Granular

Granular (pronounced gran-yuh-ler)

(1) Of the nature of granules; grainy.

(2) Composed of or bearing granules or grains.

(3) Showing a granulated structure.

(4) In computing, an object existing as a singular form at the level of the file system but which exists at the application level in multiple parts.

(5) Relating to or containing particles having a strong affinity for nuclear stains, as in certain bacteria.

1762 (although use not widespread until 1794): From the Late Latin granulum (granule, a little grain), diminutive of the Latin granum (grain, seed) from the primitive Indo-European gre-no- (grain) + -ar (from the From Latin -āris (of, near, pertaining to), the suffix appended to various words, often nouns, to make the adjectival form; added most often, but not exclusively, to words of Latin origin).  The word seems rather suddenly to have replaced the late fourteenth century granulous.  Granular, granularity, granule & granulation are nouns, granulate is a verb & adjective and granulatory is an adjective.

Terminology describing degrees of granularity

As granular has become a more widely used word, fastidious types have noted the increasing frequency of things being described as "more granular" or "less granular" and this elicits disapproval because it’s imprecise.  Something granular is composed of (usually small), discrete entities as opposed to being continuous and that’s a binary distinction, not a matter of degree so it’s inherently unclear if "more granular" and "less granular" indicate finer or coarser granularity.  For clarity, one should speak only of finer or coarser granularity.

Lindsay Lohan represented in granular art, an artificial intelligence (AI) generated artwork created by Wout from AI Fountain as part of the Curated Community Art initiative (CCAI) and finished in Adobe Photoshop.  Each digital artwork created by this algorithm is unique and made from a set of parameters; process and output are thus both inherently granular.

In computing, the concept of granularity exists in many forks and layers.  Users deal frequently with granular data, most typically when handling what appears to exist in many parts but which is, to the system, at least one layer, a single object.  For system administrators, it’s an especially handy attribute when it’s necessary to recover one small piece of data which has been copied or backed-up as something really huge and there are big machine operators which now routinely handle data sets of a size which only a few years ago were unimaginably large.  For them, the ability to look at the whole and be able to extract pieces, drilling down if need be to individual bytes, makes easily possible what would otherwise require much time and hardware; hence the metaphor of granularity, a mechanism to find a particular grain in a silo of many trillions.

That’s useful but really is just brute-force, the massive up-scaling up of something which has existed since the earliest forms of digital storage.  More intriguing is the recent emergence of Granular computing (GrC), a fork in information processing, the focus of which is information granules, entities created from the processes of data abstraction and derivations from data.  The source and structure of this data is not the imperative; what matters are the relationships (of which there may be many) which can, for example, simultaneously be both the extent of difference and a dependence on indistinguishability.  GrC, as it now exists, is more of a conceptual direction than a coherent process or even a theoretical perspective.  Its most promising implication is perhaps the granules which might form as relationships between previously disparate data sets are explored.  This may allow previously unrealized correlates to be identified, perhaps enabling humanity to mine the accumulate data sets for what Donald Rumsfeld (1932–2021: US Secretary of Defense 1975-1977 & 2001-2006) called the unknown knowns.  Rumsfeld may have been evil but his mind could sparkle and many unknown knowns may await.  

Colophon

Colophon (pronounced kol-uh-fon or kol-uh-fuhn)

(1) A publisher's or printer's distinctive emblem (or imprint, label, logo, mark, symbol trademark etc), used as an identifying device on its books and other works, appearing variously within the covers and at the base of the spine (replicated in the same place on a dust jacket).

(2) An inscription (historically at the end of a book or manuscript but of late frequently printed towards the beginning), widely used since the fifteenth century (although the practice pre-dates the invention of printing) and providing the title or subject of the work, selected details about the author(s), the name of the printer or publisher, the date and place of publication and (less commonly), technical details such as typefaces, bibliophilic information or the paper and method of binding used.

(3) By extension, in internet use, a page on a website identifying the details of its creation, such as the author's name, the technologies used (including copyright attribution) and many other details, some or all of which may replicate the metadata associated with objects in other digital contexts.

(3) In entomology, a genus of beetles in the stag beetle family Lucanidae.

(4) In art, music, poetry etc, a finishing stroke or crowning touch (archaic except as an artistic affectation).

(5) An city in Ancient Greece (in Lydia, Asia Minor); one of the twelve Ionian cities banded together in the eighth century BC and substantially depopulated in 286 BC (always initial capital).  It was romanized as Kolophṓn.

1615-1625: From the Late Latin colophōn, from the Ancient Greek κολοφών (kolophṓn) (peak, summit; finishing touch; a finishing stroke), from the primitive Indo-European root kel (to be prominent; hill).  A colophon should not be confused with colophonite (in mineralogy a coarsely granular variety of garnet) or technical words from medicine words like coloplasty (surgery on the colon (especially partial resection or an instance of such surgery)).  The adjective Colophonian is applied to (1) an inhabitant of the Lydian city of Colophon or (2) matters of or pertaining to that city.  The term colophony (for the type of rosin) is from colophonia resina (from the Ancient Greek Κολοφωνία ῥητίνη (Kolophōnia rhētinē)) which describes the hardened resin from the pine trees of Colophon, a substance valued by the craftsmen who made stringed musical instruments because its properties were uniquely helpful in increasing the friction of bow hairs (and now used in pharmaceutical preparations & soldering fluxes though it’s still prized by those who play the violin, viola, cello etc).  Colophon is a noun and colophonic is an adjective; the noun plural is colophons.

The etymological relationship between the colophon in publishing and the Ancient Greek city of Colophon lies in the original meaning of the word and the reverence in the West for the classical world which would have found a Latin or Greek form preferable to something in brutish English like “details page”.  The Greek word κολοφών (kolophṓn) meant “peak” or “summit” and thus the ancient Lydian city in Asia Minor (what is now the land mass of the modern Republic of Türkiye) which was said to be the oldest of the twelve of the Ionian League came to be known as Colophon because it was built upon a ridgeline which rose between Ephesus & Lebedos.  From the, in Greek, kolophṓn came to be used to mean “a city or town at the summit of a hill or a signpost at the end of a trail that indicated the name and location of the place” and thus “a finishing touch; a finishing stroke”.  From this duality of meaning came the use in publishing, the bibliographic addendum called a “colophon” in the metaphorical sense of a “crowning touch” and the historic placement at the end of a book or manuscript an allusion to “the signpost at the end”.  Although it would be centuries before anything like a standardized form emerged, the concept of the colophon has been identified in texts from antiquity, recognizable versions existing as early as the second century AD.

An emulation of a colaphon.

A colophon is not an essential component of a book but many publishers have long included one.  In its most simple modern form, a colophon is a summary of technical information which includes data such as the name & insignia of the publisher, the font(s) used, the details of photographs or art used on the covers and the names of the author(s) or editor(s), along with whatever biographical data they may care to reveal.  The nature of the text also influences what’s included, books with a technical bent (and certainly those covering IT matters) likely to list software used in the composition while those which focus on photography are likely to include much about cameras.  Reflecting environment concerns, increasingly colophons include mentions of thing like sustainability in the process (which can mean much or little) or the use of recycled materials.  A colophon differs from a blurb (often printed on the back cover or a cover flap) which is a blend of promotional puff-piece and a précis of the contents.  Traditionally part of the back matter, they’re now often found among the front pages along with the title page (a more modern innovation than the colophon) appearing with the usual entries such as the date & place of publication, the copyright stamp, ISBN references etc.  In a sense, a colophon can be considered a form of metadata (which references the concept of structured information which is about other data).

Shaker

Shaker (pronounced shey-ker)

(1) A person or thing that shakes or the means by which something is shaken.

(2) A container with a perforated top from which a seasoning, condiment, sugar, flour, or the like is shaken onto food.

(3) Any of various containers for shaking beverages to mix the ingredients (eg cocktail shaker).

(4) A dredger or caster.

(5) A member of the Millennial Church, originating in England in the middle of the eighteenth century (initial capital letter).

(6) Noting or pertaining to a style of something produced by Shakers and characterized by simplicity of form, lack of ornamentation, fine craftsmanship, and functionality (initial capital letter).

(7) As the later component in mover and shaker, one who is important, influential or a dynamic forced in some field or generally.

(8) An exposed air-intake system for internal combustion engines, attached directly to the induction and thus intended to shake as the engine vibrates.

(9) A variety of pigeon.

(10) In railway line construction, one who holds spikes while they are hammered.

(11) In music, a musical percussion instrument filled with granular solids which produce a rhythmic sound when shaken.

(12) A kind of straight-sided, stackable glass.

1400-1450: From the late Middle English, the construct being shake +‎ -er.  Shake is from the Middle English schaken, from the Old English sċeacan & sċacan (to shake), from the Proto-West Germanic skakan, from the Proto-Germanic skakaną (to shake, swing, escape), from the primitive Indo-European (s)keg- & (s)kek- (to jump, move).  It was cognate with the Scots schake & schack (to shake), the West Frisian schaekje (to shake), the Dutch schaken (to elope, make clean, shake), the Low German schaken (to move, shift, push, shake) & schacken (to shake, shock), the Norwegian Nynorsk skaka (to shake), the Swedish skaka (to shake), the Dutch schokken (to shake, shock) and the Russian скака́ть (skakát) (to jump).  The –er suffix is from the Middle English –er & -ere, from the Old English -ere, from the Proto-Germanic -ārijaz, thought usually to have been borrowed from Latin –ārius and reinforced by the synonymous but unrelated Old French –or & -eor (The Anglo-Norman variant was -our), from the Latin -(ā)tor, from the primitive Indo-European -tōr.  Added to verbs (typically a person or thing that does an action indicated by the root verb) and forms an agent noun.  The plural is shakers.

The Shakers

The Millennial Church later called the Shakers, dates from 1747, the name shaker first casually applied circa 1750 although it had been used to describe similar practices in other sects since the 1640s and, as an adjective, shaker was first applied to their stark furniture in 1866.  The first cocktail shaker was mentioned in 1868 (the ancient Greeks had seison (a kind of vase) which translated literally as “shaker".  The modern-sounding “movers and shakers” is attested as early as 1874.  The Shakers began as a sect of the English Quakers, the movement founded in 1747 by Jane and James Wardley.  Correctly styled as the United Society of Believers in Christ’s Second Appearing, the Shakers were a celibate, millenarian group that established a number of communal settlements in the United States during the eighteenth century.  The early movement was based on the revelations of Ann Lee (1736–1784; addressed within as Mother Ann Lee) who had been active in the English church for almost twenty years after becoming a devotee of the preaching of the Wardleys to whom she confessed her sins; central to her vision was the necessity of repentance and the forsaking of sin as the pathway to redemption.

Movers and shakers: Shakers shaking in worship, New York, 1858.

Promising a vision of a heavenly kingdom to come, Shaker teaching emphasized simplicity, celibacy, & work and communities were flourishing by the mid-nineteenth century, contributing to American culture the style of architecture, furniture, and handicraft for which the movement is today best remembered.  The distinctive feature of their form of worship was the ecstatic dancing or "shaking", which led to them being dubbed “the Shaking Quakers”, later generally shorted to “Shakers”.  The physicality of their practices was neither novel or unique, nor anything particularly associated with Christianity, many religions or sects within, noted for rituals involving shaking, shouting, dancing, whirling, and singing, sometimes in intelligible words, often called “in tongues” (the idea often being what was spoken coming directly from God).

The much-admired Shaker furniture.

Austere though they may have appeared, the Shakers were genuinely innovative in agriculture and industry, their farms prosperous and their ingenuity produced a large number of (usually unpatented) inventions including, the screw propeller, babbitt metal, a rotary harrow, an automatic spring, a turbine waterwheel, a threshing machine and the circular saw.  In agri-business, they were the first in the world to package and market seeds and were once the US’s largest producers of medicinal herbs.  Shaker dance and music is now regarded as a fork in American folk art as well as its religious tradition and the simplicity, functionality and fine craftsmanship of their architecture, furniture and artefacts have had a lasting influence on design.

Although intellectually primitive, Mother Ann’s theology was elaborate but with celibacy as the cardinal principle, the continuity of the communities depended on a constant flow of converts rather than the organic regeneration planned by other sects but the numbers attracted were never sufficient to maintain a critical mass and in the late nineteenth and early twentieth centuries the movement went into decline.  From its height in the 1840s, when some six-thousand members were active, by 1905 there were barely a thousand, compelling the shakers to resort to advertising for members, emphasizing physical comfort of the lifestyle as well as spiritual values.  It became and increasing hard sell in an era of increasing urbanisation and materialism and the convulsion of the twentieth century did little to arrest the trend.  In 1957, the leaders met and voted to close the Shaker Covenant, the document which all new members need to sign to become members.  Membership was thus closed forever and by the turn of the century, there was but one working Shaker village in Sabbathday Lake, Maine; it had fewer than ten members and, in 2023, there appear to be only one or two left alive.

The concept of the cocktail shaker is ancient and ceramic versions dating back some 10,000 years have been found in the Middle East and South & Central America.  The use to which they were put seems in all places to have been essentially the same: a means of mixing fermented fluids with herbs and spices added for flavor, after which a gauze-like fabric could be stretched over the opening so the unwanted residue could be strained off.  Innkeepers for centuries doubtlessly improvised (presumably using two suitably shaped & sized glasses or goblets) their own shakers but it was in cities of the north-east US (New York & Boston factions both claiming the credit) during the early nineteenth century the first commercially produced units were advertised.  By mid-century they were widely used, their functionality and convenience cited by some as one of the reasons there was in the era such an upsurge in the number of recipes publish for mixed drinks.  One of the earliest innovations was the integration of a strainer mechanism although bartenders apparently preferred the detachable devices (said to be much better when working with crushed or shaved ice) and the volume of patent applications for variations on the design of strainers hints at their popularity.  Now, most cocktail shakers are either two-piece (sold with and without a fitted shaker) or (and aimed at the home market) three-piece with a built in shaker, the additional component being a fitted cap which can be used as a measure for spirits or other ingredients.

The shaker and the induction system

1969 Ford Mustang 428 CobraJet.

Shakers were air intakes bolted directly to the induction path of an internal combustion engine’s carburetor(s), the advantage being a measurable increase in power using cool, dense air rather than the inherently warmer under-bonnet air.  Cold-air induction systems weren’t uncommon in the 1960s and 1970s but the shaker’s novelty was that being attached to the engine and protruding through a carefully shaped lacuna in the hood (bonnet), the things shook as the engine vibrated on its mounts.  Men still are excited by such things.

1971 Plymouth Hemi Cuda.

Early advertising material from Chrysler referred to the device as the Incredible Quivering Exposed Cold Air Grabber but buyers called must have thought that a bit much (IQECAG one of history's less mnemonic initializms) and they’ve only ever been referred to as shakers.  The IQECAG was undeniably a sexy scoop and much admired by the males aged 17-39 to whom it was designed to appeal.  Sometimes less is more.  Adolf Hitler (1889-1945; Führer (leader) and German head of government 1933-1945 & head of state 1934-1945) suggested a good title for his book might be Viereinhalb Jahre [des Kampfes] gegen Lüge, Dummheit und Feigheit (Four and a Half Years of Struggle against Lies, Stupidity and Cowardice) but his publisher thought that a bit ponderous and preferred the more succinct Mein Kampf: Eine Abrechnung and even that was clipped to Mein Kampf for publication.  Unfortunately, the revised title was the best thing about it, the style and contents truly ghastly and it's long and repetitious, the ideas within able easily to be reduced to a few dozen pages (some suggest fewer but the historical examples cited for context do require some space).

1974 Pontiac Firebird Trans Am SD-455.

The reverse facing shakers (and air intakes generally) were designed, like cowl-induction, to take advantage of the properties of fluid dynamics which, at speed, produced an accumulation of cold, high-pressure air in the space at the bottom of the windscreen.  Their use created an urban myth that Holly certain makes of carburetor (the Holly and the Rochester among those mentioned) didn't like being "force-fed" which (if done badly) was sort of true but nothing to do with the low-pressure bonnet-mounted devices.  Engineers had long understood the principle and cowl-induction systems were first seen on racing cars in 1910.

1970 Chevrolet Chevelle SS454 (LS6).

A genuine problem with the external induction systems was rain.  In torrential rain, including when the car was parked, moisture entry could cause problems.  Some manufacturers included a flap, providing a protective seal.  The early ones were manually activated but later versions were vacuum-controlled, the extent of opening cognizant of the pressure being applied to the throttle so it opened and closed and engine speed rose and fell.  As a means of getting cold air, this was of course thought most cool.

1964 Ford Fairlane 427 Thunderbolt.

Actually, the bonnet mounted intakes, regardless of which way they faced, weren’t the optimal way to deliver cold air to the induction system but they were the most–admired and something for which buyers were prepared to pay extra so, although they were the most expensive system to produce, they were also the most profitable. Simple ducting from within the wheel-wells delivered most of the benefits but the most efficient harvest of high-pressure air which gained also a “ram-air” effect which, helpfully, increased as speeds rose, was to duct from a forward-facing inlet in the front bumper bar or grill.  Enjoying a much higher pressure than the area around the cowl, with well-designed ducting, a ram-air tube can operate at up to 125% the efficiency of a cowl intake, able to generate a pressure of 2-3 psi (14-20 pascals) at high speed.  Ford in 1936 & 1964 found that by happy coincidence, the inside set of headlights on their Galaxies and Fairlanes were positioned to suit such ducting almost as if they'd been placed there by design so on the limited production "Lightweight" Galaxie and the Fairlane "Thunderbolt", the lens were removed and the apertures re-purposed.  Only 100 of the Thunderbolts were produced, all intended for use in drag racing and this machine secured the 1964 NHRA (National Hot Rod Association) championship in the Super Stock class.

Grain

Grain (pronounced greyn)

(1) A small, hard seed, especially the seed of a food plant such as wheat, corn, rye, oats, rice, or millet.

(2) The gathered seed of food plants, especially of cereal plants.

(3) In brewing & distillation, the residuum (of grain and other inputs) after processing.

(4) Any small, hard particle (sand, gold, salt, pepper, gunpowder etc).

(5) The smallest unit of weight in many systems, originally determined by the weight of a plump grain of wheat. In the US and British systems, as in avoirdupois, troy, and apothecaries' weights, the grain is identical.  In an avoirdupois ounce there are 437.5 grains; in the troy and apothecaries' ounces there are 480 grains (one grain equals 0.0648 gram).  A grain is 1/7000th  of an avoirdupois pound.

(6) As “carat grain” of a quarter carat as a measure of gold purity, creating a 96-point scale between zero-100% purity (now only a historic reference).

(7) As “metric carat” (or “pearl grain”), a quarter carat used for measuring precious stones and pearls (now a standard set internationally at 50 mg).

(8) In historic French use, a weight of 1/9216th of a livre (equivalent to 53.11 mg at metricization and between 1812-1839 set to 54.25 mg from 1812–1839 as part of the mesures usuelles (the system of measurement introduced by Napoleon Bonaparte (1769–1821; leader of the French Republic 1799-1804 & Emperor of the French from 1804-1814 & 1815) in 1812, used as compromise between the metric system and the traditional measurements, adherence to which was strong (especially among traders and in rural areas.  The system was restricted to the retail sector and remained current until 1840 when standards set in 1795 & 1799 were reinstituted).

(9) In botany, a rounded prominence on the back of a sepal, as in the common dock.

(10) In leather-working, the hair side of a piece of leather, or the marking on that side.

(11) In photography & videography, the visual texture in processed photographic film due to the presence of small particles of a metallic silver, or dye clouds, developed from silver halide that have received enough photons (now mostly a historic reference but still used where the effect appears (either naturally or in emulation) in digital output).

(12) In materials engineering, a region within a material having a single crystal structure or direction.

(13) A reddish dye made from the coccus insect, or kermes (hence, a red color of any tint or hue, as crimson, scarlet, etc) and sometimes used in poetry as the equivalent to Tyrian purple.

(14) In astronautics, a solid-fuel rocket's propellant charge; tending to the shape of a hollow cylinder, sometimes textured, the size varying, up to a point in proportion with the device to be equipped.

(15) In slang and idiomatic use, the smallest possible amount of anything (eg not a grain of truth).

(16) In slang and idiomatic use, in opposition to one's temper, inclination, or character (eg against the grain).

(17) In idiomatic use, as “take it with a grain of salt”, an expression of scepticism.

(18) Among drug users, a slang term for marijuana (highly regionalized and rare since the 1980s).

(19) The arrangement or direction of fibers in wood, or the pattern resulting from this.

(20) To feed grain to.

(21) To form grains, or to assume a granular form, as the result of crystallization; to granulate.

(22) To texture (or paint etc) a surface in imitation of the grain of a substance such as wood.

(23) In tanning, to remove the hair or fat from a skin (also used of the “softening” process).

(24) In horticulture, to yield fruit.

1250-1300:  Middle English grein (“a small, hard seed”, especially of one of the cereal plants, also (as a collective singular) “seed of wheat and allied grasses used as food”; “something resembling grain”; “a hard particle of other substances (salt, sand etc (and later, gunpowder etc)))” and the twelfth century Old French grein (seed, grain; particle, drop; berry; grain as a unit of weight) from the Latin grānum (seed, a grain, small kernel), from the primitive Indo-European root gre-no- (grain).  In the US, where corn developed a specialized sense because of its place in agricultural economics, it's the general word and used of wheat, rye, oats, barley etc.  The noun grainage describes the selection and storage of cocoons in sericulture (the rearing of silkworms for the production of silk).  Grain & graining are nouns & verbs; grainer is a noun, grained is a verb & adjective, grainy & grainage are adjectives; the noun plural is nouns.

A grain is a unit of measurement of mass, and, for the troy grain, equal to exactly 64.79891 milligrams. It is nominally based upon the mass of a single seed of a cereal. From the Bronze Age into the Renaissance the average masses of wheat and barley grains were part of the legal definitions of units of mass.  The grain was the legal foundation of traditional English (and later imperial) weight systems, and is the only unit that is equal throughout the troy, avoirdupois, and apothecaries' systems of mass.  The unit was based on the weight of a single grain of barley, considered equivalent to one and one third grains of wheat.  The grain was long the apothecaries basic unit and some retailers still use it as a “retro” expression (in conjunction with mandated systems, a la the parallel use of pounds & kilograms, popular in the UK). 

The earlier sense in English was the early thirteenth century “scarlet dye made from insects”, a meaning attached also to the Old French collateral form graine.  In Middle English grain also could mean “seed of flowers; pip of an apple, grape etc; a berry, legume, nut”.  The verb grained (simple past tense and past participle of grain) dates from the 1520s and was used in compounds associated with “having grains of a specified kind” (coarse-grained, close-grained, fine-grained etc) and also the process of staining a surface with an imitation wood grain.  Figuratively, the late fourteenth century meaning “the smallest possible quantity” reflected the practicalities of commerce rather than a scientific expression, the conveniently available devices of the age unable accurately to measure anything smaller and there anyway being then no practical use for such a measure (although since Antiquity philosophers had been pondering the concept of what came to be understood as “the atom”).  From the early fifteenth century it was thus standardized (in law and customary practice) as the smallest unit of weight (originally the weight of a plump, dry grain of wheat or barley from the middle of the ear).  From the 1560s, it was used to describe “roughness of surface; a roughness as of grains”, applied especially to timbers as a measure of the “quality due to the character or arrangement of its fibres”.    Grain alcohol was first noted in 1854 as a distiller’s category which reflected the practice of mixing alcohols derived from different grains for industrial and other purposes.

From this use emerged the phrase “against the grain” a metaphor from carpentry dating from circa 1650 expressing the experience that cutting across the fibres of wood is more difficult than cutting along them.  Although mere jargon to carpenters & cabinet-makers, shockingly, one patient in 1810 used the phrase in a letter describing enduring a mastectomy performed without the use of  anaesthetic: “When the wound was made, & the instrument was withdrawn, the pain seemed undiminished, for the air that suddenly rushed into those delicate parts felt like a mass of minute but sharp & forked poniards, that were tearing the edges of the wound – but when again I felt the instrument – describing a curve – cutting against the grain, if I may so say, while the flesh resisted in a manner so forcible as to oppose & tire the hand of the operator, who was forced to change from the right to the left – then, indeed, I thought I must have expired. I attempted no more to open my Eyes, – they felt as if hermetically shut, & so firmly closed, that the Eyelids seemed indented into the Cheeks.”   

Jaguar’s Mk X (1961-1966) and 420G (1966-1970) made extensive use of burl walnut woodgrain fittings; it was one of the more atmospheric interiors of the post-war years.  When the revised 420G was released, the upper section of the dashboard was replaced with a padded section which offered better passenger protection but lacked the visual charm.  The Mark X was a missed opportunity for Jaguar; although too big to enjoy much success in the UK and many export markets, it would have been ideal for the US had a 5-5.5 litre (300-340 cubic inch) version of the Daimler V8 been used.  Although a "proof of concept" prototype V8 Mark X had demonstrated how good such a thing would have been, Jaguar were still stuck in their "anti-V8" mindset and believed their future ranges should be powered exclusively by straight-six and V12 powerplants.  As it was, although the platform was superior, the use of the XK six (in the same tune as the E-Type (1961-1974) sports car) meant the Mark X was unsuited (in US conditions) to compete with the Cadillacs, Lincolns and Imperials.  While the 3.8 & 4.2 litre (231 & 258 cubic inch) six was ideal for the E-Type, in the bigger, heavier Mark X it didn't deliver effortless performance of the American cars, some of which were already running 7 litre (430 cubic inch) V8s. 

In both British Imperial and U.S. customary units, there are precisely 7,000 grains per avoirdupois pound, and 5,760 grains per troy pound or apothecaries’ pound.  The grain is commonly used to measure the mass of bullets and propellants and the term also refers to a single particle of gunpowder, the size of which varies according to requirements.  In archery, the grain is the standard unit used to weigh arrows.  In dentistry, the gold foil used as a material to restore teeth is measured in grains.  The (historically) 5-grain aspirin was the typical domestic dose while 7-grains was thought a "strong dose" (and the guidance label on some bottles of aspirin still indicates the dosage is 325 mg (5 grains).  Though no longer recommended, grains are still used occasionally in medicine as part of the apothecaries' system, especially in prescriptions for older medicines such as aspirin or phenobarbital.  In that example the grain is approximated to 65 mg, though the grain can also be approximated to 60 mg, depending on the medication and manufacturer.  The apothecaries' system has gradually been replaced by the metric system, and the use of the grain in prescriptions is now rare.

The Facel Vega Facel II (1962-1964) was France’s finest car of the post-war years.  However, its lush looking “woodgrain” dashboard was actually painted metal which may have disappointed some but most forgot that upon putting their fingers on the five, marvelously tactile, sliding heater controls which were in the style of the fittings used in aviation.  Being hand-painted, no two Facel Vega dashboards were exactly the same (just like Jaguar's real woodgrain) and the factory offered a "Lighter" or "Darker" effect.  Built with reliable, US-built Chrysler V8s, the "big" Facels were a success and the company's demise was the result of using a fragile, locally-made four-cylinder engine for a companion, smaller range.  The Facel II’s predecessor was the FV series (1954-1959 which, as the revised HK500, remained in production until 1962) and it was in his publisher’s FV3B the French author Albert Camus (1913–1960) died in crash, close to Villeblevin in the north-central region of Bourgogne-Franche-Comté.  As well as being a footnote in literary history, that Facel Vega (or, strictly speaking, one of its tyres) appears in the conspiracy theory which alleges the accident was the result of sabotage ordered by the Kremlin in response to the author’s criticism of Soviet actions in crushing the Hungarian uprising of 1956.  

In small-arms ammunition, the weight of the bullet is expressed in grains, a number often neglected which seems strange given weight affects (1) how a firearm recoils, (2) the trajectory of the bullet and (3) terminal ballistics (how the bullet behaves when striking a target).  As a general principle, a lighter bullet will achieve a higher speed which means it should maintain a straighter trajectory over a longer distance. However, a light bullet delivers less energy and is more susceptible to wind so it will tend to be blown off target more than something heavier.  For ultimate accuracy therefore, neither is absolutely preferable.  Nor is the grain count of necessity going to produce the same effect in every firearm because measures like calibre, muzzle energy and muzzle velocity all have an influence.  That was as true decades ago when the trend was towards smaller calibres as it is in the age of “bigger is better”.  In some cases, over some distances, a lighter bullet, moving faster, delivers more energy at the point of impact.  That’s one part of the equation but the math influences also the recoil.  It takes more energy to move a heavier bullet so, because for every action there should be an equal and opposite reaction, the heavier bullet should cause a greater recoil but, depending on the calibre and the firearm’s frame (some absorb more recoil), the lighter bullet might induce more recoil because more energy is thrust from the barrel, something further influenced by the propellant burn rate.

Lindsay Lohan recommends whole grains as part of a balanced diet.  “Whole grains” are those contain all three parts of the kernel (bran, germ & endosperm) in their natural proportions; in this, they differ from refined grains which have the bran and germ removed.  Minimally processed, whole grains are recommended by dieticians because they provide an optimal quantity of fibre, vitamins, minerals & phytochemicals, nutritional elements which can at least partially be lost by the refining process.  Example of whole grains include whole wheat, brown rice, oats, barley & quinoa and in their natural form, as well as the nutritional advantages, being dense, they tend to be “chewier and nuttier” than refined products and are valued by chefs for their texture.

Stack

Stack (pronounced stak)

(1) A more or less orderly pile or heap.

(2) A set of shelves for books or other materials ranged compactly one above the other, as in a library.

(3) As smoke-stack, a number of chimneys or flues grouped together (and used originally to describe an especially tall structure).

(4) A vertical duct for conveying warm air from a leader to a register on an upper story of a building.

(5) A vertical waste pipe or vent pipe serving a number of floors.

(6) In informal use, a great quantity or number.

(7) In radio, an antenna consisting of a number of components connected in a substantially vertical series.

(8) In computing, a linear list arranged so that the last item stored is the first item retrieved and an area in a memory for temporary storage

(9) In military jargon, a conical, free-standing group of three rifles placed on their butts and hooked together with stacking swivels.

(10) In air traffic control, as air stack or stack-up, groups of airplanes flying nearly circular patterns at various altitudes over an airport where crowded runways, a low cloud ceiling, or other temporary conditions prevent immediate landings.

(11) In historic English measure for coal and wood, equal to 106 cubic feet (3m³).

(12) In geology, a column of rock isolated from a shore by the action of waves.

(13) In poker and some other games, the quantity of chips held by a player at a given point in a gambling game.

(14) To arrange or select unfairly in order to force a desired result, especially to load (a jury, committee, etc.) with members having a biased viewpoint.

(15) In Australian slang, to crash (typically a bike, skateboard etc).

(16) In recreational drugs as "stacked pill", a dose (most associated with MDMA) with an external coating in several (stacked) colors.

1250–1300: From the Middle English stak (pile, heap or group of things, especially a pile of grain in the sheaf in circular or rectangular form), from a Scandinavian source akin to the Old Norse stakkr (haystack), thought from the Proto-Germanic stakkoz & stakon- (a stake), from the primitive Indo-European stog- a variant of steg (pole; stick (source of the English “stake”, the Old Church Slavonic stogu (heap), the Russian stog (haystack) and the Lithuanian stokas (pillar)).  It was cognate with the Danish stak and the Swedish stack (heap, stack).  “Smokestack” and the derived clipping “stack” were by the 1660s in use to describe tall chimneys, initially when arrayed in a cluster but by 1825 it’s recorded also of the “single stacks” on steam locomotives and steamships.  In naval use, the official Admiralty term was “funnel” and warships were in some listings (especially identification charts which used silhouettes) listed thus (“three funnel cruiser”; “four funnel destroyer”) but the sailors’ slang was “two stacker”, “three stacker” etc.

In libraries, “stacks” in the sense of “set of shelves on which books arranged) was in use by the late 1870s and in computer software, the “stack” was first documented in 1960 to describe a collection of elements which work in unison, the original idea being of a stack of things, each subsequent object depending on the one below to run and by the time all are assembled, the whole can function (ie an early instance of “granular” software”).  Later, the word was applied to other concepts, notably the LIFO (last in, first out) model in data structure (LIFO) describing objects added (push) and removed (pop) from the same end.  In English parish records, “Stack” is recorded as a surname as early as the twelfth century and there are a variety of explanations for the origin (which may between regions have differed) and in at least some cases there may be a connection with use of “stack” in agriculture (such as workers who travelled between farms specifically to “Build haystacks”).  In societies where so much of the economy was based on farming and populations substantially were rural, such links were common.  Stack is a noun & verb, stackage, stacker & stackback are nouns, stacking is a noun & verb, stacked is a verb & adjective and stackless, stacky & stackful are adjectives; the noun plural is stacks.

Noted stackers, same cause; different effect: Liz Truss & Xi Jinping with their predecessors.

Especially in politics, the idea of loading the membership of some body (a committee, a branch meeting etc) so that votes may be controlled is an ancient (if not noble) practice but it wasn't described as "stacking" until the early twentieth century.  In some jurisdictions, the practice of "branch stacking" (paying for people to enroll in a political party, many of whom may not be aware of their involvement) has been made unlawful but the technique seems still widespread.  Recent examples at the more exalted level of executive government include Liz Truss (b 1975; UK prime-minister for a few weeks in 2022) who stacked her infamously brief administration exclusively with her supporters regardless of their talent and Xi Jinping (b 1953; paramount leader of the People's Republic of China since 2012) who, when re-structuring the seven member Standing Committee of the Politburo after securing a third term in office, ensured no dissenting voices were likely to be heard.  This worked out not well for Ms Truss; Mr Xi expects better things. 

Stacked: Lindsay Lohan photographed in a pleasing aspect.

Stack in the sense of Australian slang (often as "stacked it") means "to crash" in some way, typically from a skateboard, scooter or bike and (to clarify things) the word was memorably used by #metoo campaigner Grace Tame to explain an injury sustained just after she'd upset the ruling Liberal party.  In the sub-culture of recreational drugs, "stacked pills" are those with a layered color scheme suggesting some interesting variation of ingredients (although all the evidence suggests the finish is purely decorative); among the MDMA crowd "stacked disco biscuits" were said to be a 1990s favorite.  As applied to the (noun) shelves in libraries upon which books are (verb) stacked, use dates from 1879 and as a description of the chimneys of factories, locomotives etc it came into use in the mid-1820s.  The use in computing (the best known of which is probably the IP (Internet Protocol) stack)) dates from 1960 when the word was use to describe software consisting two or more components, the loading of which is dependent on an earlier part, hence the idea of layers which stack upon each-other.  As a modifier it was used to describe the haystack in the mid-fifteenth century and in industrial architecture the smoke-stack (a very tall factory chimney) dates from the mid 1820s (although the structures pre-date the use).  The use of smoke-stack was later picked up by naval architects and was applied also to steam locomotives although these exhausts weren't disproportionately tall.  The verb stack emerged in early fourteenth century agriculture in the sense of "to pile up the grain into a stack" and was thus directly from the noun.  Perhaps surprisingly, the adjectival use of stacked appears undocumented until 1796 when it was used as a past participle to describe the clusters of hay assembled at harvest but etymologists suspect it had long been in oral use.  The adjectival use of stacked to suggest a woman who is pleasingly (even perhaps slightly disproportionately) curvaceous dates from 1942.

Of DeSoto's triple stack

1957 DeSoto Adventurer Convertible.

DeSoto's signature triple stacked taillights were a footnote in Detroit's macropterous era of the late 1950s, the style making possible the distinctive vertical arrangement.  Chevrolet would for years make triple taillights a trademark of their more expensive lines (although, apart from the odd special built for the show circuit, they resisted the temptation to add a third to the Corvette (the additional rear apertures on the abortive 1963 Corvette Grand Sport (GS) were for air extraction)) but they appeared always in a less memorable horizontal array.  DeSoto's motif was Chrysler's most successful use of the fins but it wasn't enough to save the brand which was crowded out of the mid-priced market, not only by competition from General Motors (GM) and Ford but also by intra-corporate cannibalization, squeezed from below by Dodge and from above by Chrysler's new Newport line.  Demand for DeSotos collapsed and that so many were built in 1960 was simply to use up the large inventory of the few parts still exclusive to the brand.  The last of the line, heavily discounted, were not sold until well into 1961.

More sharing of stuff than before: 1960 DeSoto Fireflite four-door hardtop (left) and 1960 Chrysler New Yorker four-door hardtop (right).

By 1959 the writing was on the wall for the once popular DeSoto and the 1960 range would prove its swansong, the last of the breed barely modified Chryslers and the only real hint of the past was the taillight's triple frets.  On the DeSoto the ridges were a modest attempt to retain brand identity but in optics such things have a purpose and are known as “Fresnel lenses” or “Fresnel ribs”, the name from French civil engineer Augustin-Jean Fresnel (1788–1827), remembered for his research into optics which led eventually to the near-unanimous acceptance of the nature of light being a wave (he was half-right but light was later proved to possess a wave-particle duality).  His more enduring Fresnel lens used the catadioptric (reflective/refractive) principle and what the “stepped” design did was extend the reach of lighthouse beams, doubtlessly saving the lives of many seafarers.  Fresnel’s invention was a refinement of the dioptric (refractive) stepped lens, a concept first published by the French cosmologist and mathematician Georges-Louis Leclerc, Comte de Buffon (1707-1788) and Fresnel’s enhancements better distributed and directed the light, improving visibility from longer distances and a greater range of angles.

By 1960 (left) the DeSoto's taillights were a shadow of the way the triple-stack motif had been defined in 1959 (right): This juxtaposition is DeSoto Red Tail Lights in Black and White by Paul Ward.  Many designers probably will prefer the later interpretation but there's a charm to the triple stack.

Open stack exhausts

The exhaust systems of most internal combustion engines are designed to allow as efficient an operation as possible over a broad range of engine speeds while performing as quietly as is required.  Unlike engines used on the road, those designed for competition aren’t as compromised by the need for a wide powerband and quiet operation so open stack exhausts, optimized for flow and the reduction of back-pressure, are attractive.

Stacked: BRM P57 in its original configuration.

During the 1950s, despite engine capacity having being reduced from 4.5 (275 cubic inch) to 2.5 (153 cubic inch) litres, speeds in Formula One were increasing so the sport’s governing body (then the  Commission Sportive Internationale (CSI)), a crew almost as dopey about such things as the Fédération Internationale de l'Automobile (FIA) are now), reacted by imposing a further reduction to 1.5 litres (92 cubic inch).  The 1.5 litre formula ran between 1961 and 1965 but came under increasing criticism as being unworthy of Formula One status in an age when big-engined machinery in other categories was attracting such interest.  The rules did however compel designers and engineers to conjure up some exquisite voiturettes.  BRM’s jewel-like 1.5 litre V8 was the first since the one-off Mercedes-Benz W165 built for the 1939 Tripoli Grand Prix and proved successful, winning the 1962 drivers’ and constructors’ championships.  To extract the maximum from the tiny V8, BRM initially ran them with eight, slightly angled, open-stack exhaust headers which were effective but, because of the limits of the metallurgy of the era they were prone to working loose so, with only the slightest sacrifice in top-end power, during 1962 an orthodox horizontal system was fabricated as a replacement.

Stacked: Graham Hill, 14^th BRDC (British Racing Drivers Club) International Trophy, Silverstone, 12 May 1962.

BRM's chassis for the 1.5 litre formula was actually ready before the new (P56) V8 so in 1961 it was fitted with the widely-used four cylinder Coventry Climax unit which proved uncompetitive against the various configurations of the V6 used in the Ferrari 156 F1 (the "sharknose").  Confusingly, in its debut season, BRM labelled the car the P48/P57 while in 1962 the official name was P578; subsequently just about everybody called the thing the P57 and although lacking the charisma of the earlier and later sixteen cylinder cars it was the factory's most successful engine/chassis combination and wasn't replaced until 1964, one private team even (without success) campaigning the P57 into 1965.

Destacked: Graham Hill, 1962 South African Grand Prix, East London, 29 December 1962.  While the more tightly regulated forms of circuit racing (mostly) restricted the use of open-stack exhausts, in more permissive places (notably the wildly modified "Sports Racing Closed" and "Allcomer" competitions in Australia and New Zealand) the protuberant pipes lasted longer.