Snoot

Snoot (pronounced snoot)

(1) In slang, the nose (of humans, animals, geological formations, distant galaxies and anything else with a feature even vaguely “nose-like”).

(2) In slang, an alcoholic drink.

(3) In slang, a police officer (especially a plain-clothed detective, the use explained by the notion of police “sticking their noses into” things).

(4) In clothing, the peak of a cap.

(5) In photography and film production, a cylindrical or conical e-shaped fitment on a studio light to control the scene area illuminated by restricting spill light.

(6) In informal use, a snob; an elitist individual; one who looks down upon those “not of the better classes”.

(7) In linguistics, a language pedant or snob; one who practices linguistic elitism (and distinct from a “grammar Nazi”).

(8) In engineering, as “droop snoot”, a design in which the nose of a machine is lowered (temporarily or permanently) for reasons of visibility or to optimize aerodynamics.

(9) To behave disdainfully toward; to condescend to (usually as “snooty”).

(10) To apply a snoot attachment to a light.

1861: From the Scots snoot (a variation of snout (nose or projecting feature of an animal), from the Middle English snowte, from the Middle Dutch snute, ultimately from the Proto-West Germanic snūt, from the Proto-Germanic snūtaz, source also of the German Schnauze (the basis of schnauzer, a name for a type of dog) and it’s presumed the slang schnoz (a nose, especially if large) is probably related.  Snoot is a noun & verb, snootiness, snooter & snootful are nouns, snooting & snooted are verbs, snooty, snootier & snootiest are adjectives and snootily is an adverb; the noun plural is snoots.

Lindsay Lohan's snoot.

The noun snootful dates from 1885 and was a synonym of skinful (to have imbibed as much liquor as one could manage).  It was based on the use of snout to mean “an an alcoholic drink” whereas skinful was an allusion to the time when wine was transported in containers made from animal skin (ie in original use skinful meant “the container is full”).  The adjective snooty (proud, arrogant) was first noted as university student slang in 1918 and presumably was in some way related to the earlier snouty (insolent, overbearing) which was in use by at least 1857, doubtlessly on the basis of “looking down one's nose at someone or something”.  In dialectal or slang use a snout (in the sense of “nose” is not of necessity derogatory and in fields like engineering, cosmology, geography, geology, cosmology or zoology, it is merely descriptive.  However, when used as a slang term for a snob (a snooty person), the sense is almost always negative although there are some elitists who are proud of their snootiness.  Those who don’t approve of barbarisms such as country & western music sometimes make sure their snootiness is obvious but as a general principle it’s usually better just to ignore such things.  The adjective snooty is in much more common use than the noun snoot and it appears often with a modifier such as “a bit snooty”.  That may seem strange because one is either snooty about someone or something or one isn’t but there are degrees of severity with which one can allow ones snootiness to manifest (the comparative “snootier”, the superlative “snootiest”.

In engineering, “droop snout” is used to describe a design in which the nose of a machine is lowered (temporarily or permanently) for reasons of visibility or to optimize aerodynamics.  The term was apparently first used between engineers in the late 1950s while working on the first conceptual plans for the Anglo-French supersonic airliner which became the Concorde although the first known use in print dates from 1963 (“droop nose” appearing in the same era).  The idea wasn’t developed for use on the Concorde.  An experimental British supersonic test-bed with a droop-nose had flown as early 1954 and proved the utility of the concept by being the first jet aircraft to exceed 1000 mph (1600 km/h) in level flight, later raising the world speed record of to 1132 mph (1822 km/h), exceeding the previous mark by an impressive 310 mph (500 km/h).  In aviation, the basic idea of a sloping nose had been around for decades and one of the reasons some World War II (1939-1945) Allied fighter pilots found targeting easier in the Hawker Hurricane than the Supermarine Spitfire was the nose of the former noticeably tapered towards the front, greatly enhancing forward visibility.

How the Concorde's droop snoot was used.

On the Concorde, the droop snoot wasn’t a mere convenience.  The combination of the engineers slide-rules and wind tunnel testing had proved what the shape had to be to achieve the combination of speed and fuel economy (the latter an under-estimated aspect of the development process) but that shape also meant the pilots’ view was so obstructed during take-offs, landings and taxiing that safety was compromised.  The solution was the “droop nose” mechanism which included a moving transparent visor which retracted into the nose prior to being lowered.  At supersonic speeds, the temperatures are high and so are the stresses so much attention was devoted to “fail-safe” systems including the droop snoot because a structural failure at Mach 2 would potentially be catastrophic for the entire airframe (and obviously every soul on board).  Thus, the hydraulic systems controling the droop snoot’s movement was duplicated and, as a last resort, the pilots had access to a simple mechanical lever which would disengage the pins holding the structure in place, the apparatus afterwards gracefully (hopefully) descending into its lowered position by the simple operation of gravity.  Droop snoots appeared also on Soviet supersonic aircraft including the short-lived Tupolev Tu-144 (visually close to a Concorde clone) and the Sukhoi T-4 strategic bomber which never entered production.  Interestingly, the USAF’s (US Air Force) North American XB-70 Valkyrie (a Mach 3 experimental bomber) didn’t use a droop snoot because it was developed exclusively for high-altitude, high-speed strategic bombing missions and, being a military airplane, would only ever operate from large, controlled airbases where additional ground support systems (monitoring and guidance) negated the need for the mechanism.

1955 Ford Customline (left) and the 1967 “droop snoot” “Custaxie” (right), the construct being Cust(omline) + (Gal)axie, the unusual hybrid created by merging (some of) a 1955 Customline with a 427 cubic inch (7.0 litre) Ford Galaxie V8.  The bizarre machine won the 1967 New Zealand Allcomers (a wonderful concept) saloon car championship, the modifications to the nose reckoned to be the equivalent of an additional 40-50 horsepower.

At sub-supersonic speeds, throughout the 1960s race-cars proved the virtue of the droop snoot (though a fixed rather than a moveable structure.  While sometimes weight-reduction was also attained, overwhelmingly the advantage was in aerodynamics and the idea began to spread to road cars although it would be decades before the concept would no longer be visually too radical for general market acceptance.

1972 Vauxhall Firenza coupé promotional material for the Canadian launch, a market in which the car was a disaster (left) and 1975 High Performance (HP) Firenza "dropsnoot".  GM in South Africa actually made a good car out of the Firenza coupé, building 100 (for homologation purposes) with the 302 cubic inch (4.9 litre) V8 used in the original Z/28 Chevrolet Camaro.  In South Africa, they were sold as the "Chevrolet Firenza".  

In 1973, officially, Vauxhall called their new version of the Firenza coupé the “High Performance (HP) Firenza” but quickly the press, noting the Concorde (then still three years from entering commercial service), dubbed it the “droopsnoot”, the reference obviously to the distinctive nosecone designed for aerodynamic advantage.  The advantages were real in terms of performance and fuel consumption but Vauxhall had the misfortune to introduce the model just as the first oil crisis began which stunted demand for high-performance cars (BMW’s 2002 Turbo another victim) and triggered a sharp recession which was a prelude to that decade’s stagflation.  Vauxhall had planned a build of some 10,000 a year but in the difficult environment, a paltry 204 were built.

Ford Escort Mark 2 in the 1977 Rally of Finland (left) and 1976 Escort RS2000  with the droop snoot (right).

In 1976, Ford launched their own take on the droop snoot, the Mark 2 Escort RS2000 featuring a similar mechanical specification to that of the Mark 1 but with a distinctive nosecone.  Ford claimed there was an aerodynamic benefit in the new nose but it was really a styling exercise designed to stimulate interest because the Escort was the corporation’s platform for rallying rather than something used on high-speed circuits and it certainly achieved the desired results, the model proving popular.  Ford Australia even offered it with four doors as well as two although emission regulations meant the additional horsepower on offer in Europe was denied to those down under.  Interestingly, although the range’s high-performance flagship, the factory rally team didn’t use the droop snoot version, those in competition using the standard, square-fronted body.

Godox Pro Snoot S-Type Mount SN-05

Anomphalous

Anomphalous (pronounced uh-non-muh-luhs or un-no-muh-luhs)

(1) Having no navel; without an umbilicus.

(2) In biology (especially botany), an organism or structure lacking a central point or depression (ie a feature resembling a navel).  The best known use is of an anomphalous fruit (one lacking a central scar or mark where it was attached to the plant).

1742: A Latinized compound from the Ancient Greek, the construct being an- + (from ὀμφαλός (omphalosi) (navel)), from the primitive Indo-European hm̥bhl, from hnebh (navel, centre), the cognates including the Sanskrit नभ्य (nabhya), the Latin umbilīcus and the Old English nafola (from which English gained “navel”).  The an- prefix was an alternative form of on-, from the Middle English an-, from the Old English an- & on- (on-), from the Proto-Germanic ana- (on), from the Ancient Greek ἀν- (an-).   It was used to create words having the sense opposite to the word (or stem) to which the prefix is attached; it was used with stems beginning either with vowels or “h”.  It was used in anomphalous in the sense of “without” (ie the opposite of the usual case of “with”).  The use in marine biology is exemplified by the shells of the Anomphalidae, an extinct family of gastropods (molluscs including snails and slug in the family Anomphalidae).  The Anomphalidae lived during the Paleozoic (the geologic era within the Phanerozoic eon that comprises the Cambrian, Ordovician, Silurian, Devonian, Carboniferous and Permian periods (542-250 million years ago)).  The name is gained from the shells in which the aperture is oval, without exhalent slit or crease.  Anomphalous & anomphalic are adjectives and anomphalously is an adverb.

A digitally edited image depicting an anomphalic Lindsay Lohan.

One thing which did trouble some medieval artists was the matter of whether Adam and Eve had navels.  The orthodox theological position was they had no navels because the pair were not born to parents in the conventional manner and that must be right because there were no flesh & blood parents from whom to be born: Adam and Eve were the first human beings, created in the image of God Himself.  So, no need for umbilical cords, thus no navels, another implication of course being the “made in His own image” thing being God must have no navel and although it’s doubtful medieval theologians often commented on that, whether or not God could be said to have a bodily human form was discussed, the usual conclusion being he did not and that depictions in art were merely to facilitate worship.  In medicine, the absence of the navel (belly button) is a rare congenital defect, the medical term for which is omphalocele, usually something ultimately of no physiological significance but because it can cause psychological distress, plastic surgeons can re-construct one, a relatively simple procedure.  The alternative for an omphalocelic is to shun omphalophiliacs and hook up with someone who suffers omphalophobia (fear of the belly button); they should live happily ever after.  The phobia koumpounophobia (fear of buttons) is unrelated and references only the manufactured objects.

Creazione di Adamo by Michelangelo, Sistine Chapel, The Vatican, Rome.

In some medieval art, Adam and Eve were depicted as anomphalous, respecting the theology and emphasizing the pair had been created directly by God rather than born of a woman and were thus a unique couple.  It was though not a universal practice and on the basis of the surviving paintings, not all that common to “go anomphalous”.  Michelangelo’s (Michelangelo di Lodovico Buonarroti Simoni; 1475–1564) famous fresco Creazione di Adamo (The Creation of Adam) which is a component of Sistine Chapel's ceiling (1508–1512) depicts the part of the Biblical creation narrative from the Bible’s Book of Genesis in which God gives life to Adam, the first man.  Michelangelo gave Adam a navel and concerned Christians have over the years explained that too, pointing out God thought ahead and knew there would be offspring and didn’t want his two creations to be getting tiresome questions from children asking about why they had navels when mom & dad did not.  Theological fudges have been around since the early church and by now, Christianity has an answer for everything.

De aanbidding van het Lam Gods (the Adoration of the Mystic Lamb; better known in the English-speaking world as The Ghent Altarpiece), oil on oak polyptych winged altarpiece by Hubert (circa 1387–1426) & Jan (circa 1385-1441) van Eyck.  One of the landmark works which marked the transition from medieval to Renaissance art, Adam & Eve appear (with navels) on the panels to the far left & right.

Adam and Eve by Jan van Scorel (1495-1562): tempera on panel (circa 1527; left, omphalous) and tempera on panel (circa 1540; right, anomphalous).  Nor were artists always theologically committed, some sometimes including navels on their Adam & Eve and sometimes omitting the feature.  It was an age of artistic patronage and it may be some cardinals insisted things be done anomphalously and some were less emphatic.  They may also have had some say in the presence or size of fig leaves.

Incubus & Succubus

Incubus (pronounced in-kyuh-buhs or ing-kyuh-buhs)

(1) In medieval folklore, a mythical demon or evil spirit said to be a figure appearing in nightmares and (when in explicit male form) known to descend upon sleeping women, engaging in sexual intercourse.

(2) Used loosely, sleep paralysis; night terrors, a nightmare.

(3) Some thought weighing upon one, oppressing one like a nightmare, especially if an obsession which prevents or interrupts sleep.

(4) By extension, a yoke, any oppressive thing or person; a burden.

(5) In entomology, one of various parasitic insects, especially the sub-family Aphidiinae.

1175–1225: From the Middle English incubus, from the Medieval Latin incubus (a nightmare induced by such a demon), a noun derivative of the Latin incubāre (to lie upon; to incubate), from the Latin incubō (nightmare, one who lies down on the sleeper; to lie upon, to hatch), the construct being in- (used in the sense of “on”) +‎ cubō (to lie down).  From the Latin the word was picked up also by Dutch (incubus), French (incube), German (Incubus), Italian (incubo), Portuguese (íncubo), Romanian (incub), Russian (инку́б (inkúb)) and Spanish (íncubo).  Incubus is a noun; the noun plural is incubuses or incubi.

Succubus (pronounced suhk-yuh-buhs)

(1) In medieval folklore, a mythical demon in female form, said to have sexual intercourse with men in their sleep.

(2) Any demon or evil spirit (historically, almost always in female form).

(3) A woman of loose virtue; a strumpet; a whore, a prostitute (archaic).

1350–1400: From the Middle English succubus, from the Medieval Latin succubus, a variant of the Latin succuba (a harlot), from the Latin succubāre (to lie beneath), the construct being sub- (used in the sense of “under”) + cubāre (to lie).  The alternative form was succuba.  Succubus was coined to describe a female form of a fiend on the model of incubus.  The verb succubate (have carnal knowledge of a man (as a succuba) came from the Latin past participle where succuba (a harlot) was use of a woman of human flesh and blood with no suggestion of the supernatural.  The transferred sense of succuba in the Classical Latin was “a supplanter; a rival”.  Succubus & succuba are nouns, succubine is an adjective and succubate is a verb; the noun plural is succubi. 

Lindsay Lohan with bottle of Mountain Dew water leaving an Incubus concert, Hollywood Bowl, Los Angeles, 13 July, 2009.  Incubus is a four or five piece rock band described as “part metal, part funk, part jazz and part hip-hop”.

The incubus was a male demon said to engage in sexual activity with sleeping women, depicted often in situations in which the victim was unable to resist and the subtext was less one of the demon’s desire than a wish to drain energy or life force.  Historically, the visitation of incubi was blamed for causing nightmares and in pre-modern medicine they were attributed as the source of sleep paralysis.  The succubus was a female demon, aid to seduce men, visiting in their dreams and engaging in sexual activity.  In folklore, the notion of unwillingness among the “victims” was not always present and often the succubus depicted as a temptress who exploits human desires, one sub-text being men were really not to blame for falling for her “irresistible” charms.  Despite that, priests would use the succubus to illustrate the dangers of masturbation, linking the demon’s nocturnal visits with the practice.  This association with themes of temptation, sin and the dangers of uncontrolled lust was one of the reasons “succubus” was by the mid-sixteenth century used to mean “a strumpet; a woman of loose virtue, a prostitute”, echoing the earlier Latin succuba (a harlot); the English language has proved endlessly productive in coining terms with which to denigrate women.  The essential distinction was that succubi were depicted as alluring and seductive, whereas incubi were portrayed as invasive and terrifying, themes familiar for thousands of years.  It’s notable that in many folk narratives, it was monks who were said to be especially vulnerable to the ways of the succubi, their sexual skills such that they would draw from the clerics so much energy the unfortunate men could barely sustain themselves, some succumbing to exhaustion and even death.  In Antiquity, although the specific terms incubus (a male demon which rapes sleeping women) and succubus (a female demon which seduces men) were not used, similar ideas do appear in Greek and Roman mythology and in the Christian tradition of the incubi & succubi the ancient beliefs in spirits, demons and seduction were blended and infused with Biblical influence.

The Greek demons

There was Empusa (Ερπουσα), one of the creatures in Hecate's entourage who belonged to the Underworld and filled the night with terrors.  Empusa could assume various shapes and appeared particularly to women and children; feeding on human flesh, she would often assume the form of a young girl to attract her victims.  Lamia (leɪmiə) was a daughter of Poseidon and mother of the Libyan Sibyl.  She was a most terrible monster who was said to steal children and was a terror to nurses.  In one account (in mythology there are many strains), Lamia was the daughter of Belus and Libya and enjoyed an affair with Zeus but on every occasion she gave birth to a child, Hera would arrange for it to die.  All this affected Lamia and she became depressed, in her despair secluding herself in a cave where she became a monster with an obsessive jealousy of mothers more fortunate than herself; she would seize and devour their children.  To punish her more, Hera denied her the ability to sleep so she appealed to Zeus who gave her the power to take out her eyes, replacing them whenever she wished.  The tale of Lamia influenced writers and some other female spirits which attached themselves to children in order to suck their blood were known as Lamiae.

Sirens and the Night (1865), oil on canvas by William Edward Frost (1810-1877).

Hecate (hɛkəti) was another demon where the details vary in different tales.  The poet Hesiod (active 740-650 BC) portrayed her as the offspring of Asteria & Perses and a and a direct descendant of the generation of Titans.  She had some virtues in that when she extended hr goodwill to mortals, variously she could grant material prosperity, eloquence in political assemblies and victory in battle & sporting events.  She had the power to fill the nets of fishermen, make the fields of farmer fecund and fatten their cattle but her reputation suffered because, as a goddess of witchcraft, ghosts, and magic (big things at the time), her retinue included ghostly women or phantoms who preyed upon men in the manner of a succubus.  The Sirens (Σειρῆνες) were deadly creatures who used their lyrical and earthly charms to lure sailors to their death.  Attracted by their enchanting music and voices, the seduced seafarers would sail their ships too close to the rocky coast of the nymph's island and there be shipwrecked.  Not untypically for the myths of antiquity, the sirens are said to have had many homes.  The Romans said they lived on some small islands called Sirenum scopuli while later authors place them variously on the islands of Anthemoessa, on Cape Pelorum, on the islands of the Sirenuse, near Paestum, or in Capreae.  All were places with rocky coasts and tall cliffs.  It was Odysseus who most famously escaped the sirens.  Longing to hear their songs but having no wish to be shipwrecked, he had his sailors fill their ears with beeswax, rendering them deaf.  Odysseus then ordered them to tie him to the mast.  Sailing past, when he heard their lovely voices, he ordered his men to release him but they tightened the knots, not releasing him till the danger had passed.  Some writers claimed the Sirens were fated to die if a man heard their singing and escaped them and that as Odysseus sailed away they flung themselves into the water and drowned.  The idea of the sirens persists in idiomatic use:  The "siren sound" is used to refers to words or something which exerts a particular compelling attraction but a "siren call" can be used of something not directly audible such as the thoughts evoked by a painting or even a concept, populism, fascism & communism all described thus at times.

The Roman demons

The strīx (στριγός) was a bird of ill omen, the product of metamorphosis, infamous for feeding on human flesh and blood.  That behavior saw the name adopted for witches but again the tales vary.  Some claimed the strīx did no harm to mortals while other damn them as vampiric, owl-like creatures,  man-eaters who were the terror of any community upon which they would prey, a notion much pursued by later Medieval writers, always happy to recount takes of bloodthirsty women, the strīx blamed for much child-eating, sometimes with an undertone of seduction or spiritual corruption.  The witches were unconnected with the word Styx.  Styx (Στύξ) was a river of the Underworld and as told by Hesiod, Styx was the oldest of the children of Oceanus & Tethys but the Roman writer Hyginus (Gaius Julius Hyginus (circa 64 BC–17 AD) aid she was one of the children of Nyx & Erebus.  Muddying the waters further, she featured amongst Persephone's companions in the in the Homeric Hymn to Demeter, but there was also a tradition according to which she was Persephone's mother.  Styx was the name of a spring in Arcadia which emerged from a rock above ground, then disappeared underground again.  Its water was poisonous for humans and cattle and could break iron, metal and pottery, though a horse's hoof was unharmed and supposedly, it was waters from this spring which poisoned Alexander III of Macedon (Alexander the Great, 356-323 BC).  The water of the Styx was in some stories said to possess magical powers and it was into its flow that Thetis dipped Achilles (holding by the heel) in order to confer invulnerability.  The satyrs (σάτυρος) were demons of nature which appeared in Dionysus' train, represented often with the lower part of the body resembling that of a horse and the upper part that of a man (sometimes the animal half was that of a goat).  They had a long, thick tail (like that of a horse) and a perpetually erect penis of truly heroic dimensions.  In many stories, they were depicted as enjoying dancing & drinking with Dionysus and pursuing the Maenads & Nymphs.  Over time, the bestial almost vanished as their lower limbs became human with feet rather than hooves with only the full tails remained as a reminder of the old form.  Although infamous for their lascivious behavior, they were not malevolent in the same way as demons although they pursued women and nymphs with as great an enthusiasm as any incubus.

Cereal & Serial

Cereal (pronounced seer-ee-uhl)

(1) Any plant of the grass family yielding an edible grain (wheat, rye, oats, rice, corn, maize, sorghum, millet etc).

(2) The grain from those plants.

(3) An edible preparation of these grains, applied especially to packaged, (often process) breakfast foods.

(4) Of or relating to grain or the plants producing it.

(5) A hamlet in Alberta, Canada.

(6) As Ceres International Women's Fraternity, a women's fraternity focused on agriculture, founded on 17 August 1984 at the International Conclave of FarmHouse fraternity.

1590s: From the sixteenth century French céréale (having to do with cereal), from the Latin cereālis (of or pertaining to the Roman goddess Ceres), from the primitive Indo-European ker-es-, from the root ḱer- (to grow”) from which Latin gained also sincerus (source of the English sincere) and crēscō (grow) (source of the English crescent).  The noun use of cereal in the modern sense of (a grass yielding edible grain and cultivated for food) emerged in 1832 and was developed from the adjective (having to do with edible grain), use of which dates from 1818, also from the French céréale (in the sense of the grains).  The familiar modern use (packaged grain-based food intended for breakfast) was a creation of US English in 1899.  If used in reference to the goddess Ceres, an initial capital should be used.  Cereal, cereology & cerealogist are nouns and ceralic is an adjective; the noun plural is cereals.

Lindsay Lohan mixing Pilk.

Cereal is often used as modifier (cereal farming, cereal production, cereal crop, non-cereal, cereal bar, pseudocereal, cereal dust etc) and a cereologist is one who works in the field of cerealogy (the investigation, or practice, of creating crop circles).  The term “cereal killer” is used of one noted for their high consumption of breakfast cereals although some might be tempted to apply it to those posting TikTok videos extolling the virtue of adding “Pilk” (a mix of Pepsi-Cola & Milk) to one’s breakfast cereal.  Pilk entered public consciousness in December 2022 when Pepsi Corporation ran a “Dirty Sodas” promotion for the concoction, featuring Lindsay Lohan.  There is some concern about the high sugar content in packaged cereals (especially those marketed towards children) but for those who want to avoid added sugar, Pepsi Corporation does sell “Pepsi Max Zero Sugar” soda and Pilk can be made using this.  Pepsi Max Zero Sugar contains carbonated water, caramel color, phosphoric acid, aspartame, acesulfame potassium, caffeine, citric acid, potassium benzoate & calcium disodium EDTA.

TikTok, adding Pilk to cereal and the decline of Western civilization.

A glass of Pilk does of course make one think of Lindsay Lohan but every mouthful of one’s breakfast cereal is something of a tribute to a goddess of Antiquity.  In 496 BC, Italy was suffering one of its periodic droughts and one particularly severe and lingering, the Roman fields dusty and parched.  As was the practice, the priests travelled to consult the Sibylline oracle, returning to the republic’s capital to report a new goddess of agriculture had to be adopted and sacrifices needed immediately to be made to her so rain would again fall on the land.  It was Ceres who was chosen and she became the goddess of agriculture and protector of the crops while the caretakers of her temple were the overseers of the grain market (they were something like the wheat futures traders in commodity exchanges like the Chicago Board of Trade (CBOT)).  It was the will of the goddess Ceres which determined whether a harvest was prolific or sparse and to ensure abundance, the Romans ensured the first cuttings of the corn were always sacrificed to her.  It’s from the Latin adjective cereālis (of or pertaining to the Roman goddess Ceres) English gained “cereal”.

For millennia humanity’s most widely cultivated and harvested crop, cereal is a grass cultivated for its edible grain, the best known of which are rice, barley, millet, maize, rye, oats, sorghum & wheat.  Almost all cereals are annual crops (ie yielding one harvest per planting) although some strains of rice can be grown as a perennial and an advantages of cereals is the differential in growth rates and temperature tolerance means harvesting schedules can be spread from mid-spring until late summer.  Except for the more recent hybrids, all cereals are variations of natural varieties and the first known domestication occurred early in the Neolithic period (circa 7000–1700 BC).  Although the trend in cultivated area and specific yield tended over centuries to display a gradual rise, it was the “green revolution” (a combination of new varieties of cereals, chemical fertilizers, pest control, mechanization and precise irrigation which began to impact agriculture at scale in the mid twentieth century) which produced the extraordinary spike in global production.  This, coupled with the development of transport & distribution infrastructure (ports and bulk carriers), made possible the increase in the world population, now expected to reach around 10 billion by mid-century before declining.

Serial (pronounced seer-ee-uhl)

(1) Anything published, broadcast etc, in short installments at regular intervals (a novel appearing in successive issues of a magazine (ie serialized); a radio or TV series etc).

(2) In library & publishing jargon, a publication in any medium issued in successive parts bearing numerical or chronological designation and intended to be continued indefinitely.

(3) A work published in installments or successive parts; pertaining to such publication; pertaining to, arranged in, or consisting of a series.

(4) Occurring in a series rather than simultaneously (used widely, serial marriage; serial murderer, serial adulterer etc).

(5) Effecting or producing a series of similar actions.

(6) In IT, of or relating to the apparent or actual performance of data-processing operations one at a time (in the order of occurrence or transmission); of or relating to the transmission or processing of each part of a whole in sequence, as each bit of a byte or each byte of a computer word.

(7) In grammar, of or relating to a grammatical aspect relating to an action that is habitual and ongoing.

(8) In formal logic and logic mathematics (of a relation) connected, transitive, and asymmetric, thereby imposing an order on all the members of the domain.

(9) In engineering & mass-production (as “serial number”), a unique (to a certain product, model etc) character string (which can be numeric or alpha-numeric) which identifies each individual item in the production run.

(10) In music, of, relating to, or composed in serial technique.

(11) In modern art, a movement of the mid-twentieth century avant-garde in which objects or constituent elements were assembled in a systematic process, in accordance with the principles of modularity.

(12) In UK police jargon, a squad of officers equipped with shields and other protective items, used for crowd and riot control.

1823: From the New Latin word seriālis, from the Classical Latin seriēs (series), the construct being serial + -al on the Latin model which was seriēs + -ālis.  It was cognate to the Italian seriale.  The Latin seriēs was from serere (to join together, bind), ultimately from the primitive Indo-European ser- (to bind, put together, to line up).  The -al suffix was from the Middle English -al, from the Latin adjectival suffix -ālis, ((the third-declension two-termination suffix (neuter -āle) used to form adjectives of relationship from nouns or numerals) or the French, Middle French and Old French –el & -al.  It was use to denote the sense "of or pertaining to", an adjectival suffix appended (most often to nouns) originally most frequently to words of Latin origin, but since used variously and also was used to form nouns, especially of verbal action.  The alternative form in English remains -ual (-all being obsolete).  The –alis suffix was from the primitive Indo-European -li-, which later dissimilated into an early version of –āris and there may be some relationship with hel- (to grow); -ālis (neuter -āle) was the third-declension two-termination suffix and was suffixed to (1) nouns or numerals creating adjectives of relationship and (2) adjectives creating adjectives with an intensified meaning.  The suffix -ālis was added (usually, but not exclusively) to a noun or numeral to form an adjective of relationship to that noun. When suffixed to an existing adjective, the effect was to intensify the adjectival meaning, and often to narrow the semantic field.  If the root word ends in -l or -lis, -āris is generally used instead although because of parallel or subsequent evolutions, both have sometimes been applied (eg līneālis & līneāris).  Serial, serializer , serialization serialism & serialist are nouns, serialing, serialize & serialed are verbs, serializable is an adjective and serially is adverb; the noun plural is serials.

The “serial killer” is a staple of the horror film genre.  Lindsay Lohan’s I Know Who Killed Me (2007) was not well received upon release but it has since picked up a cult following.

The adjective serial (arranged or disposed in a rank or row; forming part of a series; coming in regular succession) seems to have developed much in parallel with the French sérial although the influence of one on the other is uncertain.  The word came widely to be used in English by the mid nineteenth century because the popular author Charles Dickens (1812–1870) published his novels in instalments (serialized); sequentially, chapters would appear over time in periodicals and only once the series was complete would a book appear containing the whole work.  The first use of the noun “serial” to mean “story published in successive numbers of a periodical” was in 1845 and that came from the adjective; it was a clipping of “serial novel”.  By 1914 this had been extended to film distribution and the same idea would become a staple of radio and television production, the most profitable for of which was apparently the “mini-series”, a term first used in 1971 although the concept had been in use for some time.  Serial number (indicating position in a series) was first recorded in 1866, originally of papers, packages and such and it was extended to soldiers in 1918.  Surprisingly perhaps, given the long history of the practice, the term, “serial killer” wasn’t used until 1981 although the notion of “serial events” had been used of seemingly sequential or related murders as early as the 1960s.  On that model, serial became a popular modifier (serial rapist, serial adulterer, serial bride, serial monogamist, serial pest, serial polygamy etc)

For those learning English, the existence of the homophones “cereal” & “serial” must be an annoying quirk of the language.  Because cereals are usually an annual crop, it’s reasonable if some assume the two words are related because wheat, barley and such are handled in a “serial” way, planting and harvesting recurrent annual events.  Doubtless students are told this is not the case but there is a (vague) etymological connection in that the Latin serere meant “to join together, to bind” and it was used also to mean “to sow” so there is a connection in agriculture: sowing seeds in fields.  For serial, the connection is structural (linking elements in a sequence, something demonstrated literally in the use in IT and in a more conceptual way in “serial art”) but despite the differences, both words in a way involve the fundamental act of creating order or connection.

Serial art by Swiss painter Richard Paul Lohse (1902–1988): Konkretion I (Concretion I, 1945-1946), oil on pavatex (a wood fibre board made from compressed industrial waste) (left), Zwei gleiche Themen (Two same topics, 1947), colored pencil on paper (centre) and  Konkretion III (1947), oil on pavatex.

In modern art, “serial art” was a movement of the mid-twentieth century avant-garde in which objects or constituent elements were assembled in a systematic process in accordance with the principles of modularity.  It was a concept the legacy of which was to influence (some prefer “infect”) other artistic schools rather than develop as a distinct paradigm but serial art is still practiced and remains a relevant concept in contemporary art.  The idea was of works based on repetition, sequences or variations of a theme, often following a systematic or conceptual approach; the movement was most active during the mid-twentieth century and a notable theme in Minimalism, Donald Judd (1928-1994), Andy Warhol (1928–1987), Sol LeWitt (1928-2007) (there must have been something “serial” about 1928) and Richard Paul Lohse (1902-1988) all pioneers of the approach.  Because the techniques of the serialists were adopted by many, their style became interpolated into many strains of modern art so to now speak of it as something distinctive is difficult except in a historic context.  The embrace by artists of digital tools, algorithms, and AI (Artificial Intelligence) technologies has probably restored a new sort of “purity” to serial art because generative processes are so suited to create series of images, sculptures or digital works that explore themes like pattern, progression, or variation, the traditional themes of chaos, order and perception represented as before.  In a way, serial art was just waiting for lossless duplication and the NFT (Non-fungible token) and more conservative critics still grumble the whole idea is little different to an architect’s blueprint which documents the structural framework without the “skin” which lends the shape its form.  They claim it's the engineering without the art.

Relics of the pre-USB age; there were also 25 pin serial ports.

In IT hardware, “serial” and “parallel” refer to two different methods of transmitting data between devices or components and the distinction lies in how data bits are sent over a connection.  In serial communication, data was transmitted one bit at a time over as little as single channel or wire which in the early days of the industry was inherently slow although in modern implementations (such as USB (Universal Serial Bus) or PCIe (Peripheral Component Interconnect Express)) high speeds are possible.  Given what was needed in the early days, serial technology was attractive because the reduction in wiring reduced cost and complexity, especially over the (relatively) long distances at which serial excelled and with the use of line-drivers, the distances frequently were extended to hundreds of yards.  The trade-off was of course slower speed but these were simpler times.  In parallel communication, data is transmitted multiple bits at a time, each bit traveling simultaneously over its own dedicated channel and this meant it was much faster than serial transmission.  Because more wires were demanded, the cost and complexity increased, as did the potential for interference and corruption but most parallel transmission was over short distances (25 feet (7½ metres) was “long-distance”) and the emergence of “error correcting” protocols made the mode generally reliable.  For most, it was the default method of connecting a printer and for large file sizes the difference in performance was discernible, the machines able to transmit more data in a single clock cycle due to simultaneous bit transmission.  Except for specialized applications or those dealing with legacy hardware (and in industries like small-scale manufacturing where such dedicated machines can be physically isolated from the dangers of the internet, parallel and serial ports and cables continue to render faithful service) parallel technology is effectively obsolete and serial connections are now almost universally handled by the various flavours of USB.

Proctology

Proctology (pronounced prok-tol-uh-jee)

(1) Historically, the branch of medicine dealing with the surgery of the colon, rectum, and anus.

(2) In modern use, colorectal surgery as a specialty inside (as it were) proctology.

(3) A department or building so named in a hospital, university or clinic etc.

1896: The construct was procto- +‎ -logy or proct- + -ology.  Procto was from a Latinized form of the Greek prōktos (anus), from the primitive Indo-European prokto-, the source also of Armenian erastan-k' (buttocks).  The suffix -ology was formed from -o- (as an interconsonantal vowel) +‎ -logy.  The origin in English of the -logy suffix lies with loanwords from the Ancient Greek, usually via Latin and French, where the suffix (-λογία) is an integral part of the word loaned (eg astrology from astrologia) since the sixteenth century.  French picked up -logie from the Latin -logia, from the Ancient Greek -λογία (-logía).  Within Greek, the suffix is an -ία (-ía) abstract from λόγος (lógos) (account, explanation, narrative), and that a verbal noun from λέγω (légō) (I say, speak, converse, tell a story).  In English the suffix became extraordinarily productive, used notably to form names of sciences or disciplines of study, analogous to the names traditionally borrowed from the Latin (eg astrology from astrologia; geology from geologia) and by the late eighteenth century, the practice (despite the disapproval of the pedants) extended to terms with no connection to Greek or Latin such as those building on French or German bases (eg insectology (1766) after the French insectologie; terminology (1801) after the German Terminologie).  Within a few decades of the intrusion of modern languages, combinations emerged using English terms (eg undergroundology (1820); hatology (1837)).  In this evolution, the development may be though similar to the latter-day proliferation of “-isms” (fascism; feminism etc).  A physician specializing in proctology is a proctologist although some may prefer the punchier construction Bart Simpson (from the cartoon TV series The Simpsons), used: “butt doctor”.  The noun proctalgia (pain in the anus or rectum) existed in the medical literature as early as 1811 while the first known use of “proctologist” dates from 1897.  Proctology & proctologist are nouns and proctologic & proctological are adjectives; the noun plural is protologists.

In 1974, The British Medical Journal (BMJ) used the term “guitar nipple” to describe “the irritation to the breast that can occur from the pressure of the guitar against the body.”  In the same spirit, two years later a contributor to the Journal of the American Medical Association (JAMA) was more imaginative still, coining “hot pants syndrome” when documenting cases in which a burn to the skin had been induced by a patient carrying a battery-powered transistor radio in the pocket of their trousers.  There was also in 1978 the New England Journal of Medicine's (NEJM) “disco digit” which referred to “a sore or infected finger caused by too much finger snapping while dancing.”  These terms were indicative of the trend in the English-speaking world for newly-identified (and in some cases novel conditions) to be constructed with English elements, rather than the Latin historically used.  In the fields of proctology, the historic terms (of discomfort in the region) were:

Rectalgia (pain in the rectum), the construct being rect- (a clipping of the New Latin rectum, itself a clipping of the Latin rectum intestinum (literally “the straight intestine”), neuter of rectus (straight) +‎ -algia (from the New Latin -algia (pain), from the Ancient Greek ἄλγος (álgos) (pain).

Proctalgia (pain in the anal or rectal region), the construct being proct- (a New Latin combining form, from Ancient Greek πρωκτός (prōktós) (anus).+‎ -algia.

Anodynia (anal pain; anorectal pain), the construct being ano- (from the Latin anus) + -dynia (an alternative (used when the preceding morpheme has a terminal vowel) form of -odynia (a New Latin combining form, from the Ancient Greek ὀδύνη (odúnē) (sorrow, grief, anguish, unhappiness).

Confusingly though, because terminology evolved often independently an in parallel, medicine contrived to use anodynia also to mean “the absence of pain in a previously painful region” and in that case the construct differed, being an- (from the Ancient Greek ἀν- (an-); a doublet of un- and in- (used her in the sense of a negation) +‎ odynia (a New Latin combining form, from the Ancient Greek ὀδύνη (odúnē) (sorrow, grief, anguish, unhappiness).  So for the non-medically trained, confusion could arise given anodynia can mean either “pain in the butt” or “pain has gone away” although because it’s a word unlikely much to be seen by other than the medically trained, instances of this have presumably been rare.  But in the context of “butt pain” there would seem to be some overlap in meaning between rectalgia, proctalgia & anodynia but while all are used to refer to “pain in or around the rectal area”, in the profession there are distinctions in use, particularly in clinical and diagnostic work 

Rectalgia is used to describe pain localized in the rectum and tends to be used as general term for the condition and often without specifying a cause.  Conditions associated with rectalgia include anorectal abscesses and fissures.  Proctalgia encompasses pain in the anorectal region (both anus and rectum) and is commonly used of proctalgia fugax, a specific condition characterized by sudden, severe, and brief rectal pain with no obvious underlying cause.  As the etymology suggests, proctalgia’s remit is broader than that of rectalgia because it includes both anus and rectum.  Whether or not related to the duality of meaning, anodynia is now not in general clinical use but historically it referred to pain in the vicinity of the anus.  The modern terms for that are “anal pain” & “anorectal pain”.  So, although lay-readers might be forgiven for thinking they could be used interchangeably, clinicians applied them based on anatomical location: rectalgia (rectum), anodynia (anus) &, proctalgia (anorectal region).

In the thoughts of Kellyanne Conway: A protologist's ultrasonic rectal probe (available in 140 & 200 mm (5½ & 8 inch) length versions) by the Electro Surgical Instrument Company (ESI (1896)).

Protology and pains in the butt do feature in idiomatic use in English.  Kellyanne Conway (b 1967; senior counselor to the US president, 2017-2020) when discussing the “Muller probe” (an investigation by special counsel Robert Mueller (1944) into Donald Trump (b 1946; US president 2017-2021; president elect 2024) and the matter of alleged Russian interference in the 2016 US presidential election) told a press conference the whole project was “a political proctology exam.”  She clearly liked the imagery because later, when Mr Muller handed down his report, she told the assembled press pack it was the “best day” since Mr Trump’s (2016) election, repeated the phrase “political proctology” and, sticking with medical allusions, said the verdict delivered “a clean bill of health.”

PITB (and its variations) is widely used.

Kellyanne Conway in hoodie: Miss January, Clare Boothe Luce Policy Institute's annual Conservative Women Calendar (2009).

So like Mr Trump, Ms Conway would have found the Muller probe a (metaphorical) pain in the butt but “political proctology exam” was both a more polite and elegant way of saying it.  The saying “pain in the butt” belongs to a class of such expressions (all meaning “a nuisance; a source of trouble or annoyance”) which variously are used according to the need for politeness, the hierarchy of rudeness (in ascending order) being: “pain in the neck”, “pain in the brain”, “pain in the back” (all about equal), “pain in the rear”, “pain in the bum”, “pain in the ass” & “pain in the arse” (the choice between “ass” & “arse” dictated by linguistic tradition).  All are often used as initializms (PITN PITB, PITR, PITA) and PITA seems the most popular while in oral use “pain in the neck” and “pain in the ass (arse)” vie for popularity although some do like “pain in the brain” for the rhyme.

First edition (hardcover, 1956) of Soranus' Gynecology, published by Johns Hopkins University Press, translated and with an introduction by Owsei Temkin MD (1902-2002).

Quite when the idea of “specialists” in the modern sense of the word came to the practice of medicine isn’t certain but long before such things were formalized by the creation of colleges or specialist qualifications, it’s likely the early physicians did tend to develop particular areas of expertise and would have had certain patients referred to them, much as is the modern practice.  Probably, this emergence of specialties would have happened organically, based on geography: a physician in a fishing community on the sunny Aegean coast would have encountered a different patient profile than one who worked in the cold of the mountains.  Thus, while it’s not known who can be though the “first proctologist”, medical students everywhere will probably nominate Soranus of Ephesus, a Greek physician who practiced in both Alexandria and Rome during the first & second century AD.  His four-volume treatise on gynecology still exists so he probably deserves to be remembered as an early gynecologist but, as many medical students will confirm, his name is pronounced sawr-ey-nuhs so a proto-proctologist he must be.  Such things do happen: Winston Churchill’s (1875-1965; UK prime-minister 1940-1945 & 1951-1955) neurologist was Russell Brain (1895–1966).