Envelope

Envelope (pronounced on-vuh-lohp or en-vee-lope (non-U))

(1) A flat paper container, usually having a gummed flap or other means of closure and used to enclose small, flat items (especially letters) for mailing. 

(2) Something that envelops; a wrapper, integument, or surrounding cover.

(3) In biology, a surrounding or enclosing structure, as a corolla or an outer membrane.

(4) In geometry, a mathematical curve, surface, or higher-dimensional object that is the tangent to a given family of lines, curves, surfaces, or higher-dimensional objects.

(5) In the radio transmissions of a modulated carrier wave, a curve connecting the peaks of a graph of the instantaneous value of the electric or magnetic component of the carrier wave as a function of time.

(6) The fabric structure enclosing the gasbag of an aerostat or the gasbag itself.

(7) As an idiom, in pushing the envelope, to stretch established limits, as in technological advance or social innovation.

(8) In music, the shape of a sound which may be controlled by a synthesizer or sampler.

(9) In computing, the information used for routing a message that is transmitted with the message but not part of its contents, the best known example of which is the blind carbon-copy (bcc) in eMail.

(10) In astronomy, the nebulous covering of the head or nucleus of a comet; a coma.

(11) In civil engineering, an earthwork in the form of a single parapet or a small rampart, sometimes raised in the ditch and sometimes beyond it.

(12) In engineering and design, the set of limitations within which a technological system can perform safely and effectively.

(13) In aviation (of dirigibles), a bag containing the lifting gas of a balloon or airship; fabric that encloses the gas-bags of an airship.

(14) In electronics, a curve that bounds another curve or set of curves, as the modulation envelope of an amplitude-modulated carrier wave in electronics.

(15) In computing, the information used for routing a message that is transmitted with the message but not part of its contents.

(6) In music, the shape of a sound, which may be controlled by a synthesizer or sampler. 

1705: From the Middle French and Old French envoluper, the construct being en- (from the Old French en-, from the Latin in-, a prefixation of in (in, into)) +‎ voluper (to wrap, wrap up).  In Italian, the derivation was viluppare, from the Old Italian alternate goluppare (to wrap) from the Vulgar Latin vlopp (to rap).  The Proto-Germanic wrappaną and wlappaną (to wrap, roll up, turn, wind) came from the primitive werb (to turn, bend), akin to the Middle English wlappen (to wrap, fold) and ultimately the Modern English lap (to wrap, involve, fold).  The modern wrap is derived from the Middle English wrappen (to wrap), the dialectal Danish vravle (to wind, twist), the Middle Low German wrempen (to wrinkle, distort) and the Old English wearp (warp).  The French enveloppe, is a derivative back-formation of envelopper (to envelop).  Envelope is a noun; the noun plural is envelopes.

Pushing the envelope

The phrase pushing the envelope is from the lingo of test pilots, whose job is among the most dangerous of their profession.  It entered general usage following the publication of the late Tom Wolfe’s (1930-2018) book about test pilots and the early US space program, The Right Stuff (1979).  The envelope in the phrase is a mathematical construct, what is called the "flight envelope" of a given aircraft: combinations of speed, altitude, range and stress that are considered the limits of an airframe’s capabilities and so-named because usually it's graphically represented in the shape of the familiar DL envelope.  Within the envelope formed by these parameters, the airframe is structurally sound; beyond those limits, perhaps not and that’s what test pilots do, verify the safety of the aircraft within those limits and pinpoint possible points of failure if the envelope is pushed too far.  Although big, fast computers now make the parameters of the envelope more predictable and the job of the test pilot less dangerous, structural failures during test flights continue to happen.

Lockheed F-104 Starfighter.

Few airframes have operated within such a tight envelope as the Lockheed F-104 Starfighter, introduced into service in 1956 as a single-engine, supersonic interceptor, built for the United States Air Force (USAF) but used by many nations.  Best thought of as the manned missile by which it was referred to by many, it had a radical wing design, a very small, straight, mid-mounted trapezoidal.   After the German research undertaken during World War II (1939-1945) became available, most jet fighters had used either swept or delta-wings, a compromise between speed, lift, maneuverability and internal space for fuel and equipment.  Lockheed sophisticated wind-tunnels and primitive computers however determined the optimal shape for high-speed supersonic flight was small, straight and trapezoidal.  An extraordinary achievement of manufacture as well as design, the wing was so thin and sharp it was a cut-hazard for ground crews and protective guards were fitted during maintenance.

The F-104 was the first combat aircraft capable of sustained Mach 2 flight, its speed and climb performance impressive even by today’s standards.  However, there was a price to be paid, take-off, stall and landing speeds were high as was the turn radius, combat pilots referring to low-speed turns as “banking with intent to turn".

The flight envelope, note the DL envelope shape.

The safety record was infamously bad.  Of the 916 delivered to the West-German (FRG) Air Force, 262 crashed, gaining it the nickname witwenmacher (widow maker) and some of those grieving widows sued Lockheed, receiving judgment in their favor.  In USAF service, the write-off rate was 30.63 accidents per 100,000 flight hours.  By comparison, the rate for the Convair F-102 Dagger was 14.2 and for the North American F-100 Sabre, 16.25.  The F-104's two nicknames, "manned missile" and "widow maker" may be thought of as cause and effect.

Personalised Lindsay Lohan Celebrity Birthday Card on premium quality satin cardstock @ Stg£3.95 (including envelope).

Zarf

Zarf (pronounced zahrf)

In the Levant, a holder with a handle, rendered traditionally in ornamental metal and used to hold a coffee cup without a handle.

1836: Adopted in English from the Ottoman Turkish ظرف‎ (zarf), from the Arabic ظَرْف‎ (ẓarf) (container, sheath).  An alternative spelling is zurf and in the Balkans: zȁlf & zȁf (Serbo-Croatian); zȁrf (за̏рф in Cyrillic).  Zarf is a noun; the noun plural is zarfs.

Ottoman era solid silver zarf (with a depiction of the Hagia Sophia in Istanbul (formerly Constantinople), Turkey (now the Republic of Türkiye), circa 1890.

Zarf was a specialized adoption in Ottoman Turkish of the Arabic zarf which means “container”.  In Arabic, a zarf is also an envelope and the word is sometimes appended to various Arabic, English and international forms as required.  A Zarf-DL is the familiar DL envelope, a zarf değiştirmeyi is a change envelope and, specific to printers, a zarf yazıcı is an envelope feeder & zarf dönüş an envelope return.

Lindsay Lohan out getting the morning coffee fix.

The modern plastic zarf.  Modern zarfs are designed to accommodate most disposable coffee cups, made usually in a small-medium-large range which is not quite internationally standardized but with variations small enough not to matter.

Better to minimize the risk of an almost inevitable spillage and seldom seen without a most capacious handbag in which one might be carried, noted coffee fiend Lindsay Lohan really should invest in a modern, portable zarf although, how long single-use, disposable coffee cups will be permitted isn’t known.  Weather forecaster Greta Thunberg (b 2003) would probably suggest we should all carry our own cup but history suggests governments are unlikely to rely on environmental consciousness to induce behavioral change and consumers may soon be charged to use disposable coffee cups and wooden utensils.  The experiment with forcing supermarkets to charge for plastic bags proved yet again what increasing the cost of cigarettes had repeatedly demonstrated: that nothing changes behavior quite as well or as quickly as making the target more expensive.  Remarkably, since the UK government introduced their levy on plastic bags, consumption has dropped by over ninety percent, a good outcome which pleased the supermarkets too.  It meant a small but not insignificant cost of operating was shifted from retailer to consumer and the introduction of a relatively low-volume but highly profitable a new profit centre: plastic bags.  In Australia, the dominant duopoly, Coles and Woolworths, which once had to give away a combined 5.7 billion bags annually year at .3 cents per bag, costing them Aus$171 million, now sell 1.2 billion of the heavier bags, yielding an annual profit estimated to be about Aus$70 million; a turn round of Aus$240 million so a nice little earner and some handy green-washing to boot.

Ratio

Ratio (pronounced rey-shoh (U) or rey-shee-oh (non-U))

(1) The relation between two similar magnitudes with respect to the number of times the first contains the second.

(2) The proportional relation; rate.

(3) In finance, the relative value of gold and silver in a bimetallic currency system.

(4) In mathematics, a quotient of two numbers or quantities.

(5) In western legal systems, the slang for ratio decidendi, the substantive part(s) of the judgment.

(6) In the metrics of the internet, the number of comments to a post or other expression on social media relative to the number of likes (a high ratio assumed to suggests disagreement with the contents of the original post).

1630–1640: From the Latin ratiō (a doublet of ration and reason) (a reckoning, account, numbering, derivation, calculation) from the base of rērī (to judge, think).  The original meaning in English, dating from the 1630s (reason, rationale, calculation, reckoning, numbering, calculation, judgment) mirrored the Latin practice while the mathematical sense "relationship between two numbers" is attested from the 1650s.  The use in theological texts in the sense of "reason, rationale" was a tribute to the original meaning in Latin (a reckoning, account, numbering, derivation, calculation), hence also the idea of "a business affair; course, conduct, procedure".  From this also emerged (in a transferred sense and applying to mental action), the meaning "reason, reasoning, judgment, understanding, that faculty of the mind which forms the basis of computation and calculation" (the ultimate origin of this being rat-, the past-participle stem of reri (to reckon, calculate (and also "to think, judge, believe), from the primitive Indo-European root re- (to think, reason, count).  The Latin ratio often was used to represent or translate the Greek logos (computation, account, esteem, reason) in works of philosophy, though the range of senses in the two do not wholly overlap because ratio lacks the essential "speech, word, statement" meaning which exists in the logos.  The familiar modern meaning "corresponding relationship between things not precisely measurable" had become common by the early nineteenth century.

Ratio Decidendi and Obiter Dictum

The ratio decidendi is a phrase in legal Latin meaning "reason (or rationale) for the decision” and the professional oral & verbal shorthand is ratio.  It’s the ratio decidendi which justifies the judgment and expresses the legal principle(s) which determine the outcome.  The ratio decidendi either creates or is consistent with legal precedent and in the common law’s hierarchical system, lower courts are required to follow precedents established by higher courts.

Obiter dictum the complimentary legal Latin phrase meaning "by the way" and the legal slag is variously dicta or (more commonly) obiter.  The obiter is the collective term for other substantive material in the judgment but not part of the reasoning for the decision, the remarks or observations made by a judge that do not form a necessary part of the decision.  There exists an informal test called the Wambaugh Inversion to determine whether a judicial statement is ratio or obiter.  This involves asking whether the decision would have been different, had the statement been omitted.  If so, the statement is crucial and is ratio; if not, it is obiter.  The rarely used plural for ratio is rationes decidendi whereas, because of the rules of Latin, obiter is used almost always in the plural as obiter dicta.  The difference between the ratio and the dicta is a most useful distinction but would be more helpful if judges could be prevailed upon to make if clear which is which; even bullet-point summaries would be handy.  One suspects many judges think themselves fine stylists of the language, a view not always shared by their captive audience.

B2BR: The bitemporal to bizygomatic ratio

Lindsay Lohan's bitemporal to bizygomatic ratio (B2BR), calculated by pinkmirror.com.  Her admirable B2BR ratio of 1.07 contributed to her overall beauty score of 8.5 (out of 10), putting her in the "beautiful" category.  The above image is rendered in the 1:2 aspect ratio of the DL envelope, favored by architects because the result is thought pleasing to the eye.  

Architects and engineers use all sorts of ratios in their calculations, some to improve aesthetic appeal and some to optimize specific strength.  In internal combustion engines, ratios are commonly used (compression ratio, connecting rod-to-stroke ratio et al) and in building design, the "DL envelope ratio" (1:2) references the standard DL envelope (110 x 220 mm; 4⅓ x 8⅔") which, when applied in architecture, is considered to produce a shape pleasing to the eye, apparently because it closely corresponds with the natural field of human vision.  In the beauty business there are also ratios, used predictably to compartmentalize various aspects of women's appearance so their degree of attractiveness can be reduced to a number.  The site pinkmirror.com helpfully provides an interactive analysis page, one component of which is the bitemporal to bizygomatic ratio (B2BR), a measure used in facial anthropometry (the study of facial measurements and proportions) and cosmetic and restorative surgery.  The B2BR compares the distance between the two temporal bones (bitemporal distance) with the distance between the two zygomatic bones (bizygomatic distance) in the face.  Notionally, the B2BR is set at 1:1 (a baseline for calculation purposes rather than an ideal) and if bitemporal distance is greater than that of the bizygomatic, the ratio will be greater than 1, indicating a relatively narrow midface whereas if the bizygomatic distance is greater, the ratio will be less than 1, indicating a relatively wide midface.  In medicine the B2BR is used as an indicative diagnostic tool which can be helpful in assessing certain genetic conditions that affect facial structure and in cosmetic & restorative surgery its used as one of the measures of facial proportions when planning treatments.  Some advanced systems in cosmetic facial surgery no use CAD (computer assisted design) software and 3D printing (essentially "prototyping" the "new" face) and the B2BR is one of the critical metrics used in both.

Comet

Comet (pronounced kom-it)

(1) In astronomy, a celestial body moving about the sun, usually in a highly eccentric orbit, most thought to consist of a solid frozen nucleus, part of which vaporizes on approaching the heat from Sun (or other star) to form a gaseous, luminous coma (the envelope of dust and gas, the most dramatic part of which is the long, luminous tail which streams away from the sun (under the influence of solar winds).

(2) In astronomy, a celestial phenomenon with the appearance of such a body.

(3) Any of several species of hummingbird found in the Andes.

(4) In slang, as “vomit comet”, a reduced-gravity aircraft which, by flying in a parabolic flight path, briefly emulates a close to weightless environment.  Used to train astronauts or conduct research, the slang derived from the nausea some experience.

(5) In figurative use (often applied retrospectively and with a modifier such as “blazing comet”), someone (or, less commonly, something) who appears suddenly in the public eye, makes a significant impact and then quickly fades from view, their fleeting moment of brilliance a brief but spectacular event.

1150–1200: From the Middle English comete, partly from the Old English comēta and partly from the Anglo-French & Old French comete (which in Modern French persists as comète), all from the Latin comētēs & comēta, from the Ancient Greek κομήτης (komḗtēs) (wearing long hair; ling-haired), the construct being komē-, a variant stem of komân (to let one's hair grow), from κόμη (kómē) (hair) + -tēs (the agent suffix).  The Greek was a shortened form of ἀστὴρ κομήτης (astēr komētēs (longhaired star)), a reference to a comet’s streaming tail.  The descendants in other languages include the Malay komet, the Urdu کومٹ (komeṭ) and the Welsh comed.  Comet, cometlessness, cometography, cometographer, cometology & cometarium are nouns, cometless, cometic, cometical, cometocentric, cometary, cometographical & cometlike (also as comet-like) are adjectives, cometesimal is a noun & adjective; the noun plural is comets.

Comets orbit the Sun along an elongated path and when not near the heat, the body consists solely of its nucleus, thought to be almost always a solid core of frozen water, frozen gases, and dust.  When near the sun, the nucleus heats, eventually to boil and thus release the gaseous and luminous coma (the envelope of dust and gas), the most dramatic part of which is the long, luminous tail which streams away from the sun (under the influence of solar winds).  The path of a comet can be in the shape of an ellipse or a hyperbola; if a hyperbolic path, it enters the solar system once and then leaves forever while if it follows an ellipse, it remains in orbit around the sun.  Astronomer divide comets into (1) “short period” (those with orbital periods of less than 200 years and coming from the Kuiper belt) and (2) “long-period” (those with an orbital period greater than 200 years and coming from the Oort cloud).

Before the development of modern techniques, comets were visible only when near the sun so their appearance was sudden and, until early astronomers were able to calculate the paths of those which re-appeared, unexpected.  Superstition stepped in where science didn’t exist and comets were in many cultures regarded as omens or harbingers of doom, famine, ruin, pestilence and the overthrow of kingdoms or empires.  It was the English astronomer, mathematician and physicist Edmond Halley (1656–1742; Astronomer Royal 1720-1742) who in 1682 published the calculations which proved many comets were periodic and thus their appearance could be predicted.  Halley's Comet, named in his honor, remains the only known short-period comet consistently visible from Earth with the naked eye and remains the world’s most famous; it last appeared in 1986 and will next visit our skies in 2061.

Comet wine: Non-vintage Alois Lageder Natsch4 Vigneti Delle Dolomiti.

Halley’s findings put an end to (most) of the superstition surrounding comets but commerce still took advantage of their presence.  A comet with a famously vivid tail appeared in 1811 and in that year, Europe enjoyed a remarkably pleasant autumn (fall) which was most conducive to agriculture and became associated with the abundant and superior yield of the continental vineyards.  For that reason, the vintage was called the “comet wine” and the term became a feature in marketing the product which emerged from any year in which notable comets were seen, a superior quality alleged (and thus a premium price).  Wine buffs say any relationship between the quality of a vintage and the travel of celestial bodies is entirely coincidental.

Red Comet: The Short Life and Blazing Art of Sylvia Plath (2021) by Dr Heather Clark (b 1974).

One of things about the feminist cult which is now the construct of Sylvia Path (1932-1963) is that her mistreatment at the hands of her husband Ted Hughes (1930–1998; Poet Laureate 1984-2008) tends to obscure her work which many quite familiar with the story of her brief life will barely have read and that’s perhaps predictable, certainly for those for whom the lure of tales of tragic woman and brutish men is a siren.  As human tragedies go, her story is compelling: A precocious talent, the death of the father to whom she was devoted when only eight, the suicide attempt while a student and the burning ambition to write and be published.  Almost as soon as she met Ted Hughes she knew he was “my black marauder” and their affair was one of intense physicality as well as a devotion to their art, something which might have endured during their marriage (which produced two children) had Hughes not proved so unfaithful and neglectful.  In 1963, as an abandoned solo mother in a freezing flat during what entered history as London’s coldest winter of the century, she took her own life while her two babies slept nearby, becoming a symbol onto which people would map whatever most suited their purposes: the troubled genius, the visionary writer, a feminist pioneer and, overwhelmingly, a martyr, a victim of a man.  To his dying day, feminists would stalk literary events just to tell Hughes he had “Sylvia’s blood on his hands”.

So the story is well known and in the years since her death there have been a number of biographies, critical studies, collections of letters, academic conferences; given that, it’s seemed by the 2020s unlikely there was much more to say about one whose adult life spanned not even two decades.  For that reason the 1000-odd densely printed pages of Dr Heather Clark’s Red Comet: The Short Life and Blazing Art of Sylvia Plath was a revelation because, as the author pointed out, her life “has been subsumed by her afterlife” and what was needed was a volume which focused on what she wrote and why that output means she should be set free from the “cultural baggage of the past 50 years” and shown as “one of the most important American writers of the twentieth century.”

Sylvia Plath in Paris, 1956.

Red Comet is thus far this century’s outstanding biography and a feminist perspective is not required to recognize that when reading her last poems (written in obvious rage but sustaining a controlled tension few have matched) that she was a profoundly disturbed woman.  Most clinicians who have commented seem now to agree her depression of long-standing had descended to something psychotic by the time of her suicide, a progression she seems to have acknowledged, writing to one correspondent that she was composing poetry “on the edge of madness”.  This is though a biography written by a professional literary critic so it does not construct Plath as tale of tragedy and victimhood as one might if telling the story of some troubled celebrity.  Instead, the life is allowed to unfold in a way which shows how it underpins her development as a writer, the events and other glimpses of the person interpolated into the progress of a text through drafts and revisions, each word polished as the poet progresses to what gets sent to the publisher.  Red Comet is not a book for those interested in how much blame Ted Hughes should bear for his wife killing herself and in that matter it’s unlikely to change many opinions but as a study of the art of Sylvia Plath, it’s outstanding.  Unlike many figurative uses of "comet", Plath continues to blaze her trail. 

Pre-production de Havilland Comet (DH 106) with the original, square windows, England, 1949 (left) and Comet 4 (Registration G-APDN) in BOAC (British Overseas Airways Corporation (1939-1974 which in 1974 was merged with BEA (British European Airways) and others to later become BA (British Airways)) livery, Tokyo (Haneda International (HND / RJTT)), Japan October 1960.

The term hoodoo is often attached to objects thought jinxed.  When the de Havilland Comet (DH 106; the first commercial jet airliner), within a year of its first flight in 1949, began to suffer a number of catastrophic in-flight accidents, newspapers wrote of the “Comet hoodoo”, something encouraged because, in the pre “black-box” era, analysis of aviation incidents was a less exact science than now and for some time the crashes appeared inexplicable.  It was only when extensive testing revealed the reason for the structural failures could be traced to stresses in the airframe induced aspects of the design that the hoodoo was understood to be the operation of physics.  Other manufacturers noted the findings and changed their designs, Boeing's engineers acknowledging the debt they owed to de Havilland because it was the investigation of the Comet's early problems which produced the solutions which helped the Boeing 707 (1957) and its many successors to be the successful workhorses they became.  As a footnote, by the time the Comet 4 was released in 1958 the problems had been solved but commercially, the project was doomed and reputational damage done.  Between 1949-1964, barely more than 100 were sold although many did provide reliable service until 1981 and the airframe proved adaptable, dozens of military variants produced, the most notable being the Hawker Siddeley Nimrod, a maritime patrol version which was in service with the Royal Air Force (RAF) until 2011.

It’s because of the lessons learned from the Comet hoodoo that the apertures of airliner windows have rounded edges, the traditional four-cornered openings creating four weak spots prone to failure under stress.  In the early 1950s there was much optimism about the Comet and had it been successful, it could have given the UK’s commercial aviation industry a lead in a sector which rapidly would expand in the post war years.  One who didn’t express much faith in his country’s capacity to succeed in the field was the politician Duff Cooper (1890–1954) who, shortly before taking up his appointment as the UK’s ambassador to France, was flying on an Avro York (a transport and civil adaptation of the Lancaster heavy bomber) and he noted in his diary: “I think the designer of the York has discovered the shape of an armchair in which it is quite impossible to be comfortable, if this is typical of the civil transport plane in which were are to compete against the US, we are already beaten.”  As Lindsay Lohan’s smiles indicate, as least on private jets, the seats are now comfortable.

Not quite an Edsel, not yet a Mercury: The 1960 Comet; it was an era of imaginative (other use different adjectives) styling (and at this time they were still "stylists" and not "designers").

The Mercury Comet, built in four generations between 1960-1969 and another between 1971-1977, had a most unusual beginning.  The Ford Motor Company (“FoMoCo”, Mercury’s parent corporation) had in the mid 1950s studied the five-tier (Chevrolet, Pontiac, Oldsmobile, Buick, Cadillac) branding used by General Motors (GM) and decided it too would create a five divisional structure (which by 1955 Chrysler had also matched).  The GM model dated from the 1920s and was called the “ladder” (GM at times had more than five rungs) and the idea was each step on the later would take a buyer into a higher price (and at least theoretically more profitable) range of models.  There was a time when this approach made sense but even in the 1950s when Ford embarked on their restructure it was beginning to fragment, the implications of which would become apparent over the decades.  Thus Ford ended up (firefly) with five divisions: Ford, Mercury, Edsel, Lincoln and Continental.  That didn’t last long and Continental was the first to go, followed soon by the still infamous Edsel and the corporation even flirted with the idea of shuttering Lincoln.

1963 Mercury Comet S-22 Convertible.

The original plan had been for the Comet to be the “small Edsel” but by the time the release date drew close, the decision had been taken to terminate the Edsel brand so the Q&D (quick & dirty) solution was to sell the car through the Lincoln-Mercury dealer network, an expedient which lasted for the 1960 & 1961 model years before the Comet was integrated into the Mercury range and badged appropriately.  The early Comets were built on the Falcon platform (“compact” in contemporary US terms) but when the 1966 range was released, the cars became “intermediates” (ie the size between the “compact” and “full-size” platforms) but the Comet name was withdrawn from use after 1969.  It was in 1971 revived for Mercury’s companion to the Maverick, Ford’s replacement for the compact Falcon which slotted above the Pinto which was in a domestic class so compact the industry coined the class-designation “sub compact”.  Cheap to produce and essentially “disposable”, the Maverick and Comet proved so popular they continued in production for a season even after their nominal replacements were in showrooms.

1967 Mercury Comet Cyclone "R Code", one of 60 built that year with the 427 cubic inch (7.0 litre) FE side-oiler V8 and one of the 19 with a four-speed manual transmission.

The Mercury Comet has never attracted great interest from collectors because few were built with the more robust or exotic drive-trains found more frequently in both the competition from GM & Chrysler and the companion versions from Ford.  The mid-range performance package for the general market was the Comet Cyclone, introduced in 1964 to replace the Comet’s earlier S-22 option; neither were big sellers but they were not expensive to produce and remained profitable parts of the Mercury range.  In 1968, during the peak of the muscle car era, Mercury sought to promote the line, dropping the Comet name and promoting the machines as the “Cyclone”, now with quite potent engines although the emphasis clearly was drag racing rather than turning corners; the high performance package was now called the “Cyclone Spoiler”.  For the NASCAR circuits however, there was in 1969 the Cyclone Spoiler II, one of the so-called “aero cars”, the better known of which were the much more spectacular, be-winged Dodge Daytona (1969) and Plymouth Superbird (1970).  Chrysler’s cars looked radical to achieve what they did but the modifications which created the Mercury Cyclone Spoiler II and Ford Torino Talladega were so subtle as to be barely noticeable, the most effective being the increased slope on the lengthened nose, the flush grill and some changes which had the effect of lowering both the centre of gravity and the body.  The Ford and Mercury might have been a less spectacular sight than the Dodge or Plymouth but on the tracks the seeming slight tweaks did the job and both were among the fastest and most successful of their brief era.

1969 Mercury Cyclone Spoiler II (slab-sided but slippery, left), 1970 Mercury Cyclone Spoiler (sleek but less aerodynamic than its predecessor, centre) and the aborted 1970 Mercury Cyclone Spoiler II (handicapped out of contention by NASCAR, right).   

In 1970, just how aerodynamic was the 1969 Cyclone Spoiler was proved when the racing teams tried the new model which, although it looked sleek, was not as aerodynamically efficient and noticeably slower.  That might seem something of an own goal but Ford were blindsided by NASCAR’s decision to render the low-volume “aero cars” uncompetitive by restricting them to the use of 305 cubic inch (5.0 litre) engines while the conventional bodies were permitted to use the full 430 (7.0).  Thus the aerodynamic modifications planned for the 1970 Torino and Cyclone never entered production.  Of the two prototype Cyclone Spoiler IIs built, one survives revealing a nose which was in its own way as radical as those earlier seen on the Plymouth and Dodge.  In the collector market, the aero cars are much sought but the Cyclones are the least valued which may seem strange because they were on the circuits among the most successful of the era.  Market analysts attribute this to (1) the Cyclone Spoiler II (and Torino Talladega) being visually much less eye-catching than the wild-looking pair from Chrysler and (2) the Cyclone Spoiler II being sold only with a modest 351 cubic inch (5.8 litre) engine whereas the Fords ran 428s (7.0) and the Chryslers 440 (7.2) & 426 (6.9) units, the latter a version of the engine actually used in the race cars.

The highly qualified Kate Upton (b 1992) was in 2014 featured in a Sports Illustrated session filmed in a "vomit comet" (a modified Boeing 727 with a padded interior). 

Capsule

Capsule (pronounced kap-suhl (U), kap-sool (non-U) or kap-syool (non U))

(1) In pharmacology, a gelatinous case enclosing a dose of medicine.

(2) In biology and anatomy, a membranous sac or integument; a cartilaginous, fibrous, or membranous envelope surrounding any of certain organs or parts, especially (1) the broad band of white fibres (internal capsule) near the thalamus in each cerebral hemisphere and (2) the membrane surrounding the eyeball.

(3) Either of two strata of white matter in the cerebrum.

(4) The sporangium of various spore-producing organisms, as ferns, mosses, algae, and fungi.

(5) In botany, a dry dehiscent (one that that liberates its seeds by splitting, as in the violet, or through pores, as in the poppy) fruit, composed of two or more carpels.

(6) A small case, envelope, or covering.

(7) In aerospace, a sealed cabin, container, or vehicle in which a person or animal can ride in flight in space or at very high altitudes within the earth's atmosphere (also called space-capsule).

(8) In aviation, a similar cabin in a military aircraft, which can be ejected from the aircraft in an emergency, complete with crew and instruments etc; an outgrowth of the original escape device, the ejector-seat.  The concept is used also by some sea-going vessels and structures such as oil-rigs where they’re essentially enclosed life-boats equipped for extended duration life-support.

(9) A thin cap or seal (made historically from lead or tin but now usually of plastic), covering for the mouth of a corked (ie sealed with some sort of stopper) bottle.

(10) A concise report; brief outline.

(11) To furnish with or enclose in or as if in a capsule; to encapsulate; to capsulize.

(12) In bacteriology, a gelatinous layer of polysaccharide or protein surrounding the cell wall of some bacteria and thought to be responsible for the virulence in pathogens.  The outer layer of viscous polysaccharide or polypeptide slime of the capsules with which some bacteria cover their cell walls is thought to provide defense against phagocytes and prevent the bacteria from drying out.

(13) In the fashion industry (as a modifier), a sub-set of a collection containing the most important or representative items (a capsule-collection).

(14) In chemistry, a small clay saucer for roasting or melting samples of ores etc, known also as a scorifier (archaic); A small, shallow evaporating dish, usually of porcelain.

(15) In ballistics, a small cup or shell, often of metal, for a percussion cap, cartridge etc.

1645–1655: From the Middle English capsula (small case, natural or artificial), from the French capsula (a membranous sac) or directly from the Latin capsula (small box or chest), the construct being caps(a) (box; chest; case) + -ula (the diminutive suffix).  The medicinal sense is 1875, the origin of the shortened form being that in 1942 adopted by British army quartermasters in their inventory and supply lists (eg Cap, ASA, 5 Gr (ie a 5 grain capsule of aspirin)).  The use to describe the part of a spacecraft containing the crew is from 1954, thought influenced by the number of military personnel involved during the industry’s early years, the sense from the jargon of ballistics meaning "shell of a metallic cartridge" dating from 1864 (although the word in this context had earlier been used in science fiction (SciFi or SF)).  Capsule has been applied as an adjective since 1938.  The verb encapsulate (enclose in a capsule) is from 1842 and was in figurative use by 1939 whereas the noun encapsulation didn’t appear until 1859 but was a figurative form as early as 1934.  Capsule is a noun & verb, capsuler, capsulization & encapsulation are nouns, encapsule, capsulizing, encapsulated & encapsulating are verbs, capsulated and capsuliferous & capsuligenous are adjectives; the noun plural is capsules.  In medicine, the adjective capsuloligamentous is used in anatomical science to mean "relating to a capsule and a ligament".

Science (especially zoology, botany, medicine & anatomy) has found many uses for capsule (because in nature capsule-like formations occur with such frequency) as a descriptor including the nouns capsulotomy (incision into a capsule, especially into the lens of the eye when removing cataracts), (the generation and development of a capsule), capsulorhexis (the removal of the lens capsule during cataract surgery) & capsulectomy (the removal of a capsule, especially one that surrounds an implant) and the adjective capsuloligamentous (of or relating to a capsule and a ligament).  Science also applied modifiers as required, thus forms such as intercapsule, pseudocapsule, microcapsule, macrosapsule & subsapsule.  Industry found a use: the noun capsuler describing "a machine for applying the capsule to the cork of a wine bottle" and the first "space capsules" (the part of spaceships with the life-support systems able to sustain life and thus used as the crew compartment) appeared in SF long before any were built or launched.  The derived forms most frequently used are encapsulate and its variations encapsulation and encapulated.  

The Capsule in Asymmetric Engineering

Focke-Wulf Fw 189 Eurl (Owl).

Unusual but far from unique in its structural asymmetry, and offset crew-capsule, the Blohm & Voss BV 141 was tactical reconnaissance aircraft built in small numbers and used in a desultory manner by the Luftwaffe during WWII.  A specification issued in 1937 by the Reichsluftfahrtministerium (RLM; the German Air Ministry) had called for a single-engine reconnaissance aircraft, optimized for visual observation and, in response, Focke-Wulf responded with their Fw 189 Eurl (Owl) which, because of the twin-engined, twin-boomed layout encountered some resistance from the RLM bureaucrats but it found much favor with the Luftwaffe and, over the course of the war, some nine-hundred entered service and it was used almost exclusively as the German's standard battlefield reconnaissance aircraft.  In fact, so successful did it prove in this role that the other configurations it was designed to accommodate, that of liaison and close-support ground-attack, were never pursued.  Although its performance was modest, it was a fine airframe with superb flying qualities and an ability to absorb punishment which, on the Russian front where it was extensively deployed, became famous and captured exampled provide Russian aeronautical engineers with ides which would for years influence their designs.

Arado Ar 198.

The RLM had also invited Arado to tender but their Ar 198, although featuring an unusual under-slung and elongated cupola which afforded for the observer a uniquely panoramic view, proved unsatisfactory in test-flights and development ceased.  Blohm and Voss hadn't been included in the RLM's invitation but anyway chose to offer a design which was radically different even by the standards of the innovative Fw 189.  The asymmetric BV 141 design was intriguing with the crew housed in an extensively glazed capsule, offset to starboard of the centre-line with a boom, offset to the left, housing the single-engine in front and tail to the rear.  Prototypes were built as early as 1938 and the Luftwaffe conducted were operational trials over both the UK and USSR between 1939-1941 but, despite being satisfactory in most respects, the Bv 141 was hampered by poor performance, a consequence of using an under-powered engined.  A re-design of the structure to accommodate more powerful units was begun but delays in development and the urgent need for the up-rated engines for machines already in production doomed the project and the Bv 141 was in 1943 abandoned.

Blohm & Voss BV 141 prototype.

Blohm & Voss BV 141.

Despite the ungainly appearance, the test-pilots reported the Fw 141 was a nicely balanced airframe, the seemingly strange weight distribution well compensated by (1) component placement, (2) the specific lift characteristics of the wing design and (3) the choice of rotational direction of both crankshaft and propeller, the torque generated used as a counter-balance.  Nor, despite the expectation of some, were there difficulties in handling whatever behavior was induced by the thrust versus drag asymmetry and pilots all indicated some intuitive trimming was all that was needed to compensate for any induced yaw.  The asymmetry extended even to the tail-plane, the starboard elevator and horizontal stabilizer removed (to afford the tail-gunner a wider field of fire) after the first three prototypes were built; surprisingly, this was said barely to affect the flying characteristics.  Focke-Wolf pursued the concept, a number of design-studies (including a piston & turbojet-engine hybrid) initiated but none progressed beyond the drawing-board.

Lindsay Lohan's promotion of Los Angeles-based Civil Clothing's capsule collection, November 2014.  The pieces were an ensemble in black & white, named "My Addiction".

The capsule on the circuits

Bisiluro Damolnar, Le Mans, 1955.

The concept of the asymmetric capsule made little impact in aviation but it certain made an impression on “Smokey” Yunick (Henry Yunick 1923–2001).  Smokey Yunick was American mechanic and self-taught designer who was for years one of the most innovative and imaginative builders in motorsport.  A dominant force in the early years of NASCAR where his team won two championships and dozens of races, he continued his involvement there and in other arenas for over two decades including the Indianapolis 500, his car winning the 1960 event.  During WWII, Yunick had piloted a Boeing B-17 Flying Fortress for the 97th Bombardment Group (Heavy), flying some fifty missions out of Amendola Field, Italy and on one run, he’d had seen in the skies over Germany a Blohm & Voss BV 141 and was intrigued by the outrigger capsule in which sat the crew, immediately trying to imagine how such a layout would affect the flying characteristics.  The image of the strange aircraft stayed with him and a decade later he noted the Bisiluro Damolnar which ran at Le Mans in 1955, the year of the horrific accident in which eighty-four died.  He must have been encouraged by the impressive pace of the Bisiluro Damolnar rather than its high-speed stability (it was blown (literally) of the track by a passing Jaguar D-Type) and to contest the 1964 Indianapolis 500, he created a capsule-car.

Hurst Floor Shifter Special, Indianapolis, 1964.

Like many of the machines Yunick built, the capsule-car was designed with the rule-book in one hand and a bucket of the sponsor’s money in the other, Hurst Corporation in 1964 paying US$40,000 (equal to circa US$335,000 in 2021) for the naming rights.  Taking advantage of the USAC’s (the Indianapolis 500’s sanctioning body) rules which permitted the cars to carry as much as 75 gallons (284 litres) of fuel, some did, the placement of the tanks being an important factor in the carefully calculated weight-distribution.  The drawback of a heavy fuel load was greater weight which, early on, decreased speed and increased tyre wear but did offer the lure of less time spent re-fueling so what Yunick did was take a novel approach to the "fuel as ballast" principle which balanced the mass by placing the driver and fuel towards the front and the engine to the rear, the desired leftward bias (the Indianapolis 500 being run anti-clockwise) achieved by specific placement.  His great innovation was that using a separate, left-side capsule for the driver, he created three different weight masses (front, rear and left-centre) which, in theory, would both improve aerodynamic efficiency and optimize weight distribution.

Hurst Floor Shifter Special, Indianapolis, 1964.

Despite the appearance, the capsule-car was more conventional than intended.  The initial plan had been to use a turbine engine (as Lotus later would, almost successfully) and a single throttle/brake control but, for various reasons, it ended up using the ubiquitous Offenhauser power-plant and a conventional, two-pedal setup.  Upon arrival at the track, it made quite an impression and many understood the theories which had inspired the design.  Expectations were high.  Unfortunately, the theories didn’t work in practice and the car struggled to reach competitive speeds, an attempt at a qualifying lap delayed until the last available day.  Going into turn one at speed, a problem with the troublesome brakes caused a loss of control and the car hit the wall, the damage severe enough to preclude any chance of repairs being made in time for the race.

Hurst Floor Shifter Special, Indianapolis, 1964.

Yunick wasn’t discouraged and remained confident a year was enough time to develop the concept and solve the problem the shakedown on the circuit had revealed but the capsule-car would never race again, rule changes imposed after a horrific crash which happened early in 1964 race meaning it would have been impossible for it to conform yet remain competitive.  Effectively rendered illegal, the capsule-car was handed to the Indianapolis Motor Speedway Museum, where it's sometimes displayed.

Japanese Hotels: The Pod and the Capsule

The term "capsule hotel" is a calque of the Japanese カプセルホテル (kapuseru hoteru).  The capsule hotel is a hotel with very small accommodation units which certainly can’t be called “rooms” in any conventiona sense of the word although the property management software (PMS) the operators use to manage the places is essentially the same (though simplified because there’s no need to handle things such as mini-bars, rollaway beds et al).  Although not exclusive to Japan, it’s Japanese cities with which the concept is most associated, the first opened in Osaka in 1979 and they were an obvious place for the idea to emerge because of the high cost of real estate.  Although the market has softened since the “property bubble” which in 1989 peaked with Tokyo commercial space alone reputedly (at least as extrapolated by the theorists) worth more than the continental United States, the cost per m² remains high by international standards.  Because one typical hotel room can absorb as many m³ as a dozen or more capsules, the optimized space efficiency made the economic model compelling, even as a niche market.

Anna in Capsule 620.

Many use the terms “pod hotel” (pod used here in the individual and not the collective sense) & “capsule hotel” interchangeably to describe accommodation units which compact sleeping spaces with minimal additional facilities but in Japan the industry does note there are nuances of difference between the two.  Both are similar in that structurally the design is one of an array of small, pod-like sleeping units stacked side by side and/or atop each other in a communal space.  In a capsule hotel, the amenities are limited usually to a bed, small television and usually some (limited) provision of personal storage space with bathroom facilities shared and located in the communal area.  The target market traditionally has been budget travellers (the business as well as the leisure market) but there was for a while the phenomenon of those booking a night or two just to post the images as something exotic on Instagram and other platforms.  Interestingly, "female only" capsule hotels are a thing which must be indicative of something. 

Entrance to the world of your capsule, 9h nine hours Suidobashi, Tokyo.

The “Pod Hotel” came later and tended to be (slightly) larger, some 10-20% more expensive and positioned deliberately as “upmarket”, obviously a relative term and best thought of as vaguely analogous with the “premium economy” seats offered by airlines.  Compared with a capsule, a pod might have adjustable lighting, a built-in entertainment system supporting BYD (bring your own device) and somewhat more opulent bedding.  Demand clearly existed and a few pod hotels emerged with even a private bathroom and additional storage space although the sleeping area tended to remain the same.  It’s part of Japanese urban folklore that these more self-contained pods are often used by the famous “salarymen” who find them an attractive alternative to finding their way home after an evening of karaoke, strong drink, the attention of hostesses and such.  That aspect of the salaryman lifestyle predated the 1980s and capsules and pods were just a more economic way of doing things.  Not however predicted in a country which had since the mid-1950s become accustomed to prosperity, full-employment and growth were the recessions and consequent increase in unemployment which became part of the economy after the bubble burst in 1990.  In this environment, the capsules and especially the pods became low-cost alternative accommodation for the under-employed & unemployed and while estimates vary according to the city and district, it may be that at times as many as 20% of the units were rented on a weekly or monthly basis by those for whom the cost of a house or apartment had become prohibitive.