Philistine

Philistine (pronounced fil-uh-steen, fil-us-stahyn, fi-lis-tin, fil-us-teen, or fi-lis-teen)

(1) In historical use, a non-Semitic native or inhabitant of ancient Philistia, a region in the southwest Levant in the Middle East (initial upper case).

(1) A person lacking in, hostile to or smugly indifferent to cultural values, intellectual pursuits, aesthetic refinement etc, or is contentedly commonplace in ideas and tastes; a vulgarian or lowbrow.  Of late it has been extended also to those thought too materialistic, especially if the objects of their desires are big televisions, jet skis, McMansions etc.

(3) One’s opponent (a usually humorous use, often in the plural).

(4) In historic university slang, a person not associated with the university; a non-academic or non-student; a townsperson (originally German, adopted elsewhere as an imitative form although largely now replaced by other regionalism).

1350-1400: From Middle English Philistyne & Philisten (there were many other spellings, often from misunderstandings by Medieval scribes), a descriptor of the Old Testament people of coastal Palestine who made war on the Israelites, from the from Old English Filistina (Fillestina the genitive plural), from the Old French Philistin (which persists in modern French) and the Late Latin Philistinus (Philistīnī in the plural), from the Koine Greek Φυλιστῖνοι (Phulistînoi), a variant of Φυλιστιίμ (Phulistiím), Φυλιστιείμ (Phulistieím) (which may be compared with the Koine Greek Παλαιστῖνοι (Palaistînoi)), all ultimately derived from the Hebrew plural noun פְּלִשְׁתִּים (p'lishtím) (people of P'lesheth (Philistia)), from the adjective פְּלִשְׁתִּי (p'lishtí) (Philistine), from פְּלֶשֶׁת (p'léshet) (Philistia).  The English word was cognate with the Akkadian KURpi-lis-ta (Pilistu), KURpa-la-as-tu (⁠Palastu), KURpi-liš-ta-a-a (⁠Pilištayu) ((people) of the Pilištu lands) and is a doublet of Palestine.  In Egyptian the form was Palusata.  The archaic noun plural form Philistim was from the Middle English Philistiim and the Late Latin Philisthiim.  The synonyms: include the now obsolete Philistee & Philister (used adjectively as philister) and the archaic (except in historic use where it remains rare) Philistian.

The now more familiar adjective was derived from the noun.  The meaning "person felt by the writer or speaker to be deficient in liberal culture" dates from 1827, used originally by Scottish polymath Thomas Carlyle (1798-1881) and popularized by him and English poet Matthew Arnold (1822–1888), both borrowing from the German Philister (enemy of God's word (literally "Philistine," inhabitants of a Biblical land, neighbors (and enemies) of Israel)).  In English, philistine had been used in the humorous figurative sense of "an unfeeling enemy" since circa 1600.  Philistine is a noun & adjective, philistinism is a noun, philistinic & philistinish are adjectives, and philistinely is an adverb; the noun plural is philistines (the spelling Philistim is archaic but still used by historians and Biblical scholars).  The form philistinistic is non-standard but persistent and the usual convention in English applies: it’s Philistine with a capital P if referring to those of biblical description and philistine with a lower-case p when deriding those whose lives are thought culturally barren.

Lindsay Lohan and her lawyer in court, Los Angeles, December 2011.

The figurative sense was popularized in German student slang as a contemptuous term by the “gownies” for the "townies" and hence, by extension, to “any uncultured or uneducated person” (as judged by students).  In English, the expression of difference in university cities (“town and gown”) remains.  As late as the early twentieth century it was still common to see printed the claim the figurative use was derived from a sermon delivered in 1693 (cited sometimes as 1689) by the ecclesiastical superintendent Georg Heinrich Götze (1667–1728) at Thuringia’s Jena University.  The event was a memorial service for a student who died as the result of a town versus gown squabble which had turned more than usually violent, several Germans beating each other to death and the pastor’s phrase was the biblical “Philister über dir, Simson!” (The Philistines are upon you, Samson! (Judges 16:9, 12, 14, & 20).  However, the Oxford English Dictionary’s (OED) entry notes the word was in use in this sense as early as 1687, the sermon picking up rather than the origin.  The words philister and philistine were introduced into English by the British author Thomas Carlyle (1795–1881) and greatly popularized by the English poet and cultural critic Matthew Arnold (1822–1888), particularly in essays first published in The Cornhill Magazine (1860-1975) between 1867 and 1868 which were collected into a book entitled Culture and Anarchy (1869).

Writers

Stooping to conquer the Daily Mail's readers: Photograph of Bernard Levin (1963) by Lewis Morley (1925-2013), held by the Board of Trustees of the Science Museum, London.

Vladimir Nabokov (1899–1977) thought finding obscenity in works of art was philistinism and that art should be criticized only if banal or technically inept.  Art could explore any number of obscenities but, however representational, could not be obscene.  Even before he went mad, Friedrich Nietzsche (1844–1900) felt himself surrounded by philistines, identifying the worst of the breed as those critical of his writings; such behavior he reduced to an almost clinical condition, accusing them of lacking “true unity” and able to understand any form of style only“...in the negative”.  Sir Martin Amis (1949–2023) may have harbored a similar notion, although the quote attributed to him as finding philistinism “…in anyone who preferred television to his novels” may be apocryphal; whatever the provenance, it was something his father (Sir Kingsley Amis (1922–1995)) might have thought but never said.  Fleet Street’s Tory tabloids liked to hire philistines as columnists and few seemed to display much self-awareness in their shark-feeding populism though Bernard Levin (1928-2004), while a Daily Mail columnist during the 1960s affected the style of a philistine proud of his ignorance.  The Mail’s readership enjoyed the solidarity but after a squabble with the proprietor he moved to The Times.

The Battle between the Philistines and the Israelites (circa 1580), oil on canvas by Tintoretto (Jacopo Robusti (1518-1594)), an Italian Renaissance painter of the Venetian school although this work is in the style of Mannerism which emerged during the Late Renaissance.

Reduction

Reduction (pronounced ri-duhk-shuhn)

(1) The act of reducing or the state of being reduced.

(2) The amount by which something is reduced or diminished.

(3) The form (result) produced by reducing a copy on a smaller scale (including smaller scale copies).

(4) In cell biology, as meiosis, especially the first meiotic cell division in which the chromosome number is reduced by half.

(5) In chemistry, the process or result of reducing (a reaction in which electrons are gained and valence is reduced; often by the removal of oxygen or the addition of hydrogen).

(6) In film production when using physical film stock (celluloid and such), the process of making a print of a narrower gauge from a print of a wider gauge (historically from 35 to 16 mm).

(7) In music, a simplified form, typically an arrangement for a smaller number of parties  such as an orchestral score arranged for a solo instrument.

(8) In computability theory, a transformation of one problem into another problem, such as mapping reduction or polynomial reduction.

(9) In philosophy (notably in phenomenology), a process intended to reveal the objects of consciousness as pure phenomena.

(10) In metalworking, the ratio of a material's change in thickness compared to its thickness prior to forging and/or rolling.

(11) In engineering, (usually as “reduction gear”), a means of energy transmission in which the original speed is reduced to whatever is suitable for the intended application.

(12) In surgery, a procedure to restore a fracture or dislocation to the correct alignment, usually with a closed approach but sometimes with an open approach.

(13) In mathematics, the process of converting a fraction into its decimal form or the rewriting of an expression into a simpler form.

(14) In cooking, the process of rapidly boiling a sauce to concentrate it.

(15) During the colonial period, a village or settlement of Indians in South America established and governed by Spanish Jesuit missionaries.

1475–1485: From the Middle English reduccion, from the earlier reduccion, from the Middle French reduction, from the Latin reductiōnem & reductiōn- (stem of reductiō (a “bringing back”)) the construct being reduct(us) (past participle of redūcere (to lead back) + -iōn- (the noun suffix).  The construct in English was thus reduc(e), -ion.  Reduce was from the Middle English reducen, from the Old French reduire, from the Latin redūcō (reduce), the construct being re- (back) + dūcō (lead).  The –ion suffix was from the Middle English -ioun, from the Old French -ion, from the Latin -iō (genitive -iōnis).  It was appended to a perfect passive participle to form a noun of action or process, or the result of an action or process.  Reduction, reductivism, reductionistic & reductionism are nouns, reductionist is a noun & adjective, reductional & reductive are adjectives; the noun plural is reductions.  Forms like anti-reduction, non-reduction, over-reduction, pre-reduction, post-reduction, pro-reduction, self-reduction have been created as required.

Actor Ariel Winter (b 1998), before (left) and after (right) breast reduction (reduction mammaplasty).  Never has satisfactorily it been explained why this procedure is lawful in most jurisdictions.

In philosophy & science, reductionism is an approach used to explain complex phenomena by reducing them to their simpler, more fundamental components.  It posits that understanding the parts of a system and their interactions can provide a complete explanation of the system as a whole an approach which is functional and valuable is some cases and to varying degrees inadequate in others.  The three generally recognized classes of reductionism are (1) Ontological Reductionism, the idea that reality is composed of a small number of basic entities or substances, best illustrated in biology where life processes are explained by reducing things to the molecular level.  (2) Methodological Reductionism, an approach which advocates studying systems by breaking into their constituent parts, much used in psychology where it might involve studying human behavior by examining neurological processes.  (3) Theory Reductionism which involves explaining a theory or phenomenon in one field by the principles of another, more fundamental field as when chemistry is reduced to the physics or chemical properties explained by the operation of quantum mechanics.  Reduction has been an invaluable component in many of the advances in achieved in science in the last two-hundred-odd years and some of the process and mechanics of reductionism have actually been made possible by some of those advances.  The criticism of an over-reliance on reductionism in certain fields in that its very utility can lead to the importance of higher-level structures and interactions being overlooked; there is much which can’t fully be explained by the individual parts or even their interaction.  The diametric opposite of reductionism is holism which emphasizes the importance of whole systems and their properties that emerge from the interactions between parts.  In philosophy, reductionism is the position which holds a system of any level of complexity is nothing but the sum of its parts and an account of it can thus be reduced to accounts of individual constituents.  It’s very much a theoretical model to be used as appropriate rather than an absolutist doctrine but it does hold that phenomena can be explained completely in terms of relations between other more fundamental phenomena: epiphenomena.  A reductionist is either (1) an advocate of reductionism or (2) one who practices reductionism.

Reductionism: Lindsay Lohan during "thin phase".

The adjective reductive has a special meaning in Scots law pertaining to reduction of a decree or other legal device (ie something rescissory in its effect); dating from the sixteenth century, it’s now rarely invoked.  In the sense of “causing the physical reduction or diminution of something” it’s been in use since the seventeenth century in fields including chemistry, metallurgy, biology & economics, always to convey the idea of reduces a substance, object or some abstract quantum to a lesser, simplified or less elaborated form.  At that time, it came to be used also to mean “that can be derived from, or referred back to; something else” and although archaic by the early 1800s, it existence in historic texts can be misleading.  It wasn’t until after World War II (1939-1945) that reductive emerged as a derogatory term, used to suggest an argument, issue or explanation has been “reduced” to a level of such simplicity that so much has been lost as to rob things of meaning.  The phrase “reductio ad absurdum” (reduction to the absurd) is an un-adapted borrowing from the Latin reductiō ad absurdum, and began in mathematics, logic (where it was a useful tool in deriving proofs in fields like).  In wider use, it has come to be used of a method of disproving a statement by assuming the statement is true and, with that assumption, arriving at a blatant contradiction; the synonyms are apagoge & “proof by contradiction”.

Single-family houses (D-Zug) built in 1922 on the principle of architectural reductionism by Heinrich Tessenow in collaboration with Austrian architect Franz Schuster (1892–1972), Moritzburger Weg 19-39 (the former Pillnitzer Weg), Gartenstadt Hellerau, Dresden, Germany.

As a noun, a reductivist is one who advocates or adheres to the principles of reductionism or reductivism.  In art & architecture (and some aspects of engineering) this can be synonymous with the label “a minimalist” (one who practices minimalism).  As an adjective, reductivist (the comparative “more reductivist”, the superlative “most reductivist”) means (1) tending to reduce to a minimum or to simplify in an extreme way and (2) belonging to the reductivism movement in art or music.  The notion of “extreme simplification” (a reduction to a minimum; the use of the fewest essentials) has always appealed some and appalled others attracted to intricacy and complexity.  The German architect Professor Heinrich Tessenow (1876-1950) summed it up in the phrase for which he’s remembered more than his buildings: “The simplest form is not always the best, but the best is always simple.”, one of those epigrams which may not reveal a universal truth but is probably a useful thing to remind students of this and that lest they be seduced by the process and lose sight of the goal.  Tessenow was expanding on the principle of Occam's Razor (the reductionist philosophic position attributed to English Franciscan friar & theologian William of Ockham (circa 1288–1347) written usually as Entia non sunt multiplicanda praeter necessitatem (literally "Entities must not be multiplied beyond necessity" which translates best as “the simplest solution is usually the best”.

Reductio in extrema

1960 Lotus Elite Series 1 (left) and at the Le Mans 24 Hour endurance classic, June 1959 (left) Lotus Elite #41 leads Ferrari 250TR #14. The Ferrari (DNF) retired after overheating, the Elite finishing eighth overall, winning the 1.5 litre GT class.

Weighing a mere 500-odd kg (1100 lb), the early versions of the exquisite Lotus Elite (1957-1963) enchanted most who drove it but the extent of the reductionism compromised the structural integrity and things sometimes broke when used under everyday conditions which of course includes potholed roads.  Introduced late in 1961 the Series 2 Elite greatly improved this but some residual fragility was inherent to the design.  On the smooth surfaces of racing circuits however, it enjoyed an illustrious career, notable especially for success in long-distance events at the Nürburgring and Le Mans.  The combination of light weight and advanced aerodynamics meant the surprisingly powerful engine (a robust unit which began life power the water pumps of fire engines!) delivered outstanding performance, frugal fuel consumption and low tyre wear.  As well as claiming five class trophies in the Le Mans 24 hour race, the Elite twice won the mysterious Indice de performance (an index of thermal efficiency), a curious piece of mathematics actually designed to ensure, regardless of other results, a French car would always win something.

Colin Chapman (1928–1982), who in 1952 founded Lotus Cars, applied reductionism even to the Tessenow mantra in his design philosophy: “Simplify, then add lightness.”  Whether at the drawing board, on the factory floor or on the racetrack, Chapman seldom deviated from his rule and while it lent his cars sparking performance and delightful characteristics, more than one of the early models displayed an infamous fragility.  Chapman died of a heart attack which was a good career move, given the likely legal consequences of his involvement with John DeLorean (1925–2005) and the curious financial arrangements made with OPM (other people's money) during the strange episode which was the tale of the DMC DeLorean gullwing coupé.

1929 Mercedes-Benz SSKL blueprint (recreation, left) and the SSKL “streamliner”, AVUS, Berlin, May 1932 (right).

The Mercedes-Benz SSKL was one of the last of the road cars which could win top-line grand prix races.  An evolution of the earlier S, SS and SSK, the SSKL (Super Sports Kurz (short) Leicht (light)) was notable for the extensive drilling of its chassis frame to the point where it was compared to Swiss cheese; reducing weight with no loss of strength.  The SSK had enjoyed success in competition but even in its heyday was in some ways antiquated and although powerful, was very heavy, thus the expedient of the chassis-drilling intended to make it competitive for another season.  Lighter (which didn't solve but at least to a degree ameliorated the high tyre wear) and easier to handle than the SSK (although the higher speed brought its own problems, notably in braking), the SSKL enjoyed a long Indian summer and even on tighter circuits where its bulk meant it could be out-manoeuvred, sometimes it still prevailed by virtue of sheer power.  By 1932 however the engine’s potential had been reached and there was no more metal which could be removed without dangerously compromising safety.  The solution was an early exercise in aerodynamics (“streamlining” the then fashionable term), an aluminium skin prepared for the 1932 race held on Berlin’s AVUS (Automobil-Versuchs und Übungsstraße (automobile traffic and practice road)).  The reduction in air-resistance permitted the thing to touch 255 km/h (158 mph), some 20 km/h (12 mph) more than a standard SSLK, an increase the engineers calculated would otherwise have demanded another 120 horsepower.  The extra speed was most useful at the unique AVUS which comprised two straights (each almost six miles (ten kilometres) in length) linked by two hairpin curves, one a dramatic banked turn.  The SSKL was the last of the breed, the factory’s subsequent Grand Prix machines all specialized racing cars.

Reduction gears: Known casually as "speed reducers", reduction gears are widely used in just about every type of motor and many other mechanical devices.  What they do is allow the energy of a rotating shaft to be transferred to another shaft running at a reduced speed (achieved usually by the use of gears (cogs) of different diameters.

In chemistry, a reduction is the process or result of reducing (a reaction in which electrons are gained and valence is reduced; often by the removal of oxygen or the addition of hydrogen) and as an example, if an iron atom (valence +3) gains an electron, the valence decreases to +2.  Linguistically, it’s obviously counterintuitive to imagine a “reduced atom” is one which gains rather than loses electrons but the term in this context dates from the early days of modern chemistry, where reduction (and its counterpart: “oxidation”) were created to describe reactions in which one substance lost an oxygen atom and the other substance gained it.   In a reaction such as that between two molecules of hydrogen (2H₂)and one of oxygen (O₂) combining to produce two molecules of water (2H₂O), the hydrogen atoms have gained oxygen atoms and were said to have become “oxidized,” while the oxygen atoms have “lost them” by attaching themselves to the hydrogens, and were thus “reduced”.  Chemically however, in the process of gaining an oxygen atom, the hydrogen atoms have had to give up their electrons and share them with the oxygen atoms, while the oxygen atoms have gained electrons, thus the seeming paradox that the “reduced” oxygen has in fact gained something, namely electrons.

Ultracrepidarian

Ultracrepidarian (pronounced uhl-truh-krep-i-dair-ee-uhn)

Of or pertaining to a person who criticizes, judges, or gives advice outside their area of expertise

1819: An English adaptation of the historic words sūtor, ne ultra crepidam, uttered by the Greek artist Apelles and reported by the Pliny the Elder.  Translating literally as “let the shoemaker venture no further” and sometimes cited as ne supra crepidam sūtor judicare, the translation something like “a cobbler should stick to shoes”.  From the Latin, ultra is beyond, sūtor is cobbler and crepidam is accusative singular of crepida (from the Ancient Greek κρηπίς (krēpís)) and means sandal or sole of a shoe.  Ultracrepidarian is a noun & verb and ultracrepidarianism is a noun; the noun plural is ultracrepidarians.  For humorous purposes, forms such as ultracrepidarist, ultracrepidarianish, ultracrepidarianize & ultracrepidarianesque have been coined; all are non-standard.

Ultracrepidarianism describes the tendency among some to offer opinions and advice on matters beyond their competence.  The word entered English in 1819 when used by English literary critic and self-described “good hater”, William Hazlitt (1778–1830), in an open letter to William Gifford (1756–1826), editor of the Quarterly Review, a letter described by one critic as “one of the finest works of invective in the language” although another suggested it was "one of his more moderate castigations" a hint that though now neglected, for students of especially waspish invective, he can be entertaining.  The odd quote from him would certainly lend a varnish of erudition to trolling.  Ultracrepidarian comes from a classical allusion, Pliny the Elder (circa 24-79) recording the habit of the famous Greek painter Apelles (a fourth century BC contemporary of Alexander the Great (Alexander III of Macedon, 356-323 BC)), to display his work in public view, then conceal himself close by to listen to the comments of those passing.  One day, a cobbler paused and picked fault with Apelles’ rendering of shoes and the artist immediately took his brushes and pallet and touched-up the sandal’s errant straps.  Encouraged, the amateur critic then let his eye wander above the ankle and suggested how the leg might be improved but this Apelles rejected, telling him to speak only of shoes and otherwise maintain a deferential silence.  Pliny hinted the artist's words of dismissal may not have been polite.

So critics should comment only on that about which they know.  The phrase in English is usually “cobbler, stick to your last” (a last a shoemaker’s pattern, ultimately from a Germanic root meaning “to follow a track'' hence footstep) and exists in many European languages: zapatero a tus zapatos is the Spanish, schoenmaker, blijf bij je leest the Dutch, skomager, bliv ved din læst the Danish and schuster, bleib bei deinen leisten, the German.  Pliny’s actual words were ne supra crepidam judicaret, (crepidam a sandal or the sole of a shoe), but the idea is conveyed is in several ways in Latin tags, such as Ne sutor ultra crepidam (sutor means “cobbler”, a word which survives in Scotland in the spelling souter).  The best-known version is the abbreviated tag ultra crepidam (beyond the sole), and it’s that which Hazlitt used to construct ultracrepidarian.  Crepidam is from the Ancient Greek κρηπίς (krēpís) and has no link with words like decrepit or crepitation (which are from the Classical Latin crepare (to creak, rattle, or make a noise)) or crepuscular (from the Latin word for twilight); crepidarian is an adjective rare perhaps to the point of extinction meaning “pertaining to a shoemaker”.

The related terms are "Nobel disease" & "Nobel syndrome" which are used to describe some of the opinions offered by Nobel laureates on subjects beyond their specialization.  In some cases this is "demand" rather than "supply" driven because, once a prize winner is added to a media outlet's "list of those who comment on X", they are sometimes asked questions about matters of which they know little.  This happens because some laureates in the three "hard" prizes (physics, chemistry, physiology or medicine) operate in esoteric corners of their discipline; asking a particle physicist something about plasma physics on the basis of their having won the physics prize may not elicit useful information.  Of course those who have won the economics or one of what are now the DEI (diversity, equity and inclusion) prizes (peace & literature) may be assumed to have helpful opinions on everything.

Jackson Pollock (1912-1956): Blue Poles

In 1973, when a million dollars was a still lot of money, the National Gallery of Australia, a little controversially, paid Aus$1.3 million for Jackson Pollock’s (1912-1956) Number 11, 1952, popularly known as Blue Poles since it was first exhibited in 1954, the new name reputedly chosen by the artist.  It was some years ago said to be valued at up to US$100 million but, given the increase in the money supply (among the rich who trade this stuff) over the last two decades odd, that estimate may now be conservative and some have suggested as much as US$400 million might be at least the ambit claim.

Number 11 (Blue poles, 1952), Oil, enamel and aluminum paint with glass on canvas.

Blue Poles emerged during Pollock’s "drip period" (1947-1950), a method which involved techniques such throwing paint at a canvas spread across the floor.  The art industry liked these (often preferring the more evocative term "action painting") and they remain his most popular works, although at this point, he abandoned the dripping and moved to his “black porings phase” a darker, simpler style which didn’t attract the same commercial interest.  He later returned to more colorful ways but his madness and alcoholism worsened; he died in a drink-driving accident.

Alchemy (1947), Oil, aluminum, alkyd enamel paint with sand, pebbles, fibers, and broken wooden sticks on canvas.

Although the general public remained uninterested (except by the price tags) or sceptical, there were critics, always drawn to a “troubled genius”, who praised Pollock’s work and the industry approves of any artist who (1) had the decency to die young and (2) produced stuff which can sell for millions.  US historian of art, curator & author Helen A Harrison (b 1943; director (1990-2024) of the Pollock-Krasner House and Study Center, the former home and studio of the Abstract Expressionist artists Jackson Pollock and Lee Krasner in East Hampton, New York) is an admirer, noting the “pioneering drip technique…” which “…introduced the notion of action painting", where the canvas became the space with which the artist actively would engage”.  As a thumbnail sketch she offered:

Number 14: Gray (1948), Enamel over gesso on paper.

“Reminiscent of the Surrealist notions of the subconscious and automatic painting, Pollock's abstract works cemented his reputation as the most critically championed proponent of Abstract Expressionism. His visceral engagement with emotions, thoughts and other intangibles gives his abstract imagery extraordinary immediacy, while his skillful use of fluid pigment, applied with dance-like movements and sweeping gestures that seldom actually touched the surface, broke decisively with tradition. At first sight, Pollock's vigorous method appears to create chaotic labyrinths, but upon close inspection his strong rhythmic structures become evident, revealing a fascinating complexity and deeper significance.  Far from being calculated to shock, Pollock's liquid medium was crucial to his pictorial aims.  It proved the ideal vehicle for the mercurial content that he sought to communicate 'energy and motion made visible - memories arrested in space'.”

Number 13A: Arabesque (1948), Oil and enamel on canvas.

Critics either less visionary or more fastidious seemed often as appalled by Pollock’s violence of technique as they were by the finished work (or “products” as some labelled the drip paintings), questioning whether any artistic skill or vision even existed, one finding them “…mere unorganized explosions of random energy, and therefore meaningless.”  The detractors used the language of academic criticism but meant the same thing as the frequent phrase of an unimpressed public: “That’s not art, anyone could do that.”

Number 1, 1949 (1949), Enamel and metallic paint on canvas. 

There have been famous responses to that but Ms Harrison's was practical, offering people the opportunity to try.  To the view that “…people thought it was arbitrary, that anyone can fling paint around”, Ms Harrison conceded it was true anybody could “fling paint around” but that was her point, anybody could, but having flung, they wouldn’t “…necessarily come up with anything.”  In 2010, she released The Jackson Pollock Box, a kit which, in addition to an introductory text, included paint brushes, drip bottles and canvases so people could do their own flinging and compare the result against a Pollock.  After that, they may agree with collector Peggy Guggenheim (1898-1979) that Pollock was “...the greatest painter since Picasso” or remain unrepentant ultracrepidarians.  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 Pablo Picasso (1881–1973) 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".   

Helen A Harrison, The Jackson Pollock Box (Cider Mill Press, 96pp, ISBN-10:1604331860, ISBN-13:978-1604331868).

Dresses & drips: Three photographs by Cecil Beaton (1904-1980), shot for a three-page feature in Vogue (March 1951) titled American Fashion: The New Soft Look which juxtaposed Pollock’s paintings hung in New York’s Betty Parsons Gallery with the season’s haute couture by Irene (1872-1951) & Henri Bendel (1868-1936).

Beaton choose the combinations of fashion and painting and probably pairing Lavender Mist (1950, left) with a short black ball gown of silk paper taffeta with large pink bow at one shoulder and an asymmetrical hooped skirt by Bendel best illustrates the value of his trained eye.  Critics and social commentators have always liked these three pages, relishing the opportunity to comment on the interplay of so many of the clashing forces of modernity: the avant-garde and fashion, production and consumption, abstraction and representation, painting and photography, autonomy and decoration, masculinity and femininity, art and commerce.  Historians of art note it too because it was the abstract expressionism of the 1940s which was both uniquely an American movement and the one which in the post-war years saw the New York supplant Paris as the centre of Western art.  There have been interesting discussions about when last it could be said Western art had a "centre".

Eye of the beholder: Portrait of Lindsay Lohan in the style of Claude Monet at craiyon.com and available at US$26 on an organic cotton T-shirt made in a factory powered by renewable energy.

Whether the arguments about what deserves to be called “art” began among prehistoric “artists” and their critics in caves long ago isn’t known but it’s certainly a dispute with a long history.  In the sense it’s a subjective judgment the matter was doubtless often resolved by a potential buyer declining to purchase but during the twentieth century it became a contested topic and there were celebrated exhibits and squabbles which for decades played out before, in the post modern age, the final answer appeared to be something was art if variously (1) the creator said it was or (2) an art critic said it was or (3) it was in an art gallery or (4) the price tag was sufficiently impressive.

So what constitutes “art” is a construct of time, place & context which evolves, shaped by historical, cultural, social, economic, political & personal influences, factors which in recent years have had to be cognizant of the rise of cultural equivalency, the recognition that Western concepts such as the distinction between “high” (or “fine”) art and “folk” (or “popular”) art can’t be applied to work from other traditions where cultural objects are not classified by a graduated hierarchy.  In other words, everybody’s definition is equally valid.  That doesn’t mean there are no longer gatekeepers because the curators in institutions such as museums, galleries & academies all discriminate and thus play a significant role in deciding what gets exhibited, studied & promoted, even though few would now dare to suggest what is art and what is not: that would be cultural imperialism.

In the twentieth century it seemed to depend on artistic intent, something which transcended a traditional measure such as aesthetic value but as the graphic art in advertising and that with a political purpose such as agitprop became bigger, brighter and more intrusive, such forms also came to be regarded as art or at least worth of being studied or exhibited on the same basis, in the same spaces as oil on canvas portraits & landscapes.  Once though, an unfamiliar object in such places could shock as French painter & sculptor Marcel Duchamp (1887-1968) managed in 1917 when he submitted a porcelain urinal as his piece for an exhibition in New York, his rationale being “…everyday objects raised to the dignity of a work of art by the artist's act of choice.”  Even then it wasn’t a wholly original approach but the art establishment has never quite recovered and from that urinal to Dadaism, to soup cans to unmade beds, it became accepted that “anything goes” and people should be left to make of it what they will.  Probably the last remaining reliable guide to what really is "art" remains the price tag.

1948 Cisitalia 202 GT (left; 1947-1952) and 1962 Jaguar E-Type (1961-1974; right), Museum of Modern Art (MoMA), New York City.

Urinals tend not to be admired for their aesthetic qualities but there are those who find beauty in things as diverse as mathematical equations and battleships.  Certain cars have long been objects which can exert an emotional pull on those with a feeling for such things and if the lines are sufficiently pleasing, many flaws in engineering are often overlooked.  New York’s Museum of Modern Art (MoMA) acknowledged in 1972 that such creations can be treated as works of art when they added a 1948 Cisitalia 202 GT finished in “Cisitalia Red” (MoMA object number 409.1972) to their collection, the press release noting it was “…the first time that an art museum in the U.S. put a car into its collection.”  Others appeared from time-to-time and while the 1953 Willys-Overland Jeep M-38A1 Utility Truck (MoMA object number 261.2002) perhaps is not conventionally beautiful, its brutish functionalism has a certain simplicity of form and in the exhibition notes MoMA clarified somewhat by describing it as a “rolling sculpture”, presumably in the spirit of a urinal being a “static sculpture”, both to be admired as pieces of design perfectly suited to their intended purpose, something of an art in itself.  Of the 1962 Jaguar E-Type (XKE) open two seater (OTS, better known as a roadster and acquired as MoMA object number 113.996), there was no need to explain because it’s one of the most seductive shapes ever rendered in metal.  Enzo Ferrari (1898-1988) attended the 1961 Geneva Motor Show (now defunct) when the Jaguar staged its stunning debut and part of E-Type folklore is he called it “the most beautiful car in the world”.  Whether those words ever passed his lips isn’t certain because the sources vary slightly in detail and il Commendatore apparently never confirmed or denied the sentiment but it’s easy to believe and many to this day agree just looking at the thing can be a visceral experience.  The MoMA car is finished in "Opalescent Dark Blue" with a grey interior and blue soft-top; there are those who think the exhibit would be improved if it was in BRG (British Racing Green) over tan leather but anyone who finds a bad line on a Series 1 E-Type OTS is truly an ultracrepidarian.   

Inkhorn

Inkhorn (pronounced ingk-hawrn)

A small container of horn or other material (the early version would literally have been hollowed-out horns from animals), formerly used to hold writing ink.

1350-1400: From the Middle English ynkhorn & inkehorn (small portable vessel, originally made of horn, used to hold ink), the construct being ink +‎ horn.  It displaced the Old English blæchorn, which had the same literal meaning but used the native term for “ink”.  It was used attributively from the 1540s as an adjective for things (especially vocabulary) supposed to be beloved by scribblers, pedants, bookworms and the “excessively educated”).  Inkhorn, inkhornery & inkhornism are nouns, inkhornish & inkhornesque are adjectives and inkhornize is a verb; the noun plural is inkhorns.

Ink was from the Middle English ynke, from the Old French enque, from the Latin encaustum (purple ink used by Roman emperors to sign documents), from the Ancient Greek ἔγκαυστον (énkauston) (burned-in”), the construct being ἐν (en) (in) + καίω (kaíō) (burn). In this sense, the word displaced the native Old English blæc (ink (literally “black” because while not all inks were black, most tended to be).  Ink came ultimately from a Greek form meaning “branding iron”, one of the devices which should make us grateful for modern medicine.  Because, in addition to using the kauterion to cauterize (seal wounds with heat), essentially the same process was used to seal fast the colors used in paintings.  Then, the standard method was to use wax colors fixed with heat (encauston (burned in)) and in Latin this became encaustum which came to be used to describe the purple ink with which Roman emperors would sign official documents.  In the Old French, encaustum became enque which English picked up as enke & inke which via ynk & ynke, became the modern “ink”.  Horn was from the Middle English horn & horne, from the Old English horn, from the Proto-West Germanic horn, from the Proto-Germanic hurną; it was related to the West Frisian hoarn, the Dutch hoorn, the Low German Hoorn, horn, the German, Danish & Swedish horn and the Gothic haurn.  It was ultimately from the primitive Indo-European ḱr̥h-nó-m, from ḱerh- (head, horn) and should be compared with the Breton kern (horn), the Latin cornū, the Ancient Greek κέρας (kéras), the Proto-Slavic sьrna, the Old Church Slavonic сьрна (sĭrna) (roedeer), the Hittite surna (horn), the Persian سر (sar) and the Sanskrit शृङ्ग (śṛṅga) (horn

Inkhorn terms & inkhorn words

The phrase “inkhorn term” days from the 1530s and was used to criticize the use of language in an obscure or way difficult for most to understand, usually by an affected or ostentatiously erudite borrowing from another language, especially Latin or Greek.  The companion term “inkhorn word” was used of such individual words and in modern linguistics the whole field is covered by such phrases as “lexiphanic term”, “pedantic term” & “scholarly term”, all presumably necessary now inkhorns are rarely seen.  Etymologists are divided on the original idea behind the meaning of “inkhorn term” & “inkhorn word”.  One faction holds that because the offending words tended to be long or at least multi-syllabic, a scribe would need more than once to dip their nib into the horn in order completely write things down while the alternative view is that because the inkhorn users were, by definition, literate, they were viewed sometimes with scepticism, one suspicion they used obscure or foreign words to confuse or deceive the less educated.  The derived forms are among the more delightful in English and include inkhornism, inkhornish, inkhornery inkhornesque & inkhornize.  The companion word is sesquipedalianism (a marginal propensity to use humongous words).

Lindsay Lohan and her lawyer in court, Los Angeles, December 2011.

Inkhorn words were in the fourteenth & fifteenth centuries known also as “gallipot words”, derived from the use of such words on apothecaries' jars, the construct being galli(s) + pot.  Gallis was from the Latin gallus (rooster or cock (male chicken)), from the Proto-Italic galsos, an enlargement of gl̥s-o-, zero-grade of the primitive Indo-European gols-o-, from gelh- (to call); it can be compared with the Proto-Balto-Slavic galsas (voice), the Proto-Germanic kalzōną (to call), the Albanian gjuhë (tongue; language), and (although this is contested) the Welsh galw (call).  Appearing usually in the plural a gallipot word was something long, hard to pronounce, obscure or otherwise mysterious, the implication being it was being deployed gratuitously to convey the impression of being learned.  The companion insult was “you talk like an apothecary” and “apothecary's Latin” was a version of the tongue spoken badly or brutishly (synonymous with “bog Latin” or “dog Latin” but different from “schoolboy Latin” & “barracks Latin”, the latter two being humorous constructions, the creators proud of their deliberate errors).  The curious route which led to “gallipot” referencing big words was via the rooster being the symbol used by apothecaries in medieval and Renaissance Europe, appearing on their shop signs, jars & pots.  That was adopted by the profession because the rooster symbolized vigilance, crowing (hopefully) at dawn, signaling the beginning of the day and thus the need for attentiveness and care.  Apothecaries, responsible for preparing and dispensing medicinal remedies, were expected to be vigilant and attentive to detail in their work to ensure the health and well-being of their patients who relied on their skill to provided them the potions to “get them up every morning” in sound health.  Not all historians are impressing by the tale and say a more convincing link is that in Greek mythology, the rooster was sacred to Asclepius (Aesdulapius in the Latin), the god of medicine, and was often depicted in association with him.  In some tales, Asclepius had what was, even by the standards of the myths of Antiquity, a difficult birth and troubled childhood.

The quest for the use of “plain English” is not new.  The English diplomat and judge Thomas Wilson (1524–1581) wrote The Arte of Rhetorique (1553), remembered as the “the first complete works on logic and rhetoric in English” and in it he observed the first lesson to be learned was never to affect “any straunge ynkhorne termes, but to speak as is commonly received.”  Wring a decade earlier, the English bishop John Bale (1495–1563) had already lent an ecclesiastical imprimatur to the task, condemning one needlessly elaborate text with: “Soche are your Ynkehorne termes” and that may be the first appearance of the term in writing.  A religious reformer of some note, he was nicknamed “bilious Bale”, a moniker which politicians must since have been tempted to apply to many reverend & right-reverend gentlemen.  A half millennium on, the goal of persuading all to use “plain English” is not yet achieved and a fine practitioner of the art was Dr Kevin Rudd (b 1957; Australian prime-minister 2007-2010 & 2013): from no one else would one be likely to hear the phrase “detailed programmatic specificity” and to really impress he made sure he spoke it to an audience largely of those for whom English was not a first language.

An inkhorn attributed to Qes Felege, a scribe and craftsman.

Animal horns were for millennia re-purposed for all sorts of uses including as drinking vessels, gunpowder stores & loaders, musical instruments and military decoration and in that last role they’ve evolved into a political fashion statement, Jacob Chansley (b 1988; the “QAnon Shaman”) remembered for the horned headdress worn during the attack on the United States Capitol building in Washington DC on 6 January 2021.  Inkhorns tended variously to be made from the horns of sheep or oxen, storing the ink when not as use and ideal as a receptacle into which the nib of a quill or pen could be dipped.  Given the impurities likely then to exist a small stick or nail was left in the horn to stir away any surface film which might disrupts a nib’s ability to take in free-flowing ink, most of which were not pre-packaged products by mixed by the user from a small solid “cake” of the base substance in the desired color, put into the horn with a measure starchy water and left overnight to dissolve.  The sharp point of a horn allowed it to be driven into the ground because the many scribes were not desk-bound and actually travelled from place to place to do their writing, quill and inkhorn their tools of trade.

A mid-Victorian (1837-1901) silver plated three-vat inkwell by George Richards Elkington (1801–1865) of Birmingham, England.

The cast frame is of a rounded rectangular form with outset corners, leaf and cabuchons, leaf scroll handle and conforming pen rest.  The dealer offering this piece described the vats as being of "Vaseline" glass with fruit cast lids and in the Elkington factory archives, this is registered, 8 Victoria Chap 17. No. 899, 1 November 1841.  “Vaseline glass” is a term describing certain glasses in a transparent yellow to yellow-green color attained by virtue of a uranium content.  It's an often used descriptor in the antique business because some find the word “uranium” off-putting although inherently the substance is safe, the only danger coming from being scratched by a broken shard.  Also, some of the most vivid shades of green are achieved by the addition of a colorant (usually iron) and these the cognoscenti insist should be styled “Depression Glass” a term which has little appeal to antique dealers.  The term “Vaseline glass” wasn’t used prior to the 1950s (after the detonation of the first A-bombs in 1945, there emerged an aversion to being close to uranium) and what's used in this inkwell may actually be custard glass or Burmese glass which is opaque whereas Vaseline glass is transparent.  Canary glass was first used in the 1840s as the trade name for Vaseline glass, a term which would have been unknown to George Richards Elkington.

English silver plate horn and dolphin inkwell (circa 1909) with bell, double inkwell on wood base with plaque dated 1909.  This is an inkwell made using horns; it is not an inkhorn.

So inkhorns were for those on the move while those which sat on desks were called “ink wells” or “ink pots” and these could range from simple “pots” to elaborate constructions in silver or gold.  There are many ink wells which use horns as part of their construction but they are not inkhorns, the dead animal parts there just as decorative forms of structure.

Dr Rudolf Steiner’s biodynamic cow horn fertilizer.

Horns are also a part of the “biodynamic” approach to agriculture founded by the Austrian occultist & mystic Rudolf Steiner (1861-1925), an interesting figure regarded variously as a “visionary”, a “nutcase” and much between.  The technique involves filling cow horns with cow manure which are buried during the six coldest months so the mixture will ferment; upon being dug up, it will be a sort of humus which has lost the foul smell of the manure and taken on a scent of undergrowth.  It may then be used to increase the yield generated from the soil.  It’s used by being diluted with water and sprayed over the ground.  Dr Steiner believed the forces penetrating the digestive organ of cows through the horn influence the composition of their manure and when returned to the environment, it is enriched with spiritual forces that make the soil more fertile and positively affect it.  As he explained: “The cow has horns to send within itself the etheric-astral productive forces, which, by pressing inward, have the purpose of penetrating directly into the digestive organ. It is precisely through the radiation from horns and hooves that a lot of work develops within the digestive organ itself.  So in the horns, we have something well-adapted, by its nature, to radiate the vital and astral properties in the inner life.”  Now we know.