.  The dispute remains afoot.

The Warringah electorate has existed in essentially its present form since a 1922 redistribution (re-districting) and has been associated with some notable characters in political history.  The member (as an independent and for the Liberal Party and its predecessors) between 1937-1951 was Sir Percy Spender (1897–1985; foreign minister 1949-1951; Ambassador to the United States 1951–1958; member of the International Court of Justice 1958–1967 (president 1964-1967)).  Sir Percy was the grandfather of Allegra Spender (b 1978), a Sydney business identity & heiress who is standing as one of the so-called “teal independents” (teal presumably the idea of mixing a “blue-blood” establishment background with a “green” environmental consciousness) targeting those Liberal-held seats thought vulnerable because the voters’ profile tends to a more progressive agenda.  Throughout his career at the bar, in politics and on the bench, Sir Percy was noted, though not always praised, for his independence of mind and one suspects he might have approved of his grand-daughter’s designs on his old seat.

Sunday at Clontarf Beach (1979), oil on canvas, by Salvatore Zofrea (b 1946).

Edward (Ted) St John (1916-1994; a practicing QC) (confusingly pronounced sin-gin in one of the historic quirks of Anglo-French) held the seat for three turbulent years between 1966-1969, during which he managed to upset two prime-ministers and not a few others repelled by his moralizing although, despite his prudish and puritanical reputation, he was a doughty defender of free speech and appeared for the defense in the Oz and Thurunka obscenity cases (which saw him, bizarrely, labeled "a pornographer") and would later in his legal chambers hang Salvatore Zofrea’s Sunday at Clontarf Beach, something a little more explicit than what usually adored the walls of the Sydney bar.  His memoir (A Time to Speak (1969)) was uncompromising but well-written.

Less impressive was the tenure of Michael MacKellar (1938–2015) who kept the plum seat in his grasp between 1969-1994.  Due more to the effluxion of time than any obvious talent, he served as an undistinguished member of the Fraser government (1975-1983) but is now remembered only for an attempt to evade duty on imported goods, an event blamed, as is traditional, on a mistake by a member of staff apparently employed by the taxpayer also to attend to the minister’s personal paperwork.  In an example of how cover-ups tend to be worse than the original indiscretions, a fellow Minister, John Moore (b 1936; MP 1975-2001, minister in the Fraser and Howard governments), attempted a cover-up, the consequence being they both were compelled to resign their offices.  Whatever might be the criticisms of Malcolm Fraser (1930–2015; prime-minister 1975-1983), he did maintain high standards of ministerial propriety which have for some time, essentially ceased to exist and the decline in the enforcement of those standards does mean subsequently there have been plenty of second and third acts in Australian politics.  Although he never again held office, Mr Mackellar did return to serve on the opposition front bench and thrice unsuccessfully sought the deputy leadership of the Liberal Party.

Mr Moore’s story was even more amusing.  In opposition between 1983-1996, he served in the shadow cabinet while also making a few unsuccessful attempts to become deputy leader but his most notable contribution was as one of a triumvirate of malcontents who (quite competently it must be admitted) in 1989 arranged the knifing in the back of John Howard’s (b 1939; prime-minister 1996-2007) leadership and the re-installation of (the previously and subsequently) unsuccessful Andrew Peacock (1939–2021; leader of the opposition 1983–1985 & 1989–1990).  Mr Howard proved remarkably forgiving (or just desperate to afforce his team with some experience, none except him, Moore and one other ever having served in a cabinet), appointing Mr Moore to cabinet in 1996 and even (in a sign of the declining standards which have since further been eroded) not sacking him when he was found to have breached the ministerial code of conduct.  His usefulness to Mr Howard over by 2001, he was dropped from cabinet and Mr Moore resigned his seat at a point when the party’s fortunes were at a low ebb, the subsequent by-election delivering to the Labor Party what had hitherto been a safe Liberal seat.  In 2015, in what came to be known as the “snouts in the trough” case, Mr Moore and three other former MPs took to the High Court the claim that some (slight) limits placed on some taxpayer-funded allowances (to which they claimed they were for life entitled) were unconstitutional.  They lost.

MacKellar’s successor was Tony Abbott (b 1957; prime-minister 2013-2015) who held Warringah between 1994-2019, always for the Liberal Party although his views seemed more often to reflect those of the Democratic Labor Party (DLP or "Vatican down-under" as it's better understood) which many assumed was his true spiritual home.  Mr Abbott, in what may prove either an aberration or emblematic of something of a shift in political alignments, in 2019 lost the seat to Zali Steggall (b 1974; lawyer and former Winter Olympian) who stood as an independent on a platform which focused on the matter of climate change (the scientific validity of which Mr Abbott once famously dismissed as "crap").  Ms Steggal will in the 2022 poll be re-contesting Warringah, joining Ms Spender as one of the “teal independents”.

The Trans-Am

Trans-Am racing 1969: Porsche 911Rs and Alfa-Romeo GTA.

The Trans-Am Series is a motorsport competition in North America (thus the name trans- (across) + America(s)).  Sanctioned by the Sports Car Club of America (SCCA).  It was first held in 1966, its classic years between 1966-1970, an era in which many of the US manufacturers provided factory backing to the participating teams and there was a symbiotic relationship with the SCCA which came to adjust the rules to suit the available machinery, a reversal of the original model in which the regulations were laid down and the cars were required to conform.

Trans-Am racing 1969: Chevrolet Camaro Z/28s and Ford Boss Mustangs.

Popular from the start, the rules were designed to attract the interest of the baby boomers who were buying versions of the cars raced, and it was originally a series for FIA Group 2 Touring Cars, (slightly) modified standard production vehicles within certain size constraints and built in a certain volume in two capacity classes (122 cubic inches (2.0 litre) and 305 cubic inches (5.0 litre)), both running together on the track.  As intended, it attracted the entries of the US "pony cars" (Plymouth Barracuda, Ford Mustang and their imitators) and the high-performance versions of the European machinery sold in the US.  Bizarrely as it now sounds, the latter class included the then two-litre Porsche 911 because the Germans had prevailed on the SCCA to classify it as a "sedan" but it was then a different sort of vehicle and, cognizant of its evolution, it was later re-classified as a "sports car".  The two litre class was interesting and fiercely contested but it was the noise and fury of the V8 powered pony cars which attracted sponsorship and crowds.

Trans-Am racing 1970: Ford Boss Mustang and Plymouth T/A Cuda.

The series is remembered for the competition between pony cars such as the Ford Mustang, Mercury Cougar, Chevrolet Camaro, Pontiac Firebird, Dodge Challenger, Plymouth Barracuda & AMC Javelin but it didn't long last as something for the typical cars bought from showrooms in the tens of thousands.  The victory of the Mustang in the first two years of the championship had done much for Ford's image and in response, with a pot of money in one hand and a copy of the SCCA rule-book in the other, Chevrolet built a special version of their new pony car, the Camaro Z/28 which featured a unique 302 cubic inch version of the small-block V8 which, highly strung and noisy, obviously wasn’t intended for anywhere but a race track.  To this, Ford responded.  They had enlarged their mainstream small-block V8 to 302 cubic inches but it wasn't race-ready like the Z/28 so what was concocted was one of the wilder power-plants of the era, the tunnel-port 302 although, despite the company's assurances, it was never produced in sufficient numbers to conform with the SCCA's rules but of greater concern was the way it was prone to blowing up.  What Ford had done was to take a technique which had proved successful on the bigger FE engine, which in 427 cubic inch (7.0 litre) form had been reliable enough twice to win the Le Mans twenty-four classic, solving a problem inherent to pushrod engines; the limitations imposed on intake port size by the need to provide a passage for the pushrod tube.  A tunnel-port was, as the name implied, a tunnel for the pushrod which passed directly through the port which could now be made as large as possible.  Surprisingly, the tubular tunnels proved to have no adverse effect on gas flow, the tunnel-port 302s producing prodigious power and, satisfied what they'd seen on the dynamometer was indicative of a race-winning engine, Ford went racing.  Unfortunately, those big ports which guaranteed the stunning top-end power actually inhibited low and mid-range torque and that was what was required on the twisty road courses and street circuits where the Trans-Am cars ran and the high-revving tunnel ports, away from the static environment of the dynamometer test rig, generated much stress and components began frequently to break.  Chevrolet won the next two Trans-Am titles.  Ford came up with a better idea the next year, the Boss 302 sacrificing some of the tunnel-port's intoxicating high range response but delivering its power over a range actually usable by race drivers and Ford duly won the 1970 championship.

Trans-Am racing 1968: Pontiac Firebird.

The writing however was on the wall for the practice of putting race-engines in road cars.  The world was changing and the manufacturers were being forced to divert resources away from motorsport to more prosaic pursuits like safety and emission control, racing budgets shrinking or evaporating.  In response, the SCCA changed the rules so that it was no longer necessary for manufacturers to produce and sell a specified number of the sometimes cantankerous race-bred mills, instead allowing them to modify just what was used in the race-cars, even increasing or reducing capacity as required.  Thus the exotic 302s (and Pontiac's stillborn 303) were retired and Chrysler was encouraged to enter the fray, the race teams de-stroking their LA 340 cubic inch (5.5 litre) V8 to meet the limit.  The pragmatic approach sustained interest for another couple of years but by 1973 the manufacturers had withdrawn support to concentrate on things more essential and the first oil shock that year guaranteed the corporate gaze would remain averted from the circuits.  The Trans-Am series however, under a variety of names, continued and is still run although it's never again captured the imagination the way it did in that first half-decade.

The Pontiac Trans Am

1969 Pontiac Trans Am.

Over four generations, the Pontiac Firebird was produced between 1967-2002 but is best remembered for the Trans Am versions, introduced in 1969.  The original intention had been that like Chevrolet’s Camaro Z/28, the Firebird Trans Am would be a genuine race-ready package, the centrepiece of which would be a short-stroke, 303 cubic inch V8.  Unfortunately, development of the 303 was delayed and by the time a reputed twenty-five odd had been installed in pre-production vehicles, the SCCA had changed the rules and the special race engines were no longer required but, having invested so much already in the other parts, Pontiac decided anyway to proceed which meant (1) the true Trans Am never actually took part in the series after which it was named and (2) the production version was really just a Firebird which looked like a racing car.  Fortunately, it transpired that was exactly what the market really wanted and for decades the Trans Am was usually Pontiac’s most profitable range, the bottom like dented only slightly by the US$5.00 per unit paid to the SCCA as a licensing fee for the use of the name (although Pontiac deleted the hyphen).

1973 Pontiac Trans Am SD-455.

Perhaps the most famous of the Trans Ams were those produced in 1973-1974 and fitted with the SD-455 engine (455 cubic inches (7.5 litre)), an unexpected throwback to high-performance in an era when outputs were in decline and it was thought both the industry and buyers had lost interest in such things.  Resurrecting the SD (Super-Duty) moniker which Pontiac had used as a high-performance designator in the early 1960s, the SD-455 is infamous for the trick with which Pontiac tried to fool the EPA’s (Environmental Protection Agency) inspectors, a primitive version of dieselgate which in the twenty-first century would cost Volkswagen and others (all also guilty as sin) billions.  Pontiac’s engineers had studied the parameters of the EPA’s tailpipe-emission test cycle and, noting it ran for fifty seconds, devised an ingenious system which after 53 seconds deactivated the critical anti-emission plumbing.  Under this regime, the SD-455 was able to produce the 310 horsepower which was by then the top rating in the industry while still receiving the vital EPA certification required legally to sell the thing.  Unfortunately, the EPA’s engineers turned out to be just as clever and detected the ruse, a more impressive performance than that of the later eurocrats who “caught” Volkswagen only because Mercedes-Benz snitched on them in exchange for immunity from prosecution.  Those were more forgiving times and instead of being pursued through the courts, Pontiac was required only to follow the rules and although the SD-455 had to be detuned a little, the resulting 290 horsepower was still more than anyone else could manage in those years.

High Performance Cars Magazine, April 1973.

SD-455 production numbers were low, 295 in 1973 (252 in Trans Ams & 43 in Firebird Formulas) and 1001 in 1974 (943 Trans Ams & 58 Formulas) and after the troubles with the EPA, plans to offer the engine in other models were abandoned although not until after some pre-production (310 horsepower) Trans Ams and one GTO (a larger, four-seat coupé) had been given to the press for testing and publicity.  The SD-455 Trans Am’s reputation is thus probably a little inflated because many of the performance numbers quoted come from the early tests of the machines with the anti-EPA cheat gear attached but more embarrassing was that Hi-Performance Cars magazine, impressed with the SD-455 GTO they'd tested, announced it as the winner of their 1973 Car of The Year Award, the magazine hitting the news-stands just the decision was taken not to produce the thing.

Sunday, April 24, 2022

Eurovision

Eurovision (pronounced your-o-vish-on)

(1) The network of the European Broadcasting Union for the exchange of news and television programmes amongst its member organizations and for the relay of news and programmes from outside the network.

(2) The widely used clipping of "Eurovision Song Contest".

1950: The European Broadcasting Union (EBU) (Européenne de Radio-Télévision (UER)) was formed in February 1950 as an alliance of public service media organizations and currently has seventy-three members in fifty-six countries and thirty-four associate-members in a further twenty, not all of which are in Europe.  The EBU is now best known for producing the Eurovision Song Contest although it broadcasts a wide range of programmes.

Blatant injustice, 2003

The Eurovision Song Contest (Concours Eurovision de la chanson) has been held since 1956; the format essentially that of the Sanremo Music Festival first held in Italy in 1951 and (structurally) little changed since although the voting system has bounced around a bit.  In the early years it was a quite earnest song contest which gradually became rather naff until later in the twentieth century when, quite organically, it transformed into something of a self-aware freak-show spiced-up by amusing political squabbles.  The apparent anomaly of Australia’s participation is by virtue of (1) being a foundation associate-member of the EBU and (2) an invitation to compete, first extended in 2016 as part of the sixtieth anniversary celebrations.  The quality of Australia's entries being in keeping with the spirit of the competition (with all that implies), they've since been invited back. 

Serious students of the event (and that niche is populated not only by the usual pop culture suspects) have since 2003 thought the voting system suspect after irregularities deprived t.AT.u. (the Russian lesbian schoolgirls, Lena Katina, (b 1984) and Julia Volkova (b 1985)), of their deserved victory; that actually they were neither lesbians nor schoolgirls seemed hardly the point.  The scandal probably shocked Russians less than some because they'd long been aware of how elections are conducted, comrade Stalin (1878-1953; Soviet leader 1924-1953) once explaining to Franklin Delano Roosevelt (FDR, 1882–1945, US president 1933-1945) and Winston Churchill (1875-1965; UK prime-minister 1940-1945 & 1951-1955) that the point about democracy was that "...it matters less who votes than who gets to count the votes."

All The Things She Said by t.A.T.u. (official music video, 2002).

D.A.D.I. (Lindsay Lohan and comedian Rachel Dratch (b 1966)) offer their take on on t.A.T.u. on Club Traxx (a Euro-Trash MTV-style talk show parody), Saturday Night Live (SNL) 1 May 2004.

Saturday, April 23, 2022

Daughter

Daughter (pronounced daw-ter)

(1) A female child or person in relation to her parents.

(2) Any female descendant (now rare).

(3) A person said to be related to an institution as if by the ties binding daughter to parent (daughter of the church; Daughters of the American Revolution et al).

(4) Any female (archaic in the English-speaking world but used sometimes by some cultures to indicate some closeness of family relationship, rather as aunt & uncle are sometimes used in the West).

(5) Any institution or other thing personified as female and considered with respect to its origin (eg Australia is the daughter of the six colonies).

(6) In chemistry & physics (of a nuclide), an isotope formed by radioactive decay of another isotope.

(7) In biology, pertaining to a cell or other structure arising from division or replication (eg the daughter cell; daughter DNA).

(8) As daughterboard, IBM’s original descriptor for boards (now called piggyback boards, riser cards or mezzanine boards) which directly (usually by soldering) connect to motherboards (now called main or system boards).

(9) In historical linguistics, as daughter language (known also as a descendant language), a language descended from another (its mother language) through genetic descent as opposed to a "sister language" which is one which also evolved from the proto- mother language but formed a separate branch.  The model is that of a tree where the mother language is the trunk and the branches the daughters and sisters (each of which can have their own daughters and sisters).  The image of the tree represents the diversification of languages from a root source.

Pre 950: From the Middle English goghter & doughter, from the Old English dohtor (female child considered with reference to her parents; daughter) from the Proto-West Germanic dohter, from the Proto-Germanic dokhter and the earlier dhutēr, from the primitive Indo-European dughtr, source also of the Sanskrit duhitā & duhitar-, the Avestan dugeda-, the Armenian dustr, the Old Church Slavonic dušti, the Lithuanian duktė and the Ancient Greek thygátēr & thugatēr).  The Proto-Germanic forms were the source also of the Old Saxon dohtar, the Old Norse dóttir, the Old Frisian and Dutch dochter, the Old High German tohter, the German Tochter and the Gothic dauhtar.

Dutiful daughter: Donald (b 1946; US president 2017-2021 and since 2025) & daughter Ivanka Trump (b 1981;  senior advisor in the Trump administration 2017-2021) in an extended (stretch) Lincoln Continental limousine, New York City, circa 1992.

The common Indo-European word was lost in Celtic and Latin; the Latin filia (daughter) is the feminine form of filius (son), the most obvious connection in Modern English being young female horses: a filly is a beast under four and thus too young to be a mare and filly is still used as humorous and affectionate slang to refer to a lively girl or young woman.  The modern spelling evolved in the sixteenth century in southern England.  In late Old English, the form also emerged of a "woman viewed in some analogous relationship" (to her native country, church, culture etc and that use persists to this day) and from circa 1200 could be used to describe anything regarded as feminine.  Daughter-in-law is attested from the late fourteenth century.  The noun plural is daughters, the long archaic form being daughtren and the last surviving obsolete spelling was dafter.  The adjective daughterly (relating to or characteristic of a daughter) is technically neutral but has long denoted “dutiful (towards parents)”, the “dutiful daughter” a frequent reference in English literature.  As well as dutiful, daughters can be difficult and Theodore Roosevelt (TR, 1858–1919; US president 1901-1909) was once asked by some Republican Party apparatchiks to "control his daughter" (Alice Lee Roosevelt Longworth (1884–1980) who had a mind of her own)  He replied he "could be president of the United States or he could control Alice but he could not do both."  

The noun step-daughter was from the Old English stepdohtor, the formation aligned with the German Stieftochter.  Grand-daughter, like the related forms to describe recent ancestors and relations dates from 1610.  The noun god-daughter (female godchild, girl one sponsors at her baptism) was adopted in the mid-thirteenth century as a modification of the Old English goddohtor.  The noun filicide (action of killing a son or daughter) dates from the 1660s, the construct being the Latin filius/filia (son/daughter) + -cide (a killing), the meaning extended after 1823 to "one who kills a son or daughter", filicidal appearing shortly after.  Bathsheba was the Biblical wife of King David, mother of Solomon, from the Hebrew Bathshebha (literally "daughter of the oath" from bath (daughter).

Lindsay Lohan: Confessions of a Broken Heart (Daughter to Father).

I wait for the postman to bring me a letter
I wait for the good Lord to make me feel better
And I carry the weight of the world on my shoulders
A family in crisis that only grows older

Why'd you have to go
Why'd you have to go
Why'd you have to go

Daughter to father, daughter to father
I am broken but I am hoping
Daughter to father, daughter to father
I am crying, a part of me is dying and
These are, these are
The confessions of a broken heart

And I wear all your old clothes; your polo sweater
I dream of another you the one who would never, never
Leave me alone to pick up the pieces
A daddy to hold me, that's what I needed

So why'd you have to go
Why'd you have to go
Why'd you have to go

Daughter to father, daughter to father
I don't know you, but I still want to
Daughter to father, daughter to father
Tell me the truth, did you ever love me'
Cause these are, these are
The confessions of a broken heart, of a broken heart

I love you
I love you
I love you
I, I love you

Daughter to father, daughter to father
I don't know you, but I still want to
Daughter to father, daughter to father
Tell me the truth, did you ever love me'
Did you ever love me?
These are
The confessions of a broken heart, oh yeah

And I wait for the postman to bring me a letter

Songwriters: Kara Dioguardi, Lindsay Lohan & William Wells.  Lyrics © BMG Rights Management, Kobalt Music Publishing, Universal Music Publishing Group, Warner Chappell Music.  From the album A Little More Personal (Raw) (2005).

IBM: Mothers and daughters but not sisters

IBM PC-1 (1981).

IBM didn’t invent the motherboard.  It evolved into the form in which it became well-known in the early 1980s because advances in technology had reduced the size of certain components (CPU, memory etc) which used to be separate devices which were wired together to run as a unit.  When IBM released the original PC-1 in 1981, it was built around a motherboard which contained slots into which expansion boards could be plugged and various connectors with which compatible devices could be connected.  Given there were motherboards, IBM, in the innocent age of the 1980s, decided other peripheral components, those usually directly embedded through soldering to the motherboard, should be called daughterboards.  Quite how the nomenclature was chosen is either not known or IBM has suppressed the records and the fanciful notion that it’s because the early motherboards contained more female than male connections is just an industry myth.  In the literature, there’s also the odd reference to sisterboards though the name never caught on and "daughter-board" was sometime used to describe cards which plugged-into expansion cards but such devices were rare.

IBM PC-1 motherboard (1981), expansion slots at the top right; it seemed small at the time.

A daughterboard was a circuit board which extends the circuitry of the motherboard and, being soldered, was connected directly, unlike the inherently swappable expansion cards which plugged-in using the bus or other (most often serial, parallel or SCSI (small computer system interface)) interfaces.  Like a motherboard, daughterboards had sockets, pins, plugs and connectors to permit connection to other boards or other devices and have been both part of initial product releases and post-launch updates, the best known example of which were the MIDI (musical instrument digital interface) daughterboards used to add functionality to a sound card.  Except for the odd special build for someone really nerdy, modern personal computers now rarely have daughterboards although they’re still often seen on servers.

1984 Apple Macintosh 128 kb motherboard with SCSI daughterboard (right) and additional RAM daughterboard (left).  A machine with 1 MB RAM was impressive in 1984.

Even before the twenty-first century interest in gender and gendered pronouns, IBM had renamed everything in the corporation which could in anyway be thought sexist, racist etc.  By the late 1990s, although the term motherboard continued widely to be used, IBM had started calling them them variously main-boards or system-boards; daughterboards became piggyback or mezzanine boards.  Interestingly, as part of the linguistic sanitation, IBM started calling hard disk drives "hard files" which was either looking forward to solid-state storage or just one of those inexplicable things which happens when projects assume their own inertia; whatever the reason, the "hard file" never caught on.  The terms male and female for connections (modeled on human anatomy and used in everything from plumbing to the space programme) were retained because their use was universal and convenient or mnemonic gender-neutral substitutes eluded even IBM's language police.  Male and female connectors may be about the only gender-loaded terms which will escape being labelled "micro-aggressions".

Friday, April 22, 2022

Interpolate & Extrapolate

Interpolate (pronounced in-tur-puh-leyt)

(1) To introduce (something additional or extraneous) between other things or parts; interject; interpose; intercalate; to make additions, interruptions, or insertions.

(2) In mathematics, to estimate (a value of a function) between the values already known or determined.

(3) To alter a text by the insertion of new matter (with a long history of being applied especially if done deceptively or without authorization but technically a neutral term and can be used either way).

(4) To insert (additional or spurious material) in this manner.

1605–1615: From the Latin interpolātus, past participle of interpolātus & interpolāre (to make new, refurbish, touch up; to give a new appearance to), the construct being inter- (between, among, together) + -polā- (verb stem (akin to polīre (to smooth or polish) + -tus (the past participle suffix) from polare, from the primitive Indo-European root pel- (to thrust, strike, drive), the connecting notion being "to full cloth".  The sense evolved in Latin from the neutral "refurbish" to the slightly more loaded "alter appearance of" to the actually accusative "falsify” (especially or specifically by adding new material".  By the early fifteenth century Middle English had gained interpolen in a similar sense and by the 1650s also interpolator, from the Late Latin interpolator (one who corrupts or spoils), agent noun from past participle stem of Latin interpolāre.  The noun interpolation (that which is interpolated) dates from the 1670s and appears to have evolved both from the seventeenth century French interpolation and directly from the Latin interpolationem (nominative interpolatio) from the past participle stem of interpolāre.  Interpolate, interpolated & interpolating are verbs, interpolater (or interpolator) & interpolation are nouns, interpolable, interpolatory, interpolative are adjectives and interpolatively is an adverb.

Extrapolate (pronounced ik-strap-uh-leyt)

(1) To infer (an unknown) from something that is known; an evidence-based conjecture.

(2) In statistics, to estimate (the value of a variable) outside the tabulated or observed range.

(3) In mathematics, to estimate (a function that is known over a range of values of its independent variable) to values outside the known range.

(4) To perform extrapolation.

1830s: The construct was extra- + -polate (extracted and borrowed from interpolate).  The verb extrapolate in the sense of “make an approximate calculation by inferring unknown values from trends in the known data" became popular among astronomers, statisticians, economists & mathematicians after appearing in an 1862 Harvard Observatory account of Comet Donati (Donati's Comet (C/1858 L1 & 1858 VI)) in 1858).  In contemporary accounts, it was said to have been a word used since the 1830s by English mathematician and astronomer Sir George Airy (1801-1892).  Extrapolation (an approximate calculation made by inferring unknown values from trends in the known data) dates from 1867 and was the noun of action from extrapolate by analogy with the long-established interpolation although the original sense was "an inserting of intermediate terms in a mathematical series", the transferred sense of "drawing of a conclusion about the future based on present tendencies" adopted since 1889.  Extrapolate, extrapolated & extrapolating are verbs, extrapolater (or extrapolator) & extrapolation are nous, extrapolable, extrapolatory, extrapolative are adjectives and extrapolatively is an adverb.

Extrapolation and Interpolation

The common root of the words is the Latin verb (polīre) meaning “to polish” which in this context means “adding finish” to a data-set by adding what’s missing but the prefix is most useful in distinguishing between the two, inter- meaning “between” or “among,” and extra-, “outside” or “beyond”.  The two words look similar and at first glance it’d be not unreasonable to assume they might be antonyms but, although related in use and tangled in history, they are used in different ways and, one highly nuanced and the other sometimes applied correctly but inducing the drawing of erroneous or at least misleading conclusions.  Interpolation refers to inserting something between other things, while extrapolation is the act of drawing conclusions about something unknown based on what is known.  In mathematics, the meanings are uncontroversial in that interpolation is the process of determining an unknown value within a sequence based on other points in that set, while extrapolation is the process of determining an unknown value outside of a set based on the existing data (often expressed as a “curve”).  Interpolation is a commonly used tool of mathematicians, statisticians and others in the data-based sciences where it’s necessary to determine a function’s value based on the value of other points, an unknown value within the sequence is determined based on what else is in the sequence.

Interpolation, used beyond mathematics can be a loaded word because it’s the act of introducing something (additional or extraneous) between other parts, usually in text or musical notation and thus the technical equivalent of “insert” or (sometimes) “interject or interpose”.  Interpolation can thus be a merely neutral description but because of the history of the word (in Latin it evolved from the neutral "refurbish" to the slightly more loaded "alter appearance of" to the actually accusative "falsify” (especially or specifically by adding new material"), can imply that what has been inserted is spurious, false, misleading or done with some other nefarious purpose.  It’s thus a word which needs to be used with caution lest implications be drawn where no inference was intended.

A big word with lots of syllables, interpolate may be unfamiliar to many and that’s maybe why sometimes it’s been used apparently in an attempt to impart some sense of gravitas or perhaps disguise what’s really happening.  In pop music, sampling, the interpolation of other people’s music into one’s own is now probably a sub-genre and it’s well understood although, despite the involvement of courts and copyright lawyers, the distinctions between sampling, interpretation and actual appropriation although well-trimmed, remain frayed at the margins and all three can be interpolated.  One derided as a form of plagiarism, sampling seems to have gained respectability, at least among those who practice the art, the critical legal device apparently being to sample by using a fragment from a previously recorded song, but re-recording rather than directly copying the original.  The origin of the practice appears to be as the work-around for when the copyright holder refuses to license the original for sampling purposes.  Use in this way, only a publisher’s permission is required although in some common-law jurisdictions, the original can be subject to a compulsory licensing regime.

Extrapolation is related to deduction, an act of drawing a conclusion about something unknown based on what is known so the verb extrapolate is often used synonymously with infer and deduce.  However, in mathematics, while the act of interpolation involves a closed data set with defined low and high values, extrapolation involves estimating the value of a variable or function outside an observed range so it can be necessary to understand the context (social, economic etc) of the numbers being used in the exercise.  A Roll-Royce dealership which has a good month and sells ten cars should probably not from that data-set extrapolate that in the year ahead they will sell 120; other factors need to be considered beyond the simple math.

Xanax (Alprazolam), a fast-acting benzodiazepine.  It is marketed as anti-anxiety medication.

Lindsay Lohan released the track Xanax in 2019.  With a contribution from Finnish pop star Alma (Alma-Sofia Miettinen; b 1996), the accompanying music video was said to be “a compilation of vignettes of life”, Xanax reported as being inspired by Ms Lohan’s “personal life, including an ex-boyfriend and toxic friends”.  Structurally, Xanax was quoted as being based around "an interpolation ofBetter Off Alone, by Dutch Eurodance-pop collective Alice Deejay, slowed to a Xanax-appropriate tempo.


Lindsay Lohan risked going straight to Hell by creating a promotional meme featuring Pope Francis (b 1936; Roman Catholic Pope since 2013).  Cryptically captioned Blessed Be The Fruit, it included an image of the art-work used for her debut album Speak (2004).  Given the problems he's expected to manage, solve or conceal (depending on the circumstances), most would forgive the pope if he popped the odd Xanax.


The original photograph (top left) was taken in 2013 during a mass conducted in the Catedral Basílica do Santuário Nacional de Nossa Senhora Aparecida (Cathedral Basilica of the National Shrine of Our Lady Aparecida) in Aparecida, Brazil.  His Holiness was at the time administering communion.  It has since proved a popular photograph for meme-makers interpolating optical discs.

Xanax by Lindsay Lohan

I don't like the parties in LA, I go home
In a bad mood, pass out, wake up alone
Just to do it all over again, oh
Looking for you

Only one reason I came here
Too many people, I can't hear
Damn, I got here at ten
Now it's 4 AM

I can't be in this club
It's too crowded and I'm fucked
Ain't nobody here for love
Ain't nobody care about us
I got social anxiety, but you're like Xanax to me, yeah
Social anxiety, when you kiss me, I can't breathe
No, I can't be in this club
It's too crowded and I'm fucked
Ain't nobody here for love
Ain't nobody care 'bout us
 
I got social anxiety, but you're like Xanax to me, yeah
Social anxiety, when you kiss me, I can't breathe, yeah
 
But you're like Xanax to me
When you kiss me, I can't breathe
 
I try to stay away from you, but you get me high
Only person in this town that I like
Guess I can take one more trip for the night
Just for the night
 
Only one reason I came here
Too many people, I can't hear
Damn, I got here at ten
Now it's 4 AM
 
I can't be in this club
It's too crowded and I'm fucked
Ain't nobody here for love
Ain't nobody care about us
I got social anxiety, but you're like Xanax to me, yeah
Social anxiety, when you kiss me, I can't breathe
No, I can't be in this club
It's too crowded and I'm fucked
Ain't nobody here for love
Ain't nobody care 'bout us
 
I got social anxiety, but you're like Xanax to me, yeah
Social anxiety, when you kiss me, I can't breathe, yeah
 
But you're like Xanax to me
When you kiss me, I can't breathe
 
But you're like Xanax to me
When you kiss me, I can't breathe

Xanax lyrics Universal © Music Publishing Group


Thursday, April 21, 2022

Whet

Whet (pronounced hwet or wet)

(1) To sharpen (a knife, tool, etc) by grinding or friction.

(2) To make keen or eager; stimulate:

(3) To stimulate one’s curiosity (usually in the phrase “to whet the appetite”)

(4) The act of whetting or a person or device which whets.

(5) Something that makes more keen or intense; an appetizer or aperitif.

(6) A spell of work; a short period of time (US slang, south of the Mason-Dixon Line, such as the phrase “to talk a whet”).

(7) To preen (obsolete).

Pre 900: From the Middle English verb whetten & noun whete, from the Old English verb hwettan (to whet, sharpen (and figuratively "to incite or encourage”) and noun hwǣte, a derivative of hwæt (bold) and related to hvæt (sharp), from the Proto-West Germanic hwattjan, from the Proto-Germanic hwatjan & hwatjaną (to incite, sharpen), from the primitive Indo-European kehid (sharp).  It was cognate with Dutch wetten (“to whet, sharpen”), the German wetzen (“to whet, sharpen”), the Icelandic hvetja (“to whet, encourage, catalyze”) and the dialectal Danish hvæde (“to whet”).  The Proto Germanic hwatjan & hwatjaną which was from the primitive Indo-European root kwed- (to sharpen), source also of the Sanskrit codati (incites (literally "sharpens")), the Old English hwæt (brave, bold) and the Old Saxon hwat (sharp) was the source also of the Old Norse hvetja (to sharpen, encourage), the Middle Low German & Middle Dutch wetten, the Old High German wezzan, the German wetzen (to sharpen) and the Gothic ga-hvatjan (to sharpen, incite).  Whet is a noun and verb, whetted & whetting (used with object) are verbs, whetter a noun and whetted an adjective.  The noun plural is whets and the homophone wet (in accents with the wine-whine merger).

The Modern English words wet and whet are etymologically unrelated but for a number of reasons are sometimes, understandably, confused.  Nor is the whet/wet thing an isolated example and the reason for much confusion lies in the terminology familiar to historians, translators and etymologists: the source of most modern English being conveniently traced back to Ancient Greek and the surprisingly large number of forks of Latin, through the filter of Old and Middle English.  The Greek & Latin is obviously foreign and for most, words can be recognized only by their similarity to what is now familiar but Middle English is (at least substantially) readable to a modern English-speaking audience prepared to guess a little and pick up wherever possible from the context or sentence structure.  Old English (which once was the “Olde English” which better captures the idea) however really is a misnomer and is almost wholly unrecognizable and is better thought of as pre-English and probably only the most structurally oriented etymologists would regard it as a proto-form.  Indeed, many prefer the alternative “Anglo-Saxon” as a description because it was introduced to the British Isles by the Germanic peoples who settled in the mid-fifth century, a timing which meant it was in that language that were written what came to be regarded as the first works of Literature “in English”.

One suspects that were an anthropologist now to discover the old texts as a novel form, it’s unlikely they’d be labeled as any form of “English”, something which may have happened because of a desire (which long persisted in the study of “English” history) to make Englishness as ancient as possible, historians long seduced by their constructions of all that stretched back to the island’s links with the classical age.  Except when treated as aberrations, uncivilized barbarians and pockets of violent backwardness, much of the non-English contribution to the history of life on the British Isles tended until recently to be neglected or devalued by historians and the attitude to language reflects this but that Modern English contains both wet and whet, pronounced the same yet meaning different things hints at the tangle, an additional twist being that some “whets” and distinguished from others by being used “wet”.

In English use, this meshing of sound and overlap of meaning does produce the odd tendency to error.  For example, a Parthian shot (Parthian an Iranian language of the people of ancient and medieval Parthia) is a metaphor used to describe a barbed insult, delivered as the speaker departs, the construction based on a military tactic used by Parthian mounted cavalry.  While in real or feigned retreat on horseback, the archers would turn their bodies back in full gallop to shoot at the pursuing enemy, quite a trick which demanded fine equestrian skills given that the riders’ hands were occupied by his bows and arrows.  It was more admirable still because the Parthian military used neither stirrups nor spurs, riders relying solely on the pressure from their legs to guide and control their galloping beasts.  However, the literal “Parthian shot” was literally also something of a “parting shot” given the way it was delivered and among English speakers is often rendered as “parting shot”, a use so frequently encountered that many dictionaries now accept it as a legitimate alternative form as long as the correct meaning is conveyed: Whichever word is used, the metaphor refers not merely to an effectively made comment, the essence being that it is delivered at the point of departure.

Part in this sense was from the Old French departir, from the Late Latin departiō (to divide), the construct being - (away from) + partiō (part, divide).  Interestingly, “part” (in the sense of “piece of something) existed in Old English and is an example that the relationship with the more recent Middle & Modern English is occasionally recognizable.  Part was from the Middle English part, from the Old English part (part) and the Old French part (part), both from the Latin partem, accusative of pars (piece, portion, share, side, party, faction, role, character, lot, fate, task, lesson, part, member), from the primitive Indo-European par- & per- (to sell, exchange).  It displaced the Middle English del & dele (part), from the Old English dǣl (part, distribution).

Lindsay Lohan wetting her whistle during a fishing trip with Hofit Golan (b 1985, Israeli media personality), July 2016.

Whet and wet are subject to the same linguistic clatter.  To “whet one’s appetite” and “wet one’s whistle” can both mean “to imbibe an aperitif” although there are differences of nuance, the former meaning “to sharpen the desire for more” while the latter references the usefulness of alcohol as a social lubricant.  The occasional mistake is thus understandable and those learning English must think such things surely unnecessary but, as a noun, things don’t improve.  The English whet is a word about sharpening things and a whetstone is a literally a piece of stone, most frequently in the shape of a rectangular cuboid (although there are specialized shapes optimized to sharpen different devices with more complex curves) against which the edges of a blade are worked at an acute angle until sharp.  That’s fine but whetstones are often used with a cutting fluid (water or an oil), both to enhance the sharpening and carry away swarf (the tiny fragments of metal lost from a blade).  A whetstone may thus be used wet or dry but fortunately, the term “wet whetstone” has always been avoided and the variations are instead styled water stones (also waterstones) or oil stones (also oilstones).

Japanese Natural Whetstone.

Whetstones may be cut wholly from natural stone or modern composites.  The natural product (an there are cults among the advocates of the various types), is formed usually of some form of quartz, and documented since antiquity are the locations of the quarries which produce the whetstones able to provide a blade with the sharpest edge although recent research seems to indicate there’s little difference in the results it’s possible to achieve but a huge gulf in the efficiency with which one does the job compared with another and it’s thought the ease of operation was as much a factor in historic preferences as the fineness of the edge.  The classical whetstones, being a natural product were subject also to much variation in appearance and the more pleasing or rare have always been prized, some now collector items, bought to be displayed rather than used for their historic purpose.

The synthetic composites are made usually with a type of ceramic such as silicon carbide (carborundum) or aluminum oxide (corundum), held together with a bonded abrasive.  Popular in industry and commerce because they offer a faster cutting action than natural stone, they have the advantage of being able to be fabricated as a double-block, coarse grit on one side, fine on the other, thus enabling the one reversible piece to be used instead of two.  Unlike a natural stone, the consistency of particle size, distribution and density can be almost perfectly replicated throughout and although artisans may still hanker for the look and feel of real stone, it’s admitted the modern synthetics are usually now superior; the ability to integrate nano-sized particles meaning the construction of composites is now almost infinitely variable.

Dalstrong’s summary of sharpening techniques when using their synthetic composite whetstones.

Wednesday, April 20, 2022

Épatant

Épatant (pronounced a-pat-on)

Something startling or shocking, especially if unconventional

Circa 1910s: An adjective in French formed from the present participle of épater (to flabbergast), the construct being é- + patte (paw) + -er.  The é- prefix is from the Old French es-, from the Latin ex- & ē- and was used to indicate away or moving away from.  Patte is from the Middle French, from the Old French pade & pate (paw, foot of an animal), from the Vulgar Latin patta (paw, foot), borrowed from the Frankish patta (paw, sole of the foot), from the Proto-Germanic pat- & paþa- (to walk, tread, go, step), of uncertain origin and relation.  Possibly it was from the primitive Indo-European (s)pent- & (s)pat- (path; to walk), a variant of the primitive Indo-European pent- & pat- (path; to go).  It was cognate with the Dutch poot (paw) and the Low German pedden (to step, tread); it's related to both pad & path.  The suffix -er is from the Latin -āre, used to form infinitives of first-conjugation verbs (many of these verbs directly descended from Latin, rather than from stem + suffix).

Cubism

It’s probably no longer possible for a style of visual art to shock.  That may be because everything possible has been done or that the representational promiscuity of the last century has dulled collective sensitivity, certainly among Western audiences.  Put simply, new being no longer possible, nor is the shock of the new (Shock of the New (1972) is a strangely neglected book by art critic Ian Dunlop (b 1940), exploring seven exhibitions of the modern period, from the Salon des Refuses (Paris, 1863) to Joseph Goebbels’ Degenerate Art show (Munich, 1937); the title later re-used by Australian art critic Robert Hughes (1938–2012) for his 1980 TV show).

In the early days of modernity, painting genuinely could shock as cubism did in the years before the First World War.  Essentially a simplification of form and deconstruction of perspective, cubism played with ideas of mass, time and space, distorting deliberating the techniques artists had honed over the centuries in creating the three dimensional illusions rendered on inherently flat canvases.  The early works were still recognizably representational but soon, the movement seemed to morph into something which existed to shock and the geometric touches grew in intensity, sometimes overwhelming the represented forms, some of the later work really pure visual abstraction, the sort of self-indulgent technical ecstasy Comrade Stalin would later, in a similar context, condemn as “formalism”.

The origin of cubism is generally traced back to Pablo Picasso’s (1881-1973) painting Les Demoiselles d’Avignon (1907), a portrait of five prostitutes in a style influenced by the African tribal art which the artist had seen at the Palais du Trocadéro, a Paris ethnographic museum.  Curiously, Picasso chose to show the work only to fellow artists and it went unseen by the public until an exhibition in 1916.  Others certainly adopted its techniques, defining the first era of Cubism which came to be known as Analytical Cubism, marked by depictions of a subject from multiple vantage points at once, creating a fractured, multi-dimensional effect expressed usually with a small palette of colors.  The term cubism was used first in 1908 by French critic Louis Vauxcelles (1870-1943) but wasn’t widely employed until the press adopted in 1911 and it was then often used in a derogatory sense.  The reputation of both Picasso and cubism has since improved and when assessing the drip painter Jackson Pollock (1912-1956), the collector Peggy Guggenheim (1898-1979) could think of no higher compliment than him being “...the greatest painter since Picasso”.  Of course, many who thought their own eye for art quite well-trained didn't agree with Ms Guggenheim.  In 1945, just after the war, Duff Cooper (1890–1954), then serving as Britain's ambassador to France, came across Picasso leaving an exhibition of paintings by English children aged 5-10 and in his diary noted the great cubist saying he "had been much impressed".  "No wonder" added the ambassador, "the pictures are just as good as his".

Les Demoiselles d’Avignon (1907), oil on canvas by Pablo Picasso.

Although it’s convenient to think of Picasso’s 1907 Les Demoiselles d’Avignon as the first cubist painting and thus the beginning of Cubism, art critics are a schismatic lot, some tracing the origin of the style to earlier decades while others suggest it was the first proto-Cubist work, containing enough of the essential elements of the genre to be linked yet not sufficiently distinct from earlier traditions to belong.  These critiques emerged in the 1950s and 1960s, the dying days of modernity, a time when the post-war expansion of academic art criticism gave rise to an industry of revisionism so unrelenting that post-modernism was perhaps inevitable.