Installation

Installation (pronounced in-stuh-ley-shuhn)

(1) Something installed (which can be physical, as in plant or equipment or weightless, as in software).

(2) The act of installing (to install) or the state of being installed.

(3) In military use, any permanent or semi-permanent post, camp, station, base etc, maintained to support operations.

(4) In art, an exhibit (widely defined) where the relation of the parts to the whole and the context of the space where exhibited are sometimes claimed to important to the interpretation of the piece.

(5) A formal ceremony in which an honor is conferred or an appointment made to an office (the state of being so honored or appointed being to be “installed”).

1600–1610: From the Middle French installation, from the Medieval Latin installātiō.  The construct was install + -ation.  The verb install (which was used also as instal and before that enstall) was an early fifteenth century form used to mean “place in ecclesiastical office by seating in an official stall”.  It was from the Middle English installen, from the fourteenth century Old French installer, from the Medieval Latin īnstallō (to install, put in place, establish), the construct being in- (in)- + stallum (stall), from the Frankish stall (stall, position, place), from the Proto-Germanic stallaz (place, position), from the primitive Indo-European stel-, stAlǝn- & stAlǝm- (stem, trunk).  It was cognate with the Old High German stal (location, stall), the Old English steall (position, stall), the Old English onstellan (to institute, create, originate, establish, give the example of), the Middle High German anstalt (institute), the German anstellen (to conduct, employ), the German einstellen (to set, adjust, position), Dutch aanstellen (to appoint, commission, institute) and the Dutch instellen (to set up, establish).  The suffix -ation was from the Middle English -acioun & -acion, from the Old French acion & -ation, from the Latin -ātiō, an alternative form of -tiō (thus the eventual English form -tion).  It was appended to words to indicate (1) an action or process, (2) the result of an action or process or (3) a state or quality.

The mid fifteenth century noun installation (action of installing) was a reference to the processes (both administrative & ceremonial) of appointment to church offices or other positions, and in that sense was from the Medieval Latin installationem (nominative installātiō), the noun of action from past participle stem of installare.  Of machinery (in the sense of plant & equipment), the first known use in print, describing the “act of setting up a machine; placing it in position for use” dates from 1882 but it may by then have for some time been in oral use.  Installation & installationer are nouns and installational & installationlike are adjectives; the noun plural is installations.  Installationism & installationist are non-standard forms used in art criticism.

In computing, an “installation” can be of hardware or software.  With hardware, the point of distinction is an installation is something which is permanent (or, even if temporary, installed in a manner of something permanent), as opposed to a mere connection (such as plugging to a USB cable).  In software, the idea to is transfer from an external source (the internet, a place on a network or transportable media (diskettes, optical discs etc)) onto a device's permanent storage, the installation process usually taken to include putting things into the state where functional use is possible.  Installations can be as simple as copying a single file to a drive to long, interactive processes involving multiple external media and on-line registration or validation procedures.  Some installations are effortless while some are worse than others, as those who have enjoyed the experience of installing the earlier versions of Nvidia’s video drivers for some flavors of Unix can attest.  Especially in software, the terms “pre-installation” and “re-reinstallation” are common although “un-install” is more common than “un-installation” (the terms “failed installation” and “corrupted installation” are also not unknown although in most use, IT nerds usually clip “installation” to “install”).

Installations and Performance Art

It’s now unfashionable, and probably thought reactionary, to attempt to impose definitions on the various expressions of Western art.  There was a time, in living memory, when such distinctions were taken seriously, one squabble about whether an entrant in an Australian portraiture competition could be considered “a portrait” (and by implication the work of “an artist”) or “a mere caricature” (and the thus the scribblings of “a cartoonist”) ending up in the Supreme Court of New South Wales (Attorney-General v Trustees of National Art Gallery of NSW & Another (1945) 62 WN (NSW) 212.).

Portrait or caricature?  Mr Joshua Smith (1943, left), oil on canvas by Sir William Dobell (1899–1970) and Joshua Smith (1905-1995, right).

Wisely, Mr Justice Roper (1901–1958) decided the bench was not a place for amateur art criticism and agreed the work was indeed “a portrait”, holding, inter alia, that “portrait” “…means a pictorial representation of a person, painted by an artist. This definition denotes some degree of likeness is essential and for the purpose of achieving it the inclusion of the face of the subject is desirable and perhaps also essential.”  Of the work in question, he observed it was “…characterised by some startling exaggeration and distortion which was clearly intended by the artist, his technique being too brilliant to admit of any other conclusion.  It bears, nevertheless, a strong degree of likeness to the subject and is think, undoubtedly, a pictorial representation of him.  I find as a fact that it is a portrait…”  Given that, the judge found it unnecessary to consider whether the painting was a “caricature” or a “fantasy” which was a shame, even if it wouldn’t have been something on which the verdict hung.

Year later, in an essay he titled The White Bird (1987), the English painter & art critic John Berger (1926–2017) would discuss the relationship between artist, artwork & viewer and the tension between accurate depiction (“imitation” as he sometimes called it, a growing trend in modern portraiture) and creative expression: “The notion that art is the mirror of nature is one that only appeals in periods of scepticism.  Art does not imitate nature; it imitates a creation, sometimes to propose an alternative world, sometimes simply to amplify, to confirm, to make social the brief hope offered by nature.  Art is an organised response to what nature allows us to glimpse occasionally. Art sets out to transform the potential recognition into an unceasing one.”  With that, one suspects Mr Justice Roper would have concurred.

Finding legal proceedings tiresome, the art industry solved the problem of what does and does not belong in galleries by embracing “installations” and “performance art”, two categories without definitional boundaries and thus able to accommodate anything which can’t be squeezed into one of the traditional slots.  In retrospect, it is course easy to identify stuff stretching back many centuries which could be classified as either but in the modern age, there’s certainly a perception curators are now artistically more promiscuous.  It thus both impossible and pointless to try to define “installation” and “performance art” but some characteristics certainly are identifiable.

Installation art tends to be three-dimensional, is often site-specific and designed to transform the perception of a space in which it exists and the range of materials used is unlimited, the genre notable especially for the use of everyday objects, video & audio content and often, interactive components.  Installation art has encompassed unmade beds so there’s some scope.  Just as there’s no one type of installation, nor are there defined parameters for the mode of display: installations have been hung from ceilings, wrapped around buildings and sat on the seabed.  In gallery spaces however, the most frequently seen installations are those on the floor with sufficient room surrounding them for the viewer to walk around, experiencing the work from multiple angles and perspectives.  Installations can be temporary or permanent or even in some way vanish, decay or be destroyed during the exhibition and in more than one case, the “installation” didn’t actually exist.

The context of location can also dictate the definition.  Wax figures of Lindsay Lohan & Paris Hilton might be all or part of an installation if exhibited in a gallery but when on display at Madame Tussauds in New York City (left), they are a tourist attraction.  More typically, installations combine artistic technique with social or political comment: Gabriel Dawe's (b 1973) Plexus series (centre) was made with a reputed 60 miles (97 km) of embroidery thread hooked from floor to ceiling in a repeating overlay while Judy Chicago’s (b 1939) The Dinner Party, 1974-79 (right) was a feminist piece but one which later attracted criticism because some degree of “ethnic exclusionism” was detected.

Performance art, as the term implies, is a form of “live art” where “something happens”, the actions of the artist or performers components of the work.  Perhaps best thought of as a form of encapsulated theatre, performance art would seem to depend on movement, sound, color and sometimes text although, being art, some performance art has been wholly static.  For that reason, Empire (1965), Andy Warhol’s (1928–1987) eight-hour, slow-motion film of an unchanging view of the Empire State Building must be considered performance art although, given the nature of the experience, it really must be the viewer who is thought the subject.  Performance art is of course intrinsically ephemeral and Empire played with that idea, each moment of the production seemingly the same yet in tiny ways different, rather like the exercise in textual definitional philosophy lecturers like to give students to ponder: “Is the river the ‘same’ river from one day to the next when almost all the molecules of water are different?”

The muse as performing installation: US rapper, singer, songwriter, record producer, hip hop identity & fashion designer Ye (formerly the artist known as Kanye West (b 1977)) and Australian architect & model Bianca Censori (b 1995), annual Grammy Awards, Los Angeles, 2 February 2025.

The recent, much publicized appearances by Mr Ye and Ms Censori attracted all sorts of comments and the consensus was the project (one presumably restricted to the warmer months) was a promotional device for him and to some extent that seems to have worked, despite Mr Ye being mostly unnoticed while in the presence of his photogenic muse.  Although there are references to the pair being “married”, it’s not clear if that is their legal status and in artistic terms that may be significant.  What is of interest is whether in these appearances Ms Censori should be thought a “performance artist” or Mr Ye’s “installation”; both have been suggested and there’s no reason why the two states can’t be simultaneous.  Most intriguing has been the suggestion Ms Cansori is being paid by Mr Ye on a "per outfit" basis and is thus a kind of "walking installation".  That would make it a very "modern" marriage and one of which not all would approve but there have been relationships (artistic and otherwise) based on more dubious arrangements.   

Mr Ye & Ms Cansori at Paris Fashion Week, June 2024, the latter in character as an installation.

In the decadent West, when considering the sometimes dubious artistic merit of installations, professional and amateurs critics alike both usually focus on the work but ever since 1917 when a porcelain urinal appeared in an art gallery, the matter of location has had to be considered: "If something (including a porcelain urinal) is exhibited in an art gallery, is it thus a 'work of art'?"  The question was by most treated as an absurdity but it troubled some critics and went on to sustain the pop-art movement. remaining a staple for post-modernists (they still exist), "cultural commentators" and such.  For decades, the manifests of art galleries have included many items few prior to the modern era would have been prepared to call "art".  

Kim Jong-un (right) looking at Jang Song-thaek (left).

For some, professional careers have been built exploring the implication of the question while for most, it's all been variously annoying or amusing but there are places in which where an object sits can be critical and choosing a "shady" rather than "sunny" spot can be a capital offence.  In the DPRK (Democratic Republic of Korea (North Korea)), Jang Song-thaek (1946-2013) was married to Kim Kyong-hui (b 1946; believed still alive), only daughter Kim Il-sung (1912-1994; Great Leader of DPRK 1949-1994) and only sister of (1941-2011; Dear Leader of DPRK; 1994-2011). He was thus the uncle (by marriage) of Kim Jong-un (b circa 1983; Supreme Leader of DPRK since 2011).  Within the party, he had a mixed career but ups and downs within the structure were not unusual and later in the reign of the Dear Leader, he emerged as a important figure in both the political and military machines around which things in the DPRK revolve.  His position appeared to be strengthened when the Supreme Leader assumed power but in 2013 he was accused of being a counter-revolutionary, was expelled from the party, dismissed from his many posts and was un-personed by having his photograph and mention of his name digitally erased from all official records.  In December that year, the KCNA (Korean Central News Agency, the regime's energetic and highly productive state media organization) announced his execution.

Obviously guilty as sin: Jang Song-thaek (left) being brought before the court (right).

On the basis of the official statement issued by the KCNA, he must have been guilty, highlights of the press release including confirmation he was “an anti-party, counter-revolutionary factional element and despicable political careerist and trickster…, a traitor to the nation for all ages who perpetrated anti-party, counter-revolutionary factional acts in a bid to overthrow the leadership of our party and state and the socialist system”.  It noted that despite receiving much trust and benevolence by the “peerlessly great men … The Great Leader, The Dear Leader and The Supreme Leader”, he behaved “worse than a dog, perpetrated thrice-cursed acts of treachery in betrayal of such profound trust and warmest paternal love”.  Of note was his subversion of interior decorating, preventing “the Taedonggang Tile Factory from erecting a mosaic…” as a monument to the Great Leader, not in its deserved place in the sun but “…in a shaded corner”.  Perhaps worse of all, he “let the decadent capitalist lifestyle find its way to our society by distributing all sorts of pornographic pictures among his confidants since 2009. He led a dissolute, depraved life, squandering money wherever he went.”  In summary, the release added Jang was a “thrice-cursed traitor without an equal in the world” and that “history will eternally record and never forget the shuddering crimes committed by Jang Song Thaek, the enemy of the party, revolution and people and heinous traitor to the nation”.

Details of such matters are hard to confirm so it’s not known if the rumors of him being executed by anti-aircraft gun fire or a flame-thrower are true.  Nor is it known if whatever remained of the corpse was thrown to a pack of wild dogs but the KCNA's press release did add: “…the revolutionary army will never pardon all those who disobey the order of the Supreme Commander and there will be no place for them to be buried even after their death” so the dog-food theory was at least plausible.

KCNA’s official photograph, commemorating the Supreme Leader’s tour of “inspection and field guidance” of the Taedonggang Tile Factory, September 2012.  Included in the Supreme Leader’s entourage was Jang Song-thaek (in army uniform on top platform).

The Supreme Leader learned in detail about factory operations including the processes used in the microlite shop and artificial marble tile shop, the latter able to produce tiles in the same colors and patterns as those of natural marble.  Addressing the workers, the Supreme Leader underlined the need to continue directing big efforts to improving the quality of products, noting that the quality of tiles depends on plane and right angle tolerable numerical value, contraction rate, intensity and resistance to cold.  When seeing tiles of diverse colors and sizes, he expressed great satisfaction that, figuratively speaking, “all clothes and underwear are locally made”, a thoughtful observation which attracted much applause.  It was on this visit the Supreme Leader became aware of the subversive and treasonous order from Jang Song-thaek that the mosaic erected as a monument to the Great Leader must be installed not in its deserved place in the sun but in a shaded corner.

Ephemeral

Ephemeral (pronounced ih-fem-er-uhl)

(1) Lasting a very short time; short-lived; transitory.

(2) In biology, a short-lived organism (usually defined as a life-span less then twenty-four hours) as with some flowers, insects, and microscopic life.

(3) In geology, pertaining to a usually dry body of water which fills for brief periods during and after rain.

1560s: From the New Latin ephemerus from the Ancient Greek ἐφήμερος (ephḗmeros), the more common form of ἐφημέριος (ephēmérios) (of, for, or during the day, living or lasting but for a day, short-lived, temporary), the construct being ἐπί (epí) (on) + ἡμέρα (hēméra) (day).  Originally from the medicine of antiquity as a descriptor of diseases and life-spans (lasting but one day), the extended sense of "transitory" is from the 1630s.  The evocative phrase from the Medieval Latin, memento mori, translates as "remember that you will die".  Synonyms are: short-lived, fleeting, transitory, short, temporary, brief, fugitive, transient, volatile, episodic, evanescent, flitting, impermanent and fugacious.  Ephemeral is a noun & adjective, ephemerality is a noun, ephemerally is an adverb and ephemeric is an adjective; the noun plural is ephemerals.  An ephemeron (ephemera the plural) is "a temporary thing"

Ephemeral art

Ephemeral art, as a defined movement, dates from the work of the Fluxus group in the 1960s.  Originally a platform created to disseminate political messages and critiques of materialist capitalism, the genre developed from the merely ephemeral to the concept of auto-destructive art in which objects existed only for the purpose of their own destruction.  It was perhaps the purest and most original art of the high cold war.

Recreation of Gustav Metzger's auto-destructive installation (1960), exhibition Art and the Sixties: This was Tomorrow, Tate Gallery 2004.

John Sharkey (1936-2004) and Gustav Metzger (1926–2017) were most influential in the development of Auto-Destructive Art and best remembered for the Destruction in Art Symposium in 1966 although the first public demonstration of Metzger’s concepts was at the Temple Gallery, London, in June 1960.  Metzger preferred to describe auto-destructive art as “a public art for industrial societies” and for the installation used in 1960, he hid himself behind a pane of glass covered with a white nylon sheet.  As the exhibition began, he used a brush to apply a hydrochloric acid solution to the fabric and as the material dissolved, creating a swirling, glue-like coating on the glass, he slowly became visible through the holes.  The presentation also included waste in plastic bags and models for auto-destructive sculptures. The work was re-created in 2004 by the Tate Gallery for the exhibition Art and the Sixties: This was Tomorrow.

Table (circa 1958), one of Gustav Metzger’s non-ephemeral works.

Metzger’s had first discussed his concept of auto-destructive art in a manifesto issued in November 1959.  In this statement, he emphasized how the most robust, and apparently durable, mechanically-manufactured objects (and those in which he though society was vesting a dangerous faith) ultimately would degrade and eventually disappear, a process which humans might delay but not prevent.  A second volume of his manifesto followed the next March in which he elaborated, explaining that auto-destructive art existed to highlight society’s obsession with destruction and the damaging effects of machinery on human life.  Although he didn’t reference it, there were elements in the manifestos which echoed the warnings of the dangers inherent in an uncritical faith in technology made by Albert Speer (1905–1981; Nazi court architect 1934-1942; Nazi minister of armaments and war production 1942-1945) in his final address to the court at the end of the Nuremberg trial.  As well as carrying an anti-capitalist and anti-consumerist message, in the context of the early years of the Cold War the anti-nuclear tone of Metzger’s auto-destructive art was blatant.  His views never changed but, after taking the concept to a natural conclusion of public interest, his work assumed more conventional forms although the political agenda remained, addressing the troubles in Northern Ireland, the Israel-Palestinian conflict, terrorism and climate change.

Photographers can emulate ephemerality even without post-production editing by using light to "overwhelm" the focus: This is a three-frame spread of Lindsay Lohan being photographed at the point of photoflash.

Albert Speer and the permanence of the ephemeral

Nuremberg Rally, 1934.

Of all that was designed by Albert Speer (1905-1981; Hitler’s court architect 1934-1942), little was built and less remains.  Although he would later admit the monometalism of the Nazi architectural plans was a mistake, his apologia was always tinged with the regret that in the years to come, all he was likely to be remembered for was his “immaterial lightshow”, used as a dramatic backdrop for the party rallies held at the Zeppelinfeld stadium in Nuremberg.  Compared with what, had things worked out, he’d have been able to render in steel, concrete, marble and granite, Lichtdom (cathedral of light) was of course ephemeral but it’s undeniably memorable.  Speer created the effect by placing the Luftwaffe’s (the German air force) entire stock (152) of 1500 mm (60 inch) searchlights around the stadium’s perimeter and maximized the exposure of the design by insisting as many events as possible be conducted in darkness, the other advantage being the lighting disguised the paunchiness of the assembled Nazis, many of whom were flabbier than the party’s lean, Nordic ideal, something which anyway was suspect, one joke spread by the famously cynical Berlin natives noting that empirically a better description of the Nazi ideal was "as blonde as Hitler, as fit as Göring, as tall as Goebbels and as sane as Hess".

Nuremberg Rally, 1936.

Few though were unimpressed by Lichdom.  Sir Neville Henderson (1882-1942; UK ambassador to Germany 1937-1939), the UK’s admittedly impressionable ambassador described the ethereal atmosphere as “…both solemn and beautiful… like being in a cathedral of ice.”  History though has preferred “cathedral of light” and brief views are captured in Hans Weidemann’s (1904-1975) Festliches Nürnberg (Festival of Nuremberg; a 1937 propaganda film chronicling the 1936 and 1937 events) which is mercifully shorter than Leni Riefenstahl’s (1902–2003) better-known works although the poor quality of the film stock used can only hint at the majesty achieved but the use of Richard Wagner's (1813-1883) Die Meistersinger von Nürnberg (1868) as a musical accompaniment helps.  Riefenstahl actually claimed she suggested the idea of the searchlights to Speer and a much better record exists in her film Olympia (1938) which documented the 1936 Summer Olympics at which the technique was also used.  Architects had of course for millennia been interested in light but apart from those responsible for the placement of stained glass windows and other specialties, mostly they were concerned with function rather than anything representational.  It was the advances the nineteenth century in the availability and luminosity of artificial light which allowed them to use light as an aesthetic element not limited by the time of day and thus the angle of the sun.

Speer had plenty of time to reflect on the past while serving the twenty years in Berlin’s Spandau prison for war crimes and crimes against humanity, a sentence he was lucky to receive.  His interest in light persisted and with unrestricted access to the FRG’s (the Federal Republic of Germany, the old West Germany) technical libraries, he assembled close to a thousand pages of notes for a planned book on the history of the window in European buildings, musing on variables such as the cost and availability of glass at different times in different places, the shifting cost of the labor of glaziers & carpenters and market interventions such as England’s notorious “window tax” which resulted in some strange looking structures.  Ever drawn to the mathematics he’d in his youth intended to study until forced to follow his father into architecture, he pondered the calculations which might produce the changes in “what value a square meter of light had at different periods” and what this might reveal beyond the actual buildings.

It was a shame the book was never written.  He recalled also the effects he applied to the German pavilion he built for the Paris World’s Fair in 1937, bathing it at night with “…skilfully arranged spotlights.  The result was to make the architecture of the building emerge sharply outlined against the night, and at the same time to make it unreal... a combination of architecture and light.”  It was at the Paris event the German and Soviet pavilions sat directly opposed, something of a harbinger and deliberately so.  He was nostalgic too about the Lichtdom, thinking it recalled “a fabulous setting, like one of the imaginary crystal palaces of the Middle Ages” although wryly he would note history would remember his contributions to his profession only for the ephemeral, the “…idea that the most successful architectural creation of my life is a chimera, an immaterial phenomenon.”  Surprisingly, for someone who planned the great city of Germania (the planned re-building of Berlin) with its monumental structures, the news that all that remained in the city of his designs were a handful of lampposts (which stand to this day) seemed something almost amusing.  In all his post-war writings, although there’s much rejection as “a failure” of the plan of Germania and the rest of the “neo-Classical on a grand scale” which characterized Adolf Hitler’s (1889-1945; Führer (leader) and German head of government 1933-1945 & head of state 1934-1945) vision of representational architecture, it’s not hard to detect twinges of regret for the unbuilt and sometimes he admitted it.  As he was contemplating a return to the drawing board upon his impending release, he noted: “Although I have had enough of monumental architecture and turn my mind deliberately to utilitarian buildings, it sometimes comes hard for me to bid goodbye to my dreams of having a place in the history of architecture. How will I feel when I am asked to design a gymnasium, a relay station, or a department store after I planned the biggest domed hall in the world?  Hitler once said to my wife: ‘I am assigning tasks to your husband such as have not been given for four thousand years. He will erect buildings for eternity!’  And now gyms!”  As things transpired, not even a gym was built and he instead wrote his history in text.  Of that piece of curated architecture, some were fooled and some not.

Package

Package (pronounce pak-ij)

(1) A bundle of something, usually of small or medium size, that is packed and wrapped or boxed; parcel.

(2) A container, as a box or case, in which something is or may be packed.

(3) Something conceived of as a (usually) compact unit having particular characteristics.

(4) The packing of goods, freight etc.

(5) A finished product contained in a unit that is suitable for immediate installation and operation, as a power or heating unit.

(6) A group, combination, or series of related parts or elements to be accepted or rejected as a single unit.

(7) A complete program produced for the theatre, television etc or a series of these, sold as a unit.

(8) In computing, a set of programs designed for a specific type of problem in statistics, production control etc, making it unnecessary for a separate program to be written for each problem.

(9) In computing, software distributed with a (sometimes optional) routine which enables a number of components to be installed and configured in the one action, meaning the end-user doesn’t have to be acquainted with pre-requisites, co-requisites etc.

(10) In computing, an alternative name for a “software suite” which provides a structured installation and configuration of what are (historically or nominally) separate programs.

(11) In vulgar slang, the male genitalia.

(12) To make or put into a package.

(13) To design and manufacture a package for (a product or series of related products).

(14) To group or combine (a series of related parts) into a single unit.

(15) To combine the various elements of (a tour, entertainment, etc.) for sale as a unit.

1530s: The original form of the word was in the sense of “the act of packing”, either as the construct of the noun pack + -age or from the cognate Dutch pakkage (baggage).  Pack was from the Middle English pak & pakke, from the Old English pæcca and/or the Middle Dutch pak & packe, both ultimately from the Proto-West Germanic pakkō, from the Proto-Germanic pakkô (bundle, pack).  It was cognate with the Dutch pak (pack), the Low German & German Pack (pack), the Swedish packe (pack) and the Icelandic pakka & pakki (package).  The suffix -age was from the Middle English -age, from the Old French -age, from the Latin -āticum.  Cognates include the French -age, the Italian -aggio, the Portuguese -agem, the Spanish -aje & Romanian -aj.  It was used to form nouns (1) with the sense of collection or appurtenance, (2) indicating a process, action, or a result, (3) of a state or relationship, (4) indicating a place, (5) indicating a charge, toll, or fee, (6) indicating a rate & (7) of a unit of measure.  The familiar modern sense of “a bundle, a parcel, a quantity pressed or packed together” dates from 1722 while that creation of modern commerce, the “package deal” (a transaction agreed to as a whole) emerged in 1952.  As a verb meaning “to bundle up into a pack or package” it was in use by at least 1915 and was a development of the noun.  The noun packaging (act of making into a package or packages) seems to have come into use in 1875.  Derived forms are created as needed (mispackage, subpackage, repackage, unpackage etc). As a modifier, package is now most associated with the “package deal” in its many advertised forms (package holiday, package saver, package tour etc).  Package & packaging are nouns & verbs, packager is a noun, packaged is a verb and packageable is an adjective; the noun plural is packages.

DVD Package deal.

The concept of the "package deal" is to sell two or more items at a list price which is less than the total nominal value.  It's used for a variety of purposes, often to use a popular product to shift surplus copies of one less successful.  It's a popular concept but does need to be done with care.  In 2014, Apple did a deal with the Irish rock band U2 which for many iTunes users had the consequence of an unrequested downloading to their devices the band's latest album.  Many people take pop music very seriously and were apparently offended by the notion of an unwanted album by a boomer band being forced upon them.  Apple haven't since repeated the packaging experience.

Detroit, the option lists and the packages

1967 Chevrolet Impala SS 327.

When in the late 1950s computers migrated from the universities and defense industries to commerce, among the early adopters were the US car manufacturers; they found intriguing the notion that with a computerized system in place, each vehicle could be built to a customer’s individual order.  This had of course for decades been done by low-volume manufacturers catering to the upper class but the administrative and logistical challenges of doing it at scale on a rapidly moving production line had precluded the approach for the mass-market.  Computerization changed that and what happened was: (1) a customer visited a dealer and ticked what they wanted from what suddenly became a long and expanding options list, (2) the dealer forwarded the list (on paper) to the manufacturers central production office (CPO) where, (3) a data entry operator typed the information into a machine which stored it on a punch card which (4) subsequently produced (on paper) a “build sheet” which went to the assembly line foreman who ensured his workers produced each car in accordance with its build sheet.

Option list for 1967 full-size Chevrolet range (Biscayne, Bel Air, Impala & Caprice).

The system actually worked and within its parameters was efficient but accountants were not impressed by the complexity and while they acknowledged a system with dozens of options per model could be done, they said it shouldn’t be done because it would be more profitable to assemble often-ordered combinations of options into a bundle which could be sold as a package.  What this meant was production runs would become more efficient because thousands of identically configured cars could be made, reducing the chance of error and avoiding the need for each line to be supplied with optional parts not included in the set specification.  The other attraction was that people would end up paying for things they might not have wanted, simply because the “package” was the only way to get the stuff really desired.  The classic examples was the various “executive” packages which included power-steering, automatic transmission and air-conditioning and some packages proved so popular they were sometimes further commoditized by becoming a stand-alone model such as Chevrolet’s Caprice which had in 1965 begun life as a bundle of “luxury” items (packaged as Regular Production Option (RPO) Z18 for the Impala) before the next year becoming a separate model designation which wasn’t finally retired until 2017.  Under the pressure of (1) packaging and (2) increasing levels of standard equipment, the option lists shrunk in the 1970s and were soon trimmed to a handful of items, most of them fitted by dealers rather than installed by the factory.     

Care packages

Care packages were originally a private initiative of US based charities which organized the assembly of items (with an emphasis on food-stuffs with a long shelf-life which didn’t demand refrigeration) which could be shipped to Europe to aid the civilian population, many of who were malnourished in the aftermath of the war.  Initial discussions focused on post-war planning were held in 1944 and CARE was formed late the next year, the first shipment of packages beginning in the second quarter of 1946, one of the early sources of supply the large stockpile of Army ration-packs which were produced for the amphibious invasion of the Japanese mainland but never used because the conflict was ended by the use of atomic bombs.  What CARE shipped was an example of the use of the adjective pre-packaged (packaged at the site of production), a form which is documented from 1944 although the date is coincidental to the formation of CARE.  The name was originally an acronym: Cooperative for American Remittances to Europe, but in 1959, reflecting what for some time had been the reality of CARE’s operations, it was changed to Cooperative for American Relief Everywhere.  In 1993 it was again changed to Cooperative for Assistance and Relief Everywhere, cognizant both of what would now be called “political optics” and the organization’s now international structure.

North Korean Freedom Coalition care package price list.

News that Kim Jong-un (Kim III, b 1982; Supreme Leader of DPRK (North Korea) since 2011) had banned Christmas in the DPRK so upset Christian activists that they redoubled their efforts to undermine the regime, advertising a list of “care packages” which could be launched into the Yellow Sea in bottles, the currents carrying them to the shores of the hermit kingdom, good Christian folk encouraged to donate between US$17 (which buys a small, concealable Bible) and US$1500 (a cell phone including roaming charges).  The activists operate from the Washington, DC-based North Korean Freedom Coalition (NKFC) which, in addition to challenging the “godless” Supreme Leader with teachings from Jesus, hopes practical care packages containing items such as shortwave radios and propaganda leaflets will destabilize the Kim dynasty.  The NKFC call the strategy “Operation Truth” and say it's modeled on the Berlin Airlift (1948-1949) which forced the Soviet Union to lift its blockade of West Berlin.  The most obviously practical of the packages contain enough rice to feed a family of four for a week, as well as a Bible on a flash drive and a US$1 bill, a much-sought after item in the DPRK.  In a clever twist which turns post-modernism against itself, the USB flash drives contain some North Korean music but with the lyrics altered from singing the praises of Kim Jong-un to lines worshiping God.  Decadent K-Pop songs are also loaded but the content of those (like the US movies also included) will be carefully checked to ensure nothing un-Christian is shipped.  Those who provided recorded messages included senators Jim Risch and Tim Kaine, & representatives Michael McCaul and Gregory Meeks; as if K-Pop wasn’t bad enough, that does sound like “cruel and unusual punishment”.  The packages are being supported by Fox News, the audience of which hates communists, atheists, Kim Jong-un and Joe Biden.

Moved to tears: The Supreme Leader sobbing when thinking of the lack of fecundity among his women, Pyongyang, December 2023.  

One who may deserve a care package is the Supreme Leader himself who recently was moved to tears as he implored his faithful female subjects to have more babies and raise them to love their country.  Kim Jong-un was filmed daubing is eyes with an immaculately pressed white handkerchief while addressing thousands of women gathered at a national mothers meeting in Pyongyang, the first such assembly in over a decade and one convened amid rising concerns over a fall in the DPRK’s birth rate.  “Stopping the decline in birthrates and providing good child care and education are all our family affairs that we should solve together with our mothers” the Supreme Leader was quoted as saying and with a rumored three children, he’s certainly done his bit.  Kim II went on to remind mothers their “primary revolutionary task” was to drill “socialist virtues” into their offspring and instil loyalty to the ruling party, adding that “…unless a mother becomes a communist, it is impossible for her to bring up her sons and daughters as communists and transform the members of her family into revolutionaries”.  Possibly fearing how they might be led astray by listening either to K-Pop or Senator Tim Kane, he warned the adoring women to be vigilant about any foreign influence on young minds, telling them to send their children to perform hard labour for the state to correct bad behaviour that is not “our style”.  The demographic problem isn’t restricted to the DPRK; in the region, policy-makers in both Japan and the RoK (the Republic of Korea (South Korea)) are also alarmed at the increasingly flaccid trend-line of population growth but for the DPRK, with its reliance on manual labour and military service, things rapidly could deteriorate.

Package deal: With every election of Bill Clinton, voters received a free copy of crooked Hillary.

There were suggestions the dictatorial tears were an indication of the uniqueness of the crisis and while it was true the dynasty had no tradition of lachrymosity, neither Kim Il-sung (Kim I, 1912–1994; Great Leader of DPRK (North Korea) 1948-1994) nor Kim Jong-il (Kim II, 1941-2011; Dear Leader of DPRK (North Korea) 1994-2011) ever having been seen crying but Kim Jong-un had shed a public tear in the past: In 2020, he cried as he issued an apology for failing to guide the reclusive country through turbulent economic times at the outset of the COVID-19 pandemic.  So unexpected and unusual were the words of regret that the tears weren’t widely reported but at the military parade held in July 2023 to mark the 70th anniversary of the end of the Korean War that divided the peninsula, the Supreme Leader proved he could also shed tears of joy, his eyes watering as the big missiles passed under his gaze.

Fishnet

Fishnet (pronounced fish-net)

(1) A net for catching fish.

(2) A fabric with an open mesh, resembling a fishnet.

(3) Being of an open-mesh weave.

(4) In fashion as a clipping of “fishnet stockings” & “fishnet tights”, usually in the form “fishnets”.

(5) In math, geometry and mapping, as “fishnet grid”, a grid of equally-sized (usually square or rectangular) cells which can be overlaid onto another representations (graphs, chart-lines, maps etc) for various purposes.  

Pre 1000: from the Middle English, from the Old English fiscnett, the construct being fish + net.  Fish was from the Middle English fisch, from the Old English fisċ (fish), from the Proto-West Germanic fisk, from the Proto-Germanic fiskaz (fish).  It may be compared with the West Frisian fisk, the Dutch vis, the German Fisch, the Danish, Norwegian & Swedish fisk and the Icelandic fiskur, from the primitive Indo-European peysḱ- (fish) (the equivalent form in was iasc and in Latin piscis.  Net was from the Middle English nett, from the Old English net & nett, from the Proto-West Germanic nati, from the Proto-Germanic natją, from the primitive Indo-European ned- (to turn, twist, knot).  It was cognate with the West Frisian net, the Low German Nett, the Dutch net, the German Netz, the Danish net and the Swedish nät.  Fishnet is a noun & adjective and fishnetted & fishnetty are adjectives; the noun plural is fishnets.

The most obvious “fishnet grid” is of course the fishnet, used by fishers to harvest seafood and one of the oldest technologies still in use with its essential design unchanged although much has changed in terms of materials, scale and techniques of use, some now highly controversial.  The same design (a grid structure with equal sized cells) is used in various field including (1) concreting where the steel reinforcing for slabs is used in this form, either in pre-made sections or assembled on-site.  (2) In agriculture, the grids are used as a support structure for climbing plants like beans which grow up the grid, gaining enhanced exposure to airflow and sunlight; ultimately, the arrangements also make harvesting easier and cheaper.  Made now with slender, strong, cheap and lightweight plastic strands which don’t absorb moisture, like the nets used to harvest fish, the agricultural mesh is produced in a variety of cell sizes, the choice dictated by the crop. (3) In architecture and interior decorating, grids are common design element, sometimes integrated into structural members and sometimes merely decorative.  (4) In fashion, the most famous fishnet grids are of course those used on stockings & tights where the most frequently seen patterns are diamonds or squares displayed with points perpendicular.  When used of other garments, the orientation of the cells can vary. (5) In industrial design, fishnet grids made of durable materials like steel or synthetic fibers are widely used, providing structures which can be lighter than those made with solid materials yet, in a seeming paradox, be stronger, at least in the direction of the stresses to which they’ll be exposed.  Such constructions are often used in support structures, fencing and other barriers.

North America with the lines of latitude & longitude as traditionally depicted in maps using a fishnet grid (left) and in a form which reflects the effects of the curvature of the earth.

In cartography, the most famous fishnet grid is that made up from the lines of latitude & longitude which, east & west, north & south, encircle the globe and have for centuries been used for navigation.  However, the familiar representation of the lines of latitude and longitude as a fishnet grid is illusory because the common, rectangular map of the world is just a two-dimensional rendering of a three dimensional sphere.  For most purposes, the flat map is ideal but when lines of latitude & longitude were added, so were distortions because the lines of longitude converge at the poles, becoming progressively closer as they move away from the equator.  Never parallel on the sphere which is planet Earth, on a map the lines are exactly parallel; a perfect fishnet grid.

The politics of the Mercator Map

The Mercator projection was developed in 1568 by Flemish geographer, cosmographer & cartographer Gerardus Mercator (1512–1594) as a navigation tool with spherical planet earth depicted on a flat rectangular grid with parallel lines of latitude and longitude.  Its functionality was such that in the west, it became the standard technique of projection for nautical navigation and the de facto standard for maps and charts.  For seafarers it was invaluable; all they needed do was follow the line on the chart and, barring accidents, they would arrive where intended.  However, the Mercator map is a most imprecise representation of the precise shapes and relative sizes of land masses because the projection distorts the size of objects as the latitude increases from the Equator to the poles, where scale becomes infinite.  That’s why land-masses such as Greenland and Antarctica appear much larger than they actually are, relative to equatorial areas such as central Africa.

The Mercator map (left), the distorting effect of the Mercator projection with the real size in the darker shade (centre) and the actual geography of Earth's land masses (right).

In the twentieth century, that distortion attracted criticism on the grounds the projection tended to increase the size of the land-masses of the European colonial powers while reducing those in the colonized south.  However, neither Gerardus Mercator nor other cartographers had social or political axes to grind; the geographical distortion was an unintended consequence of what was designed as a navigational device and it's anyway impossible accurately to depict the surface of a sphere as a two-dimensional rectangle or square (the so-called "orange-segment" renditions are dimensionally most accurate but harder to read).  The Mercator map is no different from the map of the London Underground; a thing perfect for navigation and certainly indicative but not to exact scale.  Modern atlases generally no longer use the Mercator map (except for historical or artistic illustrations) but they’re still published as wall-maps.

The Tube

The classic "map" of the London underground is an ideal navigational aid but, conceptual rather than being drawn to scale, applying a fishnet grid would be both pointless and without meaning.  Professional cartographers refer to such things as "diagrams" or "mud maps", the latter a colloquial term which began life in the military and was a reference to the improvised "maps" drawn in the soil by soldiers in the field.  While not precise, to scale or a detailed representation of an area, they were a simple visual aid to assist in navigation.

Fishnet fan Lindsay Lohan: Confessions of a Teenage Drama Queen (2004), (left), Elle Style Awards, London, February 2015 (centre) and Cannes Film Festival, May 2017 (right).  

There are both fishnet tights and fishnet stockings and unless worn in a manner to permit an observer to discern which, whether it’s one or another is often known only to the wearer, the distinction blurred further by manufacturers being sometimes inclined to be a bit loose with their labeling.  While both items of leg-wear, there are technical differences in the construction, coverage and style.  Tights should be made of a thicker, more opaque material which affords complete coverage from the waist to the toes.  Although a fashion item, the historic purpose of tights was to keep the legs warm in cold weather and they were a garment of some importance when there were dress codes which denied women the right to wear trousers.  Constructed almost always in one piece, tights have an elastic waistband which has the primary purpose of keeping them in place but there are some tights which technically are “shapewear”, the midsection an expanded, all-round elastic panel which has a mild compression effect on the areas around and immediately above the hips, rendering a more trim silhouette.  Except for a handful of high-priced products, tights use relatively thick materials like nylon or spandex (sold as lycra in some markets).  There are also composite materials now available which has meant the range of thicknesses, colors and patterns offered has been expanded and the finishes range from semi-sheer to opaque, making them suitable for casual and formal occasions while still providing protection from the cold.  The essential difference between tights and leggings is the later are shorter, stopping anywhere from the ankle to the upper calf (although some specialized sports leggings extend only to somewhere above the knee).

Australian architect & multi-media installation Bianca Censori (b 1995), Instagram post, May 2025.

Ms Censori is one of the industry's leading practitioners of minimalist fashion and on this occasion paired a fishnet top with sheer tights, sunglasses the only visible accessory.  Wearing unobtrusive mules rather than the fishnet’s clichéd stilettos was a nice juxtaposition and the background was well-chosen, proving the value of a trained architect's eye.

Classically, stockings were designed to cover only the legs between the upper-thigh and the toes.  Made typically from a sheer material, they are held in place by a device called a “garter belt” or “suspender belt” which sits around the hips, two (sometimes three) elastic “suspender slings” (a marvelous name) are attached to each side at the ends of which are metal clips into which a rubber or silicone disc is inserted through the stocking material, holding it permanently in place.  Usually sheer in a color spectrum from black to white (with a solid emphasis of “skin tone” although sensitivity to the implications of that term means it now less used), patterns are also available and among the most popular is the single, emulated “seam” running vertically up the back of the leg.  Until the mid twentieth century, stockings were made almost exclusively from silk are they remain available but the majority use some form of synthetic, either nylon or a nylon-mix and are thought to impart both a more delicate and refined look and are thus associated with formal attire.  The modern hybrid which has since the 1970s captured most of the stocking market is “pantyhose” (the construct being a portmanteau of the modified clippings of panties (panty) + hosiery (hose).  Pantyhose used the design of tights and the sheer material of stockings, the obvious advantage being the convenience of not needing the belt apparatus with its alluring but fiddly “suspender slings”.  Fishnet pantyhose are available.

Dame Jilly Cooper (1937–2025), in the 1980s, in fishnets.

Bonkbuster is a literary genre first defined in the late 1980s as meaning “novels with more emphasis on the sex than the romance and enjoying (ore expecting” best-seller status and like likelihood of adaptation in some form for the screen”.  The construct was bonk + (block)buster, the latter element used to describe highly successful book, films, albums etc.  In the literary genre Dame Jilly was the UK’s most accomplished author, something she attributed, at least in part to her “diligent research on the topic”.  Her novels were churning fantasies of smouldering glances, polo ponies, country houses and corporate back-stabbing, always with an undercurrent of infidelity, often in the green and pleasant land of the English countryside.  Before in 1975 she turned to fiction (albeit with much content drawn from he own active life), she’d spent years as a newspaper columnist where she’s offer practical advice to the modern women such as: “If you amuse a man in bed, he's not likely to bother about the mountain of dust underneath it.”  Although she always, accurately, described herself as “upper-middle class”, her novels tended up rather than down the class system and were studded with titles, money and privilege but the turn of phrase she’d honed within the tight word limits imposed on columnists never deserted her, a protagonist in one novel observing: “I don’t expect fidelity from my husbands, but I demand it from my lovers.”

The obsessive fear of nets (as opposed to mere sensible caution) is amphiblestronophobia and this would include those with a morbid aversion to fishnets although, depending on the evidence presented, a clinician might give the patient a diagnosis of textophobia (the irrational fear of certain fabrics).  There seems in the literature no mention of specific phobia tied exclusively to a fear of fishnets; while there may be a few whose experiences have led them to fear those who wear fishnets, that’s not quite the same thing.  That notwithstanding, the non-standard nouns fishnetism and fishnetists are there for those who self-identify as fishnetophiles.  The American Psychiatric Association's (APA) Diagnostic and Statistical Manual of Mental Disorders (DSM) does sometimes include discussions of specific objects and devices but fishnets seem never to have been mentioned.  Obviously though, fishnet clothing could be an element in a paraphilic disorder, a category of eight updated in the DSM’s fifth edition (DSM-5, 2013).  These disorders are characterized by intense and recurrent urges or fantasies focused on atypical sexual objects, situations, or non-consenting individuals and while those which cause significant distress or impairment can come to the attention of clinicians, there are presumably many individuals who either successfully self-manage or actively cherish their paraphilias, something no longer thought requiring clinical intervention provided the practices are “victim free”.

(1) Voyeuristic Disorder: Sexual arousal from observing others without their knowledge or consent.  This would include those aroused by the sight of fishnet garments being worn “in the wild”.

(2) Exhibitionistic Disorder: Sexual arousal from exposing one's genitals to unsuspecting strangers.

(3) Frotteuristic Disorder: Sexual arousal from touching or rubbing against a non-consenting person.

(4) Sexual Masochism Disorder: Sexual arousal from being humiliated, beaten, bound, or otherwise made to suffer.  Fishnet garments may be involved because they’re a stereotypical part of the “uniform” worn in the BDSM (Bondage; Discipline (dominance and submission); SadoMasochism) community but they would be an incidental element.

(5) Sexual Sadism Disorder: Sexual arousal from inflicting pain or humiliation on others.  Again, fishnets may be present but merely coincidental to the condition.

(6) Pedophilic Disorder: Sexual arousal from a desire to have sexual contact with a child who is not of legal age of consent.

(7) Fetishistic Disorder: Sexual arousal from non-living objects, non-genital body parts, or a combination of both.  Fishnet garments would be a classic example of a particular clothing fetish but the fondness is a spectrum and of clinical significance only if causing a patient distress or impairment.

(8) Transvestic Disorder: Sexual arousal from dressing in clothing associated with the opposite sex, particularly when not related to a transgender identity.  Fishnet garments could be an element in this but are not essential.