Endurance

Endurance (pronounced en-doo r-uhns or en-dyoo r-uhns)

(1) The fact or power of enduring or bearing pain, hardships, etc.

(2) The ability or strength to continue or last, especially despite fatigue, stress, or other adverse conditions; stamina.

(3) Lasting quality; duration.

(4) Something endured, as a hardship; trial.

1485-1495: From the Middle English enduren from the Old French endurer, from the Classical Latin indūrō (to make hard).  Enduren displaced the pre-900 Old English drēogan (congnate with the Gothic driugan (to serve in arms) which survives dialectally as dree (tedious; dreary)).  The meaning "ability to endure suffering" was first noted in the 1660s. The older forms, enduraunce, indurance, induraunce are all long obsolete.  Construct was endure + ance; the suffix –ance (a process or action) added to the stem of verbs to form a noun indicating a state or condition, such as result or capacity, associated with the verb, this especially prevalent with words borrowed from French.  Many words ending in ance were formed in French by alteration of a noun or adjective ending in ant; ance was derived from the Latin anita and enita.

Endurance Racing

There’s no precise definition of endurance racing, it's just a form of competition of greater duration of length than most.  It’s bounced around over the years but events now regarded as endurance races tend to be over a distance of 625 miles (1000 km) or twelve or twenty-four hours long.  Long races existed from the early days of motorsport, the first twenty-four hour event being on an oval circuit at Dayton, Ohio in 1905, followed soon by the opening event at the purpose-built Brooklands circuit in 1907.  One of the epic races was the Targa Florio, first run in 1906.  Held originally on public roads in the mountains of Sicily near the capital Palermo, it was for decades the oldest event for sports cars and a round of the World Sportscar Championship between 1955-1973.  The first few races were a lap of the whole island but as the volume of traffic and competitors increased, it became too disruptive and the track length was reduced to the 72 kilometre (45 mile) Circuito Piccolo delle Madonie, each Targa Florio run over eleven laps.  Safety concerns and the oil crisis conspired to remove it from the world championship after 1973 and it was finally cancelled in 1977.  A much toned-down event is now run annually as a round of the Italian Rally Championship.

Further north, the thousand-mile Mille Miglia, also run on public roads, was first staged in 1927 and although soon one of the classic events on the calendar, it's the 1955 race to which a particular aura still attaches.  Won by Stirling Moss (1929-2020) and  Denis Jenkinson (1920-1996), they used a Mercedes 300SLR, a car which technically complied with the sports car regulations but was actually the factory's formula one machine (W196) with a bigger engine and a streamlined body with seats for two.  It wasn't exactly a "grand prix car with headlights" as some claimed but wasn't that far off.  Officially the W196S (Sports) in the factory register, for marketing purposes it was dubbed (add badged) as the 300SLR to add lustre to the 300SL Gullwing coupé then on sale.

Mercedes-Benz W196S (300SLR), Mille Miglia, 1955.

The race was completed in 10 hours, 7 minutes and 48 seconds, a average speed of 157.650 km/h (97.96 mph).  The course was never exactly 1000 miles; in 1957 it was 1,597 km (992 miles) and at times, the 300SLR touched almost 290 km/h (180mph) which enabled Moss to cover the last 340 km (211 miles) at an average speed of 265.7 km/h (165.1) mph.  The record set in 1955 will stand for all time because the Italian government banned the Mille Miglia after two fatal crashes during the 1957 event, one of which killed nine spectators and a cursory glace at the photographs showing crowds clustered sometimes literally inches from the speeding cars might suggest it's surprising not more died.  Today, the name of the Mille Miglia endures as a semi-competitive tour for historic racing cars which, run since 1977, is very much a social occasion for the rich.  By contrast, events run on closed courses have survived, the most famous of which is the 24 Heures du Mans (the Le Mans 24 Hour) and well-known 1000 km (625 mile), 12 & 24 hour races have been run at Sebring, Laguna Seca, Daytona, Bathurst, the Nürburgring and Spa Francorchamps.

Endurance racing: Porsche 917Ks sideways in the wet; Vic Elford (1935-2022, right #11) and Pedro Rodriguez (1940-1971, left #10), BOAC 1000km, Brands Hatch, April 1970.  The race was the third round of the 1970 World Sports Car Championship.  Chris Amon (1943–2016) put a Ferrari 512S on pole but the 1000 was won (by 5 laps) by Pedro Rodríguez & Leo "Leksa" Kinnunen (1943–2017) in a Porsche 917K entered by John Wyer (1909–1989).  Amon was impressed by the speed maintained by Rodríguez in atrociously wet conditions (although much improved from the lethally unstable version seen a year earlier, even by 1970 the 917 could be difficult to handle on a dry surface) and is said to have remarked to his pit crew: "Can somebody tell Pedro it's raining?"

Some endurance required: In 2023, the Dowse Art Museum in Wellington, New Zealand, staged the exhibition exploring the 2014 installation at Fort Delta, Melbourne in July 2014 in which New Zealand based artist Claire Harris (b 1982) watched Ms Lohan's entire filmography back to back in a live performance art work over 28 hours.  The issues discussed included “how” and “why” and there were practical tips on developing the stamina required for such feats of endurance.  The companion 34 page illustrated book Happy birthday Lindsay Lohan, 2011-2014 is available on request from the National Library of New Zealand.  The pages are unnumbered, the rational for which is not disclosed.

As a general principle, an "endurance event" tends to be a longer version of something so it’s thus a relative as well as an absolute term.  In sport, something like the Marathon, run over 42 kilometres (26 miles) is the endurance event of running where as the shorter contests are sprints (such as the 100 or 200 meters) or “distance” races (such as the 5,000 or 10,000 metres).  However, were the Marathon not to exist, then the 10,000 would be the “endurance” event of the Olympic Games, the tag attaching to whatever is the longest form.  In other fields, “endurance” can be more nuanced because what some find an “act of endurance” to sit through, others relish and long for more.  Richard Wagner’s (1813–1883)'s Der Ring des Nibelungen (The Ring of the Nibelung, 1876 (usually referred to as “The Ring Cycle”)) is an opera of epic length in cycle consisting of four separate pieces, each of the composer regarded as “an opera”:

Das Rheingold: (The Rhinegold; some 2½ hours with no intermission)
Die Walküre: (The Valkyrie; some 4½-5½ hours with intermissions)
Siegfried: (some 5-5½ hours with intermissions)
Götterdämmerung: (Twilight of the Gods; some 5-6 hours with intermissions)

So, a performance of the Ring Cycle absorbs between 15-17 hours and is thus usually spread over several days, some productions staging the event across a month, each performance (usually three or four) held on a weekend.  Grand Opera really is the West’s greatest artistic achievement and among the aficionados, the Wagnerian devotees are the most dedicated and passionate, some travelling the world to compare and contrast different productions of the Ring.  For them it’s not usually a test of endurance (although a production of which they don’t approve will be a long 17 hours) because they relish every moment but for others it’s probably unthinkable.  Although it’s long been attributed to him, the US humorist Mark Twain (1835-1910) may never have said: “Wagner’s music isn’t as bad as it sounds”, the back-handed compliment reflects the view of the majority, brought up on shorter, more accessible forms of entertainment.  For them, one hour of Wagner would be an endurance test.

The three later individual pieces of The Ring are themselves epic-length operas and Wagner wrote a number in this vein including Die Meistersinger von Nürnberg (The Master-Singers of Nuremberg, 1868; 5-6 hours), Parsifal (1882; 4-5 hours), Lohengrin (1850; 4 hours), Tannhäuser (1845; 4 hours) and the incomparable Tristan und Isolde (1965; 4-5 hours).  What came to define “epic length” in Opera was: (1) the typical length of other works and (2) the powers of endurance of those on stage, in the orchestra pit or in the audience.  Other composers did tend to write shorter operas although Giacomo Meyerbeer (1791–1864), Giuseppe Verdi (1813–1901), Richard Strauss (1864–1949), Gioachino Rossini (1792–1868) and Hector Berlioz (1803–1869) all produced works running over four hours and it was not unusual for there to be two or even three intermissions.  For profligacy with time however, none match Wagner although some modern composers have written very long operas although their length seems other to be their only memorable feature.

Epics: On vinyl, tracks did lengthen and if the physical limits of vinyl were exceeded, the piece could be spread over more than one disk.  Iron Butterfly’s In-A-Gadda-Da-Vida (1968, left) was 17:05 in length, Jethro Tull’s Thick as a Brick (1972, centre) was 43:46 (over two disks) while Rush’s 2112 (1976, right) was 20:33.

Cast adrift from the moorings of endurance by internet streaming making available infinite playing time, “songs” in the twenty-first century can last literally hours and an illustrative example is The Rise and Fall of Bossanova by PC III (Michael J Bostwick) which weighs in at a Wagarian 13 hours, 23 minutes, and 32 seconds.  It seems between 2016-2020 to have held the Guinness World Record as the longest song officially released although whether this should be thought a proud boast or admission of guilt will be up to those who listen.  Ominously, one of the implications of AI (artificial intelligence) is that in theory, someone could release a song which, without hesitation, deviation or repetition, goes on forever.

Andy Warhol's Empire is occasionally screened but always on the basis that viewers may "come and go" at any point in its eight hour run-time.

In pop music, the “epic length piece” was shorter by virtue of technological determinism.  Modern pop music (as the term is now understood) began in the 1950s and the standard form of distribution by the 1960s was the LP (long-playing) vinyl album, first released in 1948.  Because the technology of the time limited the duration of music which could fit on the side of a LP disk to about 27 minutes, that became the upper limit for a single song and at that length, it could be called “epic length” or just “an epic”.  Some bands and individuals did produce “epics” with varied results and some were probably better enjoyed (or endured) with drugs.  Not discouraged by the limitations of vinyl, others noted the possibilities offered by double (2 disks) or even triple (3 disks) albums and penned “rock operas”, the need to change disks a convenient operatic touch in that it provided a intermission.  Andy Warhol (1928–1987) took the idea of the endurance test to celluloid, in 1965 releasing Empire, a silent film shot in black & white showing New York’s Empire State Building at night (form a single aspect).  Running for some eight hours and designed to be viewed in slow-motion, it received critical praise from the usual suspects and little interest among even those who frequented art-house cinemas.  Warhol issued as statement saying the purpose was “to see time go by” and it can’t be denied he succeeded, perhaps even more convincingly than his earlier five hour epic Sleep (1964) which was an edited collection of takes of a man sleeping.  Similar scenes may have been found among those who found watching Empire beyond their powers of endurance.

Panglossian

Panglossian (pronounced pan-glos-ee-uhn or pan-glaws-ee-uhn)

(1) A naïve or unreasonably optimistic view (can be used negatively, neutrally, or positively).  

(2) Of or relating to the view that this is the best of all possible worlds (can be used negatively, neutrally, or positively).  

1758: From the character of the philosopher and tutor Dr Pangloss, in Voltaire's (the nom de plume of François-Marie Arouet (1694-1778)) satirical novella Candide (1759), the construct being Pangloss +‎ -ian.  Pan in this context is in the sense of “all”, the Modern English from the Middle English panne, from the Old English panne, from the Proto-West Germanic pannā, from the Proto-Germanic pannǭ.  It was cognate with the West Frisian panne, the Saterland Frisian Ponne, the Dutch pan, the German & Low German Panne & Pann, the German Pfanne, the Danish pande, the Swedish panna and the Icelandic panna.  Gloss is probably from a North Germanic language, the influence perhaps the Icelandic where the word was glossi (spark, flame) & glossa (to flame) or the from the dialectal Dutch gloos (a glow, flare), related to the West Frisian gloeze (a glow), from the Middle Low German glȫsen (to smolder, glow), ultimately from the Proto-Germanic glus- (to glow, shine), from Proto-Indo-European gael- (to flourish; be green or yellow); related to the modern glow.  The Greek glōssa translates literally as "tongue”.  The –ian suffix is from the Latin -iānus (the alternative forms were -ānus, -ēnus, -īnus & -ūnus); it was used to which form adjectives of belonging or origin from a noun.  Panglossian is an adjective and Panglossianism is a noun.

Voltaire's Dr Pangloss (an aptronym al la Mr Talkative & Mr Worldly Wiseman in John Bunyan’s (1628–1688) 1678 Christian allegory The Pilgrim’s Progress) was a construct of Pan in the sense of “all” and gloss in the figurative sense of something “superficially or deceptively attractive appearance”.  The comparative is more Panglossian, the superlative most Panglossian; the most commonly used synonym is Pollyannaish (from the eponymous character in the 1913 novel by US author Eleanor H Porter (1868-1920); the little girl who no matter what misfortune befalls her, manages always to find something about which to be glad).  Although a critique rather than anything hagiographic, Candide was very much a work of the Enlightenment, controversial and in some places, like the author, banned.  Voltaire created Pangloss as a parody of the German philosopher Gottfried von Leibniz (1646-1716) who claimed this is the best of all possible worlds (there are those who blame Leibniz for starting the tradition of German philosophers going mad (eg Nietzsche, Weber and (at least debatably) Hegel)).  Just to emphasize the point for English readers, some of the early translations subtitled: Candide: All for the Best (1759) & Candide: The Optimist (1762), the last re-used even in 1947.

Candide was a young man who had led a sheltered, idyllic life being tutored with Leibnizian optimism by Dr Pangloss, “the greatest philosopher of the Holy Roman Empire”.  The theme being what happens when philosophy meets the real world, the work describes Candide's slow and mournful disillusionment as he witnesses and endures the vicissitudes of earthly existence, ending with the realization that while we certainly don’t live in Leibniz’s “best of all possible worlds”, it’s still a place in which “we must cultivate our garden" and make the best of what is which Candide expresses as “all is for the best in this best of all possible worlds”.  Panglossianism is thus a byword for excessive, even exuberant, optimism and authors have had fun with it ever since, the cheeky term "panglossian pessimism" describing the idea that because this is the best of all possible worlds, improvement is impossible, a theme Joseph Heller (1923-1999) explored in one of the memorable exchanges in Catch-22 (1961).  Some 260 years on, Candide remains a pleasure to read and such is Voltaire's touch that modern readers will find much with which to identify, scenes such as the glum dinner in Vienna where the guests are all deposed ex-Kings could easily have been written any time in the last century.  One of Voltaire’s many memorable lines is in Candide, his explanation of why the Royal Navy had one of their own admirals, John Byng (1704–1757) executed by firing squad his own quarterdeck: "...mais dans ce pays-ci il est bon de tuer de tems en tems un Amiral pour encourager les autres.” (...but in this country it is found good, from time to time, to kill one Admiral to encourage the others).  However, like Shakespeare and Churchill, some quotes are attributed to him on the basis merely that they sound Voltairesque.  He really did say the “…agglomeration which was called and which still calls itself the Holy Roman Empire was in no way holy, nor Roman, nor an empire." but the story that when on his death bed a priest appeared to administer the last rites and asked: "Do you accept God, renouncing the Devil and all his works?", he answered: "This is hardly the time to be making enemies" is apocryphal.  Before it was first attributed to Voltaire in the 1970s, the joke had circulated for over a century, the dying man said variously to be Machiavelli (Niccolò di Bernardo dei Machiavelli, 1469–1527), the US Author Wilson Mizner (1876–1933) and some unidentified Irishmen and Scotsmen.

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

While one of the seminal texts of the Enlightenment, Candide is also an irony-laden attack on the optimistic hopes and faith of Enlightenment thought. Voltaire’s criticism of Leibniz’s philosophy is directed mostly as his principle of sufficient reason, which maintains that nothing can be so without there being a reason why it is so, the consequence of which is the belief that the actual world must be the best one humanly possible.  Later, structural functionalists would start in much the same place and reach other conclusions.

Pareidolia

Pareidolia (pronounced pair-ahy-doh-lee-uh or pair-uh-doh-lee-uh)

In psychiatry and psychology, the tendency to interpret a vague stimulus as something known to the observer, such as seeing shapes in clouds, or hearing hidden messages in music; the perception of meaning in a shape which exists by mere coincidence.

1867 (in English): From the German Pareidolie, the construct being the Ancient Greek παρα- (para-) (alongside, concurrent) + εἴδωλον (eídōlon) (image) + -ία (-ía).  The -ia suffix was from the Latin -ia and the Ancient Greek -ία (-ía) & -εια (-eia), used to form abstract nouns of feminine gender.  It was applied to the names of countries, diseases, species etc and, occasionally, collections of stuff.  In English, the word was re-introduced by UFO (Unidentified Flying Object) debunker Steven Goldstein in 22 June 1994 edition of Skeptical Inquirer magazine, a publication devoted to rational, evidence-based explanations of the para-normal, magic, flying saucers and the many crackpot notions spread by new-agers, spiritualists, conspiracy theorists and other such folk.  Pareidolia is a noun and paradolic is an adjective; the noun plural is pareidolias.  There are circumstances in which the adjectives paradolish & paradolesque might be useful but neither exists.

The German word Pareidolie was in 1866 used by German psychiatrist Dr Karl Ludwig Kahlbaum (1828–1899) in his academic paper Die Sinnesdelierien (On Delusion of the Senses and in 1867, upon re-publication in volume 13 of The Journal of Mental Science, it was translated into English as “pareidolia” and noted as synonymous with the terms “...changing hallucination, partial hallucination, and perception of secondary images.”  The use of “pareidolia” is nuanced because any object (whether constructed or natural phenomenon) which even vaguely resembles something or someone can be pareidolic but the condition of pareidolia exists only when an individual attaches some meaning to the appearance or sound.  The general term is apophenia (the tendency to perceive meaningful connections between unrelated things), coined in 1958 by German neurologist and psychiatrist (and one-time Nazi) Dr Klaus Conrad (1905-1961) as Apophänie, from the Ancient Greek verb ἀποφαίνω (apophaínō), the construct being ἀπο- (apo-) and φαίνω (phaínō) (appear).  Herr Dr Conrad’s paper was on the topic of early-stage schizophrenia and he defined Apophänie as the “…unmotivated seeing of connections [accompanied by] a specific feeling of abnormal meaningfulness.”  In this, he distinguished between Apophänie as the early stages of delusional (and self-referential) over-interpretation of actual sensory perceptions, as opposed to hallucinations which were wholly illusory.

Pareidolia is a form of apophenia where the mind will attempt to find connections in random events, thoughts or patterns where none actually exist.  Pareidolia concentrates the visual and audio aspects of the brain in constructing a perception from a vague stimulus.  Clinically, there are two forms of pareidolia: (1) the “mechanistic”, where man-made objects, by mere coincidence have a resemblance to something else and (2) the “matrixed”, where natural phenomenon such as rock formations, clouds or the surfaces of planets include shapes which can be interpreted as something human, animal or supernatural and instead of being regarded as coincidental and amusing, are treated as having some inherent meaning or being evidence of some theory otherwise unsupported by any evidence.

The vast majority of pareidolias reported resemble the human face.  It’s believed that early in human evolution, the visual system developed specialized neural mechanisms which exist rapidly to detect faces and this “broad tuning” for facial features is thought to underlie the illusory perception of faces in inanimate objects (the phenomenon classified as “face pareidolia”).  There were all sorts of reasons why evolution operated in this way (family and societal relationships, recognition of threats by other creatures with a vaguely similar facial structure) and recent research suggests the mechanisms underlying face processing (certainly during the earliest phase of visual encoding) may treat objects that resemble faces as real faces, prioritizing their detection (this phase operating as something of a “clearing house”; the “positives” further processed, the “negatives” discarded.  What is of interest in psychology is that face pareidolia has been more frequently reported amongst individuals prone to hallucinations.

That the phenomenon of face pareidolia manifests with such frequency as the identification of the human face in various structures prompted some to ponder the evidence from behavioral studies of diminished orientation towards faces as well as the presence of face perception impairments in autism spectrum disorder (ASD); the research in this aspect of the condition has been criticized but the design of the experimental approach was challenging, interest was taken in the possibility of a relationship between the two.  In ASD research, face-like object stimuli which had been shown to evoke pareidolia in TD (typically developing according defined criteria in the fifth edition of the Diagnostic and Statistical Manual of Mental Disorders (DSM-5, 2013)) individuals were used to test the effect of a global face-like configuration on orientation and perceptual processes in young children with ASD and age-matched TD controls.  That had demonstrated TD children were more likely to look first towards upright face-like objects than children with ASD, suggesting a global face-like configuration elicit a stronger orientation bias in TD children as compared to children with ASD.  However, once focused on the stimuli, both groups spent more time exploring the upright face-like object, suggesting both perceived it as a face.  The conclusion was the result was in agreement with earlier work in the field of abnormal social orienting in ASD.  The conclusion was something like the usual “more research required”.

Detecting faces in non-face stimuli may have a strong adaptive value given that from an evolutionary point of view, the cost of erroneously detecting a face in non-face stimuli might be less than failing to detect another’s face in the environment.  Pareidolia may thus be just another spectrum condition in that the perception of pareidolic faces or other shapes in a variety of surfaces or spaces may vary little between people, the difference being more the individual’s reaction and the reporting of the event(s).

Sometimes a cloud is just a cloud (left) but when Lindsay Lohan wanted something to encapsulate the spirit of her Instagram post requesting privacy to “solve personal matters” after a tiff with her then with fiancé, she choose a pareidolic cloud in the shape of a “heart” (complete with silver lining, centre).  Before their tiff, Donald Trump's (b 1946; US president 2017-2021) fixer and personal counsel Michael Cohen (b 1966) would receive messages (right) from God in the shape of clouds, assuring him Mr Trump was the Almighty's choice as the "people's messenger".

Automatism

Automatism (pronounced aw-tom-uh-tiz-um)

(1) A condition in which one is consciously or unconsciously, but involuntarily, compelled to the performance of certain acts; also called telergy.

(2) In philosophy, the doctrine that all activities of animals (or of humans and animals), are entirely controlled by physical or physiological causes in which consciousness takes no part; the doctrine that animals are automata, operating according to mechanical laws.

(3) In certain common-law jurisdictions, a defense available to the accused in certain, limited circumstances (the threshold is high because it can be an absolute defense).

(4) In clinical physiology. the involuntary functioning of an organic process, especially muscular, without apparent neural stimulation.

(5) In psychology, the performance of an act or actions without the performer's awareness or conscious volition.

(6) In early-mid twentieth-century art, a method of producing pictorial art, as paintings and collages, associated chiefly with the dadaists and surrealists, in which the artist strives to allow the impulses of the unconscious to guide the hand in matters of line, color and structure without the interference of conscious choice.

1803: From the Ancient Greek automatismós (a happening of itself), the construct being automat(on) + -ism.  Automaton (αὐτόματον) (autómaton) as the neuter form of αὐτόματος (autómatos) (self moving, self willed).  The –ism suffix is ultimately either from the Ancient Greek -ισμός (-ismós), a suffix that forms abstract nouns of action, state, condition, doctrine; from stem of verbs in -ίζειν (-ízein) (whence the English -ize), or from the related suffix Ancient Greek -ισμα (-isma), which more specifically expressed a finished act or thing done.  The preferred plural form is automatisms.  The use in 1803 referenced "the doctrine that animals below man are devoid of consciousness; it was extended in 1856 to to humans in the sense of "automatic or involuntary action".  In psychology, automaticism (an action performed subconsciously, without any apparent direction from the mind) is synonymous with the legal construction of automatism.  Automatism, automatist & automaton are nouns and automatistic is an adjective; the noun plural is automatisms (automatons sometimes used in courts).  

At law

Sane automatism is an infrequently used defense in law, rare because the standard of proof required is so high.  If successful, it’s an absolute defense for almost any crime, including murder, even in circumstances where both sides accept a defendant is proved beyond any doubt to have done the deed.  Best thought of as the sleepwalker’s defense, the sane automaton escapes liability because (1) they were sane at the time of the offence and therefore can’t be committed to incarceration by reason of insanity and (2) were wholly unaware of the acts committed in the commission of the offence and can’t be convicted because the law demands, for a criminal prosecution to succeed, the mind must be as guilty as the hand.  This is based on the Roman legal doctrine actus reus non facit reum nisi mens sit rea (the act is not culpable unless the mind is guilty).  In English common law, the rule meant there must be actus reus (the guilty act) and mens rea (the guilty mind).  While in modern courts, mens rea is now called "fault elements" or "mental elements" and actus reus is now called "physical elements" or "external elements", the meaning is the same, the welcome changes being made to replace obscure Latin words with plain English.

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

Acceptance by courts of the existence of automatism is relatively common but not its acceptance as a defense of the sane and, on technical grounds, prior fault generally excludes automatism, as does intoxication, even when involuntary.  Automatism is thus more associated with a plea of insanity under the M'Naghten Rules (M'Naghten's Case 1843 10 C & F 200).  Under English law, internal causes of automatism are generally judged to be insane automatism and so result in the verdict not guilty by reason of insanity rather than acquittal.  While the sane automatism defense is available in matters such as murder, there are offences of absolute liability where it’s not allowed, even if evidence proved it could be sustained such as receiving parking ticket after neglecting to feed meter.

Automatist Art

The Garden, (1964), by Hannah Hoch (1889-1978)

Surrealist automatism was first described during the 1920s as a technique in which an artist allows their unconscious mind to prevail over their consciousness; unsurprisingly, the process was sometimes drug-assisted.  Sceptical (ie conservative or traditionalist) critics, at the time pondering the work of the early surrealists and Dadaists made the point it wasn’t immediately (and often not subsequently) obvious whether a piece could be thought the product of an artist’s conscious or unconscious mind but such critiques seem to have made little impact on the movement.  At the technical level, the process of automatism involved an artist “allowing” their hand to create imagery with a randomness, chance (some critics preferred “accidents”) as much an element in composition as whatever remained of rational intent.  As art, a viewer could make of the works what they would but the claim there was some reflection of the artist’s “repressed subconscious” attracted the psychoanalysts, some of who made such “blind drawing” part of their clinical practice although as a purely artistic approach it had earlier been discussed by the English artist Austin Osman Spare (1886–1956) who in The Book of Pleasure (1913) included a chapter titled Automatic Drawing as a Means to Art.  Although he never emerged from the periphery of the art world during his lifetime, Osman worked and exhibited almost to the day he died and in recent years has become a minor cult figure, something accounted for as much as him being a noted occultist as for his paintings and drawings.

Obliterate

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

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

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

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

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

Social anxiety can be "obliterated".  Who knew?

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

Obliterature

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

Nazis burning books, Berlin, 1933.

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

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

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

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

The obliteration of animal carcasses with explosives

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

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

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

Reprobate

Reprobate (pronounced rep-ruh-beyt)

(1) A depraved, unprincipled, or wicked person; degenerate; morally bankrupt.

(2) In Christianity (from Calvinism), a person rejected by God and beyond hope of salvation and damned to eternal punishment in hell, forever hearing only their own screams of agony, smelling only their own decaying flesh and knowing only the gnashing of their decaying teeth.

(3) Rejected; cast off as worthless (archaic).

1400-1450: From the late Middle English reprobaten (condemn, disapprove vehemently; rejected as worthless) from the Latin reprobātus (disapproved, rejected, condemned), past participle of reprobāre (to reprove or hold in disfavour).  The construct was re- (back, again (here indicating probably "opposite of, reversal of previous condition")) + probare (prove to be worthy).  Used often in the form reprobacioun (rejection), the usual spelling in Church Latin was reprobationem (nominative reprobation (rejection, reprobation), the noun of action from the past-participle stem of reprobāre.  A doublet of reprove.

Notorious dispensationalist and reprobate, crooked Hillary Clinton in pantsuit.

The earliest use in English was as a verb meaning "to disapprove”; the specific religious meanings were adopted in the mid-fifteenth century, the general sense of an unprincipled person emerging decades later.  The sense of "reject, put away, set aside" dates from circa 1600 and the meaning "abandoned in character, morally depraved, unprincipled" is attested from the 1650s.  The specifically religious idea of "one rejected by God, person given over to sin, from the adjectival sense was from the 1540s whereas the generalized "abandoned or unprincipled person" was noted from the 1590s.  The use in theology was more specialised still.  The meaning "the state of being consigned to eternal punishment" was used since the 1530s and from the 1580s, this extended to any "condemnation as worthless or spurious" the more broad sense of "condemnation, censure, act of vehemently disapproving" used since 1727.  Other nouns once used in English include reprobacy (1590s), reprobance (c. 1600), reprobature (1680s, legal); never common, most are now archaic except a technical, historic terms.  Although the word has many synonyms (tramp, scoundrel, wastrel, miscreant, wretch, rascal, cad, rogue, outcast, pariah, wicked, sinful, evil, corrupt) it has always attracted authors who enjoy detailing the reprobacy of the habitually reprobative.

You are a heartless reprobate, sir; a heartless, thankless, good-for-nothing reprobate.  I have done with you.  You are my son; that I cannot help - but you shall have no more part or parcel in me as my child, nor I in you as your father.

Anthony Trollope (1815-1882), Barchester Towers (1857)

The fate of all reprobates.  The Harrowing of Hell (c 1499), by Hieronymus Bosch (1450–1516)

Christians are much concerned with the fate of reprobates, all of whom should be condemned.  Israel Folau (b 1989), a Tongan-born Australian football player (of the country’s three oval-ball codes) however attracted some condemnation himself when he posted on Instagram: “Warning – Drunks, Homosexuals, Adulterers, Liars, Fornicators, Thieves, Atheists, Idolaters. HELL AWAITS YOU. REPENT! ONLY JESUS SAVES”.  There were many who rose to defend the homosexuals but all seemed oblivious to the feelings of the others on his list, the chattering classes content to let drunks, adulterers, liars, fornicators, thieves, atheists and idolaters rot in Hell.  Noted drinker and adulterer Barnaby Joyce (b 1967; thrice (between local difficulties) deputy prime minister of Australia 2016-2022) must have felt put-upon. 

Some have been more expansive on the matter of reprobates than Mr Folau, Loren Rosson on his Busybody page detailing in three tiers, the worst of the sins committed by man, according to Pastor Steven Anderson (b 1981), preacher & founder of the New Independent Fundamentalist Baptist movement and pastor of Faithful Word Baptist Church, Tempe, Arizona.  Anderson first came to national attention in August 2009 after preaching a sermon in which he prayed for the visitation of the Angel of Death to Barack Obama (b 1961; US president 2009-2017).  In what he may suspect is a a conspiracy between the Freemasons and the Jews, Anderson has been denied entry to South Africa, Botswana, Jamaica, Canada, the United Kingdom, the European Union, the Republic of Ireland, Australia and New Zealand.

Tier 1: The irrevocably damned. Those beyond redemption, God having rejected them eternally.

(1) Homosexuals/pedophiles.  Note the absent ampersand; in Anderson’s view the two are inseparable, it being impossible to be one without being the other; they are the worst of the worst.  Anderson believes sodomites are not only sinners, but actual reprobates, based on the Book of Romans, God having tired of them, he turned them into sodomising perverts:  “God gave them up to vile affections” (Romans 1:26); “God gave them over to a reprobate mind” (Romans 1:28); “God gave them up to uncleanness through the lusts of their own hearts” (Romans1:24).  This, Anderson argues, is the explanation for homosexuality and surprisingly he’s in agreement with the gay view that “God made me like this” though not “born like this” faction, God making them that way only when they rejected the truth and the light; God “discarding them by turning them into homos.”  As reprobates, sodomites, unlike most sinners (those in tiers 2 and 3), cannot possibly be saved, nor should anyone want to try saving them: “He that is filthy, let him be filthy still” (Revelation 22:11).  The internal logic is perfect, God turned them into sodomites because of their God-hating hearts and it’s all their fault.

(2) Bible translators and scholars.  Anderson condemns these folk as irredeemable reprobates because of the Revelation 22:19, which damns all who tamper with the Word of God, ie altering the original text of the King James Bible (KJV 1611).

Tier 2: Especially wicked sinners:  These offenders are at least capable of being saved, if they accept Christ the Lord as their savior.

(3) Physicians who perform abortions, pro-choice crusaders; women who obtain abortions.  Anderson’s view is that all those involved in the abortion industry, the medical staff, the proponents and the women who procure the operation are simply those who murder the most innocent and vulnerable; they are reprobates. 

(4) Zionists.  Israel is the most ungodly nation on the planet according to Anderson and he calls the formation of the state of Israel in 1948 a diabolical fraud.  The Jews are not God’s chosen people and have not been so for two millennia, replacement theology a basic premise of the New Testament: “If the kingdom of God is taken from you and given to a nation bringing forth the fruits thereof, you’ve been replaced! You were the people of God, you were that holy nation of the Old Testament, but now you have been replaced. And today, the physical nation of Israel has been replaced by believers, by a holy nation made up of all believers in Christ, whether they be Jew or Gentile, no matter what the nationality.” According to Anderson, Zionism is more anti-Christ than any other of the major world religions.

(5) Modalists.  Anderson hates and despises modalists more even that the atheists who deny the very holiness of Christ.  Modalism is a heresy that denies the trinity and maintains God is only one person or entity (there are factions) who has three modes (or faces, or masks) which do not exist simultaneously, and that He changes modes by assuming whatever mode circumstances demand.  Thus to modalists, the Father, the Son, and the Holy Spirit are all the same person or entity, there not being the three in one but just one who shifts modalities as required.  This is of course heresy because Christianity teaches the Father, the Son, and the Holy Spirit are distinct. There is of course but one God but within God there are three entities which Christians call trinity.

(6) Atheists & evolutionists.  It’s not entirely clear if Anderson regards these two as interchangeable but it’s probably a tiresome technical point, both equally at risk of becoming reprobates who, if they persist in their rejection, God will turn into sodomites.

(7) Litterbugs.  Anderson might find some sympathy for this category.  Anderson hates those who drop litter whether on city streets or in the wilderness and can quote scripture to prove God too disapproves.

(8). Men who piss sitting down.  Anderson identifies this sin as one especially prevalent among Germans and other secular Europeans but any man who allows himself to be pussy-whipped into effeminate behavior in the loo is suspect.  Although among the less well-known passages in the Bible (KJV; 1611), “him that pisseth against the wall” (1 Samuel 25:22; 1 Samuel 25:34; 1 Kings 14:10; 1 Kings 16:11; 1 Kings 21:21; 2 Kings 9:8), it's known to Anderson who cites as a symbol of proper manliness.  However, the original translators may have been a little more nuanced, scholarship suggesting it’s best understood as “able-bodied men”.  Anderson condemns preachers, presidents & potentates who “pee sitting down” and demands leadership of the country be restored to those “who want stand up and piss against the wall like a real man.”  Anderson assures his congregation he’s a "stand and piss man".  For men wishing to score points with God and obtain redemption, this is one of the sins most easily forever renounced.  However, don’t lie, for God knows how you pee.

(9) Physicians and technicians who perform in vitro fertilization; women who undergo the treatment.  Anderson explains those who conceive using IVF instead of waiting naturally to fall pregnant are stealing babies from God, a concept he expresses more graphically in sermons as “ripping babies from the hands of God”.

(10) Male gynecologists.  Anderson says men who do this are disgusting perverts; their medical qualifications are irrelevant

Tier 3:  Sinful Christians. Those who preach or espouse these views could either be false Christians, or simply misguided believers in Christ who need to be educated.

(11) Pre-tribbers.  Anderson is actually on sound historical and theological ground here.  The idea that Christians will, on the day of the rapture, be taken bodily up to heaven before the apocalyptic tribulation is a wholly un–biblical notion unknown before the mid-nineteenth century and barely known before being spread in pop-culture.  It seems to have begun as a way of marketing Christianity as something more attractive.  As the Book of Revelation makes clear, Christians not only expected to suffer the tribulation before they were raptured, that suffering lies at the core of their holy duty.  Pre-tribulation is an un-Christian cop-out.

(12) Dispensationalists. Anderson is also correct that dispensationalist is another nineteenth century heresy and a kind of cultural relativism and while he doesn’t dwell on it, thinks cultural relativists are among the worst reprobates).  Anderson asserts that God never changes, noting “Jesus Christ the same yesterday, today, and forever” (Hebrews 13:8).  The Old Testament carries the same moral imperatives it always did, and the God of the New Testament aligns completely with it.

(13)  Calvinists, and others who deny free will.  It matters not to Anderson whether one cites a theological or biological basis for rejecting the doctrine of man’s free will; both are wrong.

(14) The lazy box-tickers. It’s not enough just occasionally to walk the neighborhood streets and leave in the mailboxes a flyer about Jesus, at least twice a week a Christian must go about their district, knocking on doors and spreading the word of the Lord.

US screenwriter & film director Paul Schrader (b 1946) really knows how to hurt someone's feelings.